Quarterly Review of Film and Video最新文献

{"title":"A Multimodal Analysis of Films: Toward a Peircean Framework","authors":"Seyed Mohammad Jamasbi, Arash Ghazvineh","doi":"10.1080/10509208.2023.2265783","DOIUrl":"https://doi.org/10.1080/10509208.2023.2265783","url":null,"abstract":"Click to increase image sizeClick to decrease image size Declaration of Conflicting InterestsThe authors declare that there is no conflict of interest with regard to this study.Notes1 Directed by Brad Bird. 2007. USA: Walt Disney Pictures, Pixar Animation Studios.2 Directed by Oliver Stone. 1986. USA: Hemdale Film Corporation.3 Directed by Charlie Chaplin. 1936. USA: Charles Chaplin Productions.4 Also known as Koyaanisqatsi: Life out of Balance. 1982. USA: American Zoetrope, IRE Productions, Santa Fe Institute for Regional Education.5 Directed by Jon Favreau. 2019. USA: Walt Disney Pictures.6 Directed by Byron Howard and Rich Moore. 2016. USA: Walt Disney Pictures.7 Directed by Francis Ford Coppola. 1972. USA: Paramount Pictures, Albert S. Ruddy Productions, Alfran Productions.8 Directed by Ryusuke Hamaguchi. 2021. Japan: Bitters End, C&I Entertainment, Culture Entertainment, et al.9 Directed by Lars Von Trier. 2003. Denmark and et al: Zentropa Entertainments and et al.10 Directed by Alfred Hitchcock. 1948. USA: Transatlantic Pictures.11 Directed by Albert Lamorisse. 1978. France.12 It is an American animated comedy television series. USA: Walt Disney Pictures.13 It is an American animated short films. USA: Metro-Goldwyn-Mayer14 A film series directed by David Yates. USA: Warner Bros. Pictures.15 Directed by Clint Eastwood. 2014. USA: Village Roadshow Pictures and et al.16 Directed by Moustapha Akkad. 1976. Lebanon and et al: Filmco International Productions Inc.17 Directed by Asghar Farhadi. 2021. Iran and France: Asghar Farhadi Production, et al.18 Directed by Sergio Leone. 1966. Italy: Produzioni Europee Assiociate and United Artists.19 Directed by James Marsh. 2014. United Kingdom and et al: Working Title Films.20 Directed by Akira Kurosawa. 1950. Japan: Daiei Film.Additional informationNotes on contributorsSeyed Mohammad JamasbiSeyed Mohammad Jamasbi is a Master’s graduate of Animation in the Faculty of Arts, Tarbiat Modares University in Tehran. He completed his bachelor degree in Visual Communication from the Art University of Isfahan, Iran. Jamasbi is widely interested in semiotics and cinema semiotics.Arash GhazvinehArash Ghazvineh is a PhD candidate in Arts Research at Tarbiat Modares University, Tehran, Iran. He completed his master’s in Dramatic Literature at the same university with a thesis on the intersemiotic translation from dramatic texts to films. His research centers on multimodality, sign-processes and semiosis and cultural semiotics.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135141232","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}

