Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques最新文献

{"title":"American Ethnographic Cinema and Personal Documentary: The Cambridge Turn By Scott Macdonald. Berkeley: University of California Press, 2013","authors":"M. Smith","doi":"10.3138/CJFS.23.2.135","DOIUrl":"https://doi.org/10.3138/CJFS.23.2.135","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90611462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ciné-Forum: Top-Ten Film History","authors":"Blaine Allan","doi":"10.3138/cjfs.23.2.115","DOIUrl":"https://doi.org/10.3138/cjfs.23.2.115","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82682851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le téléthéâtre québécois des premiers temps : croisements médiatiques (Hubert Aquin, Claude Jutra, Marcel Dubé et Louis-Georges Carrier)","authors":"François Harvey","doi":"10.3138/CJFS.23.2.26","DOIUrl":"https://doi.org/10.3138/CJFS.23.2.26","url":null,"abstract":"This article studies intermedial combinations that characterized Radio-Canada’s early 1950’s television plays, by analyzing the works of three tv writers mostly known for their non-television caree...","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Émergence de la critique de cinéma dans la presse populaire québécoise","authors":"Germain Laçasse, Hubert Sabino","doi":"10.3138/cjfs.23.2.47","DOIUrl":"https://doi.org/10.3138/cjfs.23.2.47","url":null,"abstract":"For the last 50 years, it has been common to write about how Quebec cinema was born around the 1960s with cinema direct. To do so, however, is to neglect the 60 preceding years and the important pi...","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Canadian Cinema since the 1980s: At the Heart of the World By David L. Pike Toronto: University of Toronto Press, 2012","authors":"A. Burke","doi":"10.3138/CJFS.23.2.130","DOIUrl":"https://doi.org/10.3138/CJFS.23.2.130","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83173341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Films of Martin Scorsese, 1979-99: Authorship and Context II By Leighton Grist New York: Palgrave Macmillan, 2013","authors":"Michael Meneghetti","doi":"10.3138/CJFS.23.2.138","DOIUrl":"https://doi.org/10.3138/CJFS.23.2.138","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80144847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pour Un Cinéma Canadien-Français, Un Vrai : L'aventure Du Studio Gratien Gélinas et De la Dame Aux Camélias","authors":"L. Pelletier","doi":"10.3138/cjfs.23.2.70","DOIUrl":"https://doi.org/10.3138/cjfs.23.2.70","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86829330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From the Astonished Spectator to the Spectator in Movement: Exhibition Advertisements in 1920s Germany and Austria","authors":"Michael A. Cowan","doi":"10.3138/cjfs.23.1.2","DOIUrl":"https://doi.org/10.3138/cjfs.23.1.2","url":null,"abstract":"The image of a motionless spectator seated before a fixed screen once formed an unquestioned axiom of most film theory and history, but few today would see this as the only or even dominant model of spectatorship. The proliferation of mobile screens in the digital age, along with several decades of research into early forms of peripatetic spectatorship (the flâneur, the detective, pre-cinematic forms of urban spectacle, etc.), have attuned film scholars to other, more dynamic modalities of film reception. This attention to mobile audiences has been particularly pronounced in research on exhibitions. In part-and particularly in scholarship focused on film and video installations-the meeting of film and exhibition culture might appear as a new phenomenon. Dominique Paini thus famously argued that the migration of experimental film into galleries since the 1980s had liberated cinema audiences from their \"frontal captivity,\" reviving the experience of the 19th-century flâneur and making the spectator-now free to move through the exhibition at his or her own tempo-an active contributor to the filmic experience.1 But while some scholars have insisted on the unprecedented nature of film's recent presence in the museum,2 other film historians have documented a much longer history of the multiple imbrications between film, museums, and exhibitions.' As historians of early cinema have argued, moreover, the cinema itself was no less influenced, in its very emergence, by 19lh-century exhibition culture. While this included popular forms such as vaudeville and wax museums, it also included \"higher\" forms such as the universal exhibitions which, as Tom Gunning has shown, helped to inculcate a mode of astonished spectatorship that would help to set the stage, alongside variety culture and scientific illustrations, for the cinema of attractions.As showcases for industrial progress, the universal exhibitions, with their emphasis on novelty and their future orientation, clearly differed from the institution of the museum as a safeguard of high culture and heritage. Rather than taking objects out of circulation to imbue them with aesthetic value, universal exhibitions displayed objects as prototypes for capitalist circulation. This futureoriented status helps to explain why, with few exceptions, one finds no avantgarde campaign against trade and technology exhibitions remotely comparable to the modernist critiques of the museum.5 On the contrary, avant-garde artists from Hans Richter to Herbert Bayer to El Lissitzky readily collaborated with exhibitions and industrial fairs, where they found ample opportunities to experiment with new forms of dynamic and kinetic reception.6 On account of this emphasis on novelty and dynamism, technology and trade exhibitions have long functioned as important arenas for the elaboration of more mobile forms of filmic reception. In this article, I want to examine some of the imbrications between film and exhibitions conceived as two t","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Video After Video Stores","authors":"J. Scheible","doi":"10.3138/CJFS.23.1.51","DOIUrl":"https://doi.org/10.3138/CJFS.23.1.51","url":null,"abstract":"KIM'S VOYAGE TO ITALYIn September 2008, Mondo Kim's, the most well known of New