JOURNAL OF FILM AND VIDEO最新文献

{"title":"The Ultimate Ride: A Comparative Narrative Analysis of Action Sequences in 1980s and Contemporary Hollywood Action Cinema","authors":"L. Soberon","doi":"10.5406/JFILMVIDEO.73.1.0018","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0018","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"18 - 32"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42467036","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":"Cruising the Hyper-Real Highway: Edgar Wright's Baby Driver","authors":"D. Dubois","doi":"10.5406/JFILMVIDEO.73.1.0048","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0048","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"48 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463476","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.73.2.bm","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.2.bm","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769514","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.73.1.bm","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.1.bm","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769099","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":"Blurred Visions: Atomic Testing, Live Television, and Technological Failure","authors":"Alexander M. Thimons","doi":"10.5406/jfilmvideo.72.3-4.0102","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0102","url":null,"abstract":"the three live network broadcasts of atomic bomb tests in the 1950s were signal events in the early history of American television. They aired on multiple networks simultaneously, drawing lavish coverage in newspapers nationwide and the attention of some of the country’s most prominent broadcast journalists. One report estimated that 35 million people watched the first test, around midday on Tuesday, 22 April 1952 (Fehner and Gosling 3)—less than a year after the completion of AT&T’s transcontinental coaxial cable enabling coast-to-coast live broadcasting and at a time when many cities between the coasts were still not linked into the national network (Sterne 516). NBC and CBS distributed coverage of the detonation from the Yucca Flats near Las Vegas using a microwave relay system built for the purpose by Klaus Landsberg, an engineer at the unaffiliated Los Angeles station KTLA. Las Vegas itself did not yet have a television station, and the FCC’s freeze on station licenses had been lifted only eight days prior. Television was still growing into the nationwide cultural force it would eventually become over the course of the decade, a process in which this program, along with two more that followed, played an important role. The technologically complex broadcasts were expected to be convincing displays of the medium’s power. The tests were also important to the American military’s plans to publicize the power of, and its control over, nuclear weapons. Alongside pamphlets, films, slideshows, and other media, these broadcasts served to justify the military’s nuclear stockpiles via a publicity strategy of conventionalization, in which nuclear weapons were framed publicly as simply larger versions of conventional ones. By this logic, atomic and eventually thermonuclear (hydrogen) weapons were immensely powerful, but also just as manageable as conventional weapons were assumed to be, enabling the government to reconcile the weapons’ force with the American strategy of deterrence. As Guy Oakes puts it, “[a]lthough atomic bombs might be quantitatively more destructive than the conventional bombs used in World War II, qualitatively they achieved essentially the same results. This was the conventionalization argument” (52). Should a nuclear attack by the Soviets occur, so the logic went, the United States would still be able to respond with force of its own. For both the television industry and the Atomic Energy Commission (AEC) and related agencies, therefore, the broadcasts were important as demonstrations of technological control. Ideally, from the planners’ perspectives, the detonations and their television coverage would be mutually reinforcing, each proceeding exactly as anticipated by television engineers and representatives of the atomic agencies alike and each serving as sources of reliable information. Put simply, things did not go according to plan. Onscreen, the detonations were barely Blurred Visions: Atomic Testing, Live Television, and Techn","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"102 - 118"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43076460","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":"Aging, Auteurism, and the Bergfilm: Olivier Assayas's Sils Maria/Clouds of Sils Maria (2014) and Paolo Sorrentino's La giovinezza/Youth (2015)","authors":"Christian Quendler, D. Winkler","doi":"10.5406/jfilmvideo.72.3-4.0073","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0073","url":null,"abstract":"the renewed cinematic interest in mountains reveals not only the transformative virtue of mountains as mediators of new experiences, ranging from rituals of spiritual purification to consumerist tourist culture, but also the fluid nature of mountains as historical agents. Rather than representing fixed coordinates on geographical, political, and historical maps, mountains can themselves be approached as reflexive objects. Following W. J. T. Mitchell’s conception of landscape as “dynamic medium” (2), cinematic mountainscapes can be seen as stages where sociocultural, geopolitical, ethnic, and gender identities are negotiated along with cinematic forms. Recent film productions such as Philipp Stölzl’s Nordwand [North Face] (2008), Quentin Tarantino’s Inglourious Basterds (2009), Ruben Östlund’s Turist [Force Majeure] (2014), and Andreas Prochaska’s Das finstere Tal [The Dark Valley] (2014) have revisited mountains as historical sites of cinematic self-reflection to renegotiate notions of gender, genre, tourism, and environmentalism in transnational and global contexts. This article