JOURNAL OF FILM AND VIDEO最新文献

{"title":"Four Women in the Harem (1965) by Halit Refiğ: The Construction of \"National Cinema\" in Turkey","authors":"E. Dinç, Murat Akser","doi":"10.5406/jfilmvideo.71.4.0051","DOIUrl":"https://doi.org/10.5406/jfilmvideo.71.4.0051","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"51 - 64"},"PeriodicalIF":0.1,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41364093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“It’s Like Waking”: Making Meaning in and of Christopher Nolan’s Memento","authors":"P. Novak","doi":"10.1007/978-3-030-44739-7_8","DOIUrl":"https://doi.org/10.1007/978-3-030-44739-7_8","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"7 3","pages":"29-50"},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50965541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Back Matter","authors":"","doi":"10.5406/jfilmvideo.71.1.bm","DOIUrl":"https://doi.org/10.5406/jfilmvideo.71.1.bm","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"UFVA Policy Statement: Evaluation of Creative Activities for Tenure and/or Promotion","authors":"","doi":"10.5406/jfilmvideo.71.2.0047","DOIUrl":"https://doi.org/10.5406/jfilmvideo.71.2.0047","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: What Is Queer Production Studies/Why Is Queer Production Studies?","authors":"Alfred L. Martin","doi":"10.5406/JFILMVIDEO.70.3-4.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0003","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"3 - 7"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43587154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Three Dollar Cinema: The Down and Dirty DIY of Queer Production","authors":"Curran Nault","doi":"10.5406/JFILMVIDEO.70.3-4.0063","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0063","url":null,"abstract":"©2018 by the board of trustees of the university of illinois i met them below the bridge shortly after 9:00 a.m., bearing coffee and breakfast tacos: a motley assembly of misfit mediamakers, arty queers, and nonconformist nerds like me, all scattered among the trash­cluttered banks of Waller Creek in downtown Austin, Texas. This was not the first time I had visited the set of a CHRISTEENE music video, but it was my first day “on the job” as a cursory member of the “Workin’ on Grandma” crew. After I delivered the breakfast buffet, director PJ Raval and per­ former Paul Soileau (aka CHRISTEENE) brain­ stormed shooting concepts and delegated the day’s duties. My first assignment was to keep cinematographer Mike Simpson from tumbling into the creek—putrid as it was from the human waste that had accumulated there from Aus­ tin’s barhopping hipster gentry and the city’s attendant growing homeless population. I was a graduate student at the University of Texas who had been studying queer media subcul­ tures from behind the distanced safety of my books, and this sordid scenario marked my in­ troduction to flesh­and­blood queer production practice: standing protectively beside Simpson as he balanced precariously on a set of slippery stones at the edge of the foul creek, attempt­ ing to obtain the perfect angle on CHRISTEENE as she emerged from underneath the bridge, refreshed from a morning bowel movement. Months later, my production education would continue on the set of CHRISTEENE’s “African Mayonnaise,” an endeavor, as recounted later in this article, that would find me and the crew on the run from a well­orchestrated pack of Scientologists, a set of persistent mall cops on Segways, and finally, the encroaching police just outside the Barton Springs Mall.2 These shambolic scenes of queer creation, which initiated my border crossing from queer scholar to queer producer, are a colorful cry from the ubiquitous visions of slick studio shoots, professional production offices, and formal writers’ rooms that are proffered within many contemporary academic accounts of the American3 media industries. Yet it is precisely within such spaces of material scarcity and low­ brow scruff—through rather rudimentary and resourceful means—that most queer media has been made, both in the past and in the pres­ ent: the history of queer production is by and large a history of do­it­yourself (DIY) practice, a fact born out of both necessity and design. Despite the reality of DIY’s predominance within the queer cultural realm, however, recent work in queer production studies, particularly curran nault is a lecturer at the University of Texas at Austin and the author of Queercore: Queer Punk Media Subculture (Routledge, 2018). He is also the founder and artistic director of the Austin­ based queer transmedia nonprofit OUTsider. Three Dollar Cinema: The Down and Dirty DIY of Queer Production","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"63 - 84"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47108984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Shelf of One's Own: A Queer Production Studies Approach to LGBT Film Distribution and Categorization","authors":"Bryan Wuest","doi":"10.5406/JFILMVIDEO.70.3-4.0024","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0024","url":null,"abstract":"©2018 by the board of trustees of the university of illinois much was made of the “de-gaying,” as it was commonly called, of A Single Man (2009) by its distributor the Weinstein Company. Colin Firth called the original trailers and one­sheets, which featured him and Julianne Moore in bed together, “deceptive. . . . There’s nothing to sanitize. It’s a beautiful love story between two men and I see no point in hiding that” (Voss, “Colin