New Cinemas Pub Date : 2023-06-28 DOI: 10.1386/ncin_00032_1

Z. Pecic

引用次数: 0

‘Where is here?’: Place and rurality through the cinematic child “这儿在哪儿?”:通过电影中的孩子看地方和乡村

New Cinemas Pub Date : 2023-06-08 DOI: 10.1386/ncin_00031_1

Andrés Buesa

{"title":"‘Where is here?’: Place and rurality through the cinematic child","authors":"Andrés Buesa","doi":"10.1386/ncin_00031_1","DOIUrl":"https://doi.org/10.1386/ncin_00031_1","url":null,"abstract":"This article explores the ways in which Alice Rohrwacher’s Le maraviglie, as exemplary of a growing tendency within contemporary cinema, negotiates ideas of place and belonging through the trope of the rural child. It contends that the cinematic child in the film articulates a dynamic and open – rather than static, localized and fixed – understanding of place. Against the Romantic tendency to associate childhood and nature as a way of grounding essentialist ideas of place, the film draws on children’s heightened openness to the others in order to embody what Doreen Massey calls a global sense of place (1991): a sense of place built upon the social relations created in the encounter with the other. By bringing together film analysis, childhood studies and theorizations of place, this article builds an interdisciplinary approach to look into this shifting use of the child figure. It first explores two different reactions to the threats of the global presented in the film – the family’s mode of living and the reality TV show contest – as reterritorializing attempts to ground a sense of place in the local. It then argues that, in the way in which the child protagonist bonds with a newcomer to the farm, she rejects both these notions and opens herself up to alternative understandings of place. In a gradual recovery of her childhood that culminates in the last scene of the film, she comes to embody a progressive sense of place that emphasizes the hybrid nature of global places.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864171","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

Jafar Panahi, Interviews, Drew Todd (ed.) and Ehsan Khoshbakht (asst. ed.) (2019) 贾法尔·帕纳西，采访，德鲁·托德(编辑)和Ehsan Khoshbakht(协助编辑)(2019)

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00030_5

J. Wood

引用次数: 0

Childhood and nature in the Iranian post-war film Willow and Wind (Talebi 1999) 伊朗战后电影《柳与风》中的童年与自然

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00023_1

Lidia Merás

{"title":"Childhood and nature in the Iranian post-war film Willow and Wind (Talebi 1999)","authors":"Lidia Merás","doi":"10.1386/ncin_00023_1","DOIUrl":"https://doi.org/10.1386/ncin_00023_1","url":null,"abstract":"Mohammad-Ali Talebi’s forgotten masterpiece Beed-o Baad (Willow and Wind) () is an Iranian children film written by Abbas Kiarostami, that pays tribute to the children of the post-war generation. As in other children’s films of the period, the young hero has a mission, which he stubbornly pursues. Set in a village in Northern Iran, the story follows the boy’s efforts to repair a broken glass during very stormy weather. This article will examine the visual motives of Willow and Wind (a boy climbing a hill, single trees, wind, rain) paying particular attention to the interaction with nature. The tree and the wind alluded to in the title underline the struggle and determination of Iranian children. In line with the children’s films produced by the Center for the Intellectual Development of Children and Young Adults (CIDCYA, aka Kanoon), it applauds the willpower of a generation with enormous responsibilities, while placing his protagonist as a role model for audiences of all ages. However, by rejecting the happy ending, the film opposes the predominant narrative model of Iranian educational films of the 1980s and 1990s while criticizing adults’ treatment of boys in post-revolutionary Iran. In this moral tale, Talebi stresses the dignity and resourcefulness of rural Iran but condemns the solitude of children, and the distance between the worlds of adults and children setting a precedent for future Iranian children’s films.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43722538","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

Inaugurating discussions of an oral cinema: Placing the translation-to-screen of Scottish community oral storytelling traditions within a wider frame of global filmmaking practice 开创口头电影的讨论:在全球电影制作实践的更广泛框架内，将苏格兰社区口头叙事传统的翻译搬上银幕

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00022_1

Jamie Chambers

引用次数: 1

Burning questions and multiple answers: Ambiguous-unreliable narration and the uncertainties of truth and trust 燃烧的问题和多重的答案:模棱两可的不可靠的叙述和不确定的真相和信任

