Studies in European Cinema最新文献_第4页

East German Film and the Holocaust 东德电影与大屠杀

IF 0.2

Studies in European Cinema Pub Date : 2023-01-24 DOI: 10.1080/17411548.2023.2169529

S. Allan

引用次数: 0

Europe’s irresolvable messiness 欧洲无法解决的混乱

IF 0.2

Studies in European Cinema Pub Date : 2023-01-02 DOI: 10.1080/17411548.2023.2181568

Owen Evans, G. Harper

{"title":"Europe’s irresolvable messiness","authors":"Owen Evans, G. Harper","doi":"10.1080/17411548.2023.2181568","DOIUrl":"https://doi.org/10.1080/17411548.2023.2181568","url":null,"abstract":"In a recent discussion with students about what European cinema might look like, it was striking how the descriptions that emerged seemed to focus principally on what French cinema was perceived to be, which was then transposed onto cinema production across the continent as a whole. When pressed to provide examples of films to help flesh out the debate, a core of students offered up a selection of greats from the French New Wave. Les Quatre Cents Coups/The Four Hundred Blows (Truffaut, 1959) and A Bout de Souffle/ Breathless (Godard, 1960) were uppermost in their thinking, therefore, which no doubt bespeaks the way film studies has tended to fall back on a certain canon, which in turn has been cemented by curricula over many years. Matthieu Kassovitz’s La Haine/Hate (1995) also made an appearance, not unexpectedly either in view of its apparent ubiquity on A-level syllabi, but it was the mention of Portrait de la jeune fille en feu/Portrait of a Lady on Fire (Sciamma, 2019) that was the most pleasing and encouraging. As a recent film, its high profile and appeal to, and influence on, a contemporary student audience is very gratifying. Indeed, it has already cropped up regularly in a number of student presentations since its release. Nevertheless, these are still all French films. Where are the Rossellini, Bergman, Tarkovsky or Fassbinder films? What about Haneke, Almodóvar, Hogg or Akin? Why are they seemingly so overlooked? Why is it that French cinema seems to remain synonymous with European film as a whole for so many? These are the questions that linger. When pressed a little more about other European films they might be familiar with, it was telling that a number of films available on Netflix were cited by the same group of students. El hoyo/The Platform (Gaztelu-Urrutia, 2019), for example, was cited and sparked an interesting conversation about Spanish horror films of recent times, many of which students began to remember and list with no little enthusiasm. Most strikingly of all, Edward Berger’s Im Westen nichts Neues/All Quiet on the Western Front (2022), the first German-language adaptation of Erich Maria Remarque’s powerful anti-war novel, was also mentioned, unsurprisingly perhaps in view of the recent publicity surrounding its significant BAFTA awards and Oscar nominations. However, because these were seen specifically as genre films the students seemed to ascribe them to popular cinema more generally, as opposed to European cinema per se. Maybe their distribution on Netflix rather than to a more typical art cinema setting contributed to that perception, their accessibility also perhaps removing something of that arty mystique the students appeared to associate with European films such as those produced by the auteurs of the French New Wave. There is no doubt that that label – auteur – continues to colour the perception of what constitutes European cinema more than anything else, and that is perhaps the fault of film courses everywhe","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"1 - 3"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46735911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The journey of an identity: disorienting transnational ‎identifications in Souad El Bouhati’s Française (2008)‎ 身份之旅：Souad El Bouhati法语中的跨国身份错位（2008年）

IF 0.2

Studies in European Cinema Pub Date : 2022-12-28 DOI: 10.1080/17411548.2022.2162808

Said Chemlal

引用次数: 0

Blackthorn (Mateo Gil, 2011): an inter-national, revisionist, Spanish Western 《黑荆棘》(Mateo Gil, 2011):一部国际修正主义的西班牙西部片

IF 0.2

Studies in European Cinema Pub Date : 2022-12-08 DOI: 10.1080/17411548.2022.2150028

Amaia Ibarraran-Bigalondo

引用次数: 0

Review of Vampires in Italian cinema, 1956-1975 意大利电影中的吸血鬼，1956-1975

IF 0.2

Studies in European Cinema Pub Date : 2022-12-07 DOI: 10.1080/17411548.2022.2154594

L. Bayman

引用次数: 0

German film classics: coming out 德国电影经典:问世

IF 0.2

Studies in European Cinema Pub Date : 2022-12-05 DOI: 10.1080/17411548.2022.2154592

Stephan Ehrig

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The end of an era? 一个时代的终结?

