Acta Universitatis Sapientiae-Film and Media Studies最新文献_第2页

Crisis Narrative and Affective Intermediality: Figuring Disaster in Michael Haneke’s Time of the Wolf 危机叙事与情感中介:迈克尔·哈内克《狼的时代》中的灾难形象

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0010

Judit Pieldner

{"title":"Crisis Narrative and Affective Intermediality: Figuring Disaster in Michael Haneke’s Time of the Wolf","authors":"Judit Pieldner","doi":"10.2478/ausfm-2022-0010","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0010","url":null,"abstract":"Abstract Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in this film through photo-filmic images and painterly compositions, perceptions of stillness and motion, and cultural remnants of the past, giving way to affective sensations of intermediality.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81639750","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

Cinema from the End of Time: Malmkrog by Cristi Puiu and Vladimir Solovyov 《时间尽头的电影:马尔姆克罗格》，克里斯蒂·普尤和弗拉基米尔·索洛维约夫著

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0011

Christina Stojanova

{"title":"Cinema from the End of Time: Malmkrog by Cristi Puiu and Vladimir Solovyov","authors":"Christina Stojanova","doi":"10.2478/ausfm-2022-0011","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0011","url":null,"abstract":"Abstract Arguably Cristi Puiu’s most intricate film so far, Malmkrog (2020) comprises nearly three and a half hours of intense discussions about some of the most pertinent questions of our times since the Industrial Revolution – about the ethics of war and progress, the inevitable end of history, and the elusive nature of Good and Evil – posited by the Russian religious philosopher Vladimir S. Solovyov in his seminal book War, Progress, and the End of History (subtitled Three Conversations Including a Short Story of the Anti-Christ) and published in 1899. The article looks at the screen rendition of Solovyov’s three dominant discourses – statist-militarist, bourgeois-liberal, and religious-philosophical – through the grid of katechon (or “that which restrains”) in its Biblical, and above all, in its political philosophic meaning (following Carl Schmitt, Georgio Agamben and Sergei Prozorov). Furthermore, by introducing the concept of intermedial katechon, the article argues that while Puiu’s audio-visual rendition remains congenially faithful to the original, it transcends its allusions to the tragic 20th century, and illuminates our murky times of ubiquitous (bio-)political, social, intellectual, and above all ethical angst.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82262826","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

The Aesthetics of the Spectral and the Permanent Crisis in Tsai Ming-liang’s Art 幽灵美学与蔡明亮艺术的永久危机

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0012

Csilla Markója

引用次数: 0

Between Troubles and Peace in Northern Ireland: Cinematic Divisions in Kenneth Branagh’s Belfast (2021) and Terry Loane’s Mickybo and Me (2004) 北爱尔兰的动乱与和平之间:肯尼斯·布拉纳的《贝尔法斯特》(2021)和特里·洛恩的《米奇博和我》(2004)的电影分歧

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0014

Andreea Paris-Popa

{"title":"Between Troubles and Peace in Northern Ireland: Cinematic Divisions in Kenneth Branagh’s Belfast (2021) and Terry Loane’s Mickybo and Me (2004)","authors":"Andreea Paris-Popa","doi":"10.2478/ausfm-2022-0014","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0014","url":null,"abstract":"Abstract The Troubles officially ended with the Good Friday Agreement of 1998, but the conflict left such profound scars in the history of the region that making a film about Northern Ireland tends to almost automatically assume a discourse informed by division. The question that arises, then, is how this context may be tackled so as to simultaneously do justice to its traditionally rendered black-and-white reality and offer a more complex, contemporary understanding of the past that embraces reconciliation, openness and multiplicity of perspectives. Thus, the paper offers a close analysis of multiple types of division featured in Kenneth Branagh’s Belfast (2021) and Terry Loane’s Mickybo and Me (2004) by making use of John Hill’s and Fiona Coffey’s theoretical categorizations that distinguish traditional Troubles productions from the more recent Peace Process cinema. This genre-based inquiry allows for a probing of the films’ positioning in relation to the Troubles paradigm, as well as a revealing of difference at the heart of two otherwise very similar films, whose employment of conventional vocabulary may not allow for their unproblematic alignment with the politics of peace.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78526097","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

The Flagrance of the Sacred. Notes on the Miraculous Event in Ordet by Carl Theodor Dreyer 神圣的芬芳。卡尔·西奥多·德雷尔的《奇迹事件的顺序笔记》

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0009

F. Tonion

引用次数: 0

A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the Bridgerton Series 一个元现代主义的乌托邦:布里杰顿系列的新浪漫主义理智与情感

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0015

Anamarija Šporčič

引用次数: 1

The Goddess, Daenerys Targaryen and Me Too Values 女神，丹妮莉丝·坦格利安和我也是价值观

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0016

Sharon Khalifa-Gueta

{"title":"The Goddess, Daenerys Targaryen and Me Too Values","authors":"Sharon Khalifa-Gueta","doi":"10.2478/ausfm-2022-0016","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0016","url":null,"abstract":"Abstract In this article the author interprets the image of Daenerys Targaryen from the HBO television series, Game of Thrones (2011–19) as an allegory for the Me Too movement and as a symbolic depiction of the concepts of women regaining their power. She follows the connection between the emerging visualization of Daenerys with the tiny dragons and ancient depictions of Goddesses and dragons, and connects this motif to feminist scholars who researched the revival of feminine language in the 1970s and the 1980s of the 20th century. The article also suggests that the nudity of women depicted in fantastic art, particularly in images with women and dragons, are not necessarily titillating but representative of the early feminist stage of women seeking a symbolic power figure. The author also contrasts Daenerys’s visualization with those images, suggesting how she demonstrates the evolution of the motif in light of the changing focal points of feminist movements. Daenerys’s image, she suggests, reflects one of the central issues of the Me Too phenomenon – considering the female body as a sanctuary, which even if exposed and suggestive, is dangerous and forbidden to touch.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78142848","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

