JOURNAL OF FILM AND VIDEO最新文献

{"title":"Nostalgia, Stasis, and the Vietnam War Film","authors":"P. Cornelius, Douglas Rhein","doi":"10.5406/jfilmvideo.71.4.0015","DOIUrl":"https://doi.org/10.5406/jfilmvideo.71.4.0015","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"15 - 28"},"PeriodicalIF":0.1,"publicationDate":"2019-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43907272","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 No Longer Your Film”: Fictions of Authorship in Lynch’s Mulholland Drive","authors":"Elizabeth Alsop","doi":"10.5406/JFILMVIDEO.71.3.0050","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.3.0050","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"50 - 64"},"PeriodicalIF":0.1,"publicationDate":"2019-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49472310","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":"“Almost Psychopathic”: British Working-Class Realism and the Horror Film in the Late 1950s and Early 1960s","authors":"M. Jancovich","doi":"10.5406/JFILMVIDEO.71.3.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.3.0003","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"17 - 3"},"PeriodicalIF":0.1,"publicationDate":"2019-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43495403","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":"Reconciling Video and Film in Frank Gillette and Ira Schneider's Wipe Cycle","authors":"R. Navarro","doi":"10.5406/JFILMVIDEO.71.2.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.2.0003","url":null,"abstract":"Power is no longer measured in land, labor, or capital, but by access to information and the means to disseminate it. As long as the most powerful tools (not weapons) are in the hands of those who would hoard them, no alternative cultural vision can succeed. Unless we design and implement alternate information structures which transcend and reconfigure the existing ones, other alternate systems and life styles will be no more than products of the existing process . . . Our species will survive neither by totally rejecting nor unconditionally embracing technology— but by humanizing it; by allowing people access to the informational tools they need to shape and reassert control over their lives . . . Only by treating technology as ecology can we cure the split between ourselves and our extensions. (Raindance Corporation 1)","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":" ","pages":"17 - 3"},"PeriodicalIF":0.1,"publicationDate":"2019-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43851797","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":"Reverend Billy Goes to Main Street: Free Speech, Trespassing, and Activist Documentary Film","authors":"Karen E. Whedbee","doi":"10.5406/JFILMVIDEO.71.2.0030","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.2.0030","url":null,"abstract":"©2019 by the board of trustees of the university of illinois on september 3, 2016, amy goodman (anchor and reporter for Democracy Now!) was the only reporter on site covering a protest action near the Standing Rock Sioux Reservation in North Dakota. Native American protesters were attempting to stop bulldozers that were constructing the Bakken oil pipeline through privately owned ranch land. The protesters alleged that the land contained ancient cairns, sacred stone prayer rings, and burial markers. They also argued that a leak or spill in the pipeline would send oil into the tribe’s main source of drinking water. When the protesters broke through a fence along a highway and attempted to stop construction, security personnel from the oil company physically assaulted them with pepper spray and attack dogs. Goodman and her camera crew followed the protesters across the fence line to record the conflict. Her report quickly went viral on Facebook (with over thirteen million views). It was also rebroadcast by CNN, CBS, MSNBC, and numerous international media outlets. Five days later, on September 8, an arrest warrant was issued against Goodman. Although she had not been notified that she was trespassing at the time of the original event, she was belatedly charged with criminal trespass and with riot. Goodman is not alone among journalists or filmmakers who have found themselves pulled across property lines in pursuit of a story. In recent years, activist documentary filmmakers have become especially vulnerable to charges of trespass. For example, in February 2009, Chad Stevens was charged with criminal trespass while attempting to film an environmental protest action about mountaintop removal at a coal mine in Marsh Creek, West Virginia (Jones). In September 2009, Andy Bichlbaum was arrested and charged with trespassing when he and twenty-one “survivaballs” gathered on New York City’s East River and announced they were going to invade the United Nations as part of a climate change protest stunt for their film The Yes Men Are Revolting (2014) (Villarreal). On October 11, 2016, filmmaker Deia Schlosberg was arrested in Walhalla, North Dakota, while documenting an act of civil disobedience committed by protesters at TransCanada’s Keystone Pipeline (Visser). On that same day, Lindsey Grayzel and Carl Davis were arrested for filming the activities of a climate activist who was attempting to shut down a pipeline near Burlington, Washington (Levin). The vulnerability of activist documentary filmmakers to the charge of trespass is significant. One of the defining traits of the genre is that it functions as a platform for exposing social problems and expressing perspectives that would otherwise be ignored by mainstream media. Giving priority to civic education and social justice over profit and popularity, the Reverend Billy Goes to Main Street: Free Speech, Trespassing, and Activist Documentary Film","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"30 - 46"},"PeriodicalIF":0.1,"publicationDate":"2019-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44142369","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":"What Video-Journalists Can Learn from Alfred Hitchcock's Cardinal Rule of Filmmaking","authors":"Kurt