JOURNAL OF FILM AND VIDEO最新文献

{"title":"Transcendental Style Reconsidered: Absence, Presence, and a \"Place Which Is Not-a-Place\"","authors":"Dan Chyutin","doi":"10.5406/jfilmvideo.73.3.0034","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.3.0034","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"34 - 46"},"PeriodicalIF":0.1,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45587306","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":"Camp X-Ray and the Task of Critique: Torturability and the Politics of Ethical Recognition in Guantanamo","authors":"A. Adams","doi":"10.5406/jfilmvideo.73.3.0023","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.3.0023","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"23 - 33"},"PeriodicalIF":0.1,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46567341","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":"\"Narrative Life\" in Film and the Role of Screenwriting Practices","authors":"Chris Dent","doi":"10.5406/jfilmvideo.73.3.0047","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.3.0047","url":null,"abstract":"about the dead and the undead. The practices around describing narrative life will be analyzed in terms of “discursive practices”—taken from the realm of poststructuralist theory—in order to consider the specifics of the discussed films, in terms of the body of knowledge with which the writers work. This analysis, therefore, provides a theoretically based understanding of the limits of expression and, as a result, the content of what appears onscreen. The goal, however, is to expand the discussion of the extent to which audiences take lessons from movies—the extent to which films, as technologies of “biopower,” guide us in the living of our lives.","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"47 - 60"},"PeriodicalIF":0.1,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44737430","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":"The Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era","authors":"Shawna Kidman, A. Adams, Dan Chyutin, Chris Dent","doi":"10.5406/jfilmvideo.73.3.0003","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.3.0003","url":null,"abstract":"dominance, the company reshaped the theatrical market, forcing changes onto exhibitors and competing studios (Schwartzel, “Disney Lays Down the Law”; Galloway; D’Alessandro). It also intensified the “streaming wars” by introducing Disney+, the first significant play in streaming video on demand by a major studio and a move that signaled Hollywood’s willingness to pivot to nontheatrical delivery platforms. The other major studios spent the decade trying to catch up by cutting their number of releases and chasing potential franchises at the expense of lowand mid-budget original films (Ball). In short, Disney led Hollywood out of the blockbuster era of the 1990s and early 2000s and came to define how business was done in the franchise era and what the culture that arose out of it looked like. One key facet of this Disney-led transition was a shift in Hollywood’s balance of power away from people and toward brands; in the franchise era, value came from studio-owned intellectual property, not from the contributions of individual artists or workers (Fritz, Big Picture 84–86; Fleury et al. 10–12; Thompson 3). To support this value shift, Disney advanced a discourse around authorship that I refer to here as “corporate auteurism.” This updated and corporatized version of classic auteur theory prioritized managerial expertise over creative vision. Promoted through a vast PR machine, it credited studio executives (specifically, Kevin Feige, John Lasseter, and Kathleen Kennedy) with masterminding the studio’s biggest brands (Marvel, Pixar, and Star Wars, respectively) and Introduction","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"22 - 23 - 3 - 33 - 34 - 46 - 47 - 60"},"PeriodicalIF":0.1,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47899988","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":"The Imaginary in the Biopic: Deconstructing Convention in Ron Howard's A Beautiful Mind (2001)","authors":"I. Radzinski","doi":"10.5406/JFILMVIDEO.73.2.0046","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.2.0046","url":null,"abstract":"©2021 by the board of trustees of the university of illinois author sylvia nasar opens the biography A Beautiful Mind: The Life of Mathematical Genius and Nobel Laureate John Nash with a quote from William Wordsworth that envisions a mind forever “[v]oyaging through strange seas of Thought, alone,” which portends a narrative describing the often dynamic but reclusive mind of John Nash, a socially awkward and eccentric mathematical prodigy whose aptly titled Nash Equilibrium was a leading concept utilized in the field of governing dynamics (Nasar 11). Like the figure described by Wordsworth, the Nash portrayed in Ron Howard’s biopic A Beautiful Mind (2001), here played by Academy Award winner Russell Crowe, is beset by strange thoughts—paranoid schizophrenia, specifically, which manifests in the