Frames Cinema Journal最新文献

A Functionalist Cinema: “Twilight of Film” by Raoul Hausmann 功能主义电影:拉乌尔·豪斯曼的《电影的黄昏》

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2501

P. Flaig

引用次数: 0

For Posterity’s Sake: Emil Jannings’ Autobiographical (Self-)Denazification 为了子孙后代:埃米尔·詹宁斯的自传式(自我)去纳粹化

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2502

Wesley Kirkpatrick

引用次数: 0

Review: Greg Garrett, A Long, Long Way: Hollywood's Unfinished Journey from Racism to Reconciliation 书评:格雷格·加勒特，《漫漫长路:好莱坞从种族主义到和解的未竟之旅》

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2499

Clement Obropta

引用次数: 0

I’m a Cyborg, But That’s OK: The Boundary Blurring Work of Lynn Hershman Leeson 我是一个半机械人，但没关系:林恩·赫什曼·李森的边界模糊作品

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2515

Anna D. Ward

{"title":"I’m a Cyborg, But That’s OK: The Boundary Blurring Work of Lynn Hershman Leeson","authors":"Anna D. Ward","doi":"10.15664/fcj.v20i0.2515","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2515","url":null,"abstract":"Since the genesis of cyberpunk, narratives told by science fiction authors and scientists alike have been preoccupied with disembodiment. As virtual reality technologies are becoming more accessible, the idea that the human mind will soon be able to separate from the body is no longer so fantastical. Katherine Hayles’ How We Became Posthuman charts the journey of how, in the popular consciousness, the immaterial mind has become privileged over the material body. Hayles and other theorists, like Anne Balsamo, push back against the primacy of the disembodied and urge a return to the body. These texts fail to acknowledge that women and queer individuals benefit from the ability to control how they are represented in digital spaces. \u0000I propose a feature article which suggests that feminists and queer theorists need not focus on a strict materialism, and instead embrace the partiality of existence within marginalized bodies. Focusing on Lynn Hershman Leeson’s work - specifically Teknolust and her performance of Roberta Breitmore - alongside Donna Haraway’s “A Cyborg Manifesto”, I examine how existence in everyday online spaces like VR chatrooms and social media platforms can blur the boundaries (especially mind/body) which construct traditional notions of identity. Using this framework, I ultimately argue that modern feminists and queer theorists should avoid alleigiance to rigid descriptions of gender and sexuality, and instead embrace the ways in which virtual reality and online existence allow for fragmented experiences of identity and embodiment which can be liberating for people in oppressed bodies.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"44 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120899785","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

Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies 奇怪的时间性:意大利早期闹剧喜剧中的无聊和身体智力

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2514

Emma Morton

{"title":"Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies","authors":"Emma Morton","doi":"10.15664/fcj.v20i0.2514","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2514","url":null,"abstract":"The adoption of cross-dressing by male characters in Italian comedy films of the 1910s has previously received little critical attention. Far from being isolated representations of queer behaviour, cross-dressing was more prolific both on-screen (and off) than was previously thought. \u0000Within the early comedy canon lie the male-female cross-dressing films where the narrative is suspended to allow the audience to gaze upon the cross-dressed character. These films offer audiences a trans-perspective as their gaze is directed by the cross-dressed character to the transgendered body. The queerness of these films lies not only is the visibility of the queer characters but also in the productivity of the queerness. The film itself becomes queer as the narrative economy is replaced by a luxuriating of the queer body. \u0000For the spectator a conflict occurs as the cross-dressed character’s visibility, through the materialisation of the body, disrupts the perception of a trans-corpo-reality. Exposure of the cross-dressed character ruptures the heteronormative construction of the cinematic space. In the early Italian comedy films, knowledge of the cross-dressing comic star is the visibility that threatens the transgender character. The queerness of the cross-dressed character in Italian comedy films opens up temporalities and suggests the possibility of different modes of living, and of reading film texts. This paper argues that the popularisation of the cross-dressed male served as a transgressive force that provided an articulation of social tolerance in Italy at a time when gender roles were undergoing renegotiation. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133792023","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

Letter from the Editors 编辑的信

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2508

Philippa Orme, Isaac Pletcher, W. Kirkpatrick

引用次数: 0

Besideness: distance and proximity as queer disorientations to inhabit projective moving image installations 除此之外:距离和接近作为一种古怪的迷失，栖息在投影运动影像装置中

