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

{"title":"Lois Weber in Early Hollywood By Shelley Stamp Berkeley: University of California Press, 2015; Germaine Dulac: A Cinema of Sensations By Tami Williams Urbana, Chicago, and Springfield: University of Illinois, 2014","authors":"Laura Horak","doi":"10.3138/CJFS.24.2.155","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.155","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":"88047940","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 (review)","authors":"K. Donnelly","doi":"10.5860/choice.52-0729","DOIUrl":"https://doi.org/10.5860/choice.52-0729","url":null,"abstract":"SAYING IT WITH SONGS: POPULAR MUSIC AND THE COMING OF SOUND TO HOLLYWOOD CINEMA By Katherine Spring Oxford: Oxford University Press, 2013, 256 pp.REVIEWED BY K.J. DONNELLYI was extremely excited to receive Katherine Springs book, Saying It With Songs, greatly anticipating an engaging and detailed study that enlightened me on the turbulent history of the film and music industries during the \"transitional\" years from silent to sound-recorded cinema. I'm pleased to say that the book did not disappoint. Indeed, it was an utter joy to read. This is no simple \"history of the period\" book. All of the issues it debates are relevant today. Indeed, the sections dealing with business relations between film and music industries, musical copyright and synergetic cross-publicity not only gave me great insight into the 1920s and beyond, but also gave me a greater understanding of the current manifestations of these and how their currents have remained on tracks largely established in the third decade of the twentieth century Spring quotes an article in 1929 which asked, \"It is now a question as to which has absorbed which. Is the motion picture industry a subsidiary of the music publicity business-or have film producers gone into the business of making songs?\" Indeed, this question might well have been asked on and off ever since.Scholars increasingly have registered how historically defining and aesthetically bold the transition period between silent and sound cinema (both poor and misleading terms) actually was. Spring traces the industrial developments between the film and music industries in the 1920s, while attending to how this affected the product. In the late 1920s, films bent to fit the requirement of songs appearing. As Spring notes, plausibility was heavily strained on occasions, although by the end of the decade songs increasingly were integrated with the classical norms of Hollywood storytelling and diegetic construction. This meant that they were shifted more towards title sequences, set in locations where songs might appear, integrated with the non-diegetic score, or corralled in the more musically-defined \"film musical,\" which stabilized around 1933.It is clear that the 1920s and early 1930s were a crucial decade for film history, with business, technological and aesthetic developments reconfiguring the Hollywood film industry. Spring's book, along with Michael Slowik's recent Afler the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934 (Columbia University Press, 2013) illustrates how far the transition to recorded sound from live sound was not simply about dialogue and just how central musical concerns were in events. Indeed, while Slowik looks at the now less certain notion that film underscores emerged in Hollywood in the early 1930s, Spring details the startling degree of collaboration and coherence between film and music as industries and how this is directly evident in their products. Indeed, as she notes, the sheer volume of","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":"71147213","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":"Bonnie Sherr Klein’s Not a Love Story By Rebecca Sullivan Toronto: University of Toronto Press, 2014","authors":"Mandy Elliott","doi":"10.3138/CJFS.24.2.168","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.168","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":"83095371","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":"Algiers-Buenos Aires-Montréal: third worldist links in the creation of the Latin American Filmmakers Committee (1974)","authors":"Mariano Mestman","doi":"10.3138/CJFS.24.2.29","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.29","url":null,"abstract":"The papers and audiovisual records of the Rencontres internationales pour un nouveau cinema held in Montreal in June of 1974 provide insight into many aspects of a particular moment in international political cinema. One of the insights that emerges is the influence of a sort of \"cinematic Third Worldism\" on the way Latin American filmmakers in particular organized themselves- an influence that can also be seen more broadly within an extensive region of political filmmaking in the First World. Remember that during 1973-1974-the years when, according Fredric Jameson, the \"long decade of the sixties\" came to an end1-the Third World was highly visible in international geopolitics, as \"Third Worldism\" was in the focus of political filmmaking. Two events indicative of this are significant here: the Third World Filmmakers Meeting in Algiers in December 1973, whose goal was to form a committee (partially a corollary to the Fourth Conference of the Non-Aligned Countries in September of the same year); and the second meeting of that committee, held in May 1974 in Buenos Aires, that is, just a few days before the gathering in Montreal in June.2When we speak of \"cinematic Third Worldism,\" we are referring to a sort of political-cultural-cinematic trend that was adopted (with variations) by filmmakers and groups from different countries. In each national case (or