JOURNAL OF FILM AND VIDEO最新文献

{"title":"According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Series","authors":"Max Dosser","doi":"10.5406/19346018.75.2.05","DOIUrl":"https://doi.org/10.5406/19346018.75.2.05","url":null,"abstract":"©2023 by the board of trustees of the university of illinois on oCtoBer 3, 2014, the worlD was introduced to the largely unknown story of Adnan Syed, a young man who had been convicted and jailed for over a decade for the murder of his ex-girlfriend. Through the podcast Serial (2014–present), Sarah Koenig, the journalist investigating the story, brought to light how the fourteen-year-old case might not have been as open-and-shut as it seemed. In Serial, Koenig, as the host/narrator, guided listeners through old and new evidence in the case of the no-longer-young Syed. Almost two years after the debut of Koenig’s groundbreaking podcast, on June 30, 2016, a judge granted Syed’s motion for post-conviction relief and ordered a new trial to be held. Serial, “the most popular podcast in the world,” put Syed’s case on the map and led to a new examination of the crime on the grounds of ineffectual counsel (Gamerman). The popularity of Serial led to numerous true-crime podcasts as well as original series for Netflix, HBO, and other networks/streamers being developed at a rapid rate, though true-crime series had proven popular with the public even before Serial.1 The twentieth century saw an industry of true-crime novels, films, and television series emerge (Murley). The first wave of true-crime documentaries began in 1988 with Errol Morris’s highly influential The Thin Blue Line, which reassessed the guilt of Randall Adams after he was accused by David Ray Harris of murdering Dallas police officer Robert W. Wood and sentenced to death. What Serial effectively did, however, was thrust the true-crime genre into mainstream consumption. In I’ll Be Gone in the Dark, author Michelle McNamara paints the picture of what true-crime lovers were prior to Serial: sitting in the dark, they frequented chat rooms, using pseudonyms so they could talk about victims and who their murderers could be with anonymity (32). With Serial, Syed’s case became water cooler talk, as people openly discussed their theories on his innocence or guilt and their interpretations of the newest evidence each week, and the popularity of true-crime media expanded in the wake of Serial’s success. The comedy series Only Murders in the Building (Hulu 2021–present) draws on familiar true-crime podcast tropes, specifically the podcasts’ hosts, investigative techniques, and even fans. Rather than being a niche series, Only Murders in the Building became “the most-watched comedy ever on Hulu, by a good margin,” illustrating the popularity and cultural touchstone status that truecrime series have attained (Adalian). This article explores a specific aspect of true-crime series: the narrator. In particular, I analyze how the narrators of prominent truecrime documentary series deploy different strategies to cultivate credibility and convey narrative truth. Since the premiere of Serial, According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Se","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"75 1","pages":"45 - 62"},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44153199","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":"Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes","authors":"Mads Larsen","doi":"10.5406/19346018.75.1.03","DOIUrl":"https://doi.org/10.5406/19346018.75.1.03","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"75 1","pages":"29 - 45"},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42567111","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":"Building a Timeline for LGBTQ+ Global Cinemas (1910-2019): Movie Production Trends from a Collaborative Internet Cinema Database","authors":"Manuel Hernández-Pérez, J. Sánchez-Soriano","doi":"10.5406/19346018.75.1.04","DOIUrl":"https://doi.org/10.5406/19346018.75.1.04","url":null,"abstract":"©2023 by the board of trustees of the university of illinois tHe lgBtQ+ (lesbian, gay, bisexual, transgender, queer, and other sexual identities and orientations) community has struggled to achieve social acceptance, political representation, and recognition of their civil rights. Their demands respond to exclusions and oppressions suffered historically. Even today, this struggle continues in many countries. Equal rights to marriage and adoption have not yet been recognized in all societies, and in some countries, sexual diversity is even punishable by death. Audiovisual media, particularly cinema, has the ability not only to function as a device for the production and creation of reality, but also to act as a reflection of reality and social changes (Gross; Williams), such as when recognizing sexual diversity. Media has a key role as a socializer, comparable to the role held by institutions such as school or family (Rosengren 6). Cinema, as the most influential medium of the twentieth century, has reflected the struggles of the LGBTQ+ community, mirroring a significant period in the history of humanity regarding the advancement of civil and political