New Cinemas最新文献_第2页

Charlotte Gainsbourg: Transnational and Transmedia Stardom, Felicity Chaplin (2020) Charlotte Gainsburg：跨国和跨媒体明星，Felicity Chaplin（2020）

New Cinemas Pub Date : 2021-07-01 DOI: 10.1386/ncin_00027_5

G. Vincendeau

引用次数: 1

An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012) 非传统僵尸:塞巴斯蒂安·霍夫曼的《哈雷》(2012)中的亚文化类型、全球艺术电影和生物动力

New Cinemas Pub Date : 2020-09-01 DOI: 10.1386/NCIN_00015_1

C. Vera

{"title":"An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)","authors":"C. Vera","doi":"10.1386/NCIN_00015_1","DOIUrl":"https://doi.org/10.1386/NCIN_00015_1","url":null,"abstract":"With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"163-181"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48551245","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

Satire, masculinity and the rhetoric of conflict resolution in War Chhod Na Yaar and Kya Dilli Kya Lahore 战争Chhod Na Yaar和Kya Dilli Kya Lahore中的讽刺，男子气概和解决冲突的修辞

New Cinemas Pub Date : 2020-09-01 DOI: 10.1386/NCIN_00014_1

Shailendra Kumar Singh

{"title":"Satire, masculinity and the rhetoric of conflict resolution in War Chhod Na Yaar and Kya Dilli Kya Lahore","authors":"Shailendra Kumar Singh","doi":"10.1386/NCIN_00014_1","DOIUrl":"https://doi.org/10.1386/NCIN_00014_1","url":null,"abstract":"Unlike its western counterparts, Hindi war films constitute a rather peripheral genre, one that has understandably received scant critical attention over the last two decades. The conventional aesthetic registers and thematic templates of these films reveal an explicit engagement with questions relating to heroic masculinity, exceptional leadership and nationalist triumphalism. And yet, movies such as War Chhod Na Yaar (‘Quit the war, dude’) (Haider 2013) and Kya Dilli Kya Lahore (‘Delhi and Lahore are not so different after all’) (Raaz 2014) categorically denounce idealistic notions of armed conflicts and sensationalized portrayals of ostensibly justified violence. This article examines the rhetoric of conflict resolution that constitutes the organizing principle of these two films. It demonstrates how War Chhod Na Yaar discursively satirizes the earlier Hindi war films through a pronounced emphasis on the fanciful camaraderie that exists between the respective battalion captains of India and Pakistan. By contrast, the anti-war rhetoric of Kya Dilli Kya Lahore is not only historically situated within the larger framework of Partition narratives, but is also facilitated by an alternative configuration of masculinity that resists territorial divisions in favour of affective solidarities and shared lived experiences.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"151-162"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714725","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 post-2000 Hong Kong young filmmakers: Embrace, resistance and new chances 00后香港青年电影人:拥抱、反抗与新机遇

New Cinemas Pub Date : 2020-09-01 DOI: 10.1386/NCIN_00017_1

Fang Chen

{"title":"The post-2000 Hong Kong young filmmakers: Embrace, resistance and new chances","authors":"Fang Chen","doi":"10.1386/NCIN_00017_1","DOIUrl":"https://doi.org/10.1386/NCIN_00017_1","url":null,"abstract":"This article is a text-based analysis of 107 Hong Kong local productions produced from 2000 to August 2018. These films are made by the current young generation of filmmakers who joined the industry in the new millennium, when it gradually entered an era marked by the domination of Hong Kong–mainland co-productions. With the aim of expanding the scholarly discussion on the emerging ‘Hong Kong SAR New Wave Cinema’, it identifies four themes that recurrently appear in their films: (1) a tendency to feature people with physical or mental disabilities as their protagonists; (2) the possession of a sense of nostalgia for the glorious 1980s; (3) a manifestation of larger Hong Kong–mainland relations through characters; and (4) varying degrees of politicization. The young generation of filmmakers, whose works denote the social responsibility these young people bring to their filmmaking, shows their greater engagement with civic issues, less consideration of the mainland market and capital and a stronger desire to tell local Hong Kong stories, preserve local Hong Kong culture and emphasize the Hong Kong identity it represents. These traits, as the conclusion argues, are rooted deeply in economic, cultural and political realities.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"209-226"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44612920","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

