Studies in European Cinema最新文献_第9页

Musical marionettes: sound and music in Lars von Trier’s Europe trilogy 音乐牵线木偶:拉斯·冯·提尔欧洲三部曲中的声音和音乐

IF 0.2

Studies in European Cinema Pub Date : 2021-09-24 DOI: 10.1080/17411548.2021.1978769

Birger Langkjær

{"title":"Musical marionettes: sound and music in Lars von Trier’s Europe trilogy","authors":"Birger Langkjær","doi":"10.1080/17411548.2021.1978769","DOIUrl":"https://doi.org/10.1080/17411548.2021.1978769","url":null,"abstract":"ABSTRACT Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner’s overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters’ psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"82 - 96"},"PeriodicalIF":0.2,"publicationDate":"2021-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46020249","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

Introductory essay: silent film historiography, digital technology and the archive 引言：无声电影史学、数字技术与档案

IF 0.2

Studies in European Cinema Pub Date : 2021-09-02 DOI: 10.1080/17411548.2021.1957624

Agata Frymus, Luca Antoniazzi, Laurence Carr

{"title":"Introductory essay: silent film historiography, digital technology and the archive","authors":"Agata Frymus, Luca Antoniazzi, Laurence Carr","doi":"10.1080/17411548.2021.1957624","DOIUrl":"https://doi.org/10.1080/17411548.2021.1957624","url":null,"abstract":"This collection is the result of a 2018 conference that was held at the University of Leeds and funded by White Rose College of the Arts & Humanities (WRoCAH). As organizers, we were brought together by our broad interest in silent film and film heritage, more generally. Yet, it was clear to us that our respective work drew on vastly different approaches to the subjects. While Luca Antoniazzi (2018, 2020) deals with policy issues of digital preservation and curatorship, Agata Frymus’s (2020, 2021) primary research focus is on silent film audiences and stardom. Laurence Carr was, at the time, completing a PhD thesis on the visual representations of sound in Weimar cinema. Intrigued by the differences in our ways of thinking, and our subsequent methods, we became interested in the idea of crosspollination – and the potential overlaps – between these distinctive approaches and lines of enquiry. Therefore, we envisioned an event that would provide a space for dialogue between archivists and media scholars, who often work in isolation. Broadly speaking, the conference aimed to bridge the gap between various types of expertise that essentially exist on the same subject, across various sub-fields and institutions. The conference also aimed to explore how different disciplines viewed key debates on digital technology, curatorship, access and the visibility of silent cinema and archival collections in the public sphere.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"189 - 194"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44617306","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 audience as creative contributor: examining the effects of implied sound and music in two versions of Nosferatu: A Symphony of Horror (1922) 作为创造性贡献者的观众:考察两个版本的《诺斯费拉图:恐怖交响曲》中隐含的声音和音乐的效果

IF 0.2

Studies in European Cinema Pub Date : 2021-09-02 DOI: 10.1080/17411548.2021.1928824

Laurence Carr

{"title":"The audience as creative contributor: examining the effects of implied sound and music in two versions of Nosferatu: A Symphony of Horror (1922)","authors":"Laurence Carr","doi":"10.1080/17411548.2021.1928824","DOIUrl":"https://doi.org/10.1080/17411548.2021.1928824","url":null,"abstract":"ABSTRACT Since the release of Giorgio Moroder’s restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent films. Some scholars credit new musical scores with introducing younger generations to silent cinema. However, other critics argue that new scores make silent films less authentic. F.W. Murnau’s Nosferatu: A Symphony of Horror was initially released with an orchestral score by Hans Erdmann. This original score is still regularly used to accompany Murnau’s film when it is screened today and is contained on the Eureka Video home media releases of Nosferatu that feature the 2013 F.W. Murnau Stiftung restoration of the film. In 1997, composer James Bernard created a new score to accompany Photoplay Productions’ remaster of Enno Patalas’ 1995 Nosferatu restoration, which has since been paired with the BFI DVD and Blu-Ray releases of Nosferatu. This article examines the effects that Erdmann’s and Bernard’s musical accompaniments have on implied sound in Murnau’s film in the two aforementioned editions of Nosferatu. In particular, I focus on how audible and inaudible sound can affect the audience’s reception of, and creative engagement with, Nosferatu.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"222 - 234"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1928824","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47523221","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

Neither sublimes nor catastrophes: digital affordances in silent film heritage and suggestions from home movies collections 既不是崇高，也不是灾难:无声电影遗产中的数字启示和家庭电影收藏的建议

IF 0.2

Studies in European Cinema Pub Date : 2021-09-02 DOI: 10.1080/17411548.2021.1921930

Luca Antoniazzi, S. Popple, Ruxandra Lupu

{"title":"Neither sublimes nor catastrophes: digital affordances in silent film heritage and suggestions from home movies collections","authors":"Luca Antoniazzi, S. Popple, Ruxandra Lupu","doi":"10.1080/17411548.2021.1921930","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921930","url":null,"abstract":"ABSTRACT The digital optimism of the past decade has been reflected in many policy documents related to cultural heritage in which digital technology is portrayed as a great opportunity to bring cultural heritage to a much wider audience. This potential has been contested as widening access has proved much more complex than some at first thought. Despite that, in this paper we argue that curators of national silent film collections can realistically get inspired by grassroots participatory projects. We consider two digital projects: silent feature films in the British context; and silent home movies in Italy. The first study considers the BFI Player as part of the broader BFI digital strategy. We examine the development of institutional practices to digitally publish silent films, the role of the archive and curators, and the new public experiences of silent cinema. The second study is a grassroots project that looks at the role of digitisation in the re-use of digitised footage from Sicilian home movie collections. The study explores digital forms of organisation and access to this material and how they encourage creative reuse. We extrapolate some best practices that curators and policy makers might find useful and could follow nationally and locally.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"195 - 211"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43209238","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 Uncanny Heimat: longing for home in Barbara (Petzold, 2012) Uncanny Heimat:渴望在芭芭拉的家（Petzold，2012）