rights. This has taken place through different channels. The first channel consists of commercial and mainstream movies that typically have come out of Hollywood and the United States. As one of the main cinema “super producers,” Hollywood industry has shaped the market, ruling over the box office and influencing the content of movies. However, in the last few decades, content also has reflected transnationalization as a way of appealing to different cultural markets and reflecting the diversity of global audiences (Crane 378). A second venue for reflection of these changes has been the independent cinema circuits, though they have been aimed, traditionally, at a rather minority audience. While both of these production models—the so-called mainstream and indie films—participate in the representation of characters and themes of the LGBTQ+ community, these have been decoded in different and often opposite ways. Independent cinema, including documentary and avant-garde cinema, has been conceptualized in part as a response to the “dominant mode of American (heterosexist) filmmaking” and, therefore, identified with the “queer” (Benshoff and Griffin, Queer Images: A History 11). On the other hand, for other authors, the parameters defining queer cinema are diverse and fluid, beyond binary classifications. Queerness is here understood as a component that can be presented through different types of cinemas, manifesting different forms of queer representation and participation/identification among filmmakers (Schoonover and Galt 15). Dr. mAnuel HernÁnDeZ-pÉreZ is a lecturer in digital media and director of digital media and extended reality at the University of Salford in Manchester, UK. His research focuses on media studies and digital narratives. Dr. JuAn JosÉ sÁnCHeZ-soriAno is a lecturer in communication","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"75 1","pages":"46 - 61"},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47953385","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":"\"Beauty and the Beast\": Romance, Reform, and Mystery in the Films of Lon Chaney","authors":"Shane Brown, M. Jancovich","doi":"10.5406/19346018.75.1.02","DOIUrl":"https://doi.org/10.5406/19346018.75.1.02","url":null,"abstract":"©2023 by the board of trustees of the university of illinois lon CHAney WAs A pHenomenon of the silent cinema, and according to exhibitors, he was the most popular male star of 1928 and 1929 (Studlar 202). He was born in 1883 and began a theatrical career in his late teens, working with touring vaudeville acts for about ten years before moving into film. During 1912 and 1913, his first film work was uncredited bit parts for various studios, but he then worked under contract for Universal until around 1917, after which Chaney again worked for various studios and made a name for himself in strong supporting roles, such as in The Scarlet Car (1917) and Riddle Gawne (1918). His break came in 1919, when he played “The Frog” in The Miracle Man, the same year that he also made The Wicked Darling for Universal, which was his first feature-length collaboration with director Tod Browning, with whom he would work ten times over the following decade, particularly during the period 1925–30, when Chaney would work exclusively for Metro-Goldwyn-Mayer. By the time he signed his contract with MGM, Chaney was already a huge star, known for his mastery of makeup and disguise, a skill that he used to great effect throughout the 1920s and that earned him the nickname “the Man with a Thousand Faces.” When sound was being introduced during the late 1920s, Chaney initially resisted the transition, and by the time he made his first sound film, a remake of his 1925 film The Unholy Three, he had been diagnosed with cancer and passed away one month after the film’s release. Following his death, the industry was eager to find a replacement, and the horror stars who emerged after 1930 were usually judged in relation to him. For example, in 1933 alone, it was suggested that Lon Chaney’s “historical mantle . . . has apparently descended on Mr Karloff’s shoulders” (Mannock 30), while Claude Rains was declared to be “the new Lon Chaney” (“New Lon Chaney?” 5). However, although Chaney is acknowledged to be a key figure in the history of horror in particular and of cinema more generally, it is still the case that, as Gaylyn Studlar observed over twenty-five years ago, beyond The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925), “the numerous other films from his seventeen-year movie career are almost totally neglected by contemporary scholars” (Studlar 204; for notable exceptions see Skal and Worland).1 Studlar’s study of Chaney is therefore an important intervention, and it brilliantly explores the “failed and freakish” masculinities that he performed (210), masculinities that drew upon sHAne BroWn received his PhD at the University of East Anglia in 2014 and is the author of Queer Sexualities in Early Film: Cinema and Male–Male Intimacy and numerous other books and articles on horror, silent cinema, Elvis Presley, and Bobby Darin. He also writes young adult fiction. mArK JAnCoviCH is a professor of film and television