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

{"title":"No Genre for Old Men?: The Politics of Aging and the Male Action Hero","authors":"Nicola J Evans","doi":"10.3138/CJFS.24.1.25","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.25","url":null,"abstract":"Résumé:En comparaison d'autres axes identitaires, le vieillissement des acteurs a reçu peu d'attention de la part des chercheurs en cinéma. Et pour des spécialistes travaillant sur le vieillissement des stars, le cinéma d'action semble être le dernier endroit vers lequel se tourner pour avoir un aperçu de la question. Cependant, la résurrection récente des franchises d'action des années quatrevingts mettant en avant l'original, et maintenant des stars masculines âgées, révèle de discordantes contradictions dans le discours sur le vieillissement des acteurs. Sylvester Stallone et ses collègues d'action constituent des exemples éloquents d'un « vieillissement réussi », mais qui sont également vulnérables aux plaintes fondées sur l'âge d'une vieille génération qui accapare les ressources aux dépens des jeunes. La lecture de ce cycle de films d'actions en parallèle du cinéma de la récession mondiale et du retour de Gordon Gekko montre la façon dont les représentations de la crise renforcent un discours d'injustice générationnel. Le présent article soutient la thèse selon laquelle les efforts visant à gérer le retour anachronique de l'icône des années quatrevingts expose de manière fructueuse les limites des paradigmes du vieillissement et les exigences paradoxales faites au sujet des hommes âgés en vue d'accepter et de refuser à la fois le passage du temps.","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":"69684799","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":"Dreams in Films and Films as Dreams: Surrealism and Popular American Cinema","authors":"S. Sharot","doi":"10.3138/CJFS.24.1.66","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.66","url":null,"abstract":"Résumé:Les films ayant recours à des séquences de rêves étaient particulièrement nombreux au cours de la période transitoire. Dès 1915, ces films connurent une baisse de régime considérable avant de redevenir plus nombreux à partir de la fin des années 1930, et ce, grâce à la popularisation de la psychanalyse. Dans le cinéma classique hollywoodien, les composantes du langage cinématographique furent mises en avant dans le but de rendre compte de l'étrangeté des rêves et leurs écarts par rapport à la « réalité » de la diégèse des films. Les surréalistes subvertissaient le style réaliste classique en faisant des rêves le modèle de leur « réalité », et cette subversion fut mise en pratique dans les quelques films qu'ils avaient réalisés. Surréalistes et classiques hollywoodiens s'approprièrent la psychanalyse freudienne dans leurs approches des rêves; cependant ces appropriations divergeaient radicalement. Un examen des séquences oniriques dans des comédies musicales permettra d'éclairer le débat sur la distinction entre les rêves dans les films et les films oniriques.","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":"69684858","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":"Zooming Out: Sembene's Ceddo and Third Cinema Aesthetics","authors":"J. Penney","doi":"10.3138/CJFS.24.1.2","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.2","url":null,"abstract":"Résumé:Trop souvent mal décrites comme étant des œuvres de réalisme social, les films d'Ousmane Sembène accordent une attention particulière à l'impact politique des choix esthétiques. Dans Ceddo (1976), Sembène a très largement recours à des plans zoomés et des travellings en profondeur afin de permettre à ses téléspectateurs d'être en phase avec la relation résolument dialectique qui existe entre une scène donnée et chacun de ses éléments; de manière plus générale, entre ces éléments et le vaste contexte sociohistorique qu'ils cherchent à représenter. Un aperçu des controverses qui animent l'héritage du Troisième cinéma peut permettre de mettre en lumière les éléments esthétiques délaissés de la tradition et situer le style de caméra de Sembène en lien avec la dite tradition. Un retour à un film comme Ceddo fournit non seulement une perspective critique à partir de laquelle les développements récents dans le cinéma mondial et les études des médias postcoloniaux peuvent être évalués. Bien plus, il peut également permettre de réaffirmer de façon authentiquement émancipatoire le fossé qui sépare les représentations cinématographiques du réel imprévisible des changements historiques.","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":"69684783","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":"Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy by Paola Bonifazio (review)","authors":"Brian Real","doi":"10.5860/choice.186090","DOIUrl":"https://doi.org/10.5860/choice.186090","url":null,"abstract":"SCHOOLING IN MODERNITY: THE POLITICS OF SPONSORED FILMS IN POSTWAR ITALY By Paola Bonifazio Toronto: University of Toronto Press, 2014, 304 ppREVIEWED