Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques最新文献

{"title":"Back to the Future: An Ode to 16mm Film","authors":"G. Cammaer","doi":"10.3138/cjfs-2022-0025","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0025","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131911237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Wings of Hypothesis: Collected Writings on Soviet Cinema by Annette Michelson (review)","authors":"R. Pierson","doi":"10.3138/cjfs-2022-0021","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0021","url":null,"abstract":"When film studies came into its own as an academic discipline during the 1960s and 1970s, one of its most important scholars and champions was Annette Michelson. She played an integral part in giving cinema critical respectability as an advanced art. Michelson celebrated filmmakers with the same modernist terms that critics used to celebrate painters and sculptors in the pages of respected art magazines like Artforum. She is credited with inventing “philosophical film interpretation” as a model of criticism. Her investigations of film’s impact on the body, at a time when scholarship was largely interested in Marxism and psychoanalysis, presaged the phenomenological turn by decades. With Rosalind Krauss, she co-founded the journal October, the iconic journal of art and politics. She was one of the founding faculty members of New York University’s cinema studies program, and, from there, played a crucial role in shaping the thought of generations of scholars, from Tom Gunning and Noël Carroll to Anne Friedberg and Scott Bukatman. Yet Michelson’s importance as a scholar and critic has been little recognized, especially in comparison to her lifelong colleague Krauss or her contemporaries Michael Fried and Stanley Cavell. She published little. She never completed a monograph; her essays seemed, in comparison to these authors, narrowly conceived. Although her ambitions as a critic were high—she sought to become the American answer to André Bazin, and to an extent she constructed her own methods as rebuttals to his—she never overtly pushed an overarching theoretical agenda. She published on few topics, mostly limiting her writing to studies of the European pre-war and American post-war avant-gardes. Thus, with the exception of her seminal essay on 2001: A Space Odyssey (1968), she is rarely read outside those fields of specialization, and her style and concerns as a film writer have hardly been studied at all. A synoptic collection of Michelson’s essays, then, is long overdue. On the Wings of Hypothesis, along with its companion, On the Eve of the Future (2017), published shortly before Michelson’s death, goes some length toward","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131700280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Northern Story of the \"World's Finest 16mm Camera\": The Ciné-Kodak Special in Canada and Québec","authors":"L. Pelletier","doi":"10.3138/cjfs-2022-0022","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0022","url":null,"abstract":"Résumé:Dix ans après l'apparition du film en 16mm, la compagnie Eastman Kodak commercialisait la Ciné-Kodak Special, la première caméra professionnelle utilisant ce format de pellicule. Conçue comme un outil cinématographique adaptable à l'infini, cette caméra intégrait de nombreuses fonctionnalités permettant la production d'effets optiques et spéciaux. De plus, elle pouvait être équipée de plusieurs accessoires afin d'élargir la gamme de films réalisables. Au Canada et au Québec, de nombreux cinéastes, dont Judith et Budge Crawley, Norman McLaren, Gratien Gélinas, Guy Borremans, Maurice Proulx et Margaret Perry ont fait un usage intensif de la Special et ont réalisé des films en marge du cinéma hollywoodien. Les films d'animation, les expérimentations d'avant-garde, les films narratifs, les films gouvernementaux, les récits de voyage et les films éducatifs qu'ils ont tournés avec cette caméra ont largement circulé en dehors des salles de cinéma et ont contribué à la représentation de différents groupes et communautés négligés par les productions en 35mm.Abstract:Ten years after the introduction of 16mm, the Eastman Kodak Co. marketed the first professional moving picture camera using the film gauge: the Ciné-Kodak Special. Conceived as an endlessly adaptable filmmaking tool, the Special integrated many features enabling the production of optical and special effects. Additionally, it could be fitted with many accessories that further expanded the range of films that could be made. In Canada and Québec, several filmmakers, including Judith and Budge Crawley, Norman McLaren, Gratien Gélinas, Guy Borremans, Maurice Proulx, and Margaret Perry, made extensive use of the Special to create multiple alternatives to Hollywood cinema. The influential animated films, avant-garde experiments, narrative studio films, government films, travelogues, and educational films they shot with Specials largely circulated in non-theatrical networks, where they provided representation to many groups and communities overlooked by 35mm productions.