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The Society of Chaos and Urban Rhythm: An Experimental Form in Korean Independent Films in the 1970∼1980s 混乱的社会与都市节奏:1970 ~ 1980年代韩国独立电影的实验形式
Film Studies Pub Date : 2021-06-30 DOI: 10.17947/fs.2021.6.88.33
Do hoon Lee
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引用次数: 0
Distance and Implication 距离和含义
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0008
A. Gimenez
{"title":"Distance and Implication","authors":"A. Gimenez","doi":"10.7227/FS.22.0008","DOIUrl":"https://doi.org/10.7227/FS.22.0008","url":null,"abstract":"Harun Farocki’s Eye/Machine (2003) is a video installation which analyses how what Farocki calls ‘the operational image’ reconfigures our visual regimes. The ‘operational image’ allows machines to operate ever more autonomously and to perform their tasks with no need for human supervision. Farocki links the birth of such operational images to the missiles with integrated cameras used during the Gulf War (1991) and therefore to military purposes. Eye/Machine poses a paradox: operational images generate a process of abstraction in which the image depicted (in the case of the war, the battlefield) gets detached from its indexical dimension, appearing as abstract and unreal. However, such detachment can be reversed when these images are recontextualised and reframed within an exhibition space, since that places them within a human experiential framework. Images, and our perception of them, are part of what Judith Butler calls the ‘extended materiality of war’. Thus, war is not only fought in the battlefield, but also at the level of the senses.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77613545","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 Youth Icon to Scarlet Diva 从青年偶像到猩红天后
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0004
Giovanna Maina, Federico Zecca, Danielle E. Hipkins, Catherine O’Rawe
{"title":"From Youth Icon to Scarlet Diva","authors":"Giovanna Maina, Federico Zecca, Danielle E. Hipkins, Catherine O’Rawe","doi":"10.7227/FS.22.0004","DOIUrl":"https://doi.org/10.7227/FS.22.0004","url":null,"abstract":"This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85139208","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
Reaganite America and Its Mnemonic Menaces 里根时代的美国及其记忆法的威胁
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0009
L. Soberon
{"title":"Reaganite America and Its Mnemonic Menaces","authors":"L. Soberon","doi":"10.7227/FS.22.0009","DOIUrl":"https://doi.org/10.7227/FS.22.0009","url":null,"abstract":"During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82363544","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
Getting Over the Woman Problem 克服女人的问题
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0007
Fiona Handyside
{"title":"Getting Over the Woman Problem","authors":"Fiona Handyside","doi":"10.7227/FS.22.0007","DOIUrl":"https://doi.org/10.7227/FS.22.0007","url":null,"abstract":"In this interview with Mia Bays (Birds’ Eye View), we discuss the recent Reclaim The Frame project, a UK-wide touring programme that showcases female-directed or -scripted films, usually new or recent releases. The interview explores the idea that this kind of curation is a necessary feminist intervention in the contemporary British cinema circuit, one that offers audiences agency and acknowledges that initiatives in film production alone are not sufficient to shift structural inequalities in the film industry. The piece begins with some contextual detail before turning to my discussion with Bays.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86336382","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
A Review-Reflection on African Feminisms 2019 回顾——反思非洲女权主义2019
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0005
Bibi Burger, Motlatsi Khosi, Lavinia Brydon
{"title":"A Review-Reflection on African Feminisms 2019","authors":"Bibi Burger, Motlatsi Khosi, Lavinia Brydon","doi":"10.7227/FS.22.0005","DOIUrl":"https://doi.org/10.7227/FS.22.0005","url":null,"abstract":"In this co-authored review-reflection, we discuss the African Feminisms 2019 conference, offering both a snapshot of the vital and emboldening African feminist work being conducted by researchers, cultural producers and creative practioners at all levels of their careers, as well as a sense of the emotional labour that this work entails. We note that the particular, shocking event that took place in South Africa just prior to the conference informed the papers, performances and ensuring discussions. We also note that the conference and many of its attendees advocated for a variety of approaches (and more than one feminism) when seeking to challenge power.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85252477","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
Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011) 解构性别规范，重拾性别空间——看安吉丽娜·尼科诺娃的《暮光之城》(Portret v sumerkakh, 2011)
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0002
Adelaide McGinity-Peebles
{"title":"Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011)","authors":"Adelaide McGinity-Peebles","doi":"10.7227/FS.22.0002","DOIUrl":"https://doi.org/10.7227/FS.22.0002","url":null,"abstract":"This article focuses on Angelina Nikonova’s debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73194085","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
A Queer Tension 酷儿张力
Film Studies Pub Date : 2021-05-10 DOI: 10.7227/FS.22.0003
Olu Jenzen
{"title":"A Queer Tension","authors":"Olu Jenzen","doi":"10.7227/FS.22.0003","DOIUrl":"https://doi.org/10.7227/FS.22.0003","url":null,"abstract":"This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75333441","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 Private’ and Recordability in Korean Independent Documentaries “私人”与韩国独立纪录片的可记录性
Film Studies Pub Date : 2021-03-31 DOI: 10.17947/FS.2021.3.87.183
Hee-suk Chai
{"title":"‘The Private’ and Recordability in Korean Independent Documentaries","authors":"Hee-suk Chai","doi":"10.17947/FS.2021.3.87.183","DOIUrl":"https://doi.org/10.17947/FS.2021.3.87.183","url":null,"abstract":"","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82457477","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 Colonization of Love, or the Love of Colonization: a Deconstructionist Approach to the Film A Simple Life 爱的殖民，还是殖民的爱:电影《简单生活》的解构主义解读
Film Studies Pub Date : 2021-03-31 DOI: 10.17947/FS.2021.3.87.153
Chen Lu, Great Root Woods
{"title":"The Colonization of Love, or the Love of Colonization: a Deconstructionist Approach to the Film A Simple Life","authors":"Chen Lu, Great Root Woods","doi":"10.17947/FS.2021.3.87.153","DOIUrl":"https://doi.org/10.17947/FS.2021.3.87.153","url":null,"abstract":"","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83163229","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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