York City's Kim's Video branches, located downtown on St. Marks Place in the East Village, posted a sign announcing that it would be closing and that it was looking for a new home for its rental collection:Kim's Video is offering a collection of approximately 55,000 films to institutions, schools, business owners, or individuals who can accommodate Kim's full line of film collection. The condition to accept this collection requires 3,000 sq. ft. of space, commitment to give access to Kim's members (charging minimum membership fee), and maintaining the collection. Although Kim's Video plans to close the rental department, the exclusive film collection should still be available to public [sic], especially film students and film lovers. Kim's deeply appreciates the kind support and wishes to maintain our rental department. Unfortunately, financial resources have rapidly declined to uphold Kim's service to Kim's lovers. We hope to find a sponsor who can make this collection available to those who have loved Kim's over the past two decades.1Despite relatively few stipulations and many offers to house the titles, the store's owner, Yongman Kim, had a surprisingly difficult time finding the right host for the store's videos. Mr. Kim approached likely suspects in New York City, such as the Film Forum and New York University's library, but for different reasons, none were willing to house the entire collection or able to meet the conditions requested in the post.As a bizarre and therefore ultimately appropriate ending to Mondo Kim's, an Italian graphic designer, Franca Pauli, drafted a successful proposal to move the collection to Salemi, a small town in Sicily. Much of Salemi was destroyed in an earthquake in 1968, and in recent years the town's mayor, Vittorio Sgarbi, had been trying to revitalize it through efforts to promote tourism. Sgarbi, a former art critic and television talk show host, famously announced his plans for \"Project Earthquake\" in 2008: earthquake-damaged houses in the ancient quarter could be purchased for one euro, provided the new homeowners renovated them to conform with Sicilian architecture. Obtaining Kim's collection seemed to complement the goals of Project Earthquake and promised to invigorate Salemi's culture and economy.In March 2009, local schoolchildren and artists lined up in Salemi's streets to form a human chain, transporting the videos along narrow roads from shipping containers into their new home in a former Jesuit college. The 55,000 VHS tapes and DVDs became the heart of plans for a major cultural revitalization project supervised by Sgarbi to rebuild the city and create a reputation as an \"international city of independent cinema.\"2 Keeping with Kim's prerequisites, Sgarbi even extended an offer to house any former Kim's member in good standing who wished to visit. When the videos actually arrived in Salemi, however, they ended up sit","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dada, Surrealism, and the Cinematic Effect","authors":"J. Locke","doi":"10.3138/CJFS.23.1.136","DOIUrl":"https://doi.org/10.3138/CJFS.23.1.136","url":null,"abstract":"DADA, SURREALISM, AND THE CINEMATIC EFFECT By R. Bruce Elder Waterloo: Wilfrid Laurier University Press, 2013, 765 pp.Reviewed by John W. LockeIf you have an interest in any of the following six areas, you should read this book: DADA, Dada films, Surrealism, Surrealist films, Lawrence (Larry) Jordan, or logic and mathematics in relation to developments in early twentieth century art. Many books unfold in expected ways. They often contain scholarship, critical insight, and ideas that advance our understanding of their subjects. A very small number of books also propose positions which truly surprise the reader. Elder's book is an example of the latter type. Why would any Film Studies book contain sections dealing with geometry, logic, and formalist mathematics? How can these discussions illuminate DADA, Surrealism, and the work of Lawrence Jordan? This 700 plus page book answers those questions.A Film Studies reader may be drawn to the book by its title while working on Marcel Duchamp and Anemic cinema (1926). Using the very comprehensive index, a ten-page discussion of the film can be easily found. Beginning to read this, it becomes clear that the treatment of Anemic cinema is located in the chapter \"Dadaism and the Disasters of War,\" which started some sixty pages earlier. This example illustrates one of the valuable aspects of Elder's book: it is about films and filmmakers, but it is also about the intellectual and art world context in which the films were made in the 1920s, 1930s, and 1960s. Just reading the sections about the films would miss the more extensive positions and arguments presented by the book.Dada, Surrealism, and the Cinematic Effect is carefully constructed to be read from the first page rather than being used as a reference book. There is an introduction in which Elder states his position with such admirable clarity that it would be presumptuous for me to paraphrase it: \"In my consideration of the relations between film and the artistic movements known as DADA and Surrealism, I take two approaches. The first is to explore the cinema's role as a model for those movements and to demonstrate that the film medium has had a privileged status for Dadaists and Surrealists, who wanted to reformulate poetry, theatre, music, and painting so that these forms might take on some of the cinema's virtues. The second is to study how the advanced ideas about art and artmaking proposed by the DADA and Surrealist circles, and the advanced artistic practices to which these ideas gave rise, reciprocally influenced the cinema.\"There are numerous examples of new ideas in the book. For example, some conventional approaches to DADA see the movement as resulting from the First World War being a protest movement centered on nihilism. Elder points out a spiritual side of the movement and emphasizes its constructive aims. He also discusses the close relationship between DADA and Surrealism, particularly in regard to spiritual and occult interests. For me","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}