{"title":"“To Give Voice to the Voiceless”: An Interview with Tanvir Mokammel","authors":"Sumallya Mukhopadhyay","doi":"10.1080/10509208.2023.2264148","DOIUrl":"https://doi.org/10.1080/10509208.2023.2264148","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 The issue discussed here is in context of developing a national register to identify bona fide citizens of India in the region of Assam. In Assam, the first National Register of Citizens (NRC) was conducted in 1951. The publication of the second NRC in 2019 stripped 1.9 million individuals off their citizenship [https://timesofindia.indiatimes.com/india/19-lakh-left-out-final-assam-nrc-elicits-anger-sense-of-betrayal/articleshow/70930061.cms] accessed 23 February 2020. For a detailed commentary on citizenship issue in Assam, see Baruah, Sanjib. 2015. “Partition and the Politics of Citizenship in Assam.” In Partition: The Long Shadow, 78–101. New Delhi: Viking-Penguin.2 For a comprehensive discussion on the 1947 Partition and caste, see Bandyopadhyay, Sekhar, and Anasua Basu Ray Chaudhury. 2022. Caste and Partition in Bengal: The Story of Dalit Refugees, 1946–1961. New Delhi: Oxford University Press.3 To derive an understanding of the condition of women during 1947, See Butalia, Urvashi. 1998. The Other Side of Silence: Voices from the Partition of India. New Delhi: Penguin Books; Chakraborty, Poulomi. 2018. The Refugee Woman: Partition of Bengal, Gender and the Political. New Delhi: Penguin Books.Additional informationNotes on contributorsSumallya MukhopadhyaySumallya Mukhopadhyay is Assistant Professor in the Department of English, School of Media Studies and Humanities, Manav Rachna International Institute of Research and Studies, Delhi-NCR, India. His area of interest, among other things, includes narratives related to the 1947 Partition. He has been awarded the TATA Trusts – Partition Archive Research Grant (2021) and South Asia Speaks Fellowship (2022). In 2023, he has received the International Oral History Association Scholarship.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135828668","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}

{"title":"The Dysmorphic Masculine Body of Hollywood: Tarzan, Rocky, and Creed","authors":"Delia Malia Konzett","doi":"10.1080/10509208.2023.2261358","DOIUrl":"https://doi.org/10.1080/10509208.2023.2261358","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 See Michael Rogin. 1996. Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Richard Dyer. Citation1997. White; Daniel Bernardi. Citation1996. Ed. Race and the Emergence of U.S. Cinema; Bernardi Citation2001. Ed. Classic Hollywood Classic Whiteness.2 See James Baldwin. Citation1975. The Devil Finds Work; bell hooks.1996. Reel to Real. Race, class and sex at the movies; Cedric J. Robinson. 2007. Forgeries of Memory & Meaning: Blacks & The Regime of Race in American Theater & Film Before World War II; Ellen C. Scott. 2015. Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era3 The Devil Finds Work 1975, 41.4 See Donald Bogle’s extensive study of minstrelsy stereotypes informing the representation of Black characters in Hollywood: Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films.5 See Susan Courtney’s discussion of Jack Johnson’s prize fights and their public reception as well as the ensuing censorship of them in 1912 ending their national dissemination, particularly chapter 2 “The Mixed Birth of ‘Great White’ Masculinity and the Classical Spectator” (Hollywood Fantasies 2004, 30-61).6 Johnny Weissmuller came on the scene as a white swimming miracle, beating the Native Hawaiian Duke Kahanamoku, the reigning Olympic champion, at the 1924 summer Olympics in Paris. Kahanamoku, known as the father of modern surfing, had dominated the swimming sport, not unlike Jack Johnson in boxing, since 1912. After ending his swimming career, he also went into the film industry and played minor stereotyped roles, most notably in Wake of the Red Witch (1948), starring as the head of a Polynesian tribe alongside John Wayne. Unlike Weissmuller, he was never given a lead role in line with Hollywood’s racially divided casting practices.7 See my essay “The South Pacific as the Final Frontier: Hollywood’s South Seas Fantasies, the Beachcomber, and Militarization,” 13-25. Cinematic Settlers: The Settler Colonial World in Film. Eds. Janne Lahti and Rebecca Weaver-Hightower. 2020. The beachcomber, as I maintain, is an expression of a civilizational drop-out indulging in a fantasy of South Seas escapism. The 1930s also gives birth to the Charlie Chan series with its attempt, not unlike Tarzan’s dominance of Africa, to subsume Asia and Asian Americans under the imperial hegemony of the US. While it may give increased voice to its Asian detective mostly uncovering white crimes, it also contains his work in Western fantasies of Orientalism. Earl Derr Biggers, similar to Edgar Burroughs, invented a new way of seeing Asia as both exemplary and subservient to Western interests. See my discussion of the conflicted race and global mapping in the Chan series and its articulation of an Asian action body, “Yellowface, Minstrelsy, and Hollywood Happy Endings: The Black Camel (1931), Charlie Chan in Egypt (1935) and Charlie Chan at t","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135388074","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}