even within each group), this trend often coexisted and was articulated with others (like Latin Americanism, Pan-Africanism, Pan-Arabism, Guevarism, Maoism, etc.), whose variations had extended to political cinema around the Third World and whose influence also extended to international political filmmaking. Cinematic Third Worldism was highly emphasized during the Montreal gathering, one of the most representative events of those years due to the quantity and quality of global political cinema groups present at the meeting.In the years previous, the films and political cinema documents of Latin Americans, Arabs, and Africans had forged an important niche for themselves in the film and political scene in Quebec. This could be seen, for example, in the way the journal Cinema Quebec promoted the writing of Andre Pâquet (and others) on Third Worldist cinemas, which he had encountered at different festivals (Berlin, Carthage, Leipzig, Mannheim, Pesaro, etc.). Several aspects of Third Worldism were emphasized in various issues of the journal as parallel with conditions of local cinema: an explicit outline of what problems they had in common, such as the \"colonial\" issue.3 In a dossier about African cinemas in Arabic, for example, Tahar Cheriaa (the founder and director of the Carthage Film Festival in 1966, the first dedicated to Arabic and African film) had justified the long-term solidarity and converging interests between Quebecois and African cinema, as both had suffered \"the same conditions of foreign domination\" and were in \"the same situation of underdevelopment and economic dependence\" (beyond th","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":"69685552","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":"Militant Third World Film Distribution in the United States, 1970–1980","authors":"Jonathan Buchsbaum","doi":"10.3138/CJFS.24.2.51","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.51","url":null,"abstract":"Résumé:Dans la seconde moitié des années soixante, au moment où le mouvement contestataire contre la guerre du Viêtnam s'amplifiait, des militants de la Nouvelle Gauche se tournèrent aussi vers le cinéma militant. Après la formation en 1967 de collectifs d'actualités cinématographiques connus sous le nom de Newsreel, le groupe de New York changea de nom et devint « Third World Newsreel » (TWN) en 1971, afin de refléter l'influence du discours « colonial interne », en référence aux personnes de couleur opprimées aux É.-U. Cependant, Third World Newsreel concentrait ses activités sur la production de films et assurait lui-même la distribution de ses propres films. Fondée au début des années soixante-dix, cette entreprise de distribution assura la diffusion de films militants époustouflants produits en Amérique latine au cours de cette période. Le groupe Third World Newsreel à son tour changea de nom quelque temps après et devint « Tricontinental Film Center », basé à New York et à San Francisco, et distribua les films de Jorge Sanjinés, Fernando Solanas et Octavio Getino, Tomás Gutiérrez Alea, Humberto Solás et ceux de nombreux autres cinéastes dans le cadre d'un engagement visant à protester contre les régimes répressifs présents dans tout l'hémisphère, et à défier la censure des films de Cuba. Cette explosion du militantisme cinématographique aux États-Unis atteindra son point culminant lors des Rencontres internationales pour un nouveau cinéma, tenues à Montréal en 1974. Avec la vague de répression politique qui sévissait dans la région dans la seconde moitié de la décennie et le rétrécissement du marché de la distribution non commerciale aux É.-U. en raison des changements technologiques qui survinrent dans les activités de production des médias, le militantisme entourant la distribution de ces films commença à perdre du terrain.","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":"69685607","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 « troisième cinéma » au Québec : effervescence et lignes de faille","authors":"Vincent Bouchard, Marion Froger","doi":"10.3138/CJFS.24.2.18","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.18","url":null,"abstract":"Abstract:The Rencontres internationales pour un nouveau cinéma sought to create a federation at the international level, by way of ensuring \"an essential dialogue\" and to \"stimulate and make coherent [the] strategies\" of everyone in both the North and the South who adhered to \"Third Cinema,\" under the patronage of Fernando Solanas. But this \"community\" was in fact quite fragile, and brought to the fore the divergences in viewpoints, practices and objectives which had so animated the milieu of Quebec cinema. Beginning with Guy Hennebelle, the ideological strife of this period has already been widely discussed, but our objective in this article is to identify the fault-lines that affected the different ways of understanding \"audiovisual mediation\" in the face of the \"social change\" such mediation referred to. We insist particularly on the uncertainty that defines notions of \"public\" and \"collective,\" as well as the role played by the introduction of video in documentary circles. We also take account in this portrait of Quebec cinema's structural configuration, a milieu that allowed for the existence—despite these divergences—of a pluralist political cinema that was the period's most activist, inventive and inspiring.","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":"69684656","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":"North and Sub-Saharan Africa at the Rencontres internationales pour un nouveau cinéma in Montreal, 1974: Background Notes","authors":"Viviane