Alphaville: Journal of Film and Screen Media最新文献_第5页

ReFocus: The Films of William Friedkin, by Steve Choe 重新聚焦威廉-弗莱德金的电影》，作者 Steve Choe

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.14

Michael Gibson

引用次数: 0

“Beyond the kitchen door”: Racialised female domestic labourer’s mobility experiences in Anna Muylaert’s The Second Mother "厨房门外"：Anna Muylaert 的《第二个母亲》中种族化家庭女佣的流动经历

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.07

Francianne dos Santos Velho

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引用次数: 0

“Beyond the kitchen door”: Racialised female domestic labourer’s mobility experiences in Anna Muylaert’s The Second Mother "厨房门外"：Anna Muylaert 的《第二个母亲》中种族化家庭女佣的流动经历

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.07

Francianne dos Santos Velho

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引用次数: 0

Opposable Thumbs: How Siskel & Ebert Changed Movies Forever, by Matt Singer 灵巧的拇指西斯科与伊伯特如何永远改变了电影》，马特-辛格著

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.17

Dimitris Passas

引用次数: 0

“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam "我的电影不是外交电影，而是对抗电影：罗西娜-姆巴卡姆的两部纪录片中对家庭的非殖民化描述

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.01

Julie Le Hegarat

{"title":"“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam","authors":"Julie Le Hegarat","doi":"10.33178/alpha.26.01","DOIUrl":"https://doi.org/10.33178/alpha.26.01","url":null,"abstract":"This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"27 37","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139795825","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

Screening the Posthuman, by Missy Molloy, Pansy Duncan, and Claire Henry 筛选后人类》，作者：Missy Molloy、Pansy Duncan 和 Claire Henry

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.20

Karim Townsend

引用次数: 0

Opposable Thumbs: How Siskel & Ebert Changed Movies Forever, by Matt Singer 灵巧的拇指西斯科与伊伯特如何永远改变了电影》，马特-辛格著

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.17

Dimitris Passas

引用次数: 0

“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam "我的电影不是外交电影，而是对抗电影：罗西娜-姆巴卡姆的两部纪录片中对家庭的非殖民化描述

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.01

Julie Le Hegarat

{"title":"“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam","authors":"Julie Le Hegarat","doi":"10.33178/alpha.26.01","DOIUrl":"https://doi.org/10.33178/alpha.26.01","url":null,"abstract":"This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"104 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139855416","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

Border Witness: Reimagining the US-Mexico Borderlands through Film, by Michael Dear 边境见证：通过电影重新认识美墨边境地区》，迈克尔-迪尔著

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.18

Emmanuel Ramos-Barajas

引用次数: 0

Home as survival: Seeing Queer archival lives 作为生存的家园：观看同性恋档案生活

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.05

Jennifer Cazenave

{"title":"Home as survival: Seeing Queer archival lives","authors":"Jennifer Cazenave","doi":"10.33178/alpha.26.05","DOIUrl":"https://doi.org/10.33178/alpha.26.05","url":null,"abstract":"As a teenager in the eighties, French filmmaker Sébastien Lifshitz scoured flea markets for amateur photographs. In 2013, he assembled a book titled The Invisibles comprised of snapshots depicting queer lives. He included a pair of Kodachrome images, which replicate a near-identical domestic scene in the 1960s: two aging women in their bourgeois home sit at a table, embracing as they look at the camera. Taking as a point of departure these personal photographs, this article focuses on two documentaries that queer postwar domesticity: Lifshitz’s The Invisibles (2011) and Magnus Gertten’s Nelly and Nadine (2022). In his film, Lifshitz not only includes postwar snapshots and home movies, but also reinvents the amateur dispositif. He interviews queer aging men and women inside their homes, challenging social exclusion and stigma based on gender nonconformity and aging. In Nelly and Nadine, a sexagenarian named Sylvie retrieves home movies from her attic that uncover a lesbian love story between her grandmother Nelly and a fellow survivor of Ravensbrück named Nadine. Decades later, the centrality of the domestic space and the amateur archive in these two documentaries offers a lesson in seeing the home as survival and unlearning the master narratives of the postwar era.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"291 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857456","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