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Screen Choice: The Relations, Interactions and Articulations of Watching Film 银幕选择:观影的关系、互动与衔接

Open Screens Pub Date : 2021-06-07 DOI: 10.16995/OS.35

Matthew Hanchard, P. Merrington, B. Wessels

{"title":"Screen Choice: The Relations, Interactions and Articulations of Watching Film","authors":"Matthew Hanchard, P. Merrington, B. Wessels","doi":"10.16995/OS.35","DOIUrl":"https://doi.org/10.16995/OS.35","url":null,"abstract":"People watch films on televisions, laptops, tablets, smartphones, and cinema screens. As technologies, each of these screen types provide different opportunities to select particular films, and to choose when and where to watch them. This raises questions about how and why people choose particular screens and the viewing experiences they gain from doing so. To address these questions, we draw on 200 semi-structured interviews with film audience members in England. We use Livingstone’s (1998, 2013) notion of interactions and relations and Hartmann’s (2006) notion of a ‘triple articulation’ of media to approach screens as technologies that carry a particular range of films. Here, films are understood as texts, and each screen a medium that provides opportunities to watch films in specific temporal and spatial contexts. We find that people tend to: (1) watch films at the cinema, either to socialise or to feel part of an temporary auditorium-based community – whilst immersing within the text; (2) on television sets in the living-room to relax or socialise; (3) on laptops or tablets in the bedroom for personalised engagement; and (4) via smartphones for convenience and to pass time when away from home. Overall, we argue that people’s film-watching is embedded within specific contexts and that people choose particular screen types for the opportunities they offer for watching particular films in particular times and places. In this, people choose screen types and configure various temporal and spatial aspects of their film-watching environments to seek out specific viewing experiences.","PeriodicalId":320521,"journal":{"name":"Open Screens","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123179322","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}

引用次数: 1

A Supercut of Supercuts: Aesthetics, Histories, Databases 超级剪辑中的超级剪辑:美学、历史、数据库

Open Screens Pub Date : 2021-06-07 DOI: 10.16995/OS.45

Max Tohline

引用次数: 4

Book Review: Barbara Jane Brickman, Deborah Jermyn and Theodore Louis Trost (eds), Love Across the Atlantic: US-UK Romance in Popular Culture (Edinburgh: Edinburgh University Press, 2020) 书评:芭芭拉·简·布里克曼、黛博拉·杰米恩和西奥多·路易斯·特罗斯特(编)，《跨越大西洋的爱情:流行文化中的英美浪漫》(爱丁堡:爱丁堡大学出版社，2020年)

Open Screens Pub Date : 2021-06-07 DOI: 10.16995/OS.63

L. Bolton

引用次数: 0

‘I’m Not There Anymore’: Film Performance Affects and the Loosening of Narrative 《我不在那里》:电影表演的影响与叙事的松动

Open Screens Pub Date : 2021-06-07 DOI: 10.16995/OS.38

P. Prokopic

引用次数: 0

Book Review: Hannah Frank, Frame by Frame: A Materialist Aesthetics of Animated Cartoons (University of California Press, 2019) 书评:汉娜·弗兰克，一帧一帧:动画漫画的唯物主义美学(加州大学出版社，2019)

Open Screens Pub Date : 2021-06-07 DOI: 10.16995/OS.64

Malcolm E. Cook

引用次数: 0

Transformational Identities of Children within Iranian and South African Fiction Films: Ayneh (The Mirror) and Life, Above All 伊朗和南非虚构电影中儿童的转型身份:《镜报》和《生命，高于一切》