Saglier","doi":"10.3138/CJFS.24.2.82","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.82","url":null,"abstract":"Résumé:Le présent article porte sur les participants d'Afrique du Nord et sub-saharienne aux Rencontres internationales pour un nouveau cinéma, tenues à Montréal en 1974. Il vise à situer ces intervenants dans l'environnement cinématographique qu'ils ont contribué à façonner sur le continent, afin de mieux saisir leur contribution et les débats auxquels ils prirent part à Montréal. Ces personnalités participèrent aux Rencontres à titre de représentants d'instances ou d'organismes spécifiques, preuve de l'accroissement des industries cinématographiques nationales et régionales en Afrique, lesquelles permirent au continent de jouer un rôle moteur dans la lutte anti-impérialiste des peuples du Tiers-Monde. Nous proposons d'examiner les façons dont les défis et les succès que les cinéastes africains rencontrent dans l'établissement d'alliances régionales rejoignent les préoccupations générales du Tiers-Monde exprimées en 1974 à Montréal.","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":"69685651","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":"Questions de rencontres: Entrevue avec André Pâquet et Carol Faucher","authors":"André Habib","doi":"10.3138/CJFS.24.2.109","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.109","url":null,"abstract":"Abstract:Pour essayer de retracer le chemin qui a mené à ces Rencontres, de retrouver le climat intellectuel et politique qui y régnait, nous avons demandé à André Pâquet, l'initiateur et le principal organisateur de ces Rencontres, ainsi qu'à Carol Faucher, qui a participé activement à sa mise en œuvre, de fouiller dans leurs souvenirs. Tous deux, depuis le milieu des années soixante, ont été les accompagnateurs privilégiés de l'histoire du cinéma québécois, mais aussi du cinéma du Québec à l'étranger, que ce soit en tant qu'animateur de ciné-clubs ou de salle de répertoire, en tant qu'employé de la Cinémathèque ou de l'ONF, dans divers organismes et pour divers festivals. Ils font partie de ceux grâce à qui le cinéma québécois a respiré, a circulé, et a pu créer des ponts internationaux qu'on peine à imaginer aujourd'hui, tant l'époque est propice à l'amnésie ou aux oublis sélectifs. Il est à noter que le caractère oral de l'entretien a été conservé afin de mieux traduire le ton et l'esprit de la conversation.","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":"69684533","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 British Contingent in Montreal","authors":"Michael Chanan","doi":"10.3138/CJFS.24.2.96","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.96","url":null,"abstract":"Résumé:Le groupe britannique aux Rencontres de Montréal en 1974 comptait parmi ses rangs trois cinéastes qui représentaient trois pôles de la culture du cinéma radical au Royaume-Uni à l'époque. Simon Hartog représentait l'aile radicale au sein du syndicat du cinéma, l'Association of Cinematograph, Television and Allied Technicians (l'Association des travailleurs du cinéma et de la télévision-ACTT), et il était chef recherchiste du Rapport syndical sur la nationalisation de l'industrie cinématographique. Nick Hart Williams quant à lui représentait The Other Cinema (l'Autre cinéma-TOC), une entreprise de distribution alternative à but non lucratif orientée vers les films politiquement engagés du Tiers-Monde et l'information politique d'Europe et des É.-U. Gustav Lamche fut l'un des membres fondateurs de Cinema Action, un collectif politique qui noua des liens particulièrement solides au sein du mouvement syndical. Le projet de nationalisation était utopique et il finit par être discrètement abandonné. Cependant, les cinéastes politiques indépendants évoluant pour la plupart en dehors du milieu syndical et dont le nombre ne cessait de croître, se réunirent en 1976 pour fonder l'Independent Film-Makers' Association (Association des cinéastes indépendants-IFA), laquelle négocia un Accord d'atelier avec l'ACTT. Reconnue, cette association se vit attribuer des créneaux à Channel Four, lorsque cette chaîne de télévision commença à diffuser ses programmes en 1982.","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":"69685832","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":"Queer Bodies and Contested Space Within the Irish Pub in A Man Of No Importance and Garage","authors":"Allison Macleod","doi":"10.3138/CJFS.24.1.45","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.45","url":null,"abstract":"Résumé:En tant qu'espace culturellement et historiquement important en Irlande qui occupe une place centrale dans la représentation de l'irlandicité et la masculinité, le pub irlandais soutient un idéal masculin hétéronormatif propre à ce pays. S'appuyant sur les films A Man of No Importance (1994) et Garage (2007) comme études de cas, le présent essai examine une tendance observée dans le cinéma allosexuel irlandais récent, qui consiste à implanter l'allosexualité dans le pub afin de défier les normes sociales dominantes. Ces deux films mettent en avant des personnages masculins allosexuels dont les combats sociaux et sexuels ont lieu dans un pub. Je soutiens la thèse selon laquelle ces deux films exposent les façons dont le pub encode les relations allosexuelles, même s'il agit au sein du système sexe/genre en vue de maintenir un ordre patriarcal et un privilège hétérosexuel. Les tensions entre l'appartenance et l'aliénation qui émergent de ces films placent les personnages allosexuels dans un état de liminalité, tiraillés entre des discours culturels divergents entourant la tradition et la modernité, le local et le global.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69684848","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}