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

{"title":"Recasting History: How CBC Television Has Shaped Canada's Past by Monica MacDonald (review)","authors":"M. McDonald","doi":"10.3138/CJFS-2020-0038","DOIUrl":"https://doi.org/10.3138/CJFS-2020-0038","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"16 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":"116635204","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":"Italian Cinema and the World Cinema Stress Test","authors":"Luca Caminati","doi":"10.3138/cjfs-2020-0007","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0007","url":null,"abstract":"Résumé:L’auteur propose quelques réflexions sur l’application d’une méthodologie postcoloniale à l’étude du cinéma mondial en contexte national, en mettant de l’avant une notion élargie du cinéma national italien en ce qui a trait à son corpus (ce en quoi consiste un film italien), à son vocabulaire (accentué, migrant, mondialisé) et à sa méthodologie. Il analyse pour ce faire deux réactions secondaires aux documentaires africains de Pier Paolo Pasolini, En attendant Pasolini (Waiting for Pasolini, Daoud Aoula-Syad, 2007) et Pasolini Pa* Palestine (Ayreen Anastas, 2005). Ces deux films sont non seulement des réponses géopolitiques probantes au nouvel ordre mondial de mondialisation, mais de réels échanges avec et sur les codes du cinéma italien et son legs mondial dans notre situation postcoloniale actuelle.Abstract:This article offers a few thoughts on the use of a post-colonial methodology for the study of World Cinema in a national context by promoting an expanded notion of Italian national cinema in terms of its corpus (what constitutes an Italian film), its vocabulary (accented, migrant, globalized), and its methodology. It does so by analyzing two subaltern responses to Pier Paolo Pasolini’s African documentaries: Waiting for Pasolini (Daoud Aoula-Syad, 2007) and Pasolini Pa* Palestine (Ayreen Anastas, 2005). Both films are not only cogent geopolitical responses to the new world order of globalization, but actual conversations with and about the canon of Italian cinema and its global afterlife in our current postcolonial condition.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128883100","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":"Shanghaied in Singapore: Dogmas of Orientalism","authors":"Philippe Mather","doi":"10.3138/cjfs-2019-0006","DOIUrl":"https://doi.org/10.3138/cjfs-2019-0006","url":null,"abstract":"Résumé:L’auteur propose un examen approfondi d’Orientalism (L’Orientalisme) d’Edward Saïd (1978), afin de réfuter la critique classique selon laquelle l’analyse de Saïd serait entachée de ce même défaut de binarité essentialiste qu’il relève dans le discours orientaliste. L’œuvre de Saïd serait, en effet, plus nuancée que ce que l’on tient souvent pour acquis, tout en demeurant un paradigme assez clair qui permet l’étude multidimensionnelle des textes filmiques : 1) repérage de schémas dans les représentations orientales ; 2) évaluation du degré de conformité aux stéréotypes orientalistes ; et 3) tracé de l’évolution du discours orientaliste dans les films, compte tenu à la fois les thèmes persistants et des nouvelles variantes telles que le techno-orientalisme. Les films de fiction narratifs qui se déroulent à Singapour servent d’étude de cas, notamment le film de Bette Davis The Letter (La Lettre) (1940).Abstract:This article proposes a close examination of Edward Said’s Orientalism (1978), to counter the standard critique that Said’s analysis suffers from the same essentialist binarism that he identifies in Orientalist discourse. It is argued that Said’s work is more nuanced than is often implied, while remaining a fairly clear paradigm that allows for a multi-dimensional study of filmic texts: 1) locating patterns within representations of the East; 2) evaluating degrees of conformance to Orientalist stereotypes; and 3) charting the evolution of Orientalist discourse in film, noting both enduring themes and new variations such as techno-Orientalism. Narrative fiction films set in Singapore are used as a case study, including the Bette Davis film The Letter (William Wyler, 1940).","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125889965","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":"You and I . . . We’re the Same: Men and Women Outside the Romance Pact","authors":"Anastasia Kanjere","doi":"10.3138/cjfs-2019-0020","DOIUrl":"https://doi.org/10.3138/cjfs-2019-0020","url":null,"abstract":"Résumé:L’auteure étudie la dynamique racisée et genrée qui caractérise les rôles principaux tenus par une femme blanche et un homme noir, phénomène narratif auquel les chercheurs n’ont pas accordé jusqu’à maintenant l’attention qu’il mérite. Elle s’appuie sur les exemples tirés de quatre films : The Pelican Brief (L’Affaire Pélican) (1993), The Long Kiss Goodnight (Souviens-toi Charlie) (1996), I, Robot (Les Robots) (2004), et Hancock (2008). Le tabou hollywoodien auquel obéit la représentation d’histoires d’amour interraciales fait en sorte que les relations entre les deux personnages sont nécessairement asexuées ; l’analyse des textes mène l’auteure à la conclusion que ce sont les exigences qu’impose le rôle de compagnon romantique du personnage masculin qui limitent et circonscrivent la performance de genre du personnage féminin. Définissant quatre thèmes — similarité, intimité, flexibilité