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00024_1

Hilde van der Wal, Nicolás Medina Marañón, Steven Willemsen

{"title":"Burning questions and multiple answers: Ambiguous-unreliable narration and the uncertainties of truth and trust","authors":"Hilde van der Wal, Nicolás Medina Marañón, Steven Willemsen","doi":"10.1386/ncin_00024_1","DOIUrl":"https://doi.org/10.1386/ncin_00024_1","url":null,"abstract":"This article explores how ambiguous-unreliable narration occurs in cinema as a distinct mode of unreliability. In defining ambiguous narration, we build on Semir Zeki’s neurobiological notion of ambiguity, from which we understand ambiguous narration as a mode that presents a series of questions consistently answered in mutually contradictory ways. We pay specific attention to Robert Vogt’s definition of ambiguous-unreliable narration in order to get a grip on the possible storyworlds presented by Lee Chang-dong’s 2018 feature film Burning. The film cues viewers to consider multiple interpretations of diegetic truth, each interpretation tapping into another possible world of events by positing questions with multiple non-hierarchable answers. As such, it becomes clear how Burning plays upon different concepts of ‘truth’. Drawing on the work of Vittorio Bufacchi and Kevin Reuter and Georg Brun, we can see how Burning ambiguates the line between correspondentist and coherentist readings of truth, thereby revealing something significant about truth-assigning strategies. We argue that Burning mimetically evokes post-truth phenomena, a periodizing concept in which the differentiation between fact-based truths, opinions and lies is blurry, creating an ambiguous information environment characterized by an uncertainty of what one can consider (un)trustworthy or (un)reliable. By proposing a cognitive narratological approach, we demonstrate how film storytelling can mimetically evoke this experience of uncertainty. In light of these findings, this research addresses the educative value of ambiguous-unreliable narration within fiction, especially within curricular programmes that incorporate media literacy training.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41908326","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

Mirror Affect: Seeing Self, Observing Others in Contemporary Art, Cristina Albu (2016)Cinema’s Bodily Illusions: Flying, Floating, and Hallucinating, Scott C. Richmond (2016)Bodies in Suspense: Time and Affect in Cinema, Alanna Thain (2017) 镜像效应:在当代艺术中看到自己、观察他人，克里斯蒂娜·阿尔布(2016);电影的身体幻觉:飞行、漂浮和幻觉，斯科特·c·里士满(2016);悬疑中的身体:电影中的时间和情感，阿兰娜·塞恩(2017)

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00026_5

Claire Lozier

引用次数: 0

The Cinema of the Precariat: The Exploited, Underemployed, and Temp Workers of the World, Tom Zaniello (2020) The Cinema of The Preriat:The Exploited，Underemployed，and Temp Workers of The World，Tom Zaniello（2020）

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00028_5

Katja Jansson

引用次数: 0

The German Cinema Book, 2nd ed., Tim Bergfelder, Erica Carter, Deniz Göktürk and Claudia Sandberg (Eds) (2020) 《德国电影书》，第二版，蒂姆·伯格费尔德、埃里卡·卡特、德尼兹·戈图克和克劳迪娅·桑德伯格（编辑）（2020）

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00029_5

Elizabeth M. Ward

引用次数: 0

Rites of passage in the cinema of Yasujiro Ozu 小津康二郎电影中的成人仪式

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00025_1

Hugo Martins

{"title":"Rites of passage in the cinema of Yasujiro Ozu","authors":"Hugo Martins","doi":"10.1386/ncin_00025_1","DOIUrl":"https://doi.org/10.1386/ncin_00025_1","url":null,"abstract":"Yasujiro Ozu develops the narrative of his films around transitory rites in the lives of the characters. For Ozu, the family is the core of sustenance of the home and it is its stability that is called into question. The present article intends to relate, due to the proximity to the everyday and community life of Ozu’s characters, the threats to the stability of the family home with the rites of passage identified by the French ethnologist Arnold van Gennep. Van Gennep defines rites of passage as the ceremonies that accompany an individual’s life crises. And also, especially in the films around the daughters’ marriages, to the state of liminality or margin developed by the Scottish anthropologist Victor Turner. In these, the main conflict is centred on the character’s struggle to change, because of a ritual that is not accomplished or that will, in the face of society and the values of an epoch, be belatedly fulfilled. It is the tension between modernity and tradition that places the characters in a liminal state, giving rise to a sense of slow separation, of non-status and of late. In these films (Late Spring, Early Summer, Late Autumn, An Autumn Afternoon) Ozu illustrates an avowed desire to portray the cycle of life or mutability rather than the action itself.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"4 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41301986","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

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