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"295 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121332462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crawley Films and Canada's Audiovisual Infrastructure for Resource Extraction","authors":"Charles R. Acland","doi":"10.3138/cjfs-2022-0024","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0024","url":null,"abstract":"Résumé:La compagnie Crawley Films, située à Ottawa, a été le principal producteur privé de films industriels et éducatifs au Canada entre 1939 et 1982. Alors que l'historiographie s'est penchée sur les œuvres éducatives et sur les incursions dans le domaine du long métrage de la compagnie, cet essai examine ses films commandités portant sur l'extraction des ressources naturelles. Pendant des décennies, Crawley Films a fourni aux réseaux audiovisuels du Canada et d'ailleurs un vaste catalogue qui faisait valoir les priorités nationales et celles des entreprises en matière d'utilisation des terres, de procédés industriels d'extraction et de colonisation. En se penchant sur l'industrie de l'aluminium et sur le film Generator 4 (1956), réalisé par Crawley Films pour Alcan, cet essai montre comment de telles productions, en films 16mm et 35mm, ont été reformatées selon les médias et les usages dans le cadre d'une infrastructure médiatique canadienne qui dépendait de l'infrastructure industrielle et en faisait la promotion.Abstract:Ottawa-based Crawley Films was Canada's leading private producer of industrial and educational films from 1939 to 1982. While existing historical treatments focus on its instructional works and forays into feature film, this essay examines its sponsored films supporting resource extraction. For decades, Crawley Films supplied audiovisual networks across Canada and beyond with a large catalogue of materials that advanced national and corporate priorities in land usage, extractive industrial processes, and colonization. By focusing on the aluminum industry and the film Generator 4 (1956), which Crawley Films made for Alcan, this essay shows how such works moved among media and uses, between 16mm and 35mm, variously reformatted as part of a Canadian media infrastructure that relied on and promoted industrial infrastructure.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132698635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Getting the Queer Word Out: Word is Out and 16mm Distribution as Gay and Lesbian Activism","authors":"Jonathan Petrychyn","doi":"10.3138/cjfs-2021-0058","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0058","url":null,"abstract":"Résumé:Cet article retrace la distribution en 16mm du film Word is Out: Stories of Some of Our Lives (Mariposa Film Group, 1977, États-Unis) à travers le Canada entre 1977 et 1985. Il contribue au corpus croissant de travaux sur la distribution de films en se penchant sur celle des films gais et lesbiens durant cette période. En s'appuyant sur des journaux numérisés ainsi que sur la correspondance et la documentation en archives, l'auteur démontre que la distribution en 16mm de Word is Out dépendait de son intermédialité avec d'autres médias et technologies de communication, notamment le film en 35mm, la télévision, les grands journaux et les revues gaies, qui étaient tous cruciaux pour former un contre-public discursif. L'analyse de ces connexions intermédiales élargit notre compréhension des façons complexes par lesquelles les militants gais et militantes lesbiennes ont utilisé le film pour créer des communautés et élargir leur mouvement.Abstract:This article traces the 16mm distribution of Word is Out: Stories of Some of Our Lives (Mariposa Film Group, 1977, US) across Canada between 1977 and 1985. It contributes to the growing body of work on film distribution by focusing on an understudied period of gay and lesbian film distribution in Canada. Drawing on digitized historic newspapers as well as correspondence and documentation in physical archives, the author shows that the 16mm distribution of Word is Out depended on its intermediality with other media and communication technologies, including 35mm film, TV, daily newspapers, and gay periodicals, which was crucial to the film's ability to form a discursive counter-public. Tracing these intermedial connections furthers our understanding of the complex ways that gay and lesbian activists used film to build community and grow their movement.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131188854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Canadian Travel Film Library: Non-Theatrical Distribution and Tourism Promotion in the Postwar Period","authors":"Dominique Brégent-Heald","doi":"10.3138/cjfs-2021-0055","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0055","url":null,"abstract":"Résumé:En 1947, l'Office national du film créait le Canadian Travel Film Library (CTFL), dont l'un des mandats était de louer des courts métrages en 16mm qui faisaient la promotion des attraits touristiques et récréatifs du pays auprès de millions d'emprunteurs aux États-Unis. La publicité touristique par le biais du cinéma faisait partie d'une stratégie plus large afin d'injecter des dollars américains dans l'économie canadienne de l'après-guerre et ainsi remédier au déséquilibre commercial avec les États-Unis. Les représentants du gouvernement estimaient que ces films à petite pellicule constituaient le format idéal pour atteindre un public large à un coût moindre et, ainsi, favoriser son plan de reconstruction. De plus, en soutenant l'industrie du tourisme, l'ONF cherchait à faire taire les critiques selon lesquelles elle constituait une agence de propagande gauchiste disposant d'un budget excessif. En fait, son budget réduit limitait sa capacité à produire ses propres films touristiques. C'est pourquoi l'Office a développé un mécanisme de distribution centralisé qui œuvrait en dehors des salles de cinéma : le CTFL, qui opérait à partir de bureaux à New