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An Uncertain Future: The 74th Berlin Film Festival 不确定的未来第 74 届柏林电影节
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5698
Gerd Gemünden
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引用次数: 0
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta 法国当代真人秀节目中的新帝国岛屿幻想：Koh-Lanta 案例
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5695
Marie Bellec
{"title":"Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta","authors":"Marie Bellec","doi":"10.3998/fc.5695","DOIUrl":"https://doi.org/10.3998/fc.5695","url":null,"abstract":"This article examines the literary elements of the French reality TV show Koh-Lanta. Drawing on the theory of reality TV, it demonstrates that this literary dimension facilitates the incorporation of neo-imperial elements. Koh-Lanta inscribes itself in the diversity of the intertext of the island fantasy, keeping the myth of Robinson up to date.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140742768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Transforming Cultural Memory: Inglorius Basterds (2009) 改变文化记忆：英格罗勒斯-巴斯特斯》（2009 年）
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5696
Baran Tekay
{"title":"Transforming Cultural Memory: Inglorius Basterds (2009)","authors":"Baran Tekay","doi":"10.3998/fc.5696","DOIUrl":"https://doi.org/10.3998/fc.5696","url":null,"abstract":"Inglourious Basterds (2009) stands out as an example to the unusual storytelling techniques which have been used by Quentin Tarantino in recent years. It can be classified as Historiographic Metafiction with a postmodern perspective. The film's narrative bends the historical narratives and social traumas ingrained in cultural memories. This study has shown that Tarantino's films are not just a pastiche where the director collaged the concepts, events, and motifs selected from the cinematic history. Instead, Tarantino's films challenge audience's cultural memory, knowledge of history, and ways of seeing them. I think they are metafictions that first reveal the conventional methods of remembering before developing an alternative to these kinds of narratives. In this metafiction, memory is more than just a burden of the past, but rather a tool used to reshape the present.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust "变成魔鬼浮士德》中的特效、魔术和技术形象
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5693
Amanda Shubert
{"title":"“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust","authors":"Amanda Shubert","doi":"10.3998/fc.5693","DOIUrl":"https://doi.org/10.3998/fc.5693","url":null,"abstract":"This essay argues that F.W. Murnau’s Faust (1926) advances a philosophy of film as a medium for “technological images”—images that are technologically constructed special effects such as double exposure and substitution splice. By portraying Mephistopheles as a conjurer, the film explores cinema’s place in the history of visual and technological magic.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia 沃里克-桑顿的情感风景：澳大利亚土著电影与文化自治
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5692
Wyatt Moss-Wellington
{"title":"Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia","authors":"Wyatt Moss-Wellington","doi":"10.3998/fc.5692","DOIUrl":"https://doi.org/10.3998/fc.5692","url":null,"abstract":"This article explores director Warwick Thornton’s activistic use of filmic emotions in the features Samson and Delilah (2009) and Sweet Country (2017). Thornton’s films portray coloniser-colonised relations at two moments in Australian history, and that affective history-telling is motivated toward a more deliberative case for a future of self-determined cultural autonomy. I analyse emotive resources that cross between both films, including periods of silence and landscape aesthetics that depict subjective experience of country. I also address the place of empathy in Thornton’s character studies as foundational to later political reasoning. Thornton’s films call attention to the positionality of different audience members, challenging the spectator to interrogate foundational emotional responses, conflicts between their emotional responses, and subsequent prompts to think through the politics of those experiences. These provocations are united into an explicitly argumentative appeal for Indigenous cultural autonomy.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140745845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980) 快速僵尸与社会权利：翁贝托-伦齐的《梦魇之城》（1980 年）案例
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5694
Alberto Iozzia
{"title":"Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)","authors":"Alberto Iozzia","doi":"10.3998/fc.5694","DOIUrl":"https://doi.org/10.3998/fc.5694","url":null,"abstract":"In the tense atmosphere that preceded the May 1981 Italian referendums on abortion, Umberto Lenzi’s Nightmare City is released. Included in several ‘Best Zombie Movies’ lists, Nightmare City is important for at least two reasons; first, because it inaugurates a significant and eventually successful variation on the zombie image: the fast zombie; second, as a commentary on the most salient social debate of the late 1970s and early 1980s – the one on the self-determination of Italian women. The aesthetic and the metaphorical levels of Lenzi’s film are strictly connected and the infected people running around drinking the blood of others are the embodiment of a reactionary response to the ongoing social transformation. Nightmare City joins the Italian political dispute of the late 1970s by openly opposing the women’s freedom of choice and by channeling and amplifying the most conservative side of that quasi-eschatological battle.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140741515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975) 有罪的旁观者：性、年龄、犯罪与达里奥-阿金托的《深红》（1975 年）
4区 艺术学
FILM CRITICISM Pub Date : 2024-04-04 DOI: 10.3998/fc.5697
Jim Carter
{"title":"The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)","authors":"Jim Carter","doi":"10.3998/fc.5697","DOIUrl":"https://doi.org/10.3998/fc.5697","url":null,"abstract":"This article performs a close reading of Dario Argento’s Deep Red (1975) together with a speculative reading of how the film seems to address its spectator and what that spectator might think about the film. It argues that Argento’s murder mystery invests in the contemporary association between homosexuality and crime to concentrate suspicion in the character of Carlo, who is innocent. The film also exploits the disassociation of old age from crime to divert attention from the character of Martha, who is guilty. The double revelation of Carlo’s innocence and Martha’s guilt effects a sudden foregrounding of the spectator’s own flawed process. Deep Red does not simply unmask the murderer—it unmasks the spectator.1","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140742826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
A United Korea (Or, the Great Divide): Crash Landing on You 统一的韩国（或者，巨大的鸿沟）：坠落在你身上
4区 艺术学
FILM CRITICISM Pub Date : 2023-11-28 DOI: 10.3998/fc.5175
Doyle Greene
{"title":"A United Korea (Or, the Great Divide): Crash Landing on You","authors":"Doyle Greene","doi":"10.3998/fc.5175","DOIUrl":"https://doi.org/10.3998/fc.5175","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139223308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry 不断发展的流媒体产业中的怀旧、纪念和危机
4区 艺术学
FILM CRITICISM Pub Date : 2023-11-28 DOI: 10.3998/fc.5174
Sheri Chinen Biesen
{"title":"Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry","authors":"Sheri Chinen Biesen","doi":"10.3998/fc.5174","DOIUrl":"https://doi.org/10.3998/fc.5174","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139218424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies 在这些固体中运动的飞行精神:玛丽·门肯的家庭电影
4区 艺术学
FILM CRITICISM Pub Date : 2023-10-31 DOI: 10.3998/fc.4731
Adam Charles Hart
{"title":"The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies","authors":"Adam Charles Hart","doi":"10.3998/fc.4731","DOIUrl":"https://doi.org/10.3998/fc.4731","url":null,"abstract":"Marie Menken (1909-1970) was one of the most influential and beloved filmmakers of the American avant-garde, a liberatory inspiration for several subsequent generations of artists. Her films were characterized by wildly kinetic handheld camerawork, which have largely been understood through the lens of those she inspired. This essay analyzes Menken’s films in terms more specific to her, focusing on her broadly inclusive, often structuring celebration of motion in all its forms.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135814099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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