New Cinemas最新文献_第3页

Self-sacrifice in Train to Busan (2016) 《釜山行》(2016)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00005_1

Will McKeown

{"title":"Self-sacrifice in Train to Busan (2016)","authors":"Will McKeown","doi":"10.1386/ncin_00005_1","DOIUrl":"https://doi.org/10.1386/ncin_00005_1","url":null,"abstract":"In order to recognize and calibrate the two parts to its structure, self-sacrifice in zombie cinema will be examined in terms of survival-based and emotion-based motivational frameworks. The interaction of these frameworks will be unpacked and their properties, differences and similarities\u0000 will be appraised and questioned. Examinations of this kind require three different analytical methods that therefore determine the structure of this article. The first section will outline how the survival and emotional-based motivational frameworks exist within the same sequence in Train\u0000 to Busan (2016). The implications of this will be addressed in relation to the organization of modern neo-liberalism and what Paul Verhaeghe coins the neoliberal meritocracy. The second section examines the temporal projections of the characters in the sequence (specifically how the sequence\u0000 depicts a character’s understanding of the future and how their present situation fits into that). These projections are cross-referenced with the specific example of the neo-liberal South Korean economic climate to add credence to the proposition that the need (or fetishization) of\u0000 survival is a neo-liberal symptom and a hangover from the pressures that are ceaselessly exerted to keep its hierarchies in place. The final section of this article examines abjection and identity in relation to the chosen sequence in Train to Busan. It explores the generation of identity\u0000 in relation to self-sacrifice and concludes that self-sacrifice is a necessary enforcer of a specifically neo-liberal competition.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"69-84"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43088799","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

Navigating history: Aesthetics and appropriation and the interactive web documentary Freedom’s Ring (2013) 导航历史:美学与挪用以及互动网络纪录片《自由之环》(2013)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00002_1

Sarah-Mai Dang

引用次数: 0

The Introspective Realist Crime Film, Luis M. García-Mainar (2016) 内省现实主义犯罪电影，路易斯·m·García-Mainar (2016)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00009_5

D. Platten

引用次数: 0

Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance 情感的方式:互动纪录片如何影响互动者的感受体验和表现

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00004_1

Patrícia Nogueira

{"title":"Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance","authors":"Patrícia Nogueira","doi":"10.1386/ncin_00004_1","DOIUrl":"https://doi.org/10.1386/ncin_00004_1","url":null,"abstract":"This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing\u0000 the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia\u0000 (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their\u0000 subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures\u0000 of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I\u0000 address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of\u0000 belonging, sense of almightiness, sense of endlessness, sense of incompleteness.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"49-68"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin_00004_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43677433","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: 2

Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016) 周期、续集、衍生剧、重拍和重拍:电影和电视的多样性，阿曼达·安·克莱因和r·巴顿·帕尔默(编)(2016)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00008_5

Concepción Cascajosa

引用次数: 1

From documentary networks to documentary worknets: Strategies of participation and co-creation in emerging practices of factual storytelling 从纪录片网络到纪录片工作网络:新兴的事实叙事实践中的参与和共同创造策略

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00001_1

Anna Wiehl

{"title":"From documentary networks to documentary worknets: Strategies of participation and co-creation in emerging practices of factual storytelling","authors":"Anna Wiehl","doi":"10.1386/ncin_00001_1","DOIUrl":"https://doi.org/10.1386/ncin_00001_1","url":null,"abstract":"Starting from the premises that documentary assemblages are networks in the sense that they are not given but need to be established and are in constant flux leads us to the assessment that any interactive documentary environment is a collaboratory but also precarious endeavour. In\u0000 this context, bringing into dialogue network theories, namely ANT ‘and after’, the concept of ‘assemblage’ and discourses around participation and co-creation can lead to fresh perspectives on different strategies and tactics of participation in collaborative factual\u0000 storytelling. Still, two aspects need to be revisited: the symmetric approach to networks and the notion of distributed agency. These concepts will be discussed in terms of their value to derive strategies and tactics of (shared) authorship, the striving for a documentary argument and documentary\u0000 authority on the one hand and participation, interaction and plurivocality on the other hand. In this regard, ANT makes certainly inspiring points but also has its shortcomings. One solution can consist in relating the axiom of ANT as an analytic tool to actual documentary long-term strategies\u0000 as well as to stand-up tactics as, e.g. interventionist media-making, open space documentary and context-provision. Thinking of emerging documentary configurations not only in terms of hybrid transdisciplinary, transprofessional networks but pragmatic worknets can lead to a better understanding\u0000 of how to balance different agents within these networks|worknets ‐ always keeping in mind that we are dealing with an approach that calls for constant self-reflection as it presents a case of what Law describes as ‘uncertain method’. All theoretical reflections are accompanied\u0000 by an analysis of a paradigmatic documentary networks|worknet, The Quipu Project (2015).","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"3-19"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47779143","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

What is ‘antimicrobial resistance’ and why should anyone make films about it? Using ‘participatory video’ to advocate for community-led change in public health 什么是“抗菌素耐药性”，为什么要制作有关它的电影?使用“参与式视频”倡导社区主导的公共卫生变革

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00006_1

P. Cooke, Ashim Shrestha, A. Arjyal, Romi Giri, Nichola Jones, R. King, Jessica Mitchell, Caroline L. Tait, Inés Soria Donlan, S. Baral

{"title":"What is ‘antimicrobial resistance’ and why should anyone make films about it? Using ‘participatory video’ to advocate for community-led change in public health","authors":"P. Cooke, Ashim Shrestha, A. Arjyal, Romi Giri, Nichola Jones, R. King, Jessica Mitchell, Caroline L. Tait, Inés Soria Donlan, S. Baral","doi":"10.1386/ncin_00006_1","DOIUrl":"https://doi.org/10.1386/ncin_00006_1","url":null,"abstract":"In this article, we discuss the role of participatory video (PV) as a tool for developing community-level solutions to ‘Antimicrobial Resistance’ (AMR) in Nepal. In recent years, PV has become an ever more popular tool in development contexts for supporting communities in\u0000 low and middle income countries to raise awareness of issues that they do not feel are adequately represented in mainstream media. One area of growing interest in this regard is public health. However, PV has not, to date, been used to address AMR, currently considered to be one of the biggest\u0000 public health issues we face globally. Placing our project within the wider context of ‘participatory documentary’ practice, we examine the world-view presented in the films this project generated, a dimension of such projects that is, somewhat curiously perhaps, often overlooked,\u0000 with commentators tending to focus on the process of delivering PV, rather than the final products made. Here we are particularly interested in questions of power and how a close reading of the texts produced highlights the complexity of the power relationships at work\u0000 in these films, which, in turn, can allow us to reflect in new ways on the processes at work in the project.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin_00006_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46268223","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: 11

Pixar with Lacan: The Hysteric’s Guide to Animation, Lilian Munk Rösing (2016) 皮克斯与拉康：歇斯底里的动画指南，莉莉安·蒙克·罗辛（2016）

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00011_5

E. King

引用次数: 0

In Permanent Crisis: Ethnicity in Contemporary European Media and Cinema, Ipek A. Celik (2015) 《永恒的危机:当代欧洲媒体和电影中的种族主义》，伊佩克·a·切利克(2015)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00007_5

McGonagle Joseph

引用次数: 0

Middlebrow Cinema, Sally Faulkner (ed.) (2016) 《中庸电影》，莎莉·福克纳主编(2016)

New Cinemas Pub Date : 2020-03-01 DOI: 10.1386/ncin_00012_5

Mary Harrod

引用次数: 0