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

{"title":"Ciné-Document: Introduction: Peter Morris and Canadian Film History","authors":"J. White","doi":"10.3138/CJFS.25.1.156","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.156","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":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81803567","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 End of Cinema?: A Medium in Crisis in the Digital Age By André Gaudreault and Philippe Marion Translated by Timothy Barnard New York: Columbia University Press, 2015","authors":"J. Locke","doi":"10.3138/CJFS.25.1.172","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.172","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":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82763124","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-Document: The Specious Past: Reflections of a Film Historian in Canada (1999)","authors":"P. Morris","doi":"10.3138/cjfs.25.1.159","DOIUrl":"https://doi.org/10.3138/cjfs.25.1.159","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":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75344144","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 Archive Effect: Found Footage and the Audiovisual Experience of History By Jaimie Baron London and New York: Routledge, 2014","authors":"William C. Wees","doi":"10.3138/CJFS.25.1.169","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.169","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":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85755107","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":"Human Rights Film Festivals: Activism in Context By Sonia M. Tascón New York: Palgrave MacMillan, 2015","authors":"Lyell Davies","doi":"10.3138/CJFS.24.2.166","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.166","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":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81233623","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":"Les brasiers de l'hexagone : Les cinémas militants français à Montréal (1974)","authors":"Ignacio del Valle Dávila","doi":"10.3138/CJFS.24.2.41","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.41","url":null,"abstract":"Abstract:Montreal's Rencontres internationales pour un nouveau cinéma were the occasion for delegates from five French production and distribution collectives to discuss the future of militant cinema with their European, Latin American, African, Asian and North American equivalents. From the French perspective, the Rencontres also allowed the opportunity to provisionally take stock of militant cinema's national situation, amidst the effervescence that had followed May 1968. Only a few weeks following the defeat of the Programme commun de la gauche in the French presidential elections, the Quebec meeting displayed the absences of unity and coordination amongst the French groups. This article seeks to analyse the different conceptions of French militant cinema that were being brought together in Montreal.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685595","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":"Tourner le dos : Sur l’envers du personnage au cinéma Sous la direction de Benjamin Thomas Saint-Denis : Presses Universitaires de Vincennes, 2013","authors":"Stéphanie Croteau","doi":"10.3138/CJFS.24.2.162","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.162","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":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74018940","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":"Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema By Katherine Spring Oxford: Oxford University Press, 2013","authors":"K. Donnelly","doi":"10.3138/CJFS.24.2.159","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.159","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":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79523903","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":"Dissonances in 1970s European and Latin American Political Film Discourse: The Aristarco – García Espinosa Debate","authors":"I. Rozsa, Masha Salazkina","doi":"10.3138/CJFS.24.2.66","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.66","url":null,"abstract":"Résumé:Le présent article se penche sur les débats qui eurent lieu entre le critique marxiste italien Guido Aristarco et le cinéaste et théoricien cubain Julio García Espinosa lors des Rencontres internationales pour un nouveau cinéma, événement tenu à Montréal en 1974. Tout en situant dans leur contexte culturel et historique les désaccords théoriques et politiques apparus lors de cette confrontation, cet article met l'accent sur l'importance de l'héritage des débats sur le réalisme politique en Italie, ainsi que l'évolution des attitudes de la Gauche européenne vis-à-vis de Cuba au cours des années soixante et soixante-dix. En conclusion, l'article examine la question de la réception aux plans national et international du film ayant suscité la controverse à Montréal, en particulier Girón (Baie des cochons, Manuel Herrera, 1972).","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685640","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":"Introduction: Estates General of Third Cinema, Montreal '74","authors":"Mariano Mestman, Masha Salazkina","doi":"10.3138/CJFS.24.2.FM","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.FM","url":null,"abstract":"Montreal, June 2-8, 1974: some of the most important representatives of political cinema from around the world got together at the Rencontres internationales pour un nouveau cinema. The list of participants included: filmmakers, producers and '68 film groups from France and elsewhere; Latin American political filmmakers and representatives of a burgeoning African cinema; film critics, historians and producers; and members from film institutes and distributors from Europe and North America, including, of course, the Canadian organizers of the conference, Andre Pâquet and the Comite d'action cinematographique (CAC). Given the sheer number and diverse backgrounds of the participants, the Montreal conference holds a serious claim to being one of the most important worldwide events in political cinema of the period.\"New Cinema\"-a term that appears in the conference's name-functioned as a broad umbrella term under which diverse trends of renovation and rupture had been spreading across the world throughout the 1960s. In Montreal, this idea solidified around the notion that cinema culture's primary goal is to promote decolonization, finding its correlate in a new kind of national cinema that aimed to \"democratize the structures of film,\" consistent with the concept of Third Cinema developed earlier by Fernando Solanas and Octavio Getino. Perhaps the boldest and most ambitious goal of the gathering in Montreal was to forge or strengthen ties among politically committed cinemas in the wake of the ruptures of 1968 in Europe as well as the emergence of Third Worldist filmmaking. The idea of an \"Estates-General of Third Cinema\" combines two references: firstly, the events of May '68, when the French film industry united in solidarity with those who had gone on strike, occupying the IDPIEC (Institut des hautes etudes cinematographiques), and when the CNC (Centre national de la cinematographie) established the Estates General of Cinema (Les etats generaux du cinema francais)-a term with its roots in the French Revolution, with its subtending notion of \"cahiers de doleances\" (the collected grievances of the population that animated the first meeting of the etats generaux)-, secondly, the notion of Third Cinema-whose goals of cinema as the vehicle for national liberation and solidarity among the Third World comtries were shared by several projects of the period.This introduction aims to sketch a brief history of the Rencontres internationales pour un nouveau cinema as part of a larger network of leftist film culture internationally, and suggest some approaches for thinking of its significance historically and theoretically in hopes of stimulating further research and creating an ongoing conversation about its legacy.I.Planning for the Conference began in early 1973. The idea was Andre Paquets, who had been living in Europe for a few years prior where he attended many of the most important events representing new developments in cinema worldwide (the Berlinale, t","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685850","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}