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Short Film Studies最新文献

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Storyboard for No Bikini 没有比基尼的故事板
Short Film Studies Pub Date : 2022-05-01 DOI: 10.1386/sfs_00064_7
Stu Wenschlag
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引用次数: 0
Claudia Morgado E., Canada, 2007, Colour, 9 minNo Bikini Claudia Morgado E.，加拿大，2007年，彩色，9分钟无比基尼
Short Film Studies Pub Date : 2022-05-01 DOI: 10.1386/sfs_00061_7
Cynthia Felando
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引用次数: 0
‘Strangely comforted’: The rhetoric of sincerity in Kirsten Lepore’s Hi Stranger “莫名的安慰”:柯尔斯顿·莱波雷的《嗨，陌生人》中真诚的修辞
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00055_1
Johanet Kriel-de Klerk, Martin P. Rossouw
{"title":"‘Strangely comforted’: The rhetoric of sincerity in Kirsten Lepore’s Hi Stranger","authors":"Johanet Kriel-de Klerk, Martin P. Rossouw","doi":"10.1386/sfs_00055_1","DOIUrl":"https://doi.org/10.1386/sfs_00055_1","url":null,"abstract":"This article examines the 2017 viral short film sensation, Kirsten Lepore’s Hi Stranger, with special attention to the weird, even unsettling, potency that her stop-motion animation manages to wield. Why is it that this admittedly ‘creepy’ short ultimately leaves viewers and commenters ‘strangely comforted’? A rhetorical solution to this question is proposed: Hi Stranger’s creepy-yet-comforting appeal derives from the density with which it incorporates an array of rhetorical devices and affective registers – particularly the ‘rhetoric of sincerity’ indicative of a more general ‘metamodern’ sensibility. The intensified sincere rhetoric at work in Hi Stranger moreover has a decidedly reflexive dimension, for this online crowd-puller draws on many devices and registers popular in amateur online videos too: its offers of low-stake, anonymous intimacy and no-strings gifting; its ASMR and ‘cute’ appeal; and its self-professed care and appreciation for the viewer.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47835340","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
Brevity – format – programme: A conceptual triangle 简洁性——格式——程序：概念三角形
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00058_1
Laura Walde
{"title":"Brevity – format – programme: A conceptual triangle","authors":"Laura Walde","doi":"10.1386/sfs_00058_1","DOIUrl":"https://doi.org/10.1386/sfs_00058_1","url":null,"abstract":"This article outlines the theoretical tenets of considering the short film as a format. Taken as a format rather than simply a film of short duration, the conceptual triangle of brevity – format – programme is used as a foundation to reflect on the particular epistemological position of short films in film studies and to address larger questions of canon, circulation and context. Rather than working towards a codification of an essence or specificity of the short film, this article proposes that the technical term ‘format’ is a suitable concept to concretely identify and discuss the factors at play in the production and exhibition of short films.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970909","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
Music video (de)legitimacy and the construction of a (short form) auteur: David Fincher and talent management 音乐录影带(de)合法性与建构(短形式)导演:大卫·芬奇与人才管理
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00054_1
Andrew Stubbs
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引用次数: 0
Gated reverb: Queering the pitch in Trade Queen 门控混响：《贸易女王》中的Queering the pitch
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00047_1
R. Prout
{"title":"Gated reverb: Queering the pitch in Trade Queen","authors":"R. Prout","doi":"10.1386/sfs_00047_1","DOIUrl":"https://doi.org/10.1386/sfs_00047_1","url":null,"abstract":"Director David Wagner says Trade Queen ‘was never intended to be a period film’. However, the suitability of black-and-white 35 mm for the story points to the inflection between markers of analogue and digital registration as one that also codes the boundary between queer and straight experience. This article argues that while Trade Queen is tagged as a film without dialogue, the use of sound design and music in the film is critical to a narrative told aurally as well as visually. Furthermore, it is the use of sound in this film – which ends with vinyl interference – that articulates the tension between analogue and digital, and between heteronormative and queer experience. In punchlines, the synthesized reverb of Ruby Treasure’s score, and in interiors heard from the gated picket fence, we hear as well as see the transitions between public and private selves.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47043089","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
Silent revelations in Trade Queen 贸易女王的无声启示
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00048_1
Sarah Y Choi
{"title":"Silent revelations in Trade Queen","authors":"Sarah Y Choi","doi":"10.1386/sfs_00048_1","DOIUrl":"https://doi.org/10.1386/sfs_00048_1","url":null,"abstract":"Six years since its release, the main reveal of David Wagner’s Trade Queen is no longer socioculturally sensational given how drag culture has been integrated into mainstream media. The dialogue-less film, nonetheless, artfully delivers a nuanced story of identity, tension between one’s exterior and interior, between what happens in the compartmentalized nine-to-five and after-hours self-states. It raises the question of gender performativity through subtle looks and gestures – how Mr Schmidt and Mr Jonas navigate their complex relationship.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47227381","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
From rivers to reservoirs: Swimmer as psychogeographic cinema 从河流到水库:作为心理地理电影的游泳者
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00049_1
Lavinia Brydon
{"title":"From rivers to reservoirs: Swimmer as psychogeographic cinema","authors":"Lavinia Brydon","doi":"10.1386/sfs_00049_1","DOIUrl":"https://doi.org/10.1386/sfs_00049_1","url":null,"abstract":"In Swimmer, Lynne Ramsay makes a compelling case for a British psychogeographic cinema that takes its audience off the nation’s streets and into its waterways. The proposition recalls – but moves beyond – the earlier sensorial explorations of Glasgow’s canals seen/heard/felt in Ramsay's first feature-length film Ratcatcher.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41344358","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
Mapping her-self: ‘Ma and Da’, Small Deaths, Gasman and the ‘mobile home’ 描绘自己:“妈妈和爸爸”、“小死亡”、Gasman和“移动房屋”
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00051_1
P. Quigley
{"title":"Mapping her-self: ‘Ma and Da’, Small Deaths, Gasman and the ‘mobile home’","authors":"P. Quigley","doi":"10.1386/sfs_00051_1","DOIUrl":"https://doi.org/10.1386/sfs_00051_1","url":null,"abstract":"Challenging the view of home as the very opposite of voyage, Giuliana Bruno suggests that houses and films share certain similarities insofar as both could be considered inherently mobile sights/sites of passage. Taking this as a starting point, this article considers the ways in which the vignette and the short film act as a vehicle for the young girl’s ‘domestic travel’ in Lynne Ramsay’s ‘Ma and Da’ from Small Deaths (1996) and Gasman (1998).","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48204626","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
Brevity and unity in Small Deaths 小死亡的简洁和统一
Short Film Studies Pub Date : 2021-09-01 DOI: 10.1386/sfs_00053_1
Bruno Amaral Dariva
{"title":"Brevity and unity in Small Deaths","authors":"Bruno Amaral Dariva","doi":"10.1386/sfs_00053_1","DOIUrl":"https://doi.org/10.1386/sfs_00053_1","url":null,"abstract":"Short fiction films generally present brief and concise stories focused on a single character or dramatic moment. Following an episodic structure, Lynne Ramsay’s Small Deaths introduces a series of events from a young girl’s life. The film compresses the passing of time from childhood to early adult life into three delimited and crucial moments. Focusing on Lynne Ramsay’s fragmented storytelling, this article discusses the relations of brevity and unity with the segmented narrative of the film, ultimately emphasizing the role of repetition as a unifying factor.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45078493","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
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