form of three initially corporeal individuals later revealed to be delusions within the film’s narrative: Charles Herman (Paul Bettany), Nash’s witty and cavalier college roommate at Princeton and emotional confidant; Marcee Herman (Vivien Cardone), Charles Herman’s young niece, who facilitates a much-needed humanity in the antisocial Nash; and perhaps most important of all, William Parcher (Ed Harris), who enlists Nash’s help at the Department of Defense to combat the risk of a communist invasion and, later, the impending threat of a bomb being detonated on United States soil. Most notable, though, are Nash’s reliance on Charles for both emotional support and advice through many difficult times in his life (struggling to succeed in college, deciding whether to marry Alicia Larde [Jennifer Connelly], etc.) and his relationship with his covert and dictatorial supervisor, William Parcher, whose mission orders become increasingly clandestine and engender Nash with a paranoia that begins to affect his relationship with his new wife and child. One of the major conventions of the biopic that George Custen describes in his seminal work on the subject, Bio/Pics: How Hollywood Constructed Public History, is the place the secondary characters hold in the travails of the biographical film’s protagonist. Custen argues that secondary characters in biopics essentially act as a support system for the heterosexual male lead character and aid in his ability to succeed. While secondary characters are a mainstay in most Hollywood fare, their role in biopics is especially integral since they serve as one of several levels of encouragement (the wife character being another) needed for the lead male character to surmount the generic challenges imposed by his genius. In Howard’s A Beautiful Mind, the secondary characters initially exist as support systems necessary for Nash’s success. However, unlike the secondary characters described by Custen, the figures that the audience firmly believes to be supporting Nash’s humanity and patriotism, respectively, are in fact the very sources of Nash’s mental breakdown and eventual hospitalization. Hence, Howard’s The Imaginary in the Biopi","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"46 - 54"},"PeriodicalIF":0.1,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42538995","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":"Atomic Tests: Experimental Filmmaking in the Nuclear Era","authors":"Hannah Goodwin","doi":"10.5406/JFILMVIDEO.73.2.0011","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.2.0011","url":null,"abstract":"©2021 by the board of trustees of the university of illinois on july 16, 1945, a group of scientists led by J. Robert Oppenheimer gathered in the aptly named Jornada del Muerto desert in New Mexico to test the experiment they had been working on for the past five years: the world’s first atomic bomb. Armed with simulations and speculations but never having seen the results of their work, the scientists took measures to document this test detonation in every way they could. It was filmed by multiple cameras serving different scientific purposes and by three newsreel cameras whose footage was intended for mass consumption. The footage from these cameras has become iconic. Each camera was nearly six miles from the site of detonation and used varying lenses and frame rates to capture the tests. One such test, filmed at a frame rate of 119 frames per second, presents an image of thick, billowing clouds illuminated dramatically from behind. Slow-motion cinematography reveals the morphology of the forms, whose profoundly elemental quality evokes the wonders of creation. The scientists, when witnessing the initial test bomb firsthand, described a visual force that utterly overwhelmed their senses: they were “completely blinded by the flash”—as if “the whole world was gone up in flames”—and then came an “unearthly hovering cloud” (Bob Serber, James Conant, and Oppenheimer, qtd. in Bird and Sherwin 307–08). A verse from the Hindu text the Bhagavad-Gita came to Oppenheimer’s mind: “If the radiance of a thousand suns / were burst into the sky, / that would be like / the splendor of the Mighty One. / Now I am become Death, the shatterer of worlds” (qtd. in Jungk 210). The atomic bomb had seemingly harnessed the divine power of the cosmos, creative but also spectacularly destructive, and the vision inspired in Oppenheimer a sense of his own godliness. He immediately knew that “the world would never be the same” (Bird and Sherwin 309). Remarkably, as scientists began to discuss whether or not to implement the “gadget” they had created, they focused most intensely on the visual impact of the atomic bomb. Oppenheimer wrote that “the visual effect of an atomic bombing would be tremendous” (qtd. in Bird and Sherwin 296), and the other scientists speculated that such an image would serve to incarnate an absolute power in the face of which any enemy could only surrender (Bird and Sherwin 296–99). There was some discussion of simply filming an atomic test as propaganda