Alphaville: Journal of Film and Screen Media最新文献_第8页

When contexts collapse: How ubiquitous video cameras in the home during COVID-19 pandemic lockdowns transformed family representation 当环境崩溃时：在 COVID-19 大流行病封锁期间，家中无处不在的摄像机如何改变了家庭表征

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.11

Lauren S. Berliner

引用次数: 0

Porous privacies: Gender, migration, and precarious homes in early twenty-first century narrative films from the French Mediterranean 多孔的隐私：二十一世纪初法国地中海叙事电影中的性别、移民和不稳定的家园

Alphaville: Journal of Film and Screen Media Pub Date : 2024-02-07 DOI: 10.33178/alpha.26.03

Sabine Haenni

{"title":"Porous privacies: Gender, migration, and precarious homes in early twenty-first century narrative films from the French Mediterranean","authors":"Sabine Haenni","doi":"10.33178/alpha.26.03","DOIUrl":"https://doi.org/10.33178/alpha.26.03","url":null,"abstract":"A prominent trope in so-called banlieue cinema—French cinema focused on housing projects on the outskirts of large French cities largely inhabited by migrants and their descendants—represents precarious migrant homes, and by extension entire neighborhoods, as dysfunctional and cut off from social life. This essay explores representations of precarious migrant homes that resist such polarising media images, and that insist on a porous privacy as a precondition for narrative and subjective development—for the ability to thrive—while pointing out the often gendered and precarious nature of such porosity. The natural and built specificities of the Mediterranean coast have often provided a productively rich set for such revisions, including for auteurs such as Claire Denis and Abdellatif Kechiche to develop their distinctive styles. Lesser-known filmmakers, such as Bania Medjbar and Hafsia Herzi, emerge in the wake of earlier revisionist films. Less focused on developing distinctive styles, they are invested in character-driven stories, and on stories that feature a range of characters and thus narrative options, while pointing out the gendered complexities of precariously porous homes.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"84 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139856527","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

Home as a site of resistance: Editorial 家是抵抗的场所社论

Alphaville: Journal of Film and Screen Media Pub Date : 2024-01-07 DOI: 10.33178/alpha.26.00

Anna Viola Sborgi, Elizabeth Patton

{"title":"Home as a site of resistance: Editorial","authors":"Anna Viola Sborgi, Elizabeth Patton","doi":"10.33178/alpha.26.00","DOIUrl":"https://doi.org/10.33178/alpha.26.00","url":null,"abstract":"This special issue intervenes in the scholarship on domestic space on screen by adopting a specific focus on the home as a space of resistance across different geographies and time periods, from the 1960s to today. The articles utilise a mix of research methods, from archival to participatory documentary. Considering debates from fields such as home movie studies, virtual reality, media activism, and the relationship between film and urbanism, the articles in this special issue demonstrate how film and media can address resistance centred around the concept of home. They also challenge and offer alternative views to white, heteronormative, middle-class representations of domestic life. These articles provide insights into the challenges and importance of home for marginalised groups, suggest new ways for film and media studies to approach representation, and centre the portrayal of often overlooked communities. Central to these articles is the idea of home and the use of media as a form of resistance and agency that can be used to contest mainstream perspectives. Each article looks at what home means, whether it’s a place of safety, precarity, identity, or memory, with each essay looking at how media shape or challenge our views of home and social identity.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"48 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140512866","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

Constructions of race in advertising archives: The “silent” Chinese minority 广告档案中的种族建构:“沉默”的中国少数民族

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.07

Sally Chan

引用次数: 0

Women, Feminism and Italian Cinema: Archives from a Film Culture, by Dalila Missero 《女性、女权主义与意大利电影:来自电影文化的档案》，作者:达利拉·米塞罗

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.17

Francesco Sticchi

{"title":"Women, Feminism and Italian Cinema: Archives from a Film Culture, by Dalila Missero","authors":"Francesco Sticchi","doi":"10.33178/alpha.25.17","DOIUrl":"https://doi.org/10.33178/alpha.25.17","url":null,"abstract":"Nietzsche argued that there are three types of history: monumental, antiquarian, and critical (67). The first kind exists to celebrate events and figures; to define and use symbols and icons of collective memory as reference points to build and reinforce ideas of communities, nations, populations or connected artistic heritage. Antiquarian historians, on the other hand, collect; they look everywhere to find new sources and elements to be carefully categorised and archived, avoiding the neglect of even the apparently most insignificant historical debris, which stay preserved for the purpose of future researches. Critical histories, finally, exist to undermine the stabilities of canons, of assured narratives, and to reframe perspectives with the purpose of highlighting how the vitality of the discipline depends on recognising the multiple and, at times, conflicting positions within it. Even though every proper historical work is affected, to some extent, by each of these three tensions, Women, Feminism and Italian Cinema: Archives from a Film Culture by Dalila Missero is certainly most subject to the third category by a large margin. By carefully looking at neglected histories of women’s cinema in the Italian context, with a particular attention to the responses and production of material—and counter-planning Nicole Cox and Silvia Federici would argue (1)—on the side of feminist political organisations. This historical reconstruction, therefore, manages, on the one hand, to offer insights and invaluable information on mistreated elaborations shaped, shared, and carried out by female audiences; on the other hand, this approach aims to reveal and discuss feminist cinema as a dialoguing and opposing force continuously challenging mainstream languages, trends, opinions on authorship and","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"9 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128532982","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

