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

{"title":"Hairy Screens, Filmic Follicles: The Uses of Hair in a Selection of Films by Claire Denis","authors":"Raymond Deluca","doi":"10.3138/CJFS-2019-0018","DOIUrl":"https://doi.org/10.3138/CJFS-2019-0018","url":null,"abstract":"Résumé:L'auteur se penche sur l'importance topique et esthétique de la pilosité dans plusieurs des films de la cinéaste française Claire Denis : Nénette et Boni (1996), Trouble Every Day (2001), Vendredi soir (2002), White Material (2009) et High Life (2018). Selon lui, les images de pilosité humaine que l'on trouve dans ces oeuvres servent à trois fins : communiquer concrètement l'identité humaine; signaler la matérialité excessive, non assimilée du corps; et corporaliser le passage du temps sous la forme d'une matière inerte qui complique la distinction entre corps organiques et inorganiques. L'auteur utilise l'oeuvre du théoricien allemand du cinéma Siegfried Kracauer, qui s'est lui-même intéressé à la peau et au cuir chevelu, pour asseoir sur des bases théoriques la pilosité filmique de Denis. Jusqu'à maintenant, peu de chercheurs ont tenté d'établir un lien entre les films de Denis et les écrits de Kracauer—et moins encore ont entrepris de théoriser la pilosité filmique —, un exercice qui jette néanmoins un nouvel éclairage sur la façon dont nous abordons la pilosité à l'écran. Sur un plan plus large, l'auteur contribue dont à un effort intellectuel plus général pour élaborer une « théorie de la pilosité » susceptible d'expliquer la présence et l'importance de la pilosité dans le discours culturel et cinématographique.Abstract:This article examines the topical and aesthetic significance of hair in several movies by the French filmmaker Claire Denis: Nénette et Boni (1996), Trouble Every Day (2001), Vendredi soir (2002), White Material (2009), and High Life (2018). The images of human hair found across these works, I argue, serve three purposes: to materially communicate human identity; to signal the body's excessive, unassimilated materiality; and to corporealize the passage of time as a form of dead matter that complicates a distinction between organic and inorganic bodies. This article uses the work of German film theorist Siegfried Kracauer, who himself took an interest in skins and scalps, to ground Denis's filmic hair theoretically. There has so far been little work linking Denis's films to Kracauer's writings—and fewer attempts to theorize filmic hair—but doing so sheds new light on how we encounter hair on screen. On a broader level, then, this article adds to a wider scholarly effort to develop a \"theory of hair\" that can account for hair's presence and significance in cultural and cinematic discourse.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125450031","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 Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s ed. by Marina Dahlquist and Joel Frykholm (review)","authors":"Leonora Masini","doi":"10.3138/CJFS-2020-0067","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0067","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123254703","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":"Transmission et historiographie du cinéma : l'influence de Georges Sadoul sur Nijat Özön, pionnier marxiste de l'histoire turque du cinéma","authors":"Tunç Yildirim","doi":"10.3138/CJFS-2020-0005","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0005","url":null,"abstract":"Abstract:Nijat Özön (1927–2010) is considered to be the \"pioneer\" of cinema historiography in Turkey with the publication of his first work dedicated to Turkish cinema in 1962. In fact, his History of Turkish Cinema from Yesterday to Today: 1896–1960 was an attempt to write the history of cinema by focusing on its artistic aspects as well as on its industrial aspects. From his preliminary articles published in the 1950s, the author set out to analyze the situation of Turkish cinema from an economic, industrial, and institutional perspective and not only from an aesthetic point of view. Did the \"Sadoulian model\" of the history of cinema play a key role in the approach and practice of this Turkish cinema specialist? The aim of this article is to study the impact of Georges Sadoul's Marxist vision and his documentation methodology had on the historical discourse of his Turkish colleague. The article merges two theoretical concepts (comparative approach and the historiographical operation) to highlight the social milieu to which Özön belongs, the practices he uses as an historian and the intellectual influences he undergoes in his writing work.Résumé:On considère Nijat Özön (1927-2010) comme le « pionnier » de l'historiographie du cinéma en Turquie à la faveur de la publication de son premier ouvrage dédié au cinéma turc en 1962. En fait, son Histoire du cinéma turc d'hier à aujourd'hui : 1896-1960 est une tentative d'écriture de l'histoire du cinéma en se focalisant sur ses aspects artistiques en même temps que sur ses aspects industriels. Dès ses articles préliminaires publiés dans les années 1950, l'auteur entreprenait d'analyser la situation du cinéma turc dans une perspective économique, industrielle et institutionnelle et non seulement d'un point de vue esthétique. Est-ce que le « modèle sadoulien » de l'histoire du cinéma a joué un rôle clé dans l'approche et la pratique historiennes de ce spécialiste du cinéma turc ? L'objectif de cet article est de démontrer et d'étudier les effets que la vision marxiste et la méthodologie de documentation de Georges Sadoul ont eus sur le discours historique de son confrère turc. L'article fusionne quelques concepts théoriques (le comparatisme et l'opération historiographique) pour mettre en évidence le milieu social auquel Özön appartient, les pratiques historiennes dont il se sert, ainsi que les influences intellectuelles qu'il subit dans son travail d'écriture.