W Lancaster","doi":"10.5406/JFILMVIDEO.71.2.0018","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.2.0018","url":null,"abstract":"©2019 by the board of trustees of the university of illinois françois truffaut, the famed French New Wave director of The 400 Blows (1959) and Jules and Jim (1962), among other films, was astounded at serious film critics’ mainly negative reception of Alfred Hitchcock’s films. He was flummoxed by what he saw as Hitchcock being “victimized in American intellectual circles because of his facetious response to interviewers”; Truffaut felt “it was obvious that [Hitchcock] had given more thought to the potential of his art than any of his colleagues” (11–12). Truffaut realized that the cardinal rule of cinema was at the heart of Hitchcock’s art: “Whatever is said instead of being shown is lost upon the viewer” (17). In this way, Truffaut felt that Hitchcock was one of the few filmmakers who understood how to execute a story visually, cinematically. With the release of “talkies,” dialogue took predominance in filmmaking, which, as Truffaut says, “serves to express the thoughts of characters, but we know that in real life the things people say to each other do not necessarily reflect what they actually think and feel” (17). Cinema is not found in dialogue, both Truffaut and Hitchcock would argue. Indeed, Truffaut contends that one reason filmmakers and critics should take Hitchcock seriously is his “unique ability to film the thoughts of his characters and make them perceptible without resorting to dialogue” (17). Hitchcock made dialogue scenes cinematic by filming subtext—what characters think and feel made visible through the eyes, gestures, and the full body language of his performers. Although Truffaut makes his case for Hitchcock as a narrative film artist—and his book documenting this conversation with Hitchcock did help change the minds of American intellectuals regarding Hitchcock’s legacy1—I want to extend that conversation into the realm of videojournalism2 by making the case that when narration is utilized as the primary tool, the power of the visual image fades into the background, subsumed by words, and when that happens, the story loses its visual substance, the essence of the story, which thereby weakens it. But video-journalism can be made stronger if videojournalists engage in some of the principles and techniques Hitchcock applied to his films. Of course, Hitchcock relied on staging and directing of actors to attain his cinematic results. Therefore, making this comparison between Hitchcock’s techniques and the video-journalist’s approach could seem flawed. Some may argue that application of cinematic techniques to video-journalism would shift it toward unethical manipulation. Applying techniques of cinema to video-journalism—if the latter is to remain factbased and unstaged—requires video-journalists to write with their cameras. In order to translate Hitchcock’s principles to nonfiction work, videojournalists must become active observers rather than just camera operators guided by a reporterproducer to shoot b-roll in the conventional ","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"18 - 29"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41728387","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":"Nauman and Graham's Politics of Presencing: Boredom Exposing Inauthenticity of 1960s–70s Time-Consciousness","authors":"Nevena Ivanova","doi":"10.5406/JFILMVIDEO.71.1.0035","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.1.0035","url":null,"abstract":"©2019 by the board of trustees of the university of illinois bruce nauman and dan graham are among the pioneers of video art, having started exploring the potential of the medium for performance and installation as early as the late 1960s. The ephemerality of the technically imperfect video image suited those video art­ ists who were interested in conceptual works, in actions, and in events, which stressed the primacy of idea and process over finished works. Artists working conceptually, such as Nam Jun Paik, Vito Acconci, John Baldessari, Dan Graham, Joan Jonas, and Bruce Nauman, are above all concerned with the live character of video, the directness and simultaneity of recording and reproduction. As this article is intended to show, this specific “presentness” of the so­called live media (television, video, digital, and networked media) played a significant role in tuning the broader cultural context of the 1960s and 1970s toward what Pamela Lee identified as “chrono­ phobia” or a crisis of time (Lee xii).","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"35 - 50"},"PeriodicalIF":0.1,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47960125","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 Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship","authors":"Christina G. Petersen","doi":"10.5406/JFILMVIDEO.71.1.0003","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.1.0003","url":null,"abstract":"the space of the film, D­BOX’s motion effects prompt the spectator’s body to mirror those bodies depicted on the screen and identify with a particular point of view. As opposed to notions that immersive cin­ ema, and by extension D­BOX, is often focused on haptic thrills rather than narrative coher­ ence, through analyses of recent films featur­ ing motion­code tracks, including Whiplash (Damien Chazelle, 2014), Furious 7 (James Wan, 2015), Lucy (Luc Besson, 2014), Captain America: The Winter Soldier (Anthony and Joe Russo, 2014), Guardians of the Galaxy (James Gunn, 2014), San Andreas (Brad Peyton, 2015), and Magic Mike XXL (Gregory Jacobs, 2015), I will argue for how D­BOX’s address of the ass in addition to address of the eye goes beyond providing an embodied mimetic engagement with the film text. Through the personalization of surround sound, D­BOX not only enhances existing thematic elements but also adds an additional layer of narrative focalization. In the case of the latter, D­BOX can effect changes in the spectator’s experience of character identification as compared to the non­D