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

{"title":"Reimagining Public Space in Expanded Cinema Exhibition","authors":"Shana MacDonald","doi":"10.3138/CJFS.27.1.2017-0012","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0012","url":null,"abstract":"Résumé:L'auteure s'intéresse à la présence accrue d'écrans de cinéma élargi dans les expositions artistiques publiques contemporaines in situ de grande envergure au Canada. Dans son analyse des travaux récents de Julie Nagam, Krzysztof Wodiczko et Lacie Kanerahtahsóhon Burning, elle se demande comment le cinéma élargi parvient à investir les spectateurs du rôle de témoins immergés d'itérations temporelles et spatiales complexes. L'auteure s'interroge sur la contribution de ces exemples de cinéma étendu, dans le contexte des expositions d'art public in situ, aux progrès d'une mise en valeur par les organisateurs des formes esthétiques de réimagination. Elle traite de la façon dont ces œuvres créent des environnements de spectacle qui se distinguent par leur liminalité, leur intermédialité et leur orientation affective, arguant que les approches affectives ouvrent l'espace de projection comme lieu potentiel de contact et d'action future pour le grand public.Abstract:This article looks at the increased presence of expanded cinema screens in contemporary site-specific, large-scale public art exhibitions in Canada. My analysis of recent work by Julie Nagam, Krzysztof Wodiczko, and Lacie Kanerahtahsóhon Burning examines how expanded cinema can situate viewers as embodied witnesses to complex iterations of time and space. This reading considers how these examples of expanded cinema, within the context of site-specific public art exhibitions, work to advance a curatorial emphasis on aesthetic forms of reimagining. I discuss how these works construct liminal, intermedial, affectively oriented spectatorial environments, and argue that affective modes of address open up the projection space as a site of potential connection and future action for the public audience.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128909409","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":"Hollywood Goes North: The Making of a “Canadian” War Epic, Captains of the Clouds","authors":"J. Whitehead","doi":"10.3138/CJFS.27.2.2018-0001","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.2018-0001","url":null,"abstract":"Résumé:L’auteure se penche sur la production et la promotion du film Les chevaliers du ciel (Captains of the Clouds), l’un des premiers longs métrages à être tourné hors studio au Canada. L’importance de ce film tient au fait que sa réalisation est le résultat d’un partenariat entre le gouvernement canadien, l’Aviation royale du Canada et Warner Brothers. En s’appuyant sur les documents réunis principalement dans les archives de la Warner Brothers et à la bibliothèque Margaret Herrick, l’auteure s’intéresse plus particulièrement au lien historique entre Hollywood et le Canada. Alors que le Canada est souvent considéré de nos jours comme le Hollywood du Nord, l’auteure met en lumière les difficultés initiales associées aux incursions de Hollywood en territoire canadien. Elle étudie également les luttes de la production cinématographique au Canada, en raison de son statut de « succursale de Hollywood », et en quoi ces écueils ont ultimement freiné l’authentique production nationale. La réalisation de Les chevaliers du ciel est représentative de l’industrie cinématographique canadienne, Hollywood contrôlant la production in fine de par son hégémonie sur l’exploitation et la distribution des films au pays.Abstract:This article explores the production and promotion of Captains of the Clouds, one of the first Hollywood feature films to be shot on location in Canada. What makes Captains of the Clouds a significant film is that it was made in partnership between the Canadian government, the Royal Canadian Air Force, and Warner Brothers. Drawing on records primarily collected at the Warner Brothers Archives and the Margaret Herrick Library, this article focuses on the historical relationship between Hollywood and Canada. While today Canada is often considered Hollywood North, this article demonstrates the early difficulties of Hollywood’s forays into Canada. This work also considers the struggles of film production in Canada because of Canada’s status as a branch plant for Hollywood, and how this has ultimately inhibited true domestic production. The making of Captains of the Clouds is representative of the Canadian film industry with Hollywood ultimately controlling production by way of its stranglehold on film exhibition and distribution in the country.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121913149","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":"Doorways to an Urban Mirage: Urbanity and the Situated Cinema Project","authors":"M. Wilmink","doi":"10.3138/CJFS.27.1.2017-0014","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0014","url":null,"abstract":"Résumé:L'auteure applique les études phénoménologiques, les études des performances et les études cinématographiques à l'analyse de deux projets d'exposition présentés par Melanie Wilmink. Les projets Urbanity (Calgary, 2009) et Situated Cinema Project (Toronto, 2015) sont déployés à titre d'études de cas permettant d'examiner comment les architectures cinématiques oscillent, sur le plan performatif, entre posture critique et intégration pour structurer de nouvelles formes d'expérience esthétique du spectateur. Exposées en milieux extérieurs urbains à l'intention des publics itinérants, les deux installations créent des zones liminales—aux frontières du cinéma, de la galerie et de l'espace public—où les spectateurs