dans les rôles de genre et délimitation —, l’auteure montre que, dans la distanciation provisoire par rapport à l’hétéronormativité patriarcale représentée dans ces textes, les moments d’égalitarisme, d’intensité et d’intimité entre les personnages masculin et féminin sont possibles. Le dernier thème, celui de la délimitation, circonscrit cette transgression du pacte de l’histoire d’amour, ce qui ramène ultimement la narration du récit étudié à un hétérosexe approuvé, racialement homogène.Abstract:This article investigates the raced and gendered dynamics of films that feature a white woman and a black man as the two leads, a narrative phenomenon that has not yet received adequate scholarly attention. The article draws on examples from four films: The Pelican Brief (Alan J. Pakula, 1993), The Long Kiss Goodnight (Renny Harlin, 1996), I, Robot (Alex Proyas, 2004), and Hancock (Peter Berg, 2008). Hollywood’s taboo on the depiction of interracial romance renders the relationships between these leads necessarily sexless; through an analysis of the texts, the article argues that it is the requirements implicated in the role of romantic companion to a man that limit and circumscribe the gender performance of female characters. Identifying four themes—similarity, intimacy, flexibility in gender roles, and containment—the article demonstrates that in the provisional digression from white patriarchal heteronormativity represented in these texts, moments of egalitarianism, intensity, and intimacy between the male and female leads are possible. The final theme of containment delineates this excursion outside the romance pact, which ultimately returns the narratives of the texts under consideration to approved, racially homogenous heterosex.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128530611","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":"World Cinema as Method","authors":"Masha Salazkina","doi":"10.3138/cjfs-2020-0008","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0008","url":null,"abstract":"Résumé:L’auteure fait valoir l’importance d’élargir l’éventail des méthodologies historiques pour changer les frontières géographiques de la discipline des études cinématographiques. Dans le cadre de la décolonisation du domaine, l’auteure propose une extension de la catégorie même du cinéma comme objet d’analyse ; une expansion des modes de production du savoir que nous jugeons légitimes afin d’inclure ceux qui trouvent leur origine au-delà du contexte universitaire euro-américain comme étant constitutif notamment des approches historiographiques ; et, enfin, l’élaboration d’une compréhension systémique et relationnelle des géographies plus étendues qui participent à ces histoires du « monde », y compris un espace géopolitique historique grandement négligé entre l’ancien « Second » monde et le « Tiers » monde (soit l’ex-bloc communiste et l’hémisphère Sud).Abstract:This article argues for the importance of a broader range of historical methodologies for changing the geographical contours of the discipline of film studies. As part of decolonizing the field, the article proposes further broadening the very category of cinema as an object of analysis; expanding what we consider legitimate modes of knowledge production to include those that originate beyond the Euro-American scholarly context as constitutive of, in particular, historiographic approaches; and, lastly, developing a systemic and relational understanding of the broader geographies that constitute such “world” histories, including a largely neglected historical geopolitical space between the former “Second” and “Third” worlds (the former Socialist Bloc and the Global South).","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130628390","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":"Screening the Red Army Faction: Historical and Cultural Memory by Christina Gerhardt (review)","authors":"Murat Akser","doi":"10.3138/cjfs-2020-0028","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0028","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116097479","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":"Le cinéma turc à l’Épreuve de l’immigration : l’espace filmique comme porte-parole de la culture","authors":"Ayşe Toy Par, Gülsenem Gün","doi":"10.3138/cjfs-2020-0032","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0032","url":null,"abstract":"Abstract:The aim of this article is to analyze the interculturality of filmic spaces in films dealing with the emigration of Turks to Europe and particularly to Germany. In this perspective, we will first study the claustrophobic aspect of the spaces preventing the development of cultural relations in first-generation films. Starting from the use of space, we will then analyze the relations that exist between the way in which the Turkish immigrant woman, under the domination of patriarchal customs, is cut off from the new culture and the way in which she becomes a “victim” of it. We will also deal with criticisms of these forms of representation. On the other hand, we will see the transformation of these spaces in the cinema of new generations of multicultural filmmakers, the use of places and non-places, their characteristics through the notions of interculturality and multiculturality.Résumé:Cet article a pour but d’analyser l’interculturalité des espaces filmiques dans les films traitant de l’émigration des Turcs vers l’Europe et en particulier vers l’Allemagne. Dans cette perspective, nous étudierons, dans un premier lieu, l’aspect claustrophobe des espaces empêchant le développement des relations culturelles dans les films de la première génération. À partir de l’utilisation de l’espace, nous analyserons, par la suite, les relations qui existent entre la façon dont la femme émigrée turque, sous la domination des coutumes patriarcales, est coupée de la nouvelle culture et la façon dont celle-ci en devient une « victime ». Nous traiterons par ailleurs des critiques apportées à ces formes de représentations. Nous verrons, d’autre part, la transformation de ces espaces dans le cinéma des nouvelles générations de cinéastes multiculturels, l’utilisation des lieux et des nonlieux, leurs caractéristiques à travers les notions d’interculturalité et de multiculturalité.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134153469","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 Erotic-Grotesque versus Female Agency in Colonial Korea in Park Chan-wook’s The Handmaiden","authors":"S. Rhee","doi":"10.3138/cjfs-2019-0023","DOIUrl":"https://doi.org/10.3138/cjfs-2019-0023","url":null,"abstract":"Résumé:Dans Mademoiselle (The Handmaiden), le réalisateur Park Chan-wook utilise la culture érotico-grotesque de la Corée coloniale pour faire la lumière sur la lutte des femmes pour leur agentivité. L’auteur fait état de l’agentivité des femmes par la victimisation, dont l’économie affective est enracinée dans les relations coloniales d’un espace culturel coréen. Il se penche particulièrement sur le jeu de pouvoir optique entre Hideko et le patriarcat impérial dans le film de Park, afin de mettre à l’avant-plan la façon dont l’ambiguïté ou l’ambivalence perturbe les rapports coloniaux entre les sexes. Il décrit également la ressemblance des personnages féminins avec les femmes non conformistes de l’histoire du Japon et de la Corée coloniale, à la fois dans leur sujétion et leur opposition éventuelle à la masculinité hégémonique. L’auteur conclut par une vision historicisante qui attribue le choix des personnages principaux de s’exiler à l’étranger à la dimension mondialisatrice de la modernité coloniale.Abstract:In The Handmaiden, Korean director Park Chan-wook uses the erotic-grotesque culture of colonial Korea as a means of illuminating women’s struggle for agency. This article builds a case for female agency through victimization, whose affective economy is rooted in the colonial relations of a Korean cultural space. It focuses on the optical power game between Hideko and the imperial patriarchy in Park’s film to foreground the way in which ambiguity or ambivalence unsettles colonial gender relations. It also charts the female characters’ resemblance to the historical nonconfor-mist women of Japan and colonial Korea in both their subjection to and their eventual challenge of hegemonic masculinity. The article concludes with a historicizing view that attributes the main characters’ choice of a foreign home for their exile to the globalizing aspect of colonial modernity.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125485482","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":"World Cinema 3.0? The “World as Backdrop” for a Multimedial Age","authors":"Malini Guha","doi":"10.3138/cjfs-2020-0004","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0004","url":null,"abstract":"Résumé:Les premiers écrits sur le cinéma international, dont la plupart soumettaient les cultures de l’image en mouvement aux impératifs dogmatiques des cinémas nationaux, révèlent les limites associées au choix d’aborder le sujet sous l’angle du lieu. Le « cinéma international 2.0 », illustrant l’effort des chercheurs pour relancer le sous-domaine, a été conçu en réaction à ces limites. La grille de circulation est une méthode importante qu’utilisent les chercheurs participant à cette relance du cinéma international, qui met en relief la façon dont les films sont mobilisés dans les vastes réseaux regroupant les canaux matériels et virtuels. L’auteure se demande s’il se peut qu’une nouvelle limitation de l’expression réside dans l’accent mis sur le cinéma, évoquant à titre d’exemple le cas du cinéma « médian » de Calcutta.Abstract:The early literature on World Cinema, much of which funnelled moving-image cultures into the categorical imperatives of national cinemas, is indicative of the limitations of a place-based approach to the subject. “World Cinema 2.0,” a scholarly reboot of the sub-field, was conceived as a response to these limitations. The rubric of circulation is a key method utilized by scholars affiliated with this renewal of World Cinema, which emphasizes how films are mobilized across vast networks that span material and virtual channels. This article asks the question of whether a new-found limitation of the term lies in its emphasis on cinema, taking the example of Kolkata-based “middle-of-the-road” cinema as a case study.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114731300","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":"Femmes, nation et nature dans le cinéma québécois by Par Julie Ravary-Pilon (review)","authors":"Compte Rendu Par Dominique Hétu","doi":"10.3138/cjfs-2020-0029","DOIUrl":"https://doi.org/10.3138/cjfs-2020-0029","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133136104","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}