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Not Done Being Over: Death and the Trouble with Understatement 《未完即终:死亡与轻描淡写的麻烦
4区 艺术学
FILM CRITICISM Pub Date : 2023-10-31 DOI: 10.3998/fc.4735
Eugenie Brinkema
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引用次数: 0
How to De-Program a Festival? The 73rd Berlinale 如何去程序化一个节日?第73届柏林电影节
4区 艺术学
FILM CRITICISM Pub Date : 2023-03-27 DOI: 10.3998/fc.4068
G. Gemünden
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引用次数: 0
Forget the Red Pill: Queer Politics but also Transhumanist Ideology in The Matrix 忘记红色药丸：《黑客帝国》中的酷儿政治与跨人文主义意识形态
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3608
N. Niessen
{"title":"Forget the Red Pill: Queer Politics but also Transhumanist Ideology in The Matrix","authors":"N. Niessen","doi":"10.3998/fc.3608","DOIUrl":"https://doi.org/10.3998/fc.3608","url":null,"abstract":"Following the Matrix trilogy (1999, 2003, 2003) the franchise’s iconic red pill trope became an anti-feminist meme in neo-fascist circles. This essay analyzes how Matrix Resurrections (2021) reclaims the red pill in an explicitly feminist and queer narrative. But the fourth Matrix film also is an ideological fantasy: Resurrections resonates just too much with a transhumanist belief in a human-machine synergy that also fuels Silicon Valley’s new American Dream. Propelled by this transhuman delusion, The Matrix ultimately has little to say about life in the era of climate catastrophe and control capitalism.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42476028","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
Anne Jerslev, David Lynch: Blurred Boundaries 安妮·杰斯列夫，大卫·林奇:模糊的界限
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3612
Martha P. Nochimson
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引用次数: 0
“From The Kallikaks to The Kallikaks: Hillbilly Elegy and the Legacy of Eugenics” “从卡利克人到卡利克人：乡巴佬挽歌和优生学的遗产”
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3610
R. Robinson
{"title":"“From The Kallikaks to The Kallikaks: Hillbilly Elegy and the Legacy of Eugenics”","authors":"R. Robinson","doi":"10.3998/fc.3610","DOIUrl":"https://doi.org/10.3998/fc.3610","url":null,"abstract":"Ron Howard’s popular adaptation of JD Vance’s Hillbilly Elegy treated the New York Times bestselling book as an answer to the politics of Appalachia, offering insight into understanding Trump’s popularity. Yet with Trump’s recent endorsement of Vance for a Senate run, this reading of Vance’s text requires an update. One that looks to the larger context of hillbilly-themed representations. American eugenics offers such a view. For over 100 years the American eugenics movement used the hillbilly stereotype to justify its surveillance, categorization, institutionalization, and sterilization of what they called “defectives” in promoting its image of “whiteness.” Popular media was an integral part of these efforts. The foundational narrative of the American eugenics movement, Goddard’s 1912 text The Kallikaks is also the name of a hillbilly-themed sitcom produced in 1977. Utilizing Lisa Cartwright’s Screening the Body, Tracing Medicine’s Visual Culture, this article argues that the narrative of the hillbilly stereotype in American eugenics has been an integral part of cinema and television history, extending back to the motion studies. A history that finds its extension in Howard’s adaptation of JD Vance’s book, Hillbilly Elegy.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557684","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
Suzanne Ferriss, The Cinema of Sofia Coppola: Fashion, Culture, Celebrity 苏珊娜·费里斯，索菲亚·科波拉的电影：时尚、文化、名人
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3613
C. Pontone
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引用次数: 1
John G. Hanhardt, The Films of Andy Warhol Catalogue Raisonné, Volume 2: 1963–1965 约翰·g·汉哈特，《安迪·沃霍尔电影目录》，第二卷:1963-1965年
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3614
C. Verevis
{"title":"John G. Hanhardt, The Films of Andy Warhol Catalogue Raisonné, Volume 2: 1963–1965","authors":"C. Verevis","doi":"10.3998/fc.3614","DOIUrl":"https://doi.org/10.3998/fc.3614","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47372767","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
Caetlin Benson-Allott, The Stuff of Spectatorship: Material Cultures of Film and Television 凯特琳·本森-阿洛特:《观众的材料:电影和电视的物质文化》
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3615
M. S. Johnson
{"title":"Caetlin Benson-Allott, The Stuff of Spectatorship: Material Cultures of Film and Television","authors":"M. S. Johnson","doi":"10.3998/fc.3615","DOIUrl":"https://doi.org/10.3998/fc.3615","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43783977","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
“It’s All in the Reflexes”: John Carpenter’s Big Trouble in Little China as a Hawksian Comedy “一切都在反思中”：约翰·卡彭特的霍克斯式喜剧《小中国的大麻烦》
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3609
Nikolas Matovinovic
{"title":"“It’s All in the Reflexes”: John Carpenter’s Big Trouble in Little China as a Hawksian Comedy","authors":"Nikolas Matovinovic","doi":"10.3998/fc.3609","DOIUrl":"https://doi.org/10.3998/fc.3609","url":null,"abstract":"This article argues that the cult success of Big Trouble in Little China is a product of the successful synthesis of Carpenter’s fantastic sensibility and the filmmaking philosophies of Howard Hawks. Operating not only as a parody of Hawks’s western films and Hong Kong martial arts cinema, BTiLC uses the pre-existing structure present in Hawk’s comedies to produce a film that is able to convincingly portray Jack Burton (Kurt Russell) as both the hero of the film and the incompetent comic relief; thus positioning its Asian American characters as its functional heroes, without this inversion ever seeming condescending or mean-spirited. This framing of the film consequently highlights the differences between BTiLC’s use of genre and Reagan era masculine heroism and the more reactionary elements of their contemporaries.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49311175","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
“Let’s Go Home!:” Representing Space and Time through Travel and Photographs in “Zainichi” Cinema “回家吧！”在“再尼基”电影院通过旅行和摄影再现时空
4区 艺术学
FILM CRITICISM Pub Date : 2022-12-14 DOI: 10.3998/fc.3611
Jonathan Chan
{"title":"“Let’s Go Home!:” Representing Space and Time through Travel and Photographs in “Zainichi” Cinema","authors":"Jonathan Chan","doi":"10.3998/fc.3611","DOIUrl":"https://doi.org/10.3998/fc.3611","url":null,"abstract":"This essay aims to address depictions of an originary 'return' for 'Zainichi' subjects in Isao Yukisada's Go (2001), Yang Yong-hi's Dear Pyongyang, and Eric Khoo's Ramen Teh (2018) through their representations of travel and photographs. As motifs across all three films, these function as ciphers of space and time, integral to the Abstract: conceptualization of feeling rooted as opposed to the sensation of the \"unhomely'. Scenes of travel present both its possibilities and impossibilities, how movement may not be enough to enable a departure from Japan, but also how a departure from Japan may not resolve knotty questions of identification. Photographs, similarly, may aid in presenting an idealization or reminder of the past depending on who is being presented and where.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47939265","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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