peuvent se livrer à une expérience artistique ludique et tactile, créant momentanément des échanges et permettant à leurs corps d'expérimenter le contact avec des images projetées, des architectures construites et le rituel du visionnement. En s'appropriant des lieux habituellement réservés à la circulation, ou à d'autres aspects de la vie publique (comme les rues, les trottoirs et les places), les cinémas mobiles rompent le fil de la vie quotidienne, induisant détournements et interactions.Abstract:This article applies phenomenology, performance, and cinema studies in an analysis of two curatorial initiatives by Melanie Wilmink. Urbanity (Calgary, 2009) and the Situated Cinema Project (Toronto, 2015) are deployed as case studies to examine how cinematic architectures performatively oscillate between criticality and embodiment to structure new forms of aesthetic spectatorship. Exhibited in outdoor urban contexts for peripatetic audiences, both installations created liminal zones—not quite cinema, not quite gallery, not quite public space—where viewers could engage in a playful and tactile experience of art, temporarily creating conversations and experiences where their bodies came into contact with projected images, constructed architectures, and the ritual of spectatorship. In taking over places normally reserved for transit, or other aspects of public life (such as streets, sidewalks, and plazas), the mobile cinemas disrupted the usual flow of life, provoking new directions and interactions.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114603584","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 Lost Jungle: Cliffhanger Action and Hollywood Serials of the 1930s and 1940s by Guy Barefoot (review)","authors":"Justin J. Morris","doi":"10.3138/CJFS.27.2.BR04","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.BR04","url":null,"abstract":"In this edifying and long overdue analysis of the Hollywood sound serial, Guy Barefoot reclaims an enormously popular and ubiquitous film form from its marginalization in traditional histories of Hollywood in the Depression and World War II years. The Lost Jungle goes beyond a base interventionism of rediscovery and reminds one more broadly of the limited view film history continues to grapple with in terms of distribution, reception, and film form in an era defined by, but certainly not limited to, the singular feature film and the operations of the Big Five. Barefoot outlines roughly seven “arguments, assumptions and assertions” that he finds “ either incomplete, uncertain, incorrect,” or in need of further clarification (179). That these false premises concern not only specific questions of the audience demographics, generic traditions, and economics of the Hollywood film serial in the silent and sound periods, but also the broader historical assumption that “cinema-going has entailed going to see a film,” is telling (183; emphasis added). Across seven chapters (including an introduction and conclusion), Barefoot deftly incorporates historical analysis, reception study, and close readings of film form to broadly underscore the contemporary understanding of film serials on the part of producers, exhibitors, and audiences, all the while crystallizing the formal specificity of the serials produced by Republic (and its precursor Mascot), Columbia, and Universal Pictures. While confirming that the film serial “emerged out of popular literature and theatre” by way of unpacking the Frank Merriwell multimedia universe and the legacy of stage melodramas such as Blue Jeans, Barefoot nonetheless asserts that the particular seriality of the Hollywood sound serial “differs starkly from the serials discussed in other accounts” (12). Quite unlike the serial narrative found in television or the Victorian novel, the film serial is fundamentally defined by an emphasis on cliffhanger chapter endings that leave protagonists in seemingly inescapable danger. Thus, while the serial form in its totality tends toward an emphasis on “differences, changes, complexities, and [a] polysemic nature,” the Hollywood film serial came to be subsumed under “an increasingly narrow and rigid definition” (35). Barefoot quotes from a 1952 screenwriting manual to affirm that the film serial plot hinges on the “weenie”—that is,","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125662497","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":"From Spinoza to Contemporary Linguistics: Pragmatic Ethics in Denis Villeneuve’s Arrival","authors":"Francesco Sticchi","doi":"10.3138/CJFS.27.2.2018-0003","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.2018-0003","url":null,"abstract":"Résumé:Pour bon nombre de linguistes contemporains, le film L’Arrivée (Arrival — Denis Villeneuve, 2016) met au premier plan les coordonnées interactives de la communication. L’auteur s’inspire de Baruch Spinoza et George Lakoff pour analyser cette dynamique et démontrer que L’Arrivée pose un défi éthique et linguistique, fonction de la capacité des spectateurs à reformuler leur propre façon de percevoir le monde. Les théories de Spinoza et de Lakoff sont fondamentales à la démonstration de la corrélation entre l’empathie et la simulation incarnée d’une part, et l’interaction linguistique-conceptuelle d’autre part. Cette approche expérimentale repose sur l’hypothèse selon laquelle le film est un phénomène incarné et dialogique auquel les spectateurs, comme le démontre l’interprétation de Hesselberth du chronotope de Bakhtin, participent également en réélaborant constamment les notions de temps et d’espace. L’auteur examine donc comment, dans L’Arrivée, la participation des spectateurs amalgame de manière constructive l’association empathique avec les