Frames Cinema Journal最新文献_第2页

(Guilty) Viewing Pleasures and Reality TV: Queer Viewers Decoding the Greek Version of The Bachelor (有罪)观看乐趣和真人秀:酷儿观众解读希腊版《单身汉》

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2509

Spyridon Chairetis

{"title":"(Guilty) Viewing Pleasures and Reality TV: Queer Viewers Decoding the Greek Version of The Bachelor","authors":"Spyridon Chairetis","doi":"10.15664/fcj.v20i0.2509","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2509","url":null,"abstract":"Despite their relatively long and successful course in the history of Greek private television, reality shows are generally cast under negative light. Given their engagement with topics pertaining more strictly to the private domain, TV realities have at different times been criticised as vulgar, superficial, and ‘low’ quality products (Deery, 2015; Hill, 2005; Lumby, 2003; Weber, 2014). Inspired by the feminist research tradition’s interest in audience studies and queer critical approaches to affect and minor aesthetic categories (Reid, 2022), this article explores how five queer women make sense of the Greek version of the popular reality show, The Bachelor (ALPHA, 2021-2022). Drawing on Sara Ahmed’s theory of (dis)orientation (2006), the article highlights the female viewers’ sense of empowerment, escapist fantasy, (dis)pleasures and frustrations as they relate with the text. Through disidentification (Muñoz, 1999), namely, these instances during which queer women viewers identify partially, conditionally and contingently—with dominant identities, discourses and ideologies endemic within the reality show, the paper unravels the complex dynamic of media consumption as well as guilty pleasure’s association with criticality and skepticism, tethered to the viewers’ taste, life experiences, and values. \u0000 ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"9 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":"132272674","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

‘Text-Praxis’ and Modes of Production: Harun Farocki’s Collected Writing Between 1964 and 2000 “文本实践”与生产方式:哈伦·法罗基1964年至2000年的文集

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2500

L. Lux

引用次数: 0

“Nomi Malone is what Las Vegas is all about!”: Phallic women in Showgirls “诺米·马龙就是拉斯维加斯的一切!”:《歌舞女郎》中的阳具女性

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2517

Elizabeth Hendy

{"title":"“Nomi Malone is what Las Vegas is all about!”: Phallic women in Showgirls","authors":"Elizabeth Hendy","doi":"10.15664/fcj.v20i0.2517","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2517","url":null,"abstract":"Showgirls (1995) was a high-budget, high-concept Hollywood movie that immediately bombed at the box office. Despised by audiences and critics, Showgirls later found an appreciative audience through late-night cult screenings in cinemas, drag shows, and in academic discourse on trash cinema. Considered lowbrow and sleazy due to its abundance of female nudity, Showgirls is reconsidered in this article. With its hyper-stylised format, considered visual construction, and campy performances, Showgirls, perhaps inadvertently, allows space for a queer female subjectivity through main character Nomi Malone (Elizabeth Berkeley); a complicated woman who embodies an intersection of gendered, sexual and classist oppressions that are archetypal of the fallen woman melodrama of classical Hollywood. \u0000By queering Nomi’s journey through the heteropatriarchy that is the Las Vegas showgirl scene, this article identifies themes of narcissism and doubling that enable Nomi to construct her phallic public performance of female sexuality when she is on the stage, in order to protect a tender, loving, yet naïve inner self that emerges with close interactions with her best (girl) friend Molly (Gina Ravera). Nomi’s sexualised stage-self -reflected and thrown back at her through omnipresent mirrors - reveals the sacrifices she must make to reach for her dreams but also to protect her fragile, yet expansive capacity for loving other women. Showgirls unveils the complex struggle for empowerment that women face in patriarchal societies yet, unsurprisingly, perhaps this narrative journey was instrumental in the film’s box office failure and categorisation into trash cinema.","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":"130121461","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

Emotional Registers of Queer Representation: Gothic Expression in The Rocky Horror Picture Show and Vivienne Medrano’s “Addict” 酷儿表现的情感记录:《洛基恐怖秀》中的哥特表达与薇薇安·梅德拉诺的《瘾君子》