to provoke surrender of the Axis: the visual impact alone, some postulated, would be enough to end the war. Although politicians soon resolved to use the bomb itself instead of its visual record, this discussion leaves lingering questions about how film could be used to document and convey the cosmic scale and power of the bomb. The enormity of the bomb’s visual impact also prompted new thinking about space and time at the level of cosmology. As Secretary of War Henry Stimson declared, the bomb had brou","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"11 - 25"},"PeriodicalIF":0.1,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48989024","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":"To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean's Summertime (1955)","authors":"Alison L. Mckee","doi":"10.5406/JFILMVIDEO.73.2.0026","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.2.0026","url":null,"abstract":"in 2011 melanie notkin, a contributor to the online site HuffPost, wrote an opinion piece titled “Is ‘Career Woman’ the New ‘Spinster’?” In it she recounts a conversation with a man who explained her singleness (more to himself than to her) as a function of her being a career woman. “Why are we ‘career women’ but you’re just a guy who hasn’t been lucky in love?” she asks him. “I’m not a ‘career woman,’” she declares. “I’m looking for love.” Surprising (and somewhat depressing) for its implicit recapitulation of the stereotype of the lonely career woman whose occupation is a poor substitute for a man, the title of Notkin’s brief op-ed nevertheless anticipates the recent trend to rehabilitate the term “spinster” and repurpose it for feminist studies and post-feminism. Kate Bolick’s Spinster: Making a Life of One’s Own (2015), an examination of her own and other women’s single lives, made The New York Times best-seller list, and Briallen Hopper’s Hard to Love: Essays and Confessions (2019) explores and reclaims the spinster in ways that demolish heterosexual romance and marriage as the standard by which women lead and assess their lives. That the term’s negative connotations of dowdiness, lack of sexual appeal, and illegitimacy as a woman persist into the twenty-first century is due in no small measure to the role that classical Hollywood film in particular played in perpetuating these stereotypes in the popular imagination. Yet as this examination of David Lean’s 1955 film Summertime suggests, as a kind of test case, some mid-century spinster narratives contain within them the seeds of their own reclamation, particularly when watched anew from the vantage point of the twenty-first century. Informed by a history of the film’s production and reception, yet also enabled by current-day digital viewing practices, this case study asserts that multiple gazes in and at Summertime dovetail with Katharine Hepburn star discourses to produce a possessive feminist spectator more than sixty-five years after the film’s original release. A present-day viewing of the under-studied Summertime with new media technologies leads to modes of meaning production in the course of the film’s consumption in ways that have not been previously explored in earlier spinster narratives or in classical Hollywood cinema generally, and it is these dynamics that this case study ultimately explores. Film theorist Laura Mulvey has dubbed cinema “death 24x a times a second,” a reference to the standard projection speed of twenty-four To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’s Summertime (1955)","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"26 - 45"},"PeriodicalIF":0.1,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44116417","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's 2020 Virtual Conference: A Path Forward","authors":"Laura Vázquez, Wenhwa Ts'ao, Hannah Goodwin, Alison L. Mckee, I. Radzinski","doi":"10.5406/JFILMVIDEO.73.2.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.2.0003","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"10 - 11 - 25 - 26 - 3 - 45 - 46 - 54"},"PeriodicalIF":0.1,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48197205","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":"From the Opening Sequence of Citizen Kane to the Final Shot of The Birds: A Filmic Microanalysis of Three Painted Scenes","authors":"Dario Lanza Vidal","doi":"10.5406/JFILMVIDEO.73.1.0033","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0033","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"33 - 47"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48699346","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":"\"I'm Taken … by Myself\": Romantic Crisis in the Self-Centered Indie Rom-Com","authors":"Beatriz Oria, L. Soberon, Dario Lanza Vidal, D. Dubois","doi":"10.5406/JFILMVIDEO.73.1.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0003","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"17 - 18 - 3 - 32 - 33 - 47 - 48 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292771","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}