York et à Chicago et desservait des dizaines de points de distribution régionaux. Travaillant étroitement avec l'Office des voyages du gouvernement canadien, l'ONF a ainsi rationalisé la diffusion aux États-Unis des copies en 16mm par les agences fédérales et provinciales, ainsi que par les intérêts privés.Abstract:In 1947, the National Film Board established the Canadian Travel Film Library (CTFL), which rented 16mm short films promoting the country's scenic and recreational assets to millions of borrowers in the US. Tourism advertising through film was part of a broader strategy to pump US currency into Canada's postwar economy and remedy its deepening trade imbalance with the US. Government officials deemed that small-gauge film was the ideal format to reach a maximum targeted audience at minimum cost and could further its broader reconstruction plan. Additionally, by supporting the tourism industry, the NFB could stave off growing criticism that it was a fiscally bloated leftist propaganda agency. With its shrinking budget, the NFB had limited funds with which to produce its own films to encourage tourism. Therefore, it concentrated on developing a novel, centralized non-theatrical distribution mechanism; that is, the CTFL, which operated out of New York and Chicago offices and serviced dozens of regional outlets. Working closely with the Canadian Government Travel Bureau, the NFB streamlined the dissemination of 16mm prints by federal and provincial agencies, as well as private interests, throughout the US.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116823360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ad Astra ou paradoxes et dynamiques intermédiales dans l'œuvre d'Henri Hébert","authors":"Sébastien Hudon","doi":"10.3138/cjfs-2022-0023","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0023","url":null,"abstract":"Abstract:This article describes the rediscovery of a 16mm film corpus in the Cinémathèque Québécoise (CQ) archive and offers a theoretical reflection on this fascinating series, especially on the parts relating to a major work from the artist, the memorial he dedicated to the pioneering aviator Jacques de Lesseps (1883–1927). We assess the inter-medial opportunities the 16mm format offered sculptor Henri Hébert precisely when the aesthetical paradigm of modernity was starting to inform his artworks. Highlighting the device's great mobility, and thanks to the images recorded on film from Paris to Gaspé at various steps during the making of the memorial, we trace the creation and completion process of this atypical sculptural endeavour.Résumé:Le présent article porte sur la redécouverte d'un corpus de films 16mm conservé à la Cinémathèque québécoise (CQ) et propose une réflexion théorique sur ce corpus fascinant, en particulier sur les parties qui se rapportent à une œuvre majeure de l'artiste : le monument commémoratif qu'il destine à la mémoire de l'aviateur pionnier Jacques de Lesseps (1883-1927). Nous évaluerons ici les possibilités intermédiales offertes au sculpteur Henri Hébert par le dispositif 16mm, au moment même où il adopte dans ses œuvres les paradigmes esthétiques de la modernité. Mettant l'accent sur la grande mobilité de l'appareil et grâce aux images consignées sur la pellicule à plusieurs étapes de la réalisation du monument, de Paris à Gaspé, nous retracerons le processus de création et d'achèvement de ce projet sculptural atypique.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128315776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Soft-core Sovereignty: Absorbing Canada's Doukhobors in The Naked Flame (1964)","authors":"Ryan Rashotte","doi":"10.3138/cjfs-2021-0065","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0065","url":null,"abstract":"Résumé:La tradition d'utilisation du corps nu comme instrument de résistance politique a débuté il y a plus d'un siècle dans les Prairies canadiennes, lorsque les partisans d'une secte religieuse d'immigrants russes, connue sous le nom de Doukhobor Sons of Freedom, ont commencé à manifester nus pour contester les politiques assimilationnistes du gouvernement. Cette tactique permit d'attirer régulièrement l'attention de la culture médiatique canadienne de l'après-guerre et inspira l'un des premiers films de sexploitation du pays, The Naked Flame (Larry Matanski, 1964), largement oublié. Le présent article situe la production et la réception de ce film dans le cadre du discours contemporain des universitaires, des parlementaires et des médias sur le « problème doukhobor ». En outre, il examine la façon dont le film utilise la nudité et d'autres tropes du cinéma de sexploitation pour mettre en relief le statut précaire et dangereux de la souveraineté des Svobodniki au Canada et pour justifier, en termes cinématographiques, les politiques coercitives du gouvernement afin d'assimiler les citoyens blancs « problématiques » dans les années 1960.Abstract:The tradition of using the naked body as an instrument of political resistance began in the Canadian Prairies over a century ago, when a religious sect of Russian immigrants known as the Doukhobor Sons of Freedom began protesting in the nude to challenge the assimilationist policies of the government. The tactic ensured regular scrutiny in Canada's postwar media culture and inspired one of the country's earliest sexploitation films, the largely forgotten The Naked Flame (Larry Matanski, 1964). This essay places that film's production and reception within contemporary scholarly, parliamentary, and media discourse on the \"Doukhobor problem.