{"title":"(Re)Visiting Masculinities in Indian Television Soap Operas","authors":"Mehul Agarwal, Pranta Pratik Patnaik","doi":"10.1080/10509208.2023.2259264","DOIUrl":"https://doi.org/10.1080/10509208.2023.2259264","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the authors.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135420131","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}

{"title":"The City Space in Ritwik Ghatak’s Films","authors":"Bhairab Barman","doi":"10.1080/10509208.2023.2261360","DOIUrl":"https://doi.org/10.1080/10509208.2023.2261360","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgmentsThis essay could not have been written without the generous assistance of Jadavpur University Professor Moinak Biswas, Head of the Department of Film Studies. He gave me the opportunity to explore and collect rare vernacular materials on Ghatak, without which this article could not be written. Thanks to my supervisor Parichay Patra and other colleagues for their generous engagements. I extend my gratitude to the anonymous reviewers too.Additional informationNotes on contributorsBhairab BarmanBhairab Barman is a doctoral research candidate at the School of Liberal Arts, IIT Jodhpur. His current research focuses on the esthetics of space in the films of Ritwik Ghatak. He is a regular contributor at international conferences on film esthetics.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135536032","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}

{"title":"The Pleasure of the Violent Touch in Iranian Narrative Cinema","authors":"Hamid Taheri","doi":"10.1080/10509208.2023.2261359","DOIUrl":"https://doi.org/10.1080/10509208.2023.2261359","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Modesty rules were embedded in Iranian society and culture even before the Islamic Republic but after it they became governmental laws.2 On early censorship, see Akrami, Jamshid. 1991. \"Cinema. IV. Film Censorship.\" Encyclopædia Iranica, 585–586. London: Encyclopædia Iranica Foundation.3 Interesting that even 7 years after the Hamoon, Ministry of Culture and Guidance insisted that “body contact between m e n and women” is prohibited. See: Zeydabadi-Nejad, Saeed. 2011. The Politics of Iranian Cinema. London: Routledge.4 It is important to note that some insider directors like Ebrahim Hatamikia, Behrouz Afkhami, etc. can benefit from touching in all its non-sexualized manners which can be a source of confusion for studying male/female physical touch in Iran cinema, however, it should be considered that these directors live outside of the norms or rules and what they present cannot in any way be applied to the rest of Iranian cinema.5 Cinema in post-revolution Iran is mainly a middle and upper class phenomenon. There are many films that attract the lower class as well but it is not this class, which is usually more traditional, that supports cinema. Therefore, many directors such as Farhadi, Mehrhjui, Beizai, Kiarostami, and many more target the middle-class audience. They have also emerged from the middle and upper class background themselves. Moreover, I am using class as a cultural factor as well as an economic one. Lower class traditional people in Iran have different filmic culture in which many films that target them either feature sexualized women (to the extent allowed by the censorship and in mostly comedies) or overly modest women (like many TV shows) and rarely exhibit the violent touch.6 See: Smith, Murray. 1995. Engaging Characters, 82. Oxford: Clarendon Press.7 Although in Iranian cinema through modesty rules sexual intercourse cannot be depicted, it can be referred to, like many storyline in which female characters get pregnant.8 In other words, Mahrams cannot weaken males by sexuality because sex with non-wife maharams is forbidden and sex with wives is encouraged. Withholding sex by wife is also out of the question in Islam. Thus mahrams are rendered powerless with regards to sexual powers.9 It may be argued that the religious figures and everyday use of language may differ in Iran but even if we consider them different, it only adds more ambiguity about the core value, since it adds a level of political considerations to the language. Islam is a political religion and political language is more often than not veiled and ambigious.10 See: Milani, Farzaneh. 1992. Veils and Words: The Emerging Voices of Iranian Women Writers. Syracuse, NY: Syracuse University Press.11 It is illuminating to say that castration in Islamic societies has also a literal meaning. Men who had to work in harams of Shah/Amir had to be castrated so they would not be able to have sexual intercourse ","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134958498","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}