They Live: Violence, Horror and Spectres in Four Contemporary Argentine Films 他们活着:四部当代阿根廷电影中的暴力、恐怖和幽灵

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-11-01 DOI: 10.2478/ausfm-2022-0013

Natalia Christofoletti Barrenha

{"title":"They Live: Violence, Horror and Spectres in Four Contemporary Argentine Films","authors":"Natalia Christofoletti Barrenha","doi":"10.2478/ausfm-2022-0013","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0013","url":null,"abstract":"Abstract In the Argentine film The Headless Woman (La mujer sin cabeza, Lucrecia Martel, 2008), the protagonist Vero is haunted by the possibility of killing someone in a hit-and-run. Although hinting at the crimes committed during the last dictatorship in Argentina, The Headless Woman refers more to a mechanism of the past that is transformed and updated within contemporary society. In this essay, Martel’s film acts a starting point in the exploration of recent Argentine films that deal with spectres from the past that pervade everyday life in the present: Clementina (Jimena Monteoliva, 2017), One Sister (Una hermana, Sofía Brockenshire and Verena Kuri, 2017) and The Returned (Los que vuelven, Laura Casabé, 2019). In a decade in which we can notice a remarkable growth of the horror genre in Argentine cinema, these films embrace several codes and characters from the horror genre to approach the Argentine reality. The author discusses how these filmmakers adopt similar aesthetic features from the horror genre to invoke and address the violence that permeates Argentine society today, with special attention devoted to ghosts, a key figure to understand an ongoing history of brutalities that usually go unresolved.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87707620","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

Singularity and the Open-Ended Crisis 奇点和开放式危机

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-07-01 DOI: 10.2478/ausfm-2022-0007

Norbert Gyuris

{"title":"Singularity and the Open-Ended Crisis","authors":"Norbert Gyuris","doi":"10.2478/ausfm-2022-0007","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0007","url":null,"abstract":"Abstract The study aims at investigating the phenomenon of crisis in the intersection of three areas: simulation, singularity and temporality. The argument develops a theory of the singular crisis whose instances are demonstrated and proved by the American thriller, Take Shelter (2011, Jeff Nichols). The applied concept of crisis is based on the argument that any critical period is treated by models derived from earlier crises. The theoretical background to the simulated operating mechanisms of the crisis is Jean Baudrillard’s and Gilles Deleuze’s appropriations of simulation and simulacra. In case the simulated problem-solving patterns fail in a critical period, the singular characteristics of the crisis can be observed. Based on examples taken from the film, the article argues that reaction to any given crisis is essentially built up by both hyperreal patterns governed by simulation and singular elements that simulation cannot account for. The description of the temporal nature of crises is heavily dependent on interpretation, thus their temporal span is observed from the vantage point of their singular characteristics. The study argues that crises are characteristically open-ended but their endpoint is predominantly designated in hindsight to render the crisis as a finished time period for the sake of manageability.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75458496","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

Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History 重新语境化《索尔之子》:匈牙利电影史上极权主义空间中的男子气概

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2022-07-01 DOI: 10.2478/ausfm-2022-0005

György Kalmár

{"title":"Recontextualizing Son of Saul: Masculinity in Totalitarian Spaces in Hungarian Film History","authors":"György Kalmár","doi":"10.2478/ausfm-2022-0005","DOIUrl":"https://doi.org/10.2478/ausfm-2022-0005","url":null,"abstract":"Abstract As a result of its radical approach to the topic of the Holocaust, as well as due to the long list of prestigious prizes it won, Son of Saul (Saul fia, 2015, directed by László Nemes Jeles) has put the relation between Eastern European societies and totalitarianism in the centre of public and academic discourse. Though most reviews and articles placed the film in the history of Holocaust-representations, this is not the only context in which the film can be understood. In the present article I argue that Son of Saul can also be read outside (or at least at a distance from) the context of a Holocaust-film, as it also belongs to another, quite different and internationally much less known local cinematic canon. There is an unclaimed heritage behind Nemes Jeles’s controversial masterpiece, a trend in Hungarian cinema that explores the crisis of masculinity in totalitarian political regimes, thereby performing an allegorical critique of modernity and modern subjectivity. My recontextualization of Nemes Jeles’s work indicates the ways it is influenced by a local, Eastern European filmmaking tradition (which includes the work of his own father, the filmmaker András Jeles as well), and is supported by three interrelated conceptual focus points: a post-Foucauldian understanding of cultural and cinematic space, an awareness of the workings of modern cinematic allegory, and finally the use of male protagonists as prime sites for the inscription of social crisis and historical trauma.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79410628","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