JOURNAL OF FILM AND VIDEO最新文献_第2页

Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes 在18部翻拍电影中美国化斯堪的纳维亚超级失败者

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.03

Mads Larsen

引用次数: 1

Building a Timeline for LGBTQ+ Global Cinemas (1910-2019): Movie Production Trends from a Collaborative Internet Cinema Database 为LGBTQ+全球影院构建时间表（1910-2019）：来自互联网协同影院数据库的电影制作趋势

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.04

Manuel Hernández-Pérez, J. Sánchez-Soriano

{"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}

引用次数: 0

"Beauty and the Beast": Romance, Reform, and Mystery in the Films of Lon Chaney “美女与野兽”：龙电影中的浪漫、改革与神秘

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.02

Shane Brown, M. Jancovich

{"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}

引用次数: 0

Acting and Race in Night of the Living Dead (1968) 《活死人之夜》(1968)中的表演与种族

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.01

Katherine Kinney

引用次数: 0

An Ecological Context That Scars: Reflections on Three Nature Documentaries of 2020 伤痕累累的生态背景:对2020年三部自然纪录片的反思

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.05

D. Pittaway

引用次数: 0

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful 1939年美国和苏联奇幻电影:《绿野仙踪》和《美丽的瓦西里萨》

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.04

Deborah Allison

引用次数: 0

Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia 来自西方的定时炸弹：社会主义晚期捷克斯洛伐克的视频、广告业和消费文化

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.03

Lucie Česálková

引用次数: 0

More Human Than Human: The Exile in Blade Runner 《银翼杀手》中的流放者:比人类更像人类

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.02

Trevor F. Anthony

引用次数: 0

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004) 在伊达尔戈骑着东西方的神话、怀旧和跨越一般边界

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-04-01 DOI: 10.5406/19346018.74.1.2.05

Sylvie Magerstädt

{"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}

引用次数: 0

Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative 两栖魔幻现实主义？水的形状作为电影创伤叙事

IF 0.1 3区艺术学

JOURNAL OF FILM AND VIDEO Pub Date : 2022-04-01 DOI: 10.5406/19346018.74.1.2.04

G. Finney

{"title":"Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative","authors":"G. Finney","doi":"10.5406/19346018.74.1.2.04","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.04","url":null,"abstract":"©2022 by the board of trustees of the university of illinois guillermo del toro is one of the leading directors of our time. His most renowned film to date is The Shape of Water (2017), which won Oscars for Best Picture, Best Director, Best Production Design, and Best Original Score. I would like to explore the reasons for the film’s success by first assessing the suitability of a term that has been used in connection with its style—magic or magical realism—and then homing in on the film’s central character, Elisa Esposito (Sally Hawkins), a mute cleaning woman in the fictional Occam Aerospace Research Center in Baltimore in 1962. Because Elisa Esposito moves from a position of silent victimization to one of agency, her development can be illuminated through an analogy to Bertha Pappenheim, the first patient of psychoanalysis. Better known by her clinical case name in Freud and Josef Breuer’s Studies on Hysteria (1895), Anna O., Pappenheim was treated by Breuer for hysteria but later became an activist for women’s rights. I will use her transformation from hysteric to activist as a lens through which to view Elisa Esposito’s evolution from underdog to savior. For those not familiar with The Shape of Water, I will give a brief summary. The film is a contemporary rendering of the story of Beauty and the Beast and was inspired by Creature from the Black Lagoon (1954), which del Toro first saw as a child. Elisa Esposito falls in love with a magical amphibious creature (Doug Jones) who has been captured for use in the space race against the Russians; the secret government laboratory in the Occam Center intends to employ the creature (referred to by those in the laboratory as “the asset”) to determine conditions that can be withstood during space flight. But Elisa is thwarted by a government agent in the laboratory, Richard Strickland (Michael Shannon), who wishes to vivisect the creature rather than test on it alive. Elisa elicits support from her gay neighbor Giles (Richard Jenkins), a commercial illustrator, and her black coworker Zelda (Octavia Spencer), who help her rescue the creature from the laboratory and take it to her apartment, where Elisa and the creature experience a period of amorous happiness. Matters are complicated by the fact that the Russians are also interested in the creature. A Soviet secret agent, Dimitri Mosenkov (Michael Stuhlbarg), has infiltrated the laboratory as a marine biologist named Dr. Robert Hoffstetler, and resisting the orders he receives to kill the creature and Strickland’s plans to vivisect him, he instead helps Elisa save the creature. In the end Strickland shoots Elisa and the creature, but the creature is magically restored and slashes Strickland’s throat. The creature plunges with Elisa into the canal, embracing her as she comes back to life and as the scars on her neck are transformed into gills. In contrast to Creature from the Black Lagoon, in which the amphibious monster is killed after he abducts a fema","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"40 - 47"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49360294","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}

引用次数: 0