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

{"title":"Transgression in Anglo-American Cinema: Gender, Sex and the Deviant Body ed. by Joel Gwynne (review)","authors":"M. Fradley","doi":"10.3138/CJFS.26.2.BR3","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.BR3","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":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47847160","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":"Prégénériques et génériques dans les adaptations cinématographiques québécoises","authors":"M. Pascal","doi":"10.3138/CJFS.26.2.2017-0009","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.2017-0009","url":null,"abstract":"Abstract:This article offers a theoretical approach to the status of opening credits, as a paratextual or metatextual discursive instance, in addition to their relationship to diegetic scenes and their hypotext. The films chosen are all adaptations produced in Quebec since 1990. The growing presence of opening sequences, inserted before the credit sequence, removes the responsibility of the introduction from the extradiegetic sequence. They will be examined through the choices made in terms of transition (readable, audible, or visible) and the relations of the different strata of reality through which the audience evolves.Résumé:Cet article propose une réflexion théorique sur le statut des génériques (en tant que discours paratextuel ou métatextuel) et la relation qu'ils entretiennent avec le diégétique ainsi qu'avec leur hypotexte, les films choisis étant tous des adaptations produites au Québec depuis 1990. La présence de plus en plus insistante de prégénériques en début de film, spoliant la responsabilité de l'ouverture à cette séquence extradiégétique, sera parallèlement soulignée par l'analyse des types de transitions (lisibles, audibles et visibles) et des relations choisies pour faire évoluer le spectateur entre les différentes strates de réels.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47941496","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":"Women and Resistance In Contemporary Bengali Cinema: A Freedom Incomplete by Srimati Mukherjee (review)","authors":"Bansari Mitra","doi":"10.3138/CJFS.26.2.BR4","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.BR4","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":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49596552","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":"Dying in Full Detail: Mortality and Digital Documentary by Jennifer Malkowski (review)","authors":"Jaimie Baron","doi":"10.3138/cjfs.26.2.br1","DOIUrl":"https://doi.org/10.3138/cjfs.26.2.br1","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":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80466524","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":"What Algorithms Want: Imagination in the Age of Computing by Ed Finn (review)","authors":"J. Cohn","doi":"10.3138/CJFS.26.2.BR2","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.BR2","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":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43737908","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":"Building a Hong Kong Studio Brand: Milkyway's Changing Image in Overseas Critical Reception","authors":"Sun Yi","doi":"10.3138/CJFS.26.2.2017-0007","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.2017-0007","url":null,"abstract":"Résumé:L'auteur retrace l'évolution de l'image projetée par une société de production cinématographique de Hong Kong, Milkyway Image, selon l'accueil que lui réservait la critique à l'étranger. Il décrit comment une société inconnue en est plus tard venue à marquer un jalon dans la carrière personnelle de son fondateur et principal dirigeant, Johnnie To, et comment elle s'est ultérieurement acquis une image de marque et dotée d'un style propre. Milkyway Image a mis en question les lectures auteuristes du cinéma hongkongais, mais la critique à l'étranger était réticente à reconnaître Milkyway comme auteur, artisan de ses productions. Cete réticence découlait d'une approche auteuriste traditionnelle persistante quant à l'accueil des films. Comme le cinéma hongkongais perdait peu à peu sa place au profit d'autres secteurs d'activité en Asie orientale, les entités de production appartenant au secteur cinématographique de Hong Kong se sont employés à en restaurer la réputation en veillant à la promotion de marques collectives au moment où la compétitivité culturelle devenait un impératif à l'ère de la mondialisation.Abstract:This article traces the changing image of a contemporary Hong Kong–based film production company, Milkyway Image, in terms of its overseas critical reception. I delineate how an unknown company later came to denote a period in the personal career of its founder and principal director Johnnie To, and eventually became a brand and a synonym for a house style. The company challenged auteur-focused readings of Hong Kong film, but overseas critics were reluctant to acknowledge Milkyway as the author responsible for its productions. Behind this reluctance was a conventional, persistent auteurist approach to film reception. As Hong Kong cinema was losing its place to other industries in East Asia, production entities within the Hong Kong film industry worked to restore its reputation by promoting collective brands at a time when cultural competitiveness was becoming an imperative in the age of globalization.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43618770","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":"\"It's Over\": Reflexivity in Don Mckellar's Last Night","authors":"Allan Weiss, Nicole Black","doi":"10.3138/CJFS.26.2.2017-0006","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.2017-0006","url":null,"abstract":"Résumé:Le film Last Night (Minuit) du cinéaste canadien Don McKellar est une œuvre de science fiction apocalyptique dont la création répond à un afflux de films-catastrophes hollywoodiens à grand déploiement comme Independence Day (Le jour de l'indépendance). McKellar n'explique jamais le pourquoi ou le comment de la disparition du monde ; il s'intéresse plutôt à la façon dont les gens font face à la situation dans le quotidien, à leur propre manière, en se livrant à leurs rituels personnels dans l'appréhension d'un anéantissement imminent. En se concentrant sur l'individuel et le contingent, et en rejetant toute forme de grand récit apocalyptique, le film propose une apocalypse postmoderne. L'une des principales