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

{"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":"26 1","pages":"148 - 151"},"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}

{"title":"George Kleine and American Cinema: The Movie Business and Film Culture in the Silent Era by Joel Frykholm (review)","authors":"Charles Keil","doi":"10.3138/cjfs.26.1.br1","DOIUrl":"https://doi.org/10.3138/cjfs.26.1.br1","url":null,"abstract":"George Kleine, though central to the development of American cinema, has always seemed something of an outlier: one of the founding members of the Motion Picture Patents Company (MPPC, also known as the Edison Trust), he was neither a manufacturer of equipment nor a producer of films at the time of the Trust’s inception. Instead, Kleine made his mark in distribution, and distribution of foreign films at that. Kleine’s position in early film history seems secure, but until now he has remained relatively underexamined as an industry player, his activities never garnering the attention of his more widely chronicled peers, such as Edison or Lubin. Joel Frykholm’s George Kleine and American Cinema: The Movie Business and Film Culture in the Silent Era, seeks to remedy that situation by assessing the full span of Kleine’s career, from his beginnings as a purveyor of Edison films and projectors in the late 1890s until his exit from the industry by the mid-1920s. But, as his title indicates, Frykholm’s study is more than simply a biography: the author views Kleine’s somewhat unorthodox experiences as an opportunity to analyze the economic logic of the American film industry in its early years, while also situating that analysis within a consideration of cinema’s shifting cultural value during the same period. As Frykholm puts it, “the goal is to join three storylines—a career history, an economic/industrial history and a cultural history—into a unified narrative of how the institution of cinema took its shape from its emergence to the end of the silent era” (3). Ultimately, as Frykholm himself would likely concede, the economic history takes precedence. Frykholm’s approach, indebted in particular to the work of Gerben Bakker, attempts to make sense of the business actions of the entrepreneur within a matrix of market forces, industrial performance, and a changing socio-economic landscape. Borrowing concepts and approaches from economist Arthur De Vany (who has argued that revenue distribution in the film industry tends toward the “kurtotic,” or is heavily skewed toward success for the few) and business scholar Candace Jones (who has argued for the interplay of “entrepreneurial choice and institutional rules”), Frykholm views the fluctuations in the career of Kleine as a way to promote a particular understanding of the early institutionalization of cinema. At first glance, this appears to be Frykholm’s boldest historiographic move: positioning his work squarely in the centre","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"126 43","pages":"81 - 83"},"PeriodicalIF":0.2,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41311945","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 Stripped Bare: Rape in the Films of Hong Sang-Soo","authors":"M. Raymond","doi":"10.3138/CJFS.26.1.2017-0003","DOIUrl":"https://doi.org/10.3138/CJFS.26.1.2017-0003","url":null,"abstract":"Résumé:Dans cet article, nous analysons le thème du viol dans les films du réalisateur sud-coréen Hong Sang-soo, en comparant le traitement que celui-ci en fait avec les représentations que l’on en retrouve historiquement à la fois dans le cinéma sud-coréen et dans les films d’art et d’essai réalisés dans le monde. Ce qui m’intéresse d’abord est d’une part la façon dont le viol reflète ou contredit la politique d’égalité des sexes dans les films de Hong, et particulièrement le lien entre celle-ci et le féminisme, et d’autre part l’évolution, au cours de la carrière du réalisateur, du traitement que celui-ci fait de la violence sexuelle et de la sexualité en général. L’étude se concentre sur quatre films, Le jour où le cochon est tombé dans les puits (2009), La Vierge mise à nu par ses prétendants (2003), La femme est l’avenir de l’homme (2004) et Les Femmes de mes amis (2009), et se conclut par une discussion sur les œuvres plus récentes, et plus introspectives, du réalisateur.Abstract:This essay analyzes the subject of rape in the films of South Korean auteur Hong Sang-soo, comparing his treatment with the history of representations of sexual assault in both the cinema of South Korea and the international art film. Of particular interest is the issue of how rape reflects and/or contradicts the gender politics of Hong’s films, especially their relationship with feminism, and how his handling of both sexual violence and sexuality as a whole has evolved over the course of his career. The essay focuses on four films, The Day a Pig Fell in the Well (1996), Virgin Stripped Bare by Her Bachelors (2000), Woman Is the Future of Man (2004), and Like You Know It All (2009), with a concluding discussion of Hong’s recent, more self-reflexive narratives.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"45 - 63"},"PeriodicalIF":0.2,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41863456","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":"Filming Simondon: The National Film Board, Education, and Humanism","authors":"Ghislain Thibault","doi":"10.3138/CJFS.26.1.2017-0001","DOIUrl":"https://doi.org/10.3138/CJFS.26.1.2017-0001","url":null,"abstract":"Résumé:En 1968, l’essayiste québécois Jean Le Moyne a filmé un entretien avec le philosophe français Gilbert Simondon. L’entretien portait sur la « mécanologie » ou « science des machines ». Le réalisateur envisageait cet entretien comme l’une des pièces d’un plus grand projet intellectuel et artistique qui, grâce au soutien de l’Office national du film du Canada, contribuerait à l’éducation technique et scientifique des Canadiens. Le Moyne partageait avec Simondon un intérêt pour les nouvelles pédagogies philosophiques portant