complements this list by examining how mountains and mountain films come into play in addressing the very question of auteurism and its historicity.1 Drawing on Eric Rentschler’s seminal essay “Mountains and Modernity,” we suggest viewing Olivier Assayas’s Sils Maria [Clouds of Sils Maria] (2014) and Paolo Sorrentino’s La giovinezza [Youth] (2015), both European coproductions (of France, Germany, and Switzerland and Great Britain, Italy, France, and Switzerland, respectively), as mountainous meditations on aging that draw on mountains and the classical mountain film in order to relocate auteur cinema in a transnational context. We will place aging, auteurism, and mountains in triangular relations––not unlike the love triangles frequently found in melodramatic mountain movies. With our discussion set against an established cultural frame that associates mountains with old age, we will focus on the relationship between auteurism and mountains, on the one hand, and the relationship between auteurism and aging, on the other. While the former calls for an exploration of the aesthetic traditions and genres that have shaped independent cinema, the latter addresses the shift in auteurism from an artistic to a commercial category in the historical development of auteur theory. Although commercial aspects of auteurism have received much attention in recent scholarship (e.g., Corrigan, Cinema without Walls; Buckland), they are still largely viewed in disjunction from the artistic definition of auteurism as a filmmaker’s personalized vision. Both Assayas’s Clouds of Sils Maria and Sorrentino’s Youth pay tribute to this disjunction through surprising and insightful invocations of the classical Bergfilm, a genre that is generally seen in national German and Austrian contexts christian quendler is an associate professor in the Department of American Studies at the University of Innsbru","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"73 - 89"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44749778","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":"Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin's The Wailing","authors":"Hisup Shin","doi":"10.5406/jfilmvideo.72.3-4.0090","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0090","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"101 - 90"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42039263","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 Fix Is In: Dubbing as Transcultural and Transmedia Adaptation","authors":"Daniel Johnson","doi":"10.5406/jfilmvideo.72.3-4.0003","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0003","url":null,"abstract":"tension of being “between” different aspects of film culture, aesthetics, and technology offers a productive space to renew our investigation into film dubbing. The present article will focus on the dubbing of Hollywood films for Japanese television and video, with a particular emphasis on films from the 1980s and early ’90s. This period saw the arrival and subsequent explosion in popularity of home video, but also a realignment of how films were being licensed for television broadcast. These factors led to a proliferation of film dubbing in Japan, which in turn fed into the trend of voice actors (seiyū) becoming figures of cult celebrity. The practice of using the same voice actor to dub a Hollywood star across a large body of films (known as “fixing,” or fikkusu) also contributed to this trend by allowing for composite forms of personality, celebrity, and screen performance to develop. Following those points, this article will approach dubbing as a form of transcultural and transmedia adaptation. I am using adaptation as a companion concept to translation in order to consider how film stars are made to more easily “fit” into local idioms concerning performance style, genre, and identity, both through the aforementioned generative relationship between onscreen body and audible voice and through the intertextual resonance generated by how voice actors are repeatedly paired with Hollywood stars across films. Furthermore, by emphasizing transmedia adaptation as part of the same analysis, I also aim to address some of the ways that dubbing adapts Hollywood cinema to Japanese television and video as dubbing has commonly been understood as an issue of translation and exhibition practice in both film studies and audiovisual translation theory.1 Topics such as the differences between dubbing and subtitling, issues with image/sound synchronization, and the spatial location of the voice in relation to the moving image have all been part of this approach. However, recent scholarship by authors such as Charlotte Bosseaux and Tom Whittaker has connected dubbing to questions of screen performance and film stardom, often by attending to locally specific characteristics of national and regional media cultures. This revitalization of interest in dubbing has developed alongside the emergence of transnational film studies and scholarship on other forms of voice work in cinema, such as playback singing and postsynchronization. As such, if dubbing presents a complication of film performance that exists “between” the body we see onscreen and the voice we hear, it is also something that travels through the spaces between film industries and audiences from around the world. Furthermore, dubbing is also frequently used in the adaptation of film for television and video platforms, suggesting a circulation between different types of screens. With all of that in mind, the","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"15 - 3"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46458995","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":"Oedipus the King as a Paradigm for Family Trauma Cinema","authors":"G. Finney","doi":"10.5406/jfilmvideo.72.3-4.0064","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0064","url":null,"abstract":"©2020 by the board of trustees of the university of illinois in a 2008 