techniques postmodernes qui y sont employées est la réflexivité ; les références au caractère du film à titre de film sont omniprésentes dans Last Night, bien que les allusions soient relativement subtiles. Une étude atentive de la distribution, du dialogue et de l'imagerie du film révèle que ce avec quoi les personnages sont forcés de composer n'est pas une apocalypse naturelle, surnaturelle ou d'origine humaine, mais une apocalypse textuelle. En d'autres termes, l'unique issue certaine et définissable qui menace les personnages est celle de la fin du film lui-même.Abstract:Canadian filmmaker Don McKellar's Last Night is an apocalyptic SF film created as a response to a spate of Hollywood blockbuster disaster films like Independence Day. McKellar never explains why or how the world is ending; instead, he is interested in how everyday individuals cope in their own ways, engaging in their own private rituals, with an impending annihilation. In its focus on the individual and the contingent, and its rejection of any grand apocalyptic narratives, the film presents a postmodern apocalypse. One of its major postmodern techniques is reflexivity; references to the film's status as a film permeate Last Night, although in relatively subtle ways. A close study of the film's casting, dialogue, and imagery reveals that what the characters are forced to come to terms with is not a natural, supernatural, or manmade apocalypse, but a textual one. That is, the only certain and definable end the characters face is the end of the film itself.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118321","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":"Reflecting the Man: Gendering Race in Paul Haggis's Crash","authors":"Mandy Elliott","doi":"10.3138/CJFS.26.2.2017-0010","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.2017-0010","url":null,"abstract":"Résumé:Le film Crash (Collision) de Paul Haggis (2004) emploie la fluidité des rôles de genre pour illustrer des cas d'iniquité raciale et les réactions qu'ils suscitent. L'auteure démontre de quelles façons le film joue avec l'idée que se fait Frantz Fanon du regard raciste comme forme de castration métaphorique—le remplacement systématique de la puissance sexuelle masculine par une objectification et une soumission forcées. Dans l'esprit des travaux de Fanon, Daniel Kim déclare que le regard homosocial du mâle blanc « force les hommes de couleur à féminiser leur position », affirmant la supériorité raciale à travers le langage de la domination sexuelle. Dans Crash, Christine (Thandie Newton) et Cameron (Terrence Howard) Thayer sont tous les deux privés de leur identité sexuelle à titre de gens de couleur. Bien que cette castration métaphorique ne soit pas nécessairement permanente, elle met en relief le lien inéluctable entre race et genre et les pairages qui tendent à dicter la domination et la soumission.Abstract:Paul Haggis's Crash (2004) employs the fluidity of gender roles to demonstrate and respond to instances of social inequity committed on the basis of race. This paper demonstrates the ways in which the film engages with Frantz Fanon's idea of the racist gaze as a form of figurative castration—as the systematic replacement of masculine sexual power with forced objectification and submission. Informed by Fanon's work, Daniel Kim states that the white male homosocial gaze \"forces men of color to adopt a feminized position,\" asserting ideas of racial superiority through the language of sexual dominance. In the film, Christine (Thandie Newton) and Cameron (Terrence Howard) Thayer both experience the racist cutting off of their sexual identity as people of colour. While this figurative castration is not necessarily permanent, it emphasizes the unavoidable link between race and gender and the binaries that tend to dictate dominance and submission.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47900037","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":"Democratic Movement and the Spaces of American Modernity in Early 1930s Woman's Films","authors":"A. Lafontaine","doi":"10.3138/CJFS.26.2.2017-0008","DOIUrl":"https://doi.org/10.3138/CJFS.26.2.2017-0008","url":null,"abstract":"Résumé:L'auteure procède à une analyse chronotopique de la femme dans les films du début des années 1930 afin d'en extraire les représentations sémiotiques et phénoménologiques de la modernité américaine à travers le personnage de la femme moderne. Elle met en relief la façon dont les espaces filmiques concrets—c'est-à-dire les espaces privés d'appartements modernes, et les espaces publics et les espaces de travail des hôtels, des immeubles de bureaux et des grands magasins—servent à exprimer le chronotope de la femme moderne sur les plans à la fois sémiotique—à titre de producteurs et de vecteurs de sens—et phénoménologique—à titre de cadre se prêtant à une certaine manière d'être. Les résultats de cete analyse illustrent comment s'est articulée une vision évolutive de la modernité américaine au moyen de la représentation de la femme moderne dans les films hollywoodiens du début des années 1930, et ils confirment qu'à titre de chronotope, la femme moderne s'est trouvée intimement liée à une conception optimiste de la démocratie américaine.Abstract:In this article, I deploy a chronotopic analysis of early 1930s woman's films to flesh out semiotic and phenomenological representations of American modernity through the figure of the modern woman. I emphasize how concrete film spaces—the private spaces of modern apartments and the public and work spaces of hotels, office buildings, and department stores—function as expressions of the modern woman chronotope in both semiotic—as producers and conveyors of meaning—and phenomenological senses—permitting a certain way of being. This will serve to show how a progressive vision of American modernity was articulated through the figure of the modern woman in early 1930s Hollywood films, and that as a chronotope, the modern woman was intimately linked with a hopeful conception of American democracy.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390826","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":"Hollywood Aesthetic: Pleasure In American Cinema by Todd Berliner (review)","authors":"G. Wiedenfeld","doi":"10.3138/cjfs.26.2.br5","DOIUrl":"https://doi.org/10.3138/cjfs.26.2.br5","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":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44229421","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}