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Comparative Cinema最新文献

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Cine-Ecologies and the Temporality of a Radical Cinematic Production 电影生态与激进电影制作的时间性
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.06
Miška Mandić
{"title":"Cine-Ecologies and the Temporality of a Radical Cinematic Production","authors":"Miška Mandić","doi":"10.31009/cc.2023.v11.i20.06","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.06","url":null,"abstract":"Debashree Mukherjee’s writing on cine-ecology (2020) defines a materialist concept of cinema production that recognizes a relational mesh between ideologies, places, practices, infrastructures, climates, and human and non-human actors. This article provides a situated account of my recent cinematic practice to illustrate how such a relational view of film production can be useful in sustaining radical temporalities outside capitalist Western modernity’s valuations of speed and movement (Povinelli 2016, 2021; Doane 2002). To do this, I adapt Mukherjee’s concept of cine-ecology to focus on time, care and pleasure, using my works The Fold (2022) and Residue (2023) as case studies. Reconfiguring cine-ecologies through a temporal lens emphasizes even more relations, widening the net of what actors and processes can be linked in exchange.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"5 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139252510","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’s Natures: Comparative Approaches to Ecocinema 电影的本质生态电影的比较方法
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.01
Stefan Solomon
{"title":"Cinema’s Natures: Comparative Approaches to Ecocinema","authors":"Stefan Solomon","doi":"10.31009/cc.2023.v11.i20.01","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.01","url":null,"abstract":"","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":" 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139253140","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
Imaginarios de la colapsología a través del cine experimental 通过实验电影展现崩溃的想象力
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.07
Alan Salvadó-Romero, C. Martínez-López
{"title":"Imaginarios de la colapsología a través del cine experimental","authors":"Alan Salvadó-Romero, C. Martínez-López","doi":"10.31009/cc.2023.v11.i20.07","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.07","url":null,"abstract":"Una de las manifestaciones de la colapsología en el seno de la cultura visual contemporánea son las visiones apocalípticas basadas en la espectacularidad de la naturaleza. Sin embargo, podemos encontrar propuestas alternativas que muestran la complejidad de las relaciones que el ser humano establece con el planeta y que podrían ayudar a revertir las consecuencias del colapso, tal y como lo entienden Pablo Servigne y Raphaël Stevens. El siguiente artículo se propone analizar imaginarios alternativos a los catastrofistas –característicos de un determinado cine comercial y omnipresentes en los medios– que, desde el cine experimental, encarnan unos discursos y unas formas propiamente ecológicas. Más allá de la filmación de la naturaleza, dichas propuestas exploran, desde una perspectiva fenomenológica y kinestésica, diferentes posibilidades del lenguaje y la maquinaria cinematográficos.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"105 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139253765","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
Unsettling Assemblages: Anxiety and Materiality in La Ciénaga (Martel, 2001) and Distancia de rescate (Llosa, 2021) Unsettling Assemblages：La Ciénaga》（马特尔，2001 年）和《Distanceancia de rescate》（略萨，2021 年）中的焦虑与物质性
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.05
Irene Rihuete Varea
{"title":"Unsettling Assemblages: Anxiety and Materiality in La Ciénaga (Martel, 2001) and Distancia de rescate (Llosa, 2021)","authors":"Irene Rihuete Varea","doi":"10.31009/cc.2023.v11.i20.05","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.05","url":null,"abstract":"This article explores the relationship between anxiety and the nonhuman in the films La Ciénaga (Lucrecia Martel, 2001) and Distancia de rescate (Claudia Llosa, 2021). The recognition of the material continuity between the characters and their environment is central to the production of negative affect in both diegesis. Anxiety is condensed in specific signifiers that produce a palpable tension between absence and excess, and in the configuration of milieus where overproximity among agents is unavoidable. In addition, the liminality of interiority and exteriority, the hybridization of the self and the vulnerability of the body to toxic substances contribute to this oppressive affective landscape. Anxiety, as a signal of danger, points towards foundational fears around the blurring of ontological boundaries between the human and the nonhuman. The impossibility of isolation emerges in these films as an anxious trace in the form of cinematographic images, through characters that try to navigate a world in which dualism and human exceptionalism are being questioned.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"64 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139253130","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 Nature of Ostension 张力过大的本质
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.02
Adam O'Brien
{"title":"The Nature of Ostension","authors":"Adam O'Brien","doi":"10.31009/cc.2023.v11.i20.02","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.02","url":null,"abstract":"The initiating comparison for this essay is between two images, or shots; one appears in Jessica Sarah Rinland’s Black Pond (2018), and shows two people looking offscreen, surrounded by dense woodland; the other is reprinted and described in Bruno Latour’s essay “Circulating Reference” (1999) and shows three scientists near a border between a savanna and a forest, looking and gesturing in different directions. Rinland and Latour share an ethnographic interest in the material and gestural minutiae of scientific engagement with the non-human world. This essay explores their common interest in pointing, and in ostension more generally, as it emerges in both case studies. Latour provides a rich and suggestive framework through which to understand Black Pond, particularly in its conception of natural-history study as a multi-stage process of mediation, made up of tools and gestures and inferences – rather than the momentary encountering or witnessing more familiar to eco-film aesthetics.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"1522 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139251572","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