Firth”). Moore reported that director Tom Ford was “furious” and rejected this poster, which Moore called “ridiculous” because it made the film resemble a heterosexual romcom (Voss, “Julianne Moore”; “Julianne Moore,” BlackBook). When a Vulture writer asked Harvey Weinstein a follow­up question about whether “the poster seemed to play down the gay part,” Weinstein quickly ended the conversa­ tion, saying, “I’m good. You got enough. Thank you” (qtd. in Vilensky). Stuart Richards also has noted the differences between Tom Ford’s trailer (cut for the Toronto International Film Festival) and the Weinstein Company’s trailer. The former includes a kiss between Firth and Matthew Goode, a meaningful gaze between Firth and Nicholas Hoult, and “ultimately an equal pairing of Firth interacting with male characters as he does with female, particularly Julianne Moore” (Richards 19). The latter trailer removes Goode’s and Hoult’s names and the kiss and includes “a conspicuously unsubtle attempt at pushing both Firth and Moore for Academy Awards.” Richards describes this as a common strategy by Indiewood distribution to “downplay . . . queer content to favor the ‘qual­ ity’ characteristics of the films” (19). A similar case occurred the following year with another film featuring LGBT content, The Kids Are All Right (2010). According to Alice Royer, previously an Outfest staffer and at the time a film screener for the festival, the film did not play at the festival “because it had already been picked up for distribution and [Focus Fea­ tures] did not want it to be ghettoized as a gay film. And so they wouldn’t let it play at Outfest” (qtd. in “The Mediascape Roundtable”). Focus Features apparently disallowed the film’s as­ sociation with one of the country’s most visible LGBT film festivals for fear that The Kids Are All Right would become imbued with too much “gayness” and would be irrevocably marked in a way that, presumably, the company expected would limit the film’s reach and success. Harry Benshoff and Sean Griffin have identified this same strategy as happening decades earlier, when the Los Angeles Lesbian and Gay Film Festival (now Outfest) was unable to book Prick Up Your Ears, Waiting for the Moon, and Maurice in 1987 because the film producers did not want these titles to premiere at an LGBT film bryan wuest received his PhD in cinema and media studies at the University of California, Los Angeles. His work has appeared in Film History and the edited collection Queer Youth and Media Cultures (2014). He is currently develo","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"24 - 43"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43622096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld","authors":"Eve Ng","doi":"10.5406/JFILMVIDEO.70.3-4.0008","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0008","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"23 - 8"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48152504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"We Shouldn't Have to Trend to Make You Listen\": Queer Fan Hashtag Campaigns as Production Interventions","authors":"Annemarie Navar-Gill, Mel Stanfill","doi":"10.5406/JFILMVIDEO.70.3-4.0085","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0085","url":null,"abstract":"©2018 by the board of trustees of the university of illinois if media is often approached through one or more of the lenses of production, text, and audience, then queerness can be pres­ ent at any of these points. This examination of queer fan hashtag campaigns is at the intersection of all three: how production is a site of contestation by queer audiences advo­ cating for queer texts. The campaigns we have studied for this article—#LexaDeservedBetter, #LGBTFansDeserveBetter, #PousseyDeserved­ Better, #BlackLGBTDeserveToBe, and LGBTQ FANS DESERVE RESPECT—seek to intervene in production processes through both advocacy and fans’ command of the very platforms that industry uses to measure audience engage­ ment. In what follows, we first situate queer fan hashtag campaigns in the context of contem­ porary media production and as an evolution from older forms of fan campaigning. We follow this context with a description of our method, analytics­qualified qualitative analysis, which allows examining large data sets—in this case from Twitter—qualitatively. We then describe three key features of queer fan hashtag cam­ paigns: how they harness affordances and industrial values, what they contend is wrong in industrial practice, and what they articulate as a better way. We end with a consideration of the limitations of such campaigns—in particu­ lar, the investment in whiteness that troubles their calls for queer solidarity. Ultimately, we show that queer fan hashtag campaigns are strategic interventions meant to alter both rep­ resentational and structural television produc­ tion processes by leveraging the importance of audience feedback in a connected viewing environment.","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"100 - 85"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44264596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mythgarden: Collaborative Authorship and Counter-Storytelling in Queer Independent Film","authors":"David R. Coon","doi":"10.5406/JFILMVIDEO.70.3-4.0044","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.70.3-4.0044","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"70 1","pages":"44 - 62"},"PeriodicalIF":0.1,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70768507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}