sur les machines. Mais, finalement, l’entretien ainsi que le projet de Le Moyne n’ont pas reçu le soutien de l’ONF. Cet article explore donc à la fois cette aventure intellectuelle oubliée qui visait à explorer la philosophie à travers le cinéma, et le contexte institutionnel ayant mené à son échec.Abstract:In 1968, Quebec essayist Jean Le Moyne conducted and filmed an interview with French philosopher Gilbert Simondon on the topic of mechanology, or the “science of machines.” Working for the National Film Board of Canada, Le Moyne envisioned using the filmed interview as part of a larger intellectual and artistic project to educate Canadians about modern machines. Like Simondon, he shared an interest in new kinds of philosophical pedagogy about machines. Ultimately, however, neither the filmed interview nor Le Moyne’s project received support from the NFB. By recovering the failed Entretien mécanologique project, this article sheds light on an intellectual experiment that sought to explore philosophy through film, while also addressing the context for the NFB’s resistance to Le Moyne’s project.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"1 - 23"},"PeriodicalIF":0.2,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46809482","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":"Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada ed. by Zoë Druick and Gerda Cammaer (review)","authors":"D. Orgeron","doi":"10.3138/CJFS.26.1.BR4","DOIUrl":"https://doi.org/10.3138/CJFS.26.1.BR4","url":null,"abstract":"Zoë Druick and Gerda Cammaer’s weighty collection, Cinephemera, takes its place among a growing number of volumes (mostly edited collections) tackling the difficult-to-pin-down category of ephemeral film. And, while focused on Canadian works, the book is also the first in this expanding field to consider the topic so broadly (“ephemera,” for example, is a much more inclusive category than, let’s say, “educational” or “industrial” film, though the category might contain both of these as well). For this reason, the self-imposed limits of exploring only Canadian film seem all the more appropriate (even necessary), making Cinephemera a fine companion to the earlier and more narrowly focused Useful Cinema (Charles Acland and Haidee Wasson, Duke University Press, 2011). Cinephemera, however, also hopes to carve out a unique space for itself in its consideration of what it phrases “the digital turn,” and its effect on both cinema studies and archival practice, suggesting, in the introduction, the ways in which these technologies have (or haven’t) altered the work of preservation, access, and distribution. Though dealt with specifically in only a couple of the collection’s essays, this notion forms a kind of organizational logic that runs through the book in its entirety and becomes a significant part of the book’s contribution to the field. Druick and Cammaer’s volume makes explicit the connection, assumed in other recent books, between what we might still call “emergent” technologies and the rediscovery of moving image materials that have, since their creation, existed in a stratum below (sometimes well below) what we conceive of as the “mainstream.” Though the book’s introduction conceives of a loose taxonomy of “cinephemeral” types, the essays themselves are organized in a roughly chronological fashion, which results, ideally, in the reader discovering materials and ideas outside of the rigidity of classifications. In a way, the strategy replicates the very nature of ephemeral film: the category is massive, unruly, full of surprises, and the films themselves are frequently found where you least expect them. Among the many things that recommend this book, then, reader experience (which is infrequently lauded in academic circles) ranks high. I urge readers, no matter the narrowness of their own research focus, to read the book from beginning to end, as this experience is part of the magic the field offers.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"91 - 94"},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49002705","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":"Love, Desi Style: Arranged Marriage and Transnational Mobility in Mira Nair’s The Namesake","authors":"R. Richards","doi":"10.3138/CJFS.26.1.2017-0004","DOIUrl":"https://doi.org/10.3138/CJFS.26.1.2017-0004","url":null,"abstract":"Résumé:Dans les films portant sur la diaspora indienne, les mariages arrangés sont typiquement représentés comme le résultat d’un système répressif où les femmes sont les victimes d’un hétéro-patriarcat inflexible. The Namesake (2006), de Mira Nair, revisite toutefois les liens qui existent entre l’amour et les mariages arrangés chez les membres de la diaspora indienne. En adoptant un cadre transnational, le film crée un dialogue dynamique entre les conventions et la contemporanéité, entre le pays d’origine et l’ailleurs. Plus particulièrement, Mira Nair y revoit le rôle des femmes immigrantes en leur donnant un accès à la mobilité transnationale. La réalisatrice transforme la relation conjugale des époux de la diaspora en un hybride desi, en un mariage arrangé/mariage d’amour, façonné par la mobilité et la fluidité.Abstract:In Indian diasporic cinema, arranged marriage is typically represented as a repressive system that makes women victims of an uncompromising heteropatriarchy. Mira Nair’s The Namesake (2006), however, reimagines the relationship between love and arranged marriage for Indian diasporic subjects. By adopting the framework of transnationalism, Nair’s film creates a dynamic dialogue between convention and contemporaneity, home and away. More specifically, it revises the role of the immigrant wife by giving her equal access to transnational mobility. Nair thus transforms the diasporic conjugal relationship into a desi hybrid, an arranged-love marriage, shaped by mobility and fluidity.