IF 0.2

Studies in European Cinema Pub Date : 2022-10-21 DOI: 10.1080/17411548.2022.2138121

Owen Evans, Graeme Harper

引用次数: 0

Introduction: non-theatrical film festivals 介绍:非院线电影节

IF 0.2

Studies in European Cinema Pub Date : 2022-09-02 DOI: 10.1080/17411548.2022.2119346

Marco Dalla Gassa, Andrea Gelardi, Angela Bianca Saponari, Federico Zecca

{"title":"Introduction: non-theatrical film festivals","authors":"Marco Dalla Gassa, Andrea Gelardi, Angela Bianca Saponari, Federico Zecca","doi":"10.1080/17411548.2022.2119346","DOIUrl":"https://doi.org/10.1080/17411548.2022.2119346","url":null,"abstract":"The idea for this publication stemmed from the Reframing Film Festivals conference that the curators of this special issue organised in Venice in February 2020, which was conceived to foster research engagement with the histories of film festivals and their relationship with film historiography and canons. During this two-day event, among the contributions dedicated to the micro-histories of a variety of festivals based in Central and Eastern Europe, South America and South-East Asia, several artists, curators, archivists and historians from France, Austria, Italy, Chile and Spain presented research focused on non-theatrical cultures and related festivals. This strand of research ranged from historical analysis of international competitions for amateur filmmakers to theorisations of the festivals dedicated to analog video art and time-based art, from the study of the historical developments of national non-fiction festivals to the mapping of ethnographic film festival circuits. Hence, in this special issue dedicated to non-theatrical film festivals, readers will find a combination of voices representing film cultures that have been developing outside of movie theatres and away from the logics of theatrical distribution, as the title implies. The common denominator of these essays is their spatial focus on film festivals, understood as ‘sites of passage’ (de Valck 2007, 36) where it is possible to explore and historicise the particular modes of circulation, exhibition practices and promotion strategies associated with ethnographic, amateur, documentary and experimental cinemas. So, the overall purpose of this collection is to understand how certain sub-circuits of festivals have operated and taken shape in the European context, and how they have informed cultural hierarchies, canons, and histories of cinema. In examining a variety of local, national, and international cases, the essays engage with some of the core ideas related to the study of film festivals, including matters of programming, networks and sub-networks, audiences and award ceremonies, access to and curation of their historical archives, and their historical connections with local communities and specific cultural fields. Tackling these and other research topics, the authors provide reflections on how festivals influence the production and circulation of amateur, experimental, and ethnographic films. Thus, this collection draws a set of viable methodological and conceptual paths to frame and analyse the relationship between festivals and developments in film historiographies, while also interrogating a wide range of topics related to film festival studies and non-theatrical film cultures. Following the 1999 Orphan Film Symposium and through a Film History special issue curated by Streible, Roepke, and Mebold (2007), the category of non-theatrical cinema has been primarily adopted in Anglophone film scholarship to describe and historicise amateur and professional small-gauge films ex","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"187 - 190"},"PeriodicalIF":0.2,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42835130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Festivals and dispositifs of analog counter-culture 节日和处理模拟反文化

IF 0.2

Studies in European Cinema Pub Date : 2022-09-02 DOI: 10.1080/17411548.2022.2115253

Rossella Catanese, C. Centorrino

引用次数: 0

How does film education increase the economic and social impact of European arthouse cinema? the case of the danish initiative Med Skolen i Biografen /School Cinema 电影教育如何增加欧洲艺术电影的经济和社会影响?丹麦的Med Skolen i Biografen /School Cinema项目

IF 0.2

Studies in European Cinema Pub Date : 2022-08-29 DOI: 10.1080/17411548.2022.2115188

Petar Mitric

引用次数: 0