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2512

J. Francis

{"title":"Emotional Registers of Queer Representation: Gothic Expression in The Rocky Horror Picture Show and Vivienne Medrano’s “Addict”","authors":"J. Francis","doi":"10.15664/fcj.v20i0.2512","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2512","url":null,"abstract":"Queer representation in media often relies on a limited perspective built around identity visibility. Who or what is this made to serve? As with the unhappy queer archives Sara Ahmed explores in The Promise of Happiness, queerness is rendered as a surface level struggle for legitimacy in society and relationships, that far too often ends in melancholy or despair. While non-queer audiences indulge in a temporary alignment with a vicarious interpretation of queer experience, the queer audience is presented with an often melancholic or distressing representation of our racist, hetero-patriarchal, neoliberal capitalist present. Working within western canons assembled through the fetishising of liberal rationality, to be outside the scope of the liberal human subject is a wide and deep realm of the undefined and unknown. This is the home of speculative fiction and where the sprouts of popular media were seeded. The gothic, horror, and science fiction grew out of the artistic impulses that clash at the borderlands between the rational and irrational, known and unknown, subject and object, human and queer. \u0000The twisting meeting places of horror and queerness is experienced best within queer treatments of horror. A close reading of the queer emotional affects in the queer media products The Rocky Horror Picture Show’s “Floor Show” sequence and Hazbin Hotel’s music video “Addict,” demonstrates that queer representation is inclusively produced through emotional affects most visible in horror. Furthermore, the gothic and horror pastiche at work within these two particular segments shows Jack Halberstam’s low theory in action.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"32 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":"133168069","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

Review: Efrén Cuevas, Filming History from Below: Microhistorical Documentaries 书评:efracimen Cuevas，《从下面拍摄历史:微观历史纪录片》

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2503

Stuart A. Neave

引用次数: 0

The Spanish Lesbian Collective LSD: A Closer Look to Their Video-Essay Retroalimentación (1998) 西班牙女同性恋集体LSD:近距离观察她们的视频文章Retroalimentación (1998)

Frames Cinema Journal Pub Date : 2022-11-16 DOI: 10.15664/fcj.v20i0.2518

Esther Pérez Nieto

{"title":"The Spanish Lesbian Collective LSD: A Closer Look to Their Video-Essay Retroalimentación (1998)","authors":"Esther Pérez Nieto","doi":"10.15664/fcj.v20i0.2518","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2518","url":null,"abstract":"In 1993, the group LSD (Lesbianas sin duda / Lesbians without a doubt) was created in Madrid. It was a collective of artivists including Itziar Okariz Virginia Villaplana, Fefa Vila, Azucena Vietes, Marisa Maza, and Liliana Couso, among others. They met in the downtown neighbourhood of Lavapiés to publish magazines and fanzines such as Bollozine or Non Grata, dedicated to film, music, photography, and the Spanish queer art scene overall. In addition, they carried out two photographic projects that are already part of the national lesbian imaginary: Es-Cultura lesbiana and Monstruosidades. This collective, which uses artistic channels for activism, takes a model of a community that is no longer a conqueror of rights (liberalism) but rather a destroyer of all aspects of a hierarchical society. \u0000Queer activism is located at the margins of representation, understood as “an abject margin full of monsters, in which race, class and sex are mixed, ready to come to light and destabilize the dominant discourses\" (García, 2016, p. 162). Violence is no longer understood individually but within a social structure. Some of these artists later continued their careers with video actions and performances in public places, exposing their bodies and thus problematising their gender and sexual orientation, as several of them contributed to the visibility of lesbians in Spain at the turn of the century. \u0000This article analyses the photographic and collage work of the Spanish lesbian collective LSD, taking as object of study the video essay Retroalimentación (1998), made by the LSD member Virginia Villaplana.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"11 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":"125635110","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

A preface with promise: revisiting Film Curatorship: Archives, Museums, and the Digital Marketplace 前言与承诺:重新审视电影策展:档案，博物馆，和数字市场

Frames Cinema Journal Pub Date : 2022-03-07 DOI: 10.15664/fcj.v19i0.2401

Anushrut Ramakrishan Agrwaal

引用次数: 0

Review: Jaimie Baron, Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era 书评:杰米·巴伦:《再利用、误用、滥用:数字时代视听挪用的伦理》

Frames Cinema Journal Pub Date : 2022-03-07 DOI: 10.15664/fcj.v19i0.2399

Lucia Szemetová

引用次数: 1

Letter from the Editors 编辑的信

Frames Cinema Journal Pub Date : 2022-03-07 DOI: 10.15664/fcj.v19i0.2402

Lucia Szemetová, J. Browne, Anushrut Ramakrishan Agrwaal