IF 0.2

Studies in European Cinema Pub Date : 2021-08-06 DOI: 10.1080/17411548.2021.1939593

Katharina Bonzel

引用次数: 0

A digital toolkit to detect cinema audiences of the silent era: scalable perspectives on film exhibition and consumption in Amsterdam neighbourhoods (1907-1928) 无声时代电影观众的数字工具包:阿姆斯特丹社区电影展览和消费的可扩展视角(1907-1928)

IF 0.2

Studies in European Cinema Pub Date : 2021-07-11 DOI: 10.1080/17411548.2021.1930974

V. Baptist, J. Noordegraaf, Thunnis van Oort

{"title":"A digital toolkit to detect cinema audiences of the silent era: scalable perspectives on film exhibition and consumption in Amsterdam neighbourhoods (1907-1928)","authors":"V. Baptist, J. Noordegraaf, Thunnis van Oort","doi":"10.1080/17411548.2021.1930974","DOIUrl":"https://doi.org/10.1080/17411548.2021.1930974","url":null,"abstract":"ABSTRACT In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic and demographic profile of their surroundings, and film programming. Driven by the centrality of space as one of the defining traits of new cinema history, we operationalise this inquiry through a data-driven toolkit of interconnected scalable approaches, in order to establish a multilayered contextualisation of Amsterdam’s early cinema landscape. We analyse Amsterdam’s historical cinema market both on the meso level of the city’s overall surroundings and on the micro level of two neighbouring film venues within a specific urban district. By switching between different levels of scale to analyse the cinemas’ programming profiles, we highlight the venues’ positioning within the socio-spatial structure of the city and their neighbourhood community in particular. In the future, the multifaceted analytical exploration enabled by our digital toolkit can be further enhanced by an increased availability of more fine-grained archival and contextual data.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"252 - 273"},"PeriodicalIF":0.2,"publicationDate":"2021-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1930974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439153","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: 2

Confirmations that were not meant to be: religion, violence and the female body in Un poison violent (2010), Corpo celeste (2011) and Kreuzweg (2014) 不应该被证实的:宗教、暴力和女性身体——《毒药暴力》(2010)、《天神之躯》(2011)和《Kreuzweg》(2014)

IF 0.2

Studies in European Cinema Pub Date : 2021-05-19 DOI: 10.1080/17411548.2021.1921931

S. Angeli, Chiara Quaranta

{"title":"Confirmations that were not meant to be: religion, violence and the female body in Un poison violent (2010), Corpo celeste (2011) and Kreuzweg (2014)","authors":"S. Angeli, Chiara Quaranta","doi":"10.1080/17411548.2021.1921931","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921931","url":null,"abstract":"ABSTRACT This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quilléveré), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Brüggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"20 - 35"},"PeriodicalIF":0.2,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921931","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44716881","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: 1

The rule of the weird: power relations in the films of Yorgos Lanthimos 怪异的法则:欧格斯·兰斯莫斯电影中的权力关系

IF 0.2

Studies in European Cinema Pub Date : 2021-05-04 DOI: 10.1080/17411548.2021.1921932

Tugce Kutlu

{"title":"The rule of the weird: power relations in the films of Yorgos Lanthimos","authors":"Tugce Kutlu","doi":"10.1080/17411548.2021.1921932","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921932","url":null,"abstract":"ABSTRACT This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"36 - 46"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921932","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48465048","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

Building back better for the ‘new normal’? 为“新常态”更好地重建?

IF 0.2

Studies in European Cinema Pub Date : 2021-05-04 DOI: 10.1080/17411548.2021.1929364

Owen M. Evans, G. Harper

引用次数: 0

Migration cinema and Europe’s ‘unguarded door’ 移民影院与欧洲的“无人看守之门”

IF 0.2

Studies in European Cinema Pub Date : 2021-05-04 DOI: 10.1080/17411548.2019.1686891

Marie Orton

{"title":"Migration cinema and Europe’s ‘unguarded door’","authors":"Marie Orton","doi":"10.1080/17411548.2019.1686891","DOIUrl":"https://doi.org/10.1080/17411548.2019.1686891","url":null,"abstract":"ABSTRACT Italy’s status as Europe’s ‘unguarded door’ in terms of arriving migrants and refugees has both altered and intensified long-standing divisions – within Italy, as well as between Italy and the rest of Europe. This paper examines the cultural reverberations of the migration crisis in two films: Con il sole negli occhi (Sun in His Eyes, 2015), and Cose dell’altro mondo (Things from Another World, 2011). In different ways, both these films reveal Italy’s anxieties about cultural re-negotiation as it responds to the migration phenomenon, and to its own inferiority complex as Europe’s internal Other. At the same time, these films highlight how the influx of refugees and migrants into Europe has forced the European Union to examine its foundational aspirations of ‘unity in diversity’ and universal equality, because migration inherently poses the problem of inside v. outside. Reading these films against the ideals of inclusion and egalitarianism suggests that the Enlightenment idea of ‘united in diversity’ that informs the European cultural project is only ethical and egalitarian if it is universal, extending from Europeans to non-Europeans as well, and that it can succeed only if it is supported economically as well as rhetorically.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"176 - 187"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2019.1686891","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47012595","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