personnages et la compréhension du récit, et en quoi cela suppose un effort éthique spinoziste pour utiliser les images filmiques de la façon la plus productive.Abstract:For many contemporary linguists, the film Arrival (Denis Villeneuve, 2016) foregrounds the interactive coordinates of communication. This article draws upon Baruch Spinoza and George Lakoff to analyze these dynamics and to demonstrate that Arrival presents an ethical and linguistic challenge based on the viewers’ capacity to reframe their own ways of perceiving the world. Spinoza’s and Lakoff’s theories are fundamental to show the correlation between empathy and embodied simulation on one side, and linguistic/conceptual interaction on the other. This experiential approach implies that film is an embodied and dialogical phenomenon, in which viewers, as Hesselberth’s interpretation of Bakhtin’s chronotope demonstrates, participate also by continuously re-elaborating ideas of time and space. Therefore, we will see how, in Arrival, viewers’ participation constructively integrates the empathic alignment with the characters with the comprehension of the narrative, and involves a Spinozistic ethical effort to use filmic images in the most productive way.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127240262","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":"From Programmer to Curator: How Film Festivals are Pushing the Boundaries of New Media and Expanded Cinema","authors":"Caroline Klimek","doi":"10.3138/CJFS.27.1.2017-0016","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0016","url":null,"abstract":"Résumé:L'auteure se penche sur la façon dont deux festivals de cinéma canadiens introduisent les œuvres des nouveaux médias dans leur programmation principale. Le Festival international canadien du documentaire Hot Docs et le festival imagineNATIVE Film + Media Arts utilisent leurs programmes de nouveaux médias (respectivement DocX et Digital Media Art+Cade) de manière à associer leur industrie et la programmation du festival et à créer des partenariats interdisciplinaires avec des parties prenantes d'importance, intéressées par la promotion des œuvres des nouveaux médias canadiens et la technologie en émergence. L'auteure envisage le festival de cinéma comme une institution et un nouveau lieu de cinéma élargi, et elle traite des répercussions de l'ajout d'œuvres des nouveaux médias sur la programmation globale et les mandats des festivals.Abstract:This article examines how two Canadian film festivals are introducing new media work into their main festival programs. The Hot Docs Canadian International Film Festival and imagineNATIVE Film + Media Arts Festival are using their new media programs (DocX and Digital Media Art+Cade, respectively) as an opportunity to blend their industry and festival programming and create interdisciplinary partnerships with key stakeholders interested in promoting Canadian new media work and emerging technology. This article looks at the film festival as an institution and as a new, expanded cinema venue, and the effects that the addition of new media art have on overall programming and festival mandates.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128427013","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":"Strange Bedfellows: Tragedy and Pornography","authors":"Wayne Batten","doi":"10.3138/CJFS.27.2.2018-0005","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.2018-0005","url":null,"abstract":"Résumé:L’accessibilité des images graphiques et la facilité avec laquelle elles peuvent être remixées grâce aux médias numériques nous invitent à repenser les distinctions entre les genres traditionnels, dont la tragédie et la pornographie. En se servant de l’analyse fondamentale de la tragédie que propose Aristote et d’une définition de travail de la pornographie, l’auteur en réexamine les caractéristiques génériques à la lumière des travaux ultérieurs de théoriciens comme Friedrich Nietzsche, Michel Foucault et George Steiner. Il illustre les résultats des efforts de croisement des genres de diverses façons en explicitant trois films récents : The New Behind the Green Door (2013), Intimité (Intimacy — 2001) et Shame (2011). La première de ces œuvres est une tragédie franchement pornographique ; dans la deuxième, l’exhibition de sexualité explicite se limite à une seule scène ; tandis que dans la troisième, les limites et les attraits de la pornographie sont explorés tant par le truchement du protagoniste consommateur de pornographie que par la récurrence des images de sexualité explicite dans le film lui-même. Une fois soumise aux contraintes morales du récit tragique, la pornographie peut se révéler un puissant agent de revitalisation.Abstract:Ready access to graphic images and the ease of remixing them, made possible by digital media, invite a reconsideration of the distinctions between traditional genres, including tragedy and pornography. Using Aristotle’s fundamental analysis of tragedy and a working definition of pornography, this article re-examines generic traits in light of subsequent theorists, including Friedrich Nietzsche, Michel Foucault, and George Steiner. The consequences of efforts in genre-crossing are variously exemplified by explications of three recent films: The New Behind the Green Door (2013), Intimacy (2001), and Shame (2011). The first of these works is a fully pornographic tragedy; the second confines the hard-core spectacle to a single scene, while the third explores the limitations and attractions of pornography through both the porn-consuming protagonist and the repeated verging upon hard-core spectacle in the film itself. Once subjected to the moral constraints of tragic narrative, pornography may prove to be a potent agent of revitalization.