BY BRIAN REALPaola Bonifazio's Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy presents a previously neglected but important perspective on the history of post-World War II Italian cinema. Bonifazio analyzes a portion of the thousands of documentary and informational films made by governments, nonprofits, and corporations from 1948 through the end of the 1950s, demonstrating that various forces had an interest in guiding the structural, social, and political reconstruction of Italy. Common trends emerge throughout many of these films, but the end result was not a unified, hegemonic force that attempted to persuade Italians to adapt to a single viewpoint. Instead, Bonifazio adeptly analyzes differences of opinion between the leaders of various organizations who attempted to influence the Italian people. Additionally, the works discussed in Schooling in Modernity do not remain independent of well-known, contemporary trends in Italian cinema. Rather, the author demonstrates that many government, industrial, and educational films were in dialogue with neorealism, borrowing stylistically from these better known works while often arguing against their sociopolitical messages.The book's strength lies in Bonifazio's skillful analysis of a representative sample of these works. Each of the six chapters begins with a basic overview, before flowing into brief case studies of about a half-dozen films. Three of these chapters focus on major national issues. The first chapter discusses films that dealt with unemployment issues, while the third and fourth chapters are respectively on the national housing crisis and the economic division between the north and south. These chapters include analyses of these themes across films produced by the Italian and American governments, nonprofits, and neorealist directors. Meanwhile, the second, fifth, and sixth chapters focus specifically on corporateproduced works, educational films, and newsreels, respectively, while occasionally connecting works in these genres to those discussed in other chapters. The end result is discussions on how Italian business, education, and the media each interacted with and shaped post-Fascist society. Additionally, the main text is followed by a filmography detailing films made by the organizations discussed throughout the book, opening the door to further research by other scholars.In her introduction, Bonifazio explains the scope of her work and provides a logical reason for limiting the time frame of her study. Italian society went through a period of reinvention after the fall of Fascism, with numerous forces attempting to influence the direction of this change. The Americans had a vested interest in Italy not falling to communist influence and the Economic Cooperation Administration (ECA)-the agency set up to admi","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":"71025349","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":"Film Manifestos and Global Cinema Cultures Edited by Scott MacKenzie Berkeley: University of California Press, 2014","authors":"Michael Zryd","doi":"10.3138/cjfs.24.1.90","DOIUrl":"https://doi.org/10.3138/cjfs.24.1.90","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":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79939830","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":"Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy By Paola Bonifazio Toronto: University of Toronto Press, 2014","authors":"Brian Real","doi":"10.3138/CJFS.24.1.97","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.97","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":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82910544","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":"Experimental Film and Anthropology Edited by Arnd Schneider and Caterina Pasqualino New York: Bloomsbury, 2014","authors":"Julia Yezbick","doi":"10.3138/CJFS.24.1.93","DOIUrl":"https://doi.org/10.3138/CJFS.24.1.93","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":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74938793","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 Critical Cinematic Cartography of My Winnipeg","authors":"I. Robinson","doi":"10.3138/cjfs.23.2.96","DOIUrl":"https://doi.org/10.3138/cjfs.23.2.96","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":"84019495","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":"Durham County Season 1: Genre and Genre Subversion","authors":"W. Beard","doi":"10.3138/cjfs.23.2.2","DOIUrl":"https://doi.org/10.3138/cjfs.23.2.2","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":"73353960","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":"Education in the School of Dreams: Travelogues and Early Nonfiction Film By Jennifer Lynn Peterson Durham, NC: Duke University Press, 2013","authors":"Dominique Brégent-Heald","doi":"10.3138/CJFS.23.2.133","DOIUrl":"https://doi.org/10.3138/CJFS.23.2.133","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":"85246583","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}