Rural geographies and the New Chinese Cinemas: Imaging progressive places in Hou Hsiao-Hsien’s Dust in the Wind and Jia Zhangke’s Platform 乡村地理与中国新电影:侯孝贤《风中之尘》与贾樟柯《站台》中的进步地方影像

New Cinemas Pub Date : 2020-09-01 DOI: 10.1386/NCIN_00013_1

D. Lo

{"title":"Rural geographies and the New Chinese Cinemas: Imaging progressive places in Hou Hsiao-Hsien’s Dust in the Wind and Jia Zhangke’s Platform","authors":"D. Lo","doi":"10.1386/NCIN_00013_1","DOIUrl":"https://doi.org/10.1386/NCIN_00013_1","url":null,"abstract":"The New Chinese Cinemas were unprecedented in critiquing official narratives of progress through dramatic location-shot images of rural Taiwan and China. Much more than standing in as a picturesque backdrop, the rural was a site of complex ideological contestations. Yet, existing scholarship overlooks the richness of rural representations, reductively interpreting rural films as works of nostalgia and cultural salvage. Through a comparative analysis of representations of landscape, travel and visual perception in Hou Hsiao-Hsien’s Dust in the Wind (1986) and Jia Zhangke’s Platform (2000), this article brings into focus the important but largely ignored roles that Hou and Jia have played in envisioning new frameworks for thinking about rural geographies. Drawing from Doreen Massey’s notion of the ‘progressive place’, I investigate how Jiufen and Fenyang – the films’ shooting locations – are stages upon which the directors experimented with imaging and imagining communities. Jiufen is represented in Dust as a porous interface between the urban and rural, a metonym for the film’s representation of Taiwan as a contact zone with China. Platform, by contrast, fashions an image of Fenyang as a non-place, a microcosm of China as it undergoes unchecked neo-liberal development. Significantly, these films went beyond revising rural imaginaries on-screen, to making a material impact on Jiufen and Fenyang by transforming them into landmarks of global film tourism. This work demonstrates how Hou and Jia responded to disorienting social changes not by resisting, but by tactically embracing the blurring of divides between the urban and rural, and local and global.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"131-150"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41605198","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

Film as dialogue: Documentary theorization through practice 电影作为对话：实践中的纪实理论

New Cinemas Pub Date : 2020-09-01 DOI: 10.1386/NCIN_00016_1

Mahoro Semege

引用次数: 0

‘A very very long amount of time passes’: Slowness, cinema and Annie Baker’s The Flick (2013) “非常非常长的时间过去了”:慢节奏、电影和安妮·贝克的电影《Flick》(2013)

New Cinemas Pub Date : 2020-07-01 DOI: 10.1386/ncin_00021_1

David T. Johnson

引用次数: 0

Appropriating the abject: Witchcraft in Dario Argento and Daria Nicolodi’s Suspiria (1977) and David Kajganich and Luca Guadagnino’s 2018 remake 利用对象:达里奥·阿基多和达里亚·尼科洛迪的《苏斯皮里亚》(1977)中的巫术，以及大卫·卡加尼奇和卢卡·瓜达格尼诺2018年的翻拍