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121805180","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":"L'écrit à l'écran : écriture, texte et lisibilité dans la transcréation québécoise","authors":"M. Pascal","doi":"10.3138/CJFS-2019-0019","DOIUrl":"https://doi.org/10.3138/CJFS-2019-0019","url":null,"abstract":"Abstract:From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn't completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being \"diegetic\" or \"non-diegetic.\" Several types of writing, distinguished by their relation to the film's diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the \"audio-visual.\" Focus on the written word is even more important for those who study film adaptations or \"transcreations\", since the diegesis is, as the first witness of the \"story\" (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d'auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases.Résumé:Des films des premiers temps jusqu'aux films parlants, le cinéma n'a jamais totalement su se départager de la langue, principale manière de communiquer une diégèse et dans la diégèse, et donc de faire fi de l'écrit. Pourtant, il peut sembler étonnant que l'écriture n'ait pas tout à fait disparu, voire garde une place de choix dans le cinéma parlant, puisque les acteurs peuvent maintenant s'exprimer directement et les spectateurs peuvent rassembler, grâce à l'audio, toutes les informations nécessaires à leur compréhension. Il subsiste pourtant un certain nombre de traces de l'écrit à l'écran, que Chion (2013) distingue selon qu'elles sont « diégétiques » ou « non diégétiques ». Plusieurs types d'écrits, distingués de par leur relation ou non avec la diégèse du film, appellent le critique à leur porter une attention particulière, car, bien que leur présence puisse parfois passer inaperçue, elle ne va pas de soi dans le cadre d'une fiction considérée par d'aucuns comme « audio-visuelle ». L'intérêt de se focaliser sur l'écrit est d'autant plus important pour qui étudierait les adaptations cinématographiques ou « transcréations », la diégèse étant, dans le premier témoin du « récit » (Gaudreault, 1988), véhiculée par le seul écrit. La première question sera donc d'analyser les caractéristiques de la subsistance de l'hypotexte à travers l'écrit dans les transcréations et de voir si elle s'y trouve démultipliée par rapport aux films d'auteur. La deuxième,","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"206 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114986787","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 City Symphony Phenomenon: Cinema, Art, and Urban Modernity between the Wars ed. by Steven Jacobs, Eva Hielscher, and Anthony Kinik (review)","authors":"S. Landberg","doi":"10.3138/CJFS-2020.0069","DOIUrl":"https://doi.org/10.3138/CJFS-2020.0069","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134404994","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":"Disease Transmission and Theatres: Creating Respectable Spaces","authors":"Gregory Canning","doi":"10.3138/CJFS-2020-0062","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0062","url":null,"abstract":"Résumé:L'auteur se penche sur la perception qu'avaient les spectateurs des provinces maritimes canadiennes des dangers que présentaient les salles de cinéma au début du vingtième siècle. L'étude porte sur les préoccupations qui ont été exprimées par le truchement des médias au sujet de la santé publique et du risque de propagation de maladies. Cette incursion dans l'histoire de l'exploitation cinématographique dans les Maritimes nous renseigne sur le sentiment d'apaisement grandissant qu'ont inspiré aux citoyens des Maritimes les éléments de modernité tels qu'ils étaient représentés par les salles de cinéma. L'auteur s'intéresse plus précisément à la façon dont les dirigeants et les propriétaires de salles de cinéma ont réagi aux préoccupations du public quant aux risques que des cinémas mal entretenus et n'exerçant aucun contrôle sur les spectateurs eussent pu favoriser la propagation de maladies. Il conclut en examinant comment le gouvernement et les autorités de santé publique ont traité les salles de cinéma au cours de l'épisode d'urgence sanitaire engendré par la pandémie de grippe de 1918.Abstract:This article will investigate the perceived dangers that motion picture theatres posed to audiences in the Maritime provinces of Canada at the beginning of the twentieth century. Focus will be placed on the concerns that were expressed through the media regarding the possibility of disease transmission and public health. This inquiry into the history of film exhibition in the Maritimes will illustrate the growing comfort that Maritime citizens felt with elements of modernity as represented by motion picture theatres. Specifically, the article will explore how theatre managers and owners responded to public concerns that unclean theatres and unmonitored audiences could potentially transmit diseases, concluding with an examination of how government and public health officials dealt with motion picture theatres during the health emergency of the influenza pandemic of 1918.