New CinemasPub Date : 2015-09-01DOI: 10.1386/NCIN.13.2.123_1
G. Furtado
{"title":"Remembering objects in the essay film: Andrés di Tella as heir, archaeologist and collector","authors":"G. Furtado","doi":"10.1386/NCIN.13.2.123_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.2.123_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"123-138"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.13.2.123_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739585","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}
New CinemasPub Date : 2015-09-01DOI: 10.1386/NCIN.13.2.169_1
Vuslat D. Katsanis
{"title":"Non-affirmative time-images in Nuri Bilge Ceylan’s Three Monkeys (2008) and the political aesthetics of New Turkish Cinema","authors":"Vuslat D. Katsanis","doi":"10.1386/NCIN.13.2.169_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.2.169_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"169-185"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.13.2.169_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739656","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}
New CinemasPub Date : 2015-09-01DOI: 10.1386/NCIN.13.2.107_1
T. Heise
{"title":"The weight of the past: Trauma and testimony in Que bom te ver viva","authors":"T. Heise","doi":"10.1386/NCIN.13.2.107_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.2.107_1","url":null,"abstract":"This article examines representations of trauma in Lucia Murat’s Que bom te ver viva (How Nice to See You Alive, 1989), a semi-documentary focusing on the experiences of former political militants who, like the director herself, were arrested and tortured under Brazil’s military dictatorship. Despite having limited distribution at the time of release, the film has since gained status as one of the most significant representations of State-sanctioned violence during the 1960s and 1970s. It has received renewed attention more recently as Brazil enters a new period of reckoning with human rights crimes committed during the military regime. I first consider elements of trauma theory and their potential for better understanding the ways in which the film establishes connections between individual suffering and the wider socio-political realm. Essential to the film’s understanding of historical trauma are processes of ‘acting out’ and ‘working through’ which I explore along with the need, partially fulfilled in Que bom te ver viva, to create a witness to traumatic events. This is combined with an examination of stylistic strategies. I argue that the film’s flexible and unconventional aesthetics is a crucial means through which it can represent certain experiences associated with trauma and perform a radical re-envisioning of history.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"107-122"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739563","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}
New CinemasPub Date : 2015-09-01DOI: 10.1386/ncin.13.2.187_1
Amy Christmas
{"title":"Dis/connection across the digital divide: Self(ish) narratives in LOL and Catfish","authors":"Amy Christmas","doi":"10.1386/ncin.13.2.187_1","DOIUrl":"https://doi.org/10.1386/ncin.13.2.187_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"187-204"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739704","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}
New CinemasPub Date : 2015-03-01DOI: 10.1386/NCIN.13.1.51_1
María Luna, Carolina Sourdis
{"title":"Colombian found footage: The tradition of rupture","authors":"María Luna, Carolina Sourdis","doi":"10.1386/NCIN.13.1.51_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.1.51_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"51-64"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.13.1.51_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739405","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}
New CinemasPub Date : 2015-03-01DOI: 10.1386/ncin.13.1.23_1
S. Barrow
{"title":"Reframing transitions and contesting memories: The archive and the archival object in Peruvian cinema","authors":"S. Barrow","doi":"10.1386/ncin.13.1.23_1","DOIUrl":"https://doi.org/10.1386/ncin.13.1.23_1","url":null,"abstract":"This article considers the stories behind the production and screening of two very different Peruvian films that reveal much about the way the archive, the archival object and archival fragment have worked to disrupt and force a reconsideration of key moments in Peruvian political history of the twentieth century. One, a feature film by Francisco Lombardi, Ojos que no ven/Eyes That Don’t See (2003), provides a provocative perspective on the impact of the televisual revelations of the corruption at the heart of President Fujimori’s government (1990–2000). The second, a documentary made by Kurt Hermann at the behest of the military, Alerta en la Frontera/Border Alert (1941) offers a patriotic recording of the border campaign against Ecuador, which was banned at the time and had its first public screening 70 years later. This analysis suggests that the delay in viewing events of such national importance forces not only a reconsideration of those events and their disruptive effect on a collective, official sense of national history and identity but also a questioning of the way that contemporary political figures and events might be considered. This article also takes account of the key role of Peru’s national film archive in shaping the nature of national heritage, culture and memory.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"23-36"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin.13.1.23_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739350","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}
New CinemasPub Date : 2015-03-01DOI: 10.1386/NCIN.13.1.79_1
Fernando Sdrigotti
{"title":"But will it take off? Peronist Utopias, mythical pasts and crashes in Pulqui, un instante en la patria de la felicidad (Alejandro Fernández Mouján, 2007)","authors":"Fernando Sdrigotti","doi":"10.1386/NCIN.13.1.79_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.1.79_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"79-89"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.13.1.79_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739435","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}
New CinemasPub Date : 2015-03-01DOI: 10.1386/ncin.13.1.9_1
E. Soto
{"title":"Reflections on the other archive on television: Chilean fiction series and approximations to the dictatorial past","authors":"E. Soto","doi":"10.1386/ncin.13.1.9_1","DOIUrl":"https://doi.org/10.1386/ncin.13.1.9_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"9-22"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin.13.1.9_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739456","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}
New CinemasPub Date : 2015-03-01DOI: 10.1386/NCIN.13.1.37_1
Beatriz Tadeo Fuica
{"title":"The appropriation and construction of the film archive in Uruguay","authors":"Beatriz Tadeo Fuica","doi":"10.1386/NCIN.13.1.37_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.1.37_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"37-50"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.13.1.37_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739371","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}