studies at the University of East Anglia, UK","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"75 1","pages":"16 - 28"},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41447027","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":"Acting and Race in Night of the Living Dead (1968)","authors":"Katherine Kinney","doi":"10.5406/19346018.74.3.4.01","DOIUrl":"https://doi.org/10.5406/19346018.74.3.4.01","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"17 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46261284","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":"An Ecological Context That Scars: Reflections on Three Nature Documentaries of 2020","authors":"D. Pittaway","doi":"10.5406/19346018.74.3.4.05","DOIUrl":"https://doi.org/10.5406/19346018.74.3.4.05","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"64 - 77"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41843540","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":"There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful","authors":"Deborah Allison","doi":"10.5406/19346018.74.3.4.04","DOIUrl":"https://doi.org/10.5406/19346018.74.3.4.04","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"48 - 63"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991439","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":"Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia","authors":"Lucie Česálková","doi":"10.5406/19346018.74.3.4.03","DOIUrl":"https://doi.org/10.5406/19346018.74.3.4.03","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"34 - 47"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47732711","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":"More Human Than Human: The Exile in Blade Runner","authors":"Trevor F. Anthony","doi":"10.5406/19346018.74.3.4.02","DOIUrl":"https://doi.org/10.5406/19346018.74.3.4.02","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"18 - 33"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47838321","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":"Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)","authors":"Sylvie Magerstädt","doi":"10.5406/19346018.74.1.2.05","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.05","url":null,"abstract":"in recent years, several scholarly works (e.g., Broughton; Johnson et al.; Mitchell) have revisited one of the oldest genres in film history—the Western—to examine its lasting appeal and its ability to reinvent itself through hybridization with other genres. However, when genre hybridization is considered, research often focuses on so-called weird hybrids1 (see Green; Johnson et al.) or “darker” varieties such as noir and crime fiction crossovers (e.g., Mitchell or Monticone). Joe Johnston’s Hidalgo (2004) is unusual in this context, and its ambiguous reception at the time of its release highlights some of the problems that arise when genre conventions are taken too much at face value. A closer analysis of the film, therefore, might demonstrate the value of looking beyond obvious genre tropes toward wider cinematic trends. While Hidalgo was largely dismissed by critics reading it as a Western, I will argue that the film is better understood as part of the revival of spectacular epic cinema at the turn of the millennium, appearing alongside a number of epic films that explored, broadly speaking, a clash of cultures through mythic-historic narratives.2 As such, the film adds another dimension to current debates about the Western, as Hidalgo’s nostalgic-ironic reframing of traditional Western tropes together with elements of the epic and the adventure film offers a contemporary mash-up of myths that reflects the global audiences at which it is aimed. As Johnson et al. note, “one of the distinctive features of the western” is perhaps that it can “form unexpected combinations with other genres,” creating odd resonances between those genres (2). Through its playful engagement with the Western, Hidalgo not only offers a novel hybrid and an entertaining spectacle; its self-conscious play with generic conventions also can help us to critically assess the Western’s most iconic features. Hidalgo portrays the journey of rundown Western rider Frank T. Hopkins (Viggo Mortensen) and his mustang Hidalgo, who participate in a spectacular race across the Arabian Desert. Yet it is also a journey of self-discovery that highlights contemporary concerns about identity, ethnicity, and class as it reshapes traditional Western patterns. As noted previously, I suggest that Hidalgo is better understood in the context of several blockbuster epics that appeared in the same period and explored the conflict between Western and non-Western ideals. For example, Ridley Scott’s Alexander (dir. 2004) featured, among other things, the eastward conquest of the ancient Macedonian king, while Wolfgang Petersen’s Troy (2004) showed the conflict between the nation-states of Greece and the Eastern people of Troy. The 2004 version of King Arthur (dir. Antoine Fuqua) reframes the Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"48 - 60"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45558162","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}