{"title":"Discursive Strategies of Women’s Use of Their Beauty and Body for Revenge: A Comparative Study of Classical and Contemporary Hindi Films","authors":"Shubham Pathak, Swasti Mishra","doi":"10.1080/10509208.2023.2262352","DOIUrl":"https://doi.org/10.1080/10509208.2023.2262352","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134958623","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}

{"title":"When Film Breathes: Topographies of Silence and Not-Quite-Sound","authors":"Eloise Ross","doi":"10.1080/10509208.2023.2257573","DOIUrl":"https://doi.org/10.1080/10509208.2023.2257573","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135816243","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}

{"title":"Celebrating Silent Cinema, Film Restoration, and Milestone","authors":"David Sterritt","doi":"10.1080/10509208.2023.2261343","DOIUrl":"https://doi.org/10.1080/10509208.2023.2261343","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135959930","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}

{"title":"Indian Screen Cultures and the Redefinition of Nationhood: The Evolution of Contemporary Productions and the Myth of ‘National Security’","authors":"Roshni Sengupta, Amaresh Jha, Devanjan Khuntia, Pavan Kumar, Kaustav Padmapati","doi":"10.1080/10509208.2023.2258743","DOIUrl":"https://doi.org/10.1080/10509208.2023.2258743","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 It is imperative to note here that when we speak of Indian films, we must take into account the fact that there is some amount of film production in every major Indian language and there are at least six important non-Hindi film industries: Bengali, Kannada, Malayalam, Marathi, Tamil, and Telugu.2 In 1960, the government set up the Film Finance Corporation, which merged with the Motion Picture Export Association in 1980 to form the National Film Development Corporation, for financing and exporting films, and in 1961established the Film Institute in Poona. In 1973, the government established the Directorate of Film Festivals, shoes brief was to organize the annual International Film Festival.3 Explicating the armed struggle in Iran, Jazani (Citation1979) delineates the role of the “guerrilla” and exhorts the prospective guerrilla from falling prey to adventurism in the form of “too much emphasis on the role of the ‘fedaee’, resorting to constant invocations of ‘martyrdom’ to offset the absence of a mass movement, and the belief that the sacrifice of blood is sufficient for the start of the revolution”. The reference to “fedaee” or “fidayeen” is significant for observers of terrorist violence in the twentieth century, particularly in the post-September 11 scenario.4 Bush, W. Stephen, “Motion Picture Men Greet President,” Moving Picture World (12 February 1916), pps. 923+. “First Board of Trade Banquet, Attended by President Wilson, Marks New Era in Industry,” Motion Picture News (12 February 1916), 817–18.5 Universal advertisement, Moving Picture World (5 May 1917), 706. Ibid, 810. Universal advertisement, ibid, 820. Moving Picture World (3 August 1918), 703. “Shot ‘Beast of Berlin,’” Variety (12 April 1918), 47.6 How Indian cinema helped fight fascism during World War II (newslaundry.com)7 For a detailed understanding of the categorization refer to Mamdani (Citation2002) and Sengupta (Citation2020).8 Sengupta (Citation2019).9 Daiya (Citation2008, 178).10 “‘Gadar’ at Agra,” The Hindu, Sunday July 15, 2001.11 “‘Gadar’ at Agra,” The Hindu, Sunday July 15, 2001 cited in Daiya (Citation2008).12 Daiya.13 Daiya, 165.Additional informationNotes on contributorsRoshni SenguptaRoshni Sengupta is Associate Professor, School of Modern Media, UPES, India.Amaresh JhaAmaresh Jha is Associate Professor, School of Modern Media, UPES, India.Devanjan KhuntiaDevanjan Khuntia is an independent researcherPavan KumarPavan Kumar is Assistant Professor, Ambedkar University, New Delhi, India.Kaustav PadmapatiKaustav Padmapati is Assistant Professor, School of Modern Media, UPES, India.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136059497","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}