collection of essays titled Rethinking Tragedy, Rita Felski points out that despite a resurgence of work on tragedy in recent years, one area that has virtually ignored the subject of tragedy is film criticism (6). Although essays have appeared since that time on individual films, systematic work on the conjunction of the two media has not been done. Jennifer Wallace claims that “[f]ilm is not traditionally considered a tragic art form” (172): the pleasure and escapism associated with film viewing are inimical to the spirit and aim of tragedy. Yet she distinguishes certain subgenres of film that achieve a “new language of tragic cinema” (172), such as film noir, the epic film typified by the work of director David Lean, the Western epics of Sergio Leone, the European films exemplified by Krzysztof Kiéslowski’s Three Colours trilogy, and Lars von Trier’s “Dogma” school of filmmaking (172–76). I would disagree with the notion that film is opposed to the spirit of tragedy. It is my contention that the cinema today, as an organ of popular culture of mass proportions, plays a role in our culture similar to that which theater played for the ancient Greeks. Like Greek theater, which was intended to be performed and not read, film is a visual genre. Both Greek tragedy and film possess enormous cathartic power and broad aesthetic scope. The classical Greek tragedians, well aware that all that is necessary for a tragedy is a family, based many of their plays on transmitted myths about doomed families, above all the House of Atreus. Analogously, I have identified a further tragic subgenre in contemporary film in addition to those listed by Wallace: the cinema of family trauma in the United States. What do I mean by family trauma? Radical alienation between family members, addictions of all kinds, child and spousal abuse, child molestation and parentchild incest, sibling incest, loss of one’s child or parent, suicide, and murder—all in the family. Because the number of American films dealing with family trauma appears to have increased during the 1990s and especially around 2000, I focus on the millennium. Although family trauma is a perennial theme and also occurs in avant-garde and foreign films, its treatment in millennial mainstream American film often employs strategies of displacement, projection, repression, and sublimation in order to moderate traumatic experience that would otherwise be very difficult for actors to convey and/or for audiences to view. To mention a few examples:","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"64 - 72"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48896661","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":"Navigating Alma's Gang Culture: Exploring Testimonio, Identity, and Violence through an Interactive Documentary","authors":"H. Mcintosh, Kalen M. A. Churcher","doi":"10.5406/jfilmvideo.72.3-4.0016","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0016","url":null,"abstract":"©2020 by the board of trustees of the university of illinois guatemala has struggled for decades with brutal violence under dictatorial rule, government instability, guerrilla warfare, and the Mayan genocide. Government pressure and media consolidation across radio, television, film, and print have inhibited people’s freedom to document, share, and critique events happening within the Central American country (Rockwell and Janus, “Stifling Dissent” 497). As a result, documentaries representing the country’s issues originated with filmmakers from outside Guatemala, who used locals’ stories to convey those traumas to audiences in the filmmakers’ home countries (Arias 15). As a key part of their storytelling, these filmmakers frequently used testimonios, which bring voices of the oppressed to the audiences in order to motivate political engagement and potential action. Rigoberta Menchú’s written testimonio helped call attention to the human rights violations and institutionalized violence during the early 1980s, and her oral testimonio provided the foundation for the film documentary When the Mountains Tremble (Pamela Yates and Tom Sigel, 1983). Originally created for the US television network CBS and shown as part of the network’s CBS Reports series, When the Mountains Tremble was assembled by directors Pamela Yates and Tom Sigel with hopes of mobilizing audiences in the United States (Witham 211–12). Other films from the 1980s and early 1990s that incorporate testimonios include Todos Santos: The Survivors (1989) and Cakchiquel Maya of San Antonio Palopó (1991). Though the 1996 peace accords eased tensions somewhat, the violent instability and media censorship have continued. With one of the highest violent crime rates in Central America, Guatemala averaged ninety-one murders per week and 613 known sexual assault cases in 2015, according to Alma: A Tale of Violence. The US Department of State’s Bureau of Diplomatic Security lists “narco-trafficking activity, gang-related violence, a heavily-armed population, and a police/judicial system that is unable to hold many criminals accountable” as the leading factors driving murder rates (“Guatemala”). The Daily Mail estimated a murder every ninety minutes, with victims’ bodies strewn into the streets as warnings by gang members (Stanton). Rape, assault, and kidnapping also remain high (“Guatemala”). The suppression of dissent continues through consolidation of media ownership and that ownership’s cooperation with the government. As of 2017, Albavisión owned media in sixteen countries in Central America, South America, and the Caribbean, including forty-five television stations, sixty-eight radio stations, and sixtyfive movie theaters (“Ángel González”). Under Navigating Alma’s Gang Culture: Exploring Testimonio, Identity, and Violence through an Interactive Documentary","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"16 - 31"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43124740","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}