New Cinemas Pub Date : 2020-07-01 DOI: 10.1386/ncin_00020_1

L. Davies

{"title":"Appropriating the abject: Witchcraft in Dario Argento and Daria Nicolodi’s Suspiria (1977) and David Kajganich and Luca Guadagnino’s 2018 remake","authors":"L. Davies","doi":"10.1386/ncin_00020_1","DOIUrl":"https://doi.org/10.1386/ncin_00020_1","url":null,"abstract":"This article explores representations of witchcraft in relation to Julia Kristeva’s 1980 essay Powers of Horror. It begins by investigating the genesis of Dario Argento and Daria Nicolodi’s depiction of witchcraft in their 1977 horror film Suspiria, drawing\u0000 on historical studies of witchcraft by Ronald Hutton and Marion Gibson. In particular, it examines the characterization of the witches’ coven as an all-female, all-powerful death cult ‐ before proposing that Kristeva’s essay on the abject can be seen to explain this specific\u0000 conceptualization, in line with Barbara Creed’s analysis of how horror film has inherited the role of ‘purifying’ the abject from religious ritual. The second half of this article then focuses on David Kajganich and Luca Guadagnino’s 2018 remake of Suspiria,\u0000 reflecting on how the later film can be seen to attempt to redeem the association between witchcraft and abjectness. In doing so, this article reflects on how the attempt to rescue the witch while maintaining an association with the abject is contiguous with other contemporary depictions of\u0000 witchcraft. It is proposed that such efforts amount to a Foucauldian attempt at a ‘reverse discourse’ celebrating the subversive potential of an initially derogatory identity formation ‐ but that Kristeva’s writing points to the limitations of appropriating the abject\u0000 in this way.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46300133","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

Residue: The privilege of spatiality in the puzzle film 残留物：益智电影中的空间特权

New Cinemas Pub Date : 2020-07-01 DOI: 10.1386/ncin_00019_1

Z. Vickers

引用次数: 0

Cherokee film as Cherokee storytelling: Randy Redroad’s The Doe Boy (2001) as filmic Deer Woman story 切诺基电影作为切诺基故事:兰迪·雷德雷德的《鹿男孩》(2001)作为电影《鹿女人》的故事

New Cinemas Pub Date : 2020-07-01 DOI: 10.1386/ncin_00018_1

L. Beadling

{"title":"Cherokee film as Cherokee storytelling: Randy Redroad’s The Doe Boy (2001) as filmic Deer Woman story","authors":"L. Beadling","doi":"10.1386/ncin_00018_1","DOIUrl":"https://doi.org/10.1386/ncin_00018_1","url":null,"abstract":"Rather than the stereotypical nineteenth-century leathers-and-feathers warriors familiar from countless Hollywood Westerns, many Native filmmakers focus their films on contemporary Native communities. In contrast, Native filmmakers create very different representations of Native life\u0000 and especially Native masculinity. Along with the foundational Smoke Signals (Eyre 1998), Randy Redroad’s The Doe Boy (2001) was one of the first Native-created films that helped initiate a cluster of Native American films that centre on masculinity and male‐male\u0000 relationships. Indigenous masculinity is often a site of struggle of rejecting colonialist impositions and finding one’s own identity, and it is in part such a journey that propels Redroad’s film. The Doe Boy responds to not only Hollywood misrepresentations but also Eyre’s\u0000 earlier film that established masculinity and father‐son relationships as a crucial topic. The Doe Boy focuses on Hunter (James Duval), a mixed-blood Cherokee youth, who must navigate between his White father and Cherokee grandfather and their differing practices of masculinity\u0000 despite his bodily vulnerability from haemophilia, a strained and sometimes violent relationship with his father and a devastating mistake during an early deer hunt. Not only is Redroad’s film a Cherokee coming-of-age film and period piece (it is set during the AIDS crisis of the 1980s),\u0000 but it can also be read as a Deer Woman story, albeit a filmic and non-traditional one. Unlike Smoke Signals, which takes the road movie as its genre, The Doe Boy has its foundations in a specific tribal culture. A crucial task in undoing to previous filmic misrepresentations\u0000 of Hollywood, which lacked any specificity about Native characters, is to take Native filmmakers’ cultural context into careful consideration. Redroad’s film can be seen as a Deer Woman story that depicts Hunter’s struggles as he navigates his way to a mixed-blood manhood.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"22 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41299905","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