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2511

D. Barauna

{"title":"Besideness: distance and proximity as queer disorientations to inhabit projective moving image installations","authors":"D. Barauna","doi":"10.15664/fcj.v20i0.2511","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2511","url":null,"abstract":"This article explores the experience of disorientation within projective moving image installations through a case study of the artwork Swinguerra (2019) by Barbara Wagner and Benjamin de Burca. The encounter with the case study evoked an experience of disorientation due to the confusing process of deciding which way to look, which room to enter, which side to walk towards in the art gallery. Engaging with music video aesthetics, this case study portrays Brazilian queer dance groups that work with popular music from the northeast of Brazil. Rather than representing these bodies, Wagner and de Burca speak nearby to them through a besideness attitude, allowing the dancers to speak for themselves in the film. Besideness comprehends an attitude that destabilises normative positionalities to challenge binarisms and hierarchies that can privilege the experience of some bodies to the detriment of others. \u0000I employ a queer phenomenological and autoethnographic methodology to explore the fleeting disorientated moments that emerged in the live encounter with this artwork. This is to account for an analysis that considers self-narration and autobiographical notes of a queer researcher as queer methods appropriate to approaching disorientation as a queer affective experience. I argue that my physical and affective positionality in relation to the two projective moving images located in the art gallery affected the other bodies I shared the space with, leading to the necessity of also employing a besideness attitude and demonstrating how distance and proximity from objects can only be understood if in relation to each other.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128861128","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

Butch Orientations: Locating Queerness in Daryl Dixon from The Walking Dead 布奇方向:在《行尸走肉》里的Daryl Dixon身上找到同性恋

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2519

Sam Tabet

{"title":"Butch Orientations: Locating Queerness in Daryl Dixon from The Walking Dead","authors":"Sam Tabet","doi":"10.15664/fcj.v20i0.2519","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2519","url":null,"abstract":"American post-apocalyptic horror series The Walking Dead (2010-2022) has been accused of both killing off out queer characters and explicitly explores a world that recreates fascist masculinity (Gencarella, 2016) and heteropatriarchal gender roles (Sugg, 2015). However, the fan favorite Daryl Dixon (Norman Reedus) presents an opportunity for queer spatiality which disrupts the dichotomy of queer/heterosexual. Dixon follows a queer narrative trajectory, largely outside of heterosexual relationships and estranged from his family of origin. The show’s treatment of the character reflects queer masculinities which develop outside of heteropatriarchy, based in a queer process of becoming, frequently seen among AFAB butch lesbians, non-binary, and transmasculine folx. Through his proximity to out queer characters on screen and role as the protector of the group, Daryl is spatially oriented (Bradbury-Rance, 2019;Ahmed, 2006) both within the group and his own body in varying degrees of distancing. \u0000Dixon’s role outside of a dominant gendered framework as well as his tendency to distrust models of collectivist structures which replicate American capitalist society give primacy to a queer anti-establishment positionality. The privacy to which Dixon’s sex life has been shielded from view highlights the ways queer readings have influenced the show and present Dixon with queerer affect. For example, the fandom around Dixon representing an asexual or gay character caused the writers to avoid showing Daryl kiss character Leah on screen in season 10 (Stone, 2021), instead foregrounding looks and close up shots by a fireplace which are typically reserved for reading lesbian desire on screen (Bradbury-Rance, 2019). ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115985994","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 Queer Monster: Putting Séance and Bit in Conversation 奇怪的怪物:把ssamance和Bit放在对话中

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2520

Cameron Mumford

引用次数: 0

“I’m gonna study everything!”: Bisexual Orientations in Dana Terrace’s The Owl House “我要学习所有的东西!”: Dana Terrace的《猫头鹰之家》中的双性恋取向

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2516

Lindsey Pelucacci

{"title":"“I’m gonna study everything!”: Bisexual Orientations in Dana Terrace’s The Owl House","authors":"Lindsey Pelucacci","doi":"10.15664/fcj.v20i0.2516","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2516","url":null,"abstract":"Near the end of the episode “The First Day” of Dana Terrace’s The Owl House, the series’s protagonist, Luz, receives permission to study every subject. Having overthrown her magic school’s traditional one-track system, Luz confesses, “Maybe it’s crazy but I wish I could study a little bit of everything.” At this wish, Luz finds herself suspended in space; magic adorns her in motley-colored garments, indicative of her intended multitrack pursuits, against an abstract backdrop of blue, purple, and pink: unmistakably, at least for this bisexual viewer, the color of the bisexual flag. Even before Terrace confirmed the character’s bisexuality, I suspect many bisexual viewers already knew. \u0000My knowledge was excitement; I felt an intense energy that responded simultaneously to what I witnessed on screen and within myself. Later I thought of coenesthesia, “the potential and perception of one’s whole sensorial being” (Carnal Thoughts 67), and how this scene’s coenesthesia collides with Luz’s realizing herself in terms of her multifaceted potential. Given that “we extend space differently based on how we are orientated in the world” (“Questions” 207), I seek to explore how this scene posits bisexuality as multi-directional and interdisciplinary. Furthermore, I seek to examine how, from my perspective as a twenty-some-year-old bisexual viewer who wishes she had this show years ago, this scene also speaks to bisexual temporal orientations. How can we read this scene, and ourselves, in relation to the history of bisexuality, traditionally located “in the past or future, but never in the present tense” (Angelides 194)?","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127405276","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