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"64 - 80"},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484600","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":"Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908–1934 by Laura Horak, and: Silent Cinema and the Politics of Space ed. by Jennifer M. Bean, Anupama Kapse, and Laura Horak (review)","authors":"April Miller","doi":"10.3138/cjfs.26.1.br3","DOIUrl":"https://doi.org/10.3138/cjfs.26.1.br3","url":null,"abstract":"Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908– 1934 and Silent Cinema and the Politics of Space both testify to something that the publishing landscape has made abundantly clear in recent years: that there’s an increasing interest in excavating the previously neglected histories of women’s roles both behind and in front of the camera during the silent era. These two books mark pivotal forays into uncovering two very different, equally crucial, aspects of those histories. While most film viewers might assume that cross-dressing came into its own in the 1930s, with some of the international names who still have tremendous star power—Garbo, Dietrich, Hepburn—Laura Horak’s Girls Will Be Boys unearths a rich history of cinematic gender swapping reaching further back than even many early film aficionados would assume. Traversing archives across the US and Europe, Horak spent almost a decade uncovering the lesser-known history of girls “who will be boys,” as she excavated the earliest roots of cross-dressing in American silent cinema, going back as early as 1908 and continuing until 1934, when the stricter enforcement of the Motion Picture Production Code also created increased backlash against cross-dressing and “mannish” women. Horak explains her rationale for choosing this specific period: it allowed her to begin when cross-dressing women began to surface in a sizeable number and to consider one of the main goals of her project: to contemplate how the most famous cross-dressing performances of the 1930s stemmed from these earlier ones. Horak opens her analysis with a startling claim: “Where previous accounts have identified only thirty-seven silent American films featuring cross-dressed women, I have discovered more than four hundred” (2). And that claim may also be one of the book’s greatest selling points. In her meticulous searching, Horak uncovered 476 titles featuring cross-dressed women, ultimately viewing two hundred extant films. As such, her thoroughly researched book represents a crucial marker in the archival study of lesbian cultural history, collecting as it does such a vast array of material about queer bodies during film’s earliest years.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"88 - 90"},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48637538","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":"Critique of Calculation: Labour, Productivity, Limits, and Love in Lars Von Trier’s Dogville","authors":"Nicolas Lema Habash","doi":"10.3138/CJFS.26.1.2017-0002","DOIUrl":"https://doi.org/10.3138/CJFS.26.1.2017-0002","url":null,"abstract":"Résumé:Dans cet article je propose d’interpréter Dogville (2003), du réalisateur Lars von Trier, comme un film qui prolonge une tradition philosophique de critique de la réification. En appuyant sur les œuvres de Marx et de Lukács, nous mettons l’accent sur le concept de calcul pour analyser l’histoire de la protagoniste, Grace, en tant que récit d’une exploitation fondée sur des mécanismes d’échange de travail. Notre but n’est cependant pas seulement de décrire ce processus par rapport à l’intrigue du film, mais aussi, et surtout, de caractériser ontologiquement le langage et les dispositifs cinématographiques comme une allégorie visuelle du problème de calcul dans le capitalisme contemporain. En faisant transparaître les « limites » de toute chose (par exemple, celles de l’architecture de Dogville, celles du ratio d’échange de la force de travail de Grace, celles de la diégèse du film), von Trier crée avec Dogville ce que nous appelons un « cinéma calculatoire ». Suivant la notion kantienne de « critique », nous avançons que Dogville explore cinématographiquement les limites des mécanismes de calcul eux-mêmes.Abstract:I argue in this article that Lars von Trier’s Dogville (2003) is a film that prolongs a philosophical tradition of critique of reification. Making use of Marx and Lukács’s work, I highlight the concept of calculation for analyzing the story of the protagonist, Grace, as a tale of exploitation based on mechanisms of labour exchange. My aim, however, is not only to describe this process in terms of Dogville’s storyline, but to ontologically characterize the cinematographic language and devices of the film as a visual allegory of the problem of calculation in contemporary capitalism. By making transparent the “limits” of everything (Dogville’s architecture, the exchange rates in Grace’s labour-power, and the limits of the film’s diegesis, for instance), von Trier creates in Dogville what I call “calculative cinema.” Following the Kantian notion of “critique,” I propose that Dogville explores the limits of the mechanisms of calculation in cinematic terms.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"26 1","pages":"24 - 44"},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48581993","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":"Doing Time: Temporality, Hermeneutics, and Contemporary Cinema","authors":"Michael Meneghetti","doi":"10.3138/cjfs.26.1.br2","DOIUrl":"https://doi.org/10.3138/cjfs.26.1.br2","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"31 1","pages":"84-87"},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90436568","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":"Reimagining Cinema: Film at Expo 67 Edited by Monika Kin Gagnon and Janine Marchessault Montreal: McGill-Queen’s University Press, 2014","authors":"Brian Real","doi":"10.3138/CJFS.25.2.127","DOIUrl":"https://doi.org/10.3138/CJFS.25.2.127","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":"25 1","pages":"127-129"},"PeriodicalIF":0.2,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686100","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}