Open Screens Pub Date : 2021-06-01 DOI: 10.16995/OS.40

Yü Han, Christine Singer

{"title":"Transformational Identities of Children within Iranian and South African Fiction Films: Ayneh (The Mirror) and Life, Above All","authors":"Yü Han, Christine Singer","doi":"10.16995/OS.40","DOIUrl":"https://doi.org/10.16995/OS.40","url":null,"abstract":"A remarkable number of films that form part of the “arthouse“ cinemas of postapartheid South Africa and post-revolutionary Iran put the spotlight on children and childhood. This cinematic focus on the figure of the child developed at a point in time when both countries witnessed significant political and social changes. In Iran, the Islamic Revolution of 1979 overthrew the Pahlavi monarchy and this led to the establishment of the Islamic Republic. In South Africa, in turn, the transition from apartheid to democracy in 1994 ended decades of legalised racial segregation under apartheid. This article compares and contrasts representations of children – girls in particular – within two fiction films from post-Revolutionary Iran and postapartheid South Africa – Ayneh/The Mirror (1997) and Life, Above All (2010). The analysis investigates representations of children, the relationships between children and adults, and the spaces, places, and roles ascribed to children. Particular attention is given to the ways in which representations of childhood and gender intersect. The article argues that the selected films represent girls as both situated within liminal spaces and as agents who subvert established social hierarchies and taboo subjects. The films thus construct girls as transformational agents in the context of two societies that have recently experienced periods of transitions and change. CORRESPONDING AUTHORS: Yunzi Han SOAS, University of London, GB","PeriodicalId":320521,"journal":{"name":"Open Screens","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125104481","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}

引用次数: 0

The New Americans? The Sino-African Relationship on Chinese and Ethiopian Screens 新美国人?中国和埃塞俄比亚银幕上的中非关系

Open Screens Pub Date : 2021-06-01 DOI: 10.16995/OS.39

Michael W. Thomas, C. Berry

{"title":"The New Americans? The Sino-African Relationship on Chinese and Ethiopian Screens","authors":"Michael W. Thomas, C. Berry","doi":"10.16995/OS.39","DOIUrl":"https://doi.org/10.16995/OS.39","url":null,"abstract":"China has forged substantial political and economic relations across Africa since the turn of the new millennium. This essay scrutinises the cultural representations of these relations from the perspectives of popular, locally produced cinemas in both the Chinese and Ethiopian contexts. We argue that cultural readings of the power relations between China and Africa help to nuance the often-over-simplified narratives that posit China as the new America. While Chinese action films set in indistinct African locations can be seen to replace the Hollywood ‘white saviour’ with a ‘Chinese saviour’, American characters and/or institutions are commonly portrayed as morally corrupt in both Amharic and Chinese cinema. We explore how representations of ‘Chinese saviours’ are imagined in opposition to American antagonists and how emerging African commercial cinemas, such as in Ethiopia, portray local characters reclaiming their own agency. The analysis of Ethiopian films identifies that suspicion and caution are overriding emotions when Ethiopian characters deal with outsiders, with action heroes/heroines far less ‘gung ho’ than their interventionist Chinese or American counterparts. It is these African representations of African characters as heroes and not victims, and who play foreign actors at their own game, that reveal more complex interpretations of Sino-African relations.","PeriodicalId":320521,"journal":{"name":"Open Screens","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114142066","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}

引用次数: 1

The Apartment Complex: Urban Living and Global Screen Cultures, edited by Pamela Robertson Wojcik, Durham and London, Duke University Press, 2018, xi +200 pp., (paperback. $24.95) ISBN: 978-1-4780-0108-9 《公寓综合体:城市生活与全球屏幕文化》，帕梅拉·罗伯逊·沃西克主编，达勒姆和伦敦，杜克大学出版社，2018年，11 +200页，平装本。$24.95) isbn: 978-1-4780-0108-9

Open Screens Pub Date : 2020-12-09 DOI: 10.16995/os.22

Ana Maria Sapountzi

引用次数: 0

The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return 得到你想要的东西的危险:双峰的双重时间:回归

Open Screens Pub Date : 2020-07-09 DOI: 10.16995/os.21

Dominic Lash

引用次数: 0

After All This Time, Isn’t It Still ‘About Time’? Artist’s Work in Slide-Tape in the UK Since the 1970s 过了这么久，难道还不是“时间的问题”吗?自20世纪70年代以来，英国艺术家在幻灯片上的作品

Open Screens Pub Date : 2019-12-19 DOI: 10.16995/os.15

M. C. White

引用次数: 0