Un cine geológico. Tiempos y estética fósiles en el documental Río Turbio (2020) de Tatiana Mazú González 地质电影。Tatiana Mazú González 的纪录片《Río Turbio》（2020 年）中的化石时代与美学
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.04
Maia Gattás Vargas, Irene Depetris Chauvin
{"title":"Un cine geológico. Tiempos y estética fósiles en el documental Río Turbio (2020) de Tatiana Mazú González","authors":"Maia Gattás Vargas, Irene Depetris Chauvin","doi":"10.31009/cc.2023.v11.i20.04","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.04","url":null,"abstract":"Este artículo aborda Río Turbio (2020) de Tatiana Mazú González, un documental que retrata un territorio patagónico minero atravesado por conflictos políticos, ecológicos y feministas. Desde una perspectiva ecofeminista del cine y los aportes de los tiempos profundos y de la geología de los medios, que piensan la relación del mundo mineral con las máquinas y tecnologías que nos rodean, se busca trazar algunas conexiones entre cine y geología para observar cómo en esta película los tiempos y estéticas fósiles se traducen y vinculan con el montaje de los diversos archivos visuales y sonoros que construyen el documental.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"5 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139252091","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
Rethinking Extractivism and Masculinity: Aesthetics of the Environment in There Will Be Blood (2007) and First Cow (2019) 反思开采主义和男性气质：将有鲜血》（2007 年）和《第一头牛》（2019 年）中的环境美学
Comparative Cinema Pub Date : 2023-11-21 DOI: 10.31009/cc.2023.v11.i20.03
Ariadna Cordal
{"title":"Rethinking Extractivism and Masculinity: Aesthetics of the Environment in There Will Be Blood (2007) and First Cow (2019)","authors":"Ariadna Cordal","doi":"10.31009/cc.2023.v11.i20.03","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.03","url":null,"abstract":"As today we face the urgency of thinking film history through the implications of the ecological emergency, the aesthetics of oil extraction in cinema can be linked to representations of petro-masculinity and to discourses of capitalist exploitation of nature. Considering the ecocritical trend in film studies, this paper analyzes the subgenre of the oil film, which is inextricably related to the genre of the western historical tradition and its revisions, and presents There Will Be Blood (Paul Thomas Anderson, 2007) as a key case. The comparative analysis discovers that the critical and aesthetic representational strategies of landscape and character of the US founding myth in First Cow (Kelly Reichardt, 2019) manifest a proposal that deconstructs the genre with the intention of filming the relationships between the human and more-than-human from a viewpoint that approaches environmental consciousness. Keywords:  oil, masculinity, western, Paul Thomas Anderson, Kelly Reichard, nature aesthetic, ecological emergency, film history","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"102 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139252859","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
Share Screen: Multiple Projection, Double Exposure and Superimposition 共用屏幕:多次投影、双重曝光和叠加
Comparative Cinema Pub Date : 2023-03-31 DOI: 10.31009/cc.2022.v10.i19.01
Albert Elduque
{"title":"Share Screen: Multiple Projection, Double Exposure and Superimposition","authors":"Albert Elduque","doi":"10.31009/cc.2022.v10.i19.01","DOIUrl":"https://doi.org/10.31009/cc.2022.v10.i19.01","url":null,"abstract":"","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"2018 48","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132679920","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
Actual Time: Duration, Creation and Disfiguration 实际时间:持续时间、创建时间和变形时间
Comparative Cinema Pub Date : 2023-03-31 DOI: 10.31009/cc.2022.v10.i19.04
Víctor Santos López
{"title":"Actual Time: Duration, Creation and Disfiguration","authors":"Víctor Santos López","doi":"10.31009/cc.2022.v10.i19.04","DOIUrl":"https://doi.org/10.31009/cc.2022.v10.i19.04","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000This article proposes definitions of sense time and actual time as dimensions that affect our perception of the filmic image. We believe sense time to be a succession of changes to perceivable phenomena. Meanwhile, actual time is the time that needs only itself in order to manifest, transcending the object and sense as mediators and measurements. The article embarks on an historical-aesthetic journey that examines various examples of structural and avant-garde cinema in an attempt to explore these temporalities. Likewise, the article introduces the idea of filmic matter as an independent creator of discourse and technical support of memory. \u0000 \u0000 \u0000 \u0000","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126304587","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
Superimpositions and Vampires in Jess Franco’s Cinema 杰斯·弗兰科电影中的叠加和吸血鬼
Comparative Cinema Pub Date : 2023-03-31 DOI: 10.31009/cc.2022.v10.i19.02
Álex Mendíbil
{"title":"Superimpositions and Vampires in Jess Franco’s Cinema","authors":"Álex Mendíbil","doi":"10.31009/cc.2022.v10.i19.02","DOIUrl":"https://doi.org/10.31009/cc.2022.v10.i19.02","url":null,"abstract":"Within fantastic and horror cinema, the technique of superimposing images has played a fundamental role since its inception when it comes to representing the supernatural. In this text we will focus on the adaptations of Bram Stoker’s Dracula in a range of vampire films, which, starting with Murnau’s Nosferatu (Nosferatu, eine Symphonie des Grauens, 1922), have their own peculiarities in the use of superimposition as a visual effect. To delve into the effectiveness and narrative uses of the technique, we will compare two films that adapt the novel from very different times and perspectives: Count Dracula (El conde Drácula, 1969) and Vampire Blues (Los blues del vampiro, 1999), both directed by Jesús “Jess” Franco. We will distinguish the superimposition made in 35mm and the technique that digital video allows today, and we will analyze the technical and rhetorical functions that this device performs in the narrative levels of the story and the discourse of both titles.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130268685","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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