Reframing diaspora cinema: Towards a theoretical framework 重构散居电影:走向理论框架

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.02

Alexander De Man

引用次数: 0

Freedom smothered: Gang rape as patriarchal punishment of emancipated women in Yugoslav new film 被窒息的自由:南斯拉夫新电影中的轮奸是男权对解放妇女的惩罚

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.03

V. Vuković

{"title":"Freedom smothered: Gang rape as patriarchal punishment of emancipated women in Yugoslav new film","authors":"V. Vuković","doi":"10.33178/alpha.25.03","DOIUrl":"https://doi.org/10.33178/alpha.25.03","url":null,"abstract":"This paper investigates how women, and their roles in changing Yugoslav society, were represented in Yugoslav New Film (1961-1972). Socialist Federative Republic of Yugoslavia legalized gender equality in the wake of the Second World War, but the tentacles of patriarchy, which were difficult to eradicate, still lingered from pre-socialist times. In many movies there is a recurring pattern of sexual violence towards women. One possible interpretation of depicted sexual violation, for example gang rape in contemporary-themed Yugoslav New Films, is as a patriarchal punishment for emancipation of women in terms of education, work, or their sexuality. In order to examine this, the feature-length fictional films: Povratak/The Return (Živojin Pavlović, 1966) and Horoskop/Horoscope (Boro Drašković, 1969), in which the freedom of women’s emancipation was smothered by gang rape, are selected for the case study and analysed. The films are explored through the lens of feminist film theory, via close reading. Besides, the concept of the gaze is applied. Furthermore, I scrutinise whether these representations of rape and their aftermaths condone, or condemn brutality toward female characters, or have rather ambivalent stance toward it.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132741373","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 Ghost in the Image: Technology and Reality in the Horror Genre, by Cecilia Sayad 《影像中的幽灵:恐怖类型的技术与现实》，塞西莉亚·萨亚德著

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.15

Mikki Kressbach

{"title":"The Ghost in the Image: Technology and Reality in the Horror Genre, by Cecilia Sayad","authors":"Mikki Kressbach","doi":"10.33178/alpha.25.15","DOIUrl":"https://doi.org/10.33178/alpha.25.15","url":null,"abstract":"For nearly half a century, theories of the horror genre have circulated around one central question: why are spectators scared? Cognitive theories have stressed that fear is directly linked to knowledge of the film’s fictional status, which allows the spectator to enjoy the scares and shocks of the genre. The experience of horror is one of generic play: by willingly and knowingly submitting oneself to generic norms that produce suspense and scares, the spectator also takes pleasure in the horrors depicted on screen (Carroll). Allegorical readings of horror, which often draw upon psychoanalysis, have linked the experience of fear to the way films reflect the historical and cultural moment of their production. For scholars like Robin Wood, the monsters on the screen stand in for the real horrors of everyday life, dramatising the social divisions, norms and biases that shape American culture (Wood and Lowenstein). Perhaps the most influential body of work draws from Carol Clover’s theory of the slasher genre, which links fear to identification. Invoking psychoanalytic theories of spectatorship, many have argued horror spectators identify with a character, a monster, or the camera, placing them within the world of the film, which leaves them vulnerable to the threats on screen. All of these approaches presuppose a boundary between the film and the spectator’s reality. Cognitivist theories argue reality remains separate, as the knowledgeable spectator delights in their powerful viewing position. Likewise, allegorical readings assume the images on the screen are not real threats, but reflections or stand-ins for the social and political horrors of everyday life. While identification theory suggests a blurring of boundaries as spectators enter the film’s world, at no point are the horrors","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130190257","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

Commercial break: British advertising on screen 广告时间:屏幕上的英国广告

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.06

Steven Foxon

引用次数: 0

Russian TV Series in the Era of Transition: Genres, Technologies, Identities, edited by Alexander Prokhorov, Elena Prokhorova and Rimgaila Salys 《转型时代的俄罗斯电视剧:类型、技术、身份》，亚历山大·普罗霍罗夫、埃琳娜·普罗霍罗娃和里姆盖拉·萨利斯主编

Alphaville: Journal of Film and Screen Media Pub Date : 2023-08-30 DOI: 10.33178/alpha.25.14

Sofiia Dabizha

引用次数: 0