Quarterly Review of Film and Video最新文献

{"title":"Intercultural Experiences and Memories: Shigeko Kubota’s Artistic Journey through Her Video Art Spanning Japan to the American Southwest","authors":"Jiajie Zhang","doi":"10.1080/10509208.2023.2237397","DOIUrl":"https://doi.org/10.1080/10509208.2023.2237397","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49371349","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":"Defying the Binaries: Body, Desire and Sexual Identity in Nagarkirtan","authors":"K. Ruchi, Smita Jha","doi":"10.1080/10509208.2023.2234868","DOIUrl":"https://doi.org/10.1080/10509208.2023.2234868","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48374967","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":"Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process","authors":"Lourdes Monterrubio Ibáñez","doi":"10.1080/10509208.2023.2229910","DOIUrl":"https://doi.org/10.1080/10509208.2023.2229910","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45978179","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":"Patriarchal “Engineering”: Caste-Gender-Culture in Tamil Cinema","authors":"A. Divya","doi":"10.1080/10509208.2023.2232712","DOIUrl":"https://doi.org/10.1080/10509208.2023.2232712","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44471223","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":"Altruistic Guardians or Propagators of Regressive Norms?: A Comparative Analysis of the Savior Archetype in Contemporary Kannada Films and Soap Operas","authors":"D. Amrutha, M. Ashwini","doi":"10.1080/10509208.2023.2232713","DOIUrl":"https://doi.org/10.1080/10509208.2023.2232713","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42296630","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":"From Symbolic to Agential: The Evolution of Natural Representation in Indian Eco-Sensitive Films","authors":"Rakesh Kumar Pankaj, Dibyakusum Ray","doi":"10.1080/10509208.2023.2231820","DOIUrl":"https://doi.org/10.1080/10509208.2023.2231820","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44244925","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":"Personality and Aesthetic Predictors of Narrative Liking in Film","authors":"Mohammad Homafar, Ali Sheikhmehdi, R. Afhami","doi":"10.1080/10509208.2023.2231819","DOIUrl":"https://doi.org/10.1080/10509208.2023.2231819","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45773708","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":"Discussions on the “Revival of Marxism”: A Literature Review on Post-2008 Marxist Film Studies","authors":"F. N. Yarar Aksoy","doi":"10.1080/10509208.2022.2054267","DOIUrl":"https://doi.org/10.1080/10509208.2022.2054267","url":null,"abstract":"In recent years, it seems that the calls for rereading Marx have increased (Musto 2020; Zi zek and Douzinas 2010; Hobsbawm 2011; Jeffries 2012; Fuchs and Mosco 2012; Christophers 2014; Menand 2016; Eagleton 2018; Tooze 2018). In some places, the revival of interest in Marxism has even been called the “Das Capital Renaissance” (Jeffries 2012). During this period, striking views have been seen that “the Marx of the twenty-first century will almost certainly be very different from the Marx of the twentieth” (Hobsbawm 2011). One of the dimensions of this difference may refer to the shift of the identity-based politics within the framework of cultural Marxism in the 1970s and 1980s toward a class-based analysis in today’s conditions. Because, “the political, social, ideological conditions of “the crisis” served to consolidate the dominance of capital over labor, converting a crisis of capital into a crisis for labor” (Petras and Veltmeyer 2012, 200). It is said that the burden of the crisis falls disproportionately on the labor in general and the low-income segments of the society in particular, not only post-2008 but also post-1980s (Dufour and Orhangazi 2014, 461). It is noted the most important consequences of the 2008 crisis such as the radical deterioration of living conditions for most of the world’s population, the increasing income/wealth inequality and social insecurity, and the shrinking of the minimum livelihood required for survival (Cingano 2014; UN News 2020). Post-crisis income inequality has increased not only because the upper class is taking over more wealth, but also because the little wealth, middle and lower-middle classes have, is being destroyed (Fligstein and RucksAhidiana 2015). The limitation of the way out of the global crash to the","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"40 1","pages":"514 - 539"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44217815","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":"Haunted by Godard","authors":"D. Sterritt","doi":"10.1080/10509208.2023.2227939","DOIUrl":"https://doi.org/10.1080/10509208.2023.2227939","url":null,"abstract":"Jean-Luc Godard was haunted by cinema. In his early films, he grappled with genres that had long possessed his thinking, as in the romantic melodrama Contempt (Le M epris, France/Italy, 1963), where ancient literature and a venerable filmmaker represent the tenacious shades of traditional narrative whose confines he was eager to escape. The haunting takes a theological form in Hail Mary (Je vous salut, Marie, France/Switzerland/UK, 1985), where engagements with the soul and the divine manifest his quasi-spiritual faith in painterly and cinematic images. And in Histoire(s) du cinema (France/Switzerland, 1989–99) he conjures up cinema’s ghostly lineage by means of images translated from the crisp materiality of film to the ectoplasmic pliancy of video. These three masterpieces support my proposition that hauntology is an admirable tool for illuminating Godard’s body of work. As posited by Jacques Derrida, hauntology displaces ontology, figuring the specter as an unfathomable intruder that is, in the words of philosopher Colin Davis, “neither present nor absent, neither dead nor alive,” a state resembling cinema’s dual nature, both immanently present and physically unreachable (Davis 2005, 373). Another sense of the term, developed in psychoanalytic theory, emphasizes the phantom, the metaphorical presence of what Davis describes as “a dead ancestor in the living Ego, still intent on preventing its traumatic and usually shameful secrets from coming to light,” which is pertinent to Godard’s fear of an “end of cinema” wrought by capitalist exploitation and political cowardice (Davis 2005, 373). Speculating along similar lines, Fredric Jameson has posited “spectrality” as an awareness “that the living present is scarcely as self-sufficient as it claims to be [and] that we would do well not to count on its density and solidity,” another concept applicable to Godard’s anxieties about cinema’s convoluted past, living present, and threatened future (Jameson 1993, 39). In its revolutionary reworking of film history, Godard’s project exemplifies Derrida’s idea of “an interpretation that transforms what it interprets” (Derrida 2006, 87). A major reference point for Derrida’s hauntology is Hamlet’s complaint that “time is out of joint” (Shakespeare 2012, I:5). It is through temporal displacement, philosopher Liam Sprod contends, that “the past invades, or haunts, the present with its return and in this disjuncture makes possible a new aesthetic that is hauntology,” marked by “a return of the ideas, images and ideals of a past age, which now grate and creak against the joints of the present” (Sprod 2012). This suggests an interesting entryway to Godard’s filmography, beginning with its earliest titles; these are very different from the pictures he made in later years, but although they are narrative movies","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"40 1","pages":"649 - 657"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44857614","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":"Old World Character/Modern Actor: The Transnational Image of Maria Ouspenskaya","authors":"Scott Balcerzak","doi":"10.1080/10509208.2023.2228174","DOIUrl":"https://doi.org/10.1080/10509208.2023.2228174","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49331400","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}