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125994328","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 Affects of Animosity: Action Cinema, Enemy Making, and Moral Indignation as Film Mood","authors":"L. Soberon","doi":"10.3138/CJFS-2020-0071","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0071","url":null,"abstract":"Résumé:L'auteur propose une analyse critique de la fabrication d'ennemis et des structures émotionnelles de l'animosité dans le contexte du genre cinématographique des films d'action. Il élabore au départ un cadre de référence théorique qui met en évidence le rôle central que jouent les émotions négatives et les formes d'antipathie qu'inspirent les personnages dans les pouvoirs rhétoriques du film de fiction. Dans le prolongement de cet apport théorique, il présente et définit la notion d'indignation morale comme ambiance filmique contribuant à entretenir les plaisirs que les films d'action tentent généralement de susciter, tout en proposant une orientation affectivement chargée de la violence filmique. Utilisant Jack Reacher (Christopher McQuarrie, 2012) comme étude de cas, l'auteur clarifie ensuite la façon dont l'indignation morale fait en sorte que la violence héroïque puisse être comprise comme étant moralement légitime et contribue au schéma idéologique selon lequel la vie des méchants n'est pas « deuillable ».Abstract:This article offers a critical analysis of enemy making and the emotional structures of animosity in relation to the action film genre. Firstly, a theoretical framework is developed that highlights the centrality of negative emotions and antipathic forms of character engagement to the rhetorical powers of fiction film. In line with this theoretical contribution, the concept of moral indignation is introduced and defined as a film mood that helps sustain the pleasures that action films generally attempt to provide, while offering an affectively charged orientation of film violence. Using the case study of Jack Reacher (Christopher McQuarrie, 2012), the article then elucidates how moral indignation allows for heroic violence to be understood as morally legitimate and contributes to the ideological framing of the lives of villains as ungrievable.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127443109","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":"Mon ami, Pierre","authors":"Piers Handling","doi":"10.3138/CJFS-2020-0072","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0072","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115898730","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 Political and Economic Intervention of Non-Fiction Money Literacy Film in the Post-2008 Era","authors":"C. Parvulescu","doi":"10.3138/CJFS-2020-0034","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0034","url":null,"abstract":"Résumé:L'auteur livre la première analyse critique des illustrations contemporaines de la notion d'argent dans le cinéma documentaire et en indique l'argumentaire prédominant. L'analyse porte sur des films de littératie financière comme The Ascent of Money: A Financial History of the World (Adrian Pennick, 2009), Money and Life (Katie Teague, 2013), Money Puzzles (Michael Chanan, 2016) et Blockchain City (Ian Kahn, 2018). Elle révèle la réflexion politique et économique qui nourrit la perspective dans laquelle la question monétaire est envisagée dans le film, la façon dont y est racontée l'histoire de l'argent et décrit son rôle dans la société après 2008, et ses conclusions plaident pour une amélioration de la performance du système monétaire. Les constructions narratives, les méthodes d'enquête, la distribution des rôles, les métaphores visuelles et auditives, et les auditoires implicites de ces films sont examinés. L'auteur emploie dans son analyse trois variables complexes qui concourent à dépeindre l'angle économique et politique de chaque oeuvre : niveau de formalisme, construction de l'expertise et interprétation de la crise financière.Abstract:This article delivers the first critical analysis of contemporary presentations of the concept of money in non-fiction films, and indicates their prevalent lines of argument. Analysis focuses on money literacy films such as The Ascent of Money: A Financial History of the World (Adrian Pennick, 2009), Money and Life (Katie Teague, 2013), Money Puzzles (Michael Chanan, 2016), and Blockchain City (Ian Kahn, 2018). It reveals the political and economic thought that informs the way film visualizes money, tells its history, presents its post-2008 role in society, and calls for improving its performance. Under scrutiny are the narrative set-ups, investigative methodologies, casts of characters, visual and aural metaphors, and implicit audiences of these films. The analysis employs three complex variables that help indicate the economic and political perspective of each film: the level of formalism, the construction of expertise, and the interpretation of the financial crisis.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131266963","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":"Playful Visions: Optical Toys and the Emergence of Children's Media Culture by Meredith A. Bak (review)","authors":"Patrick Bonner","doi":"10.3138/CJFS-2020-0050","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0050","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121199415","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}