\" Moreover, it examines how the film employs nudity and other tropes of sexploitation cinema to expose the tenuous and dangerous status of svobodniki sovereignty in Canada and to justify, in cinematographic terms, the government's coercive policies for assimilating \"problematic\" white citizens in the 1960s.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117258814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Come to Canada\": Wartime Tourism Promotion and the Amateur Film Movement","authors":"Dominique Brégent-Heald","doi":"10.3138/cjfs-2021-0008","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0008","url":null,"abstract":"Résumé:Le présent article, qui s'appuie sur des documents d'archives et des périodiques spécialisés tels que Movie Makers et American Cinematographer, examine les liens entre la promotion gouvernementale du tourisme au Canada et le monde du cinéma amateur pendant la Seconde Guerre mondiale. Malgré les pénuries et les mesures de rationnement ayant limité les voyages et déplacements à des fins récréatives de part et d'autre de la frontière canado-américaine, l'idée selon laquelle les campagnes de tourisme au Canada avaient cessé au cours de cette période est erronée. Les dollars des touristes américains étaient nécessaires pour soutenir l'effort de guerre, tandis que la réalisation de films personnels renforçait le discours entourant le bon voisinage et la coopération en temps de guerre. En particulier, l'Office national du film du Canada (ONF) adopta des approches novatrices et rentables pour appuyer le tourisme par l'entremise du cinéma en encourageant la réalisation de films de voyage personnels, comme en témoignent le concours Come to Canada de 1942 et le soutien à la carrière du couple de cinéastes Budge et Judith Crawley.Abstract:Using archival documents and such specialist periodicals as Movie Makers and American Cinematographer, this essay examines the intersection between governmental tourism promotion in Canada and the world of amateur filmmaking during the Second World War. Despite rationing and shortages that limited travel for recreational purposes across the Canadian-American border, the notion that tourism campaigns in Canada ceased is erroneous. American tourist dollars were necessary to sustain the war effort, while personal filmmaking reinforced the wartime discourse of neighbourliness and cooperation. In particular, the National Film Board embraced innovative and cost-effective approaches to endorsing tourism through film by encouraging personal travel moviemaking, as seen in its 1942 \"Come to Canada\" contest and the nurturing of Budge and Judith Crawley's career.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116059289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Korean Financial Thrillers: Neo-Liberal Governmentality in Default and Black Money","authors":"Jaecheol Kim","doi":"10.3138/cjfs-2020-0011","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0011","url":null,"abstract":"Résumé:Cet essai vise à étudier les thrillers financiers coréens produits à la fin des années 2010, en particulier Default (Kook-hee Choi, 2018) et Black Money (Ji-yeong Jeong, 2019). Ces deux films ont dévoilé le visage sombre du capitalisme financier — non seulement en démystifiant les difficultés existantes et les défis causés par la crise du crédit, mais aussi en analysant l'ordre social du monde néolibéral actuel. En Corée, le néolibéralisme s'est développé après la crise financière asiatique de 1997 et il a été justifié par le fonds de sauvetage du FMI reçu par le gouvernement coréen pour échapper au défaut souverain. Les thrillers financiers coréens examinent le capitalisme mondial d'un point de vue nationaliste, et ils developpent un récit anticolonial pour representer la formation sociale néolibérale comme un type de régime colonial. Néanmoins, leurs points de vue ne se limitent pas à une portée nationaliste ; ils dêfinissent la logique d'exploitation actuelle comme une logique distinctive qui s'écarte de celle des anciennes relations coloniales. Ils comprennent l'économie néolibérale comme une gouvernementalité qui peut déplacer la souveraineté nationale, et ils imaginent des contre-conduites potentielles contre elle.Abstract:This essay surveys Korean financial thrillers produced in the late 2010s, particularly Default (Kook-hee Choi, 2018) and Black Money (Ji-yeong Jeong, 2019). These two films expose the dark underbelly of financial capitalism—not only by revealing existing predicaments and challenges caused by the credit crisis, but also by analyzing the current neoliberal social order. Neo-liberalism developed in Korea after the 1997 Asian financial crisis and was justified by the IMF bailout fund received by the Korean government to escape sovereign default. Korean financial thrillers scrutinize global capitalism from a nationalist perspective, considering the neo-liberal social formation as a type of colonial rule by developing an anti-colonial narrative. Nonetheless, their views are not limited to a nationalist scope, and they define the current exploitative logic as a distinctive one that deviates from that of former colonial relationships. They understand the neo-liberal economy as a governmentality that can displace national sovereignty, and they explore potential contre-conduites against it.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"340 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122135564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}