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130676965","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":"Under \"The Half-Lit Moon\": Theories of Expanded Cinema and Nuit Blanche Edmonton 2015","authors":"L. Miliokas","doi":"10.3138/CJFS.27.1.2017-0013","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0013","url":null,"abstract":"Résumé:L'auteure s'intéresse à plusieurs installations d'importance, produits de la lentille ou médiatisées sur écran, exposées à Edmonton à l'occasion du festival Nuit Blanche inaugural, en 2015, afin de se livrer à une lecture formelle des textes audiovisuels comme œuvres littérales concrètes, tout en sondant simultanément le mode selon lequel elles exposent leurs publics à de puissantes expériences affectives. Dans Thinking in Film: The Politics of Video Installation According to Elija-Liisa Ahtila (2013), l'analyste culturel Mieke Bal se penche sur le potentiel esthétique du mouvement dans l'installation vidéo contemporaine, affirmant que la compréhension des différentes façons dont se meuvent les images est essentielle à l'interprétation des installations de films et de vidéos dans les galeries. Le travail de Bal sert donc de guide dans une lecture des autres discours sur les installations artistiques sur écran relatifs à trois œuvres présentées dans le cadre de Nuit Blanche Edmonton. L'auteure examine donc comment ces œuvres pourraient convertir des places quotidiennes en sites productifs d'échange au-delà des murs des institutions publiques consacrées à l'art.Abstract:This article explores several key lens-based or screen-mediated installations exhibited at Edmonton's inaugural Nuit Blanche festival in 2015 in order to engage in a formal reading of audiovisual texts as literal, concrete artworks while simultaneously probing the ways in which they produce powerful affective experiences for their audiences. In Thinking in Film: The Politics of Video Installation According to Eija-Liisa Ahtila (2013), cultural analyst Mieke Bal examines the aesthetic potential of movement in contemporary video installation, asserting that understanding \"the different ways in which [images] move\" (5) is central to the interpretation of gallery films and video installation. Bal's work, therefore, will guide a reading of other discourses on screen-based art installations as related to three works featured in Nuit Blanche Edmonton. This article thus examines how these works might reconfigure everyday places into productive sites of exchange well beyond the walls of the public art institution.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129753761","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":"“One Night, There Was Five of Them . . .”: Sexualized Violence and Queer Identity in Albert Nobbs","authors":"K. Shewan","doi":"10.3138/CJFS.27.2.2018-0004","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.2018-0004","url":null,"abstract":"Résumé:L’auteure explore ce qu’elle appelle le « trope de conversion de la violence sexualisée », là où un personnage hétérosexuel (présumé) est soumis à une violence liée au sexe ou à l’orientation sexuelle (violence sexualisée) qui est l’origine causale implicite de son identité allosexuelle ou sexuelle. Pour déconstruire la fonction socioculturelle de ce trope, l’auteure en étudie l’omniprésence au cinéma de manière générale et procède à une lecture attentive du film Albert Nobbs (Rodrigo García, 2011) pour approfondir certains de ses éléments particulièrement troublants. Elle affirme plus précisément que l’impulsion sociopolitique amenant à dépeindre la violence sexualisée comme un événement traumatique s’exerce au prix du positionnement des identités allosexuelle et sexuelle comme résultat problématique du trauma. Corrélativement, les liens déterministes récurrents entre la violence sexualisée et la production d’identités allosexuelle ou sexuelle au cinéma engendrent une problématique pour le mouvement contre la violence sexualisée, contribuant aux discours stéréotypés hégémoniques quant aux actions et aux comportements qui peuvent être considérés comme indicateurs d’une expérience de « viol réel ».Abstract:This article explores what I term the “sexualized violence conversion trope”: when a (presumed) heterosexual character experiences sexualized and/or gendered violence that is implied to be the causal origin of that character’s queer sexual and/or gender identity. To deconstruct the socio-cultural function of this trope, I investigate its pervasiveness in film more generally and conduct a close reading of Albert Nobbs (Rodrigo García, 2011) to elaborate upon some of its more troubling elements. Specifically, I argue that the socio-political impetus to relay sexualized violence as a traumatic event works at the expense of positioning queer gender and sexual identities as its problematic outcome. Relatedly, the repetitive deterministic linkings of sexualized violence and the production of queer gender/sexual identities in film function problematically for the anti-sexualized violence movement, contributing to hegemonic, stereotypical discourses regarding what actions and behaviours can be considered indicative of an experience of “real rape.”","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"498 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123044211","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’re Not Dead Until You’re Forgotten: A Memoir by John Dunning (review)","authors":"Mary Arnatt","doi":"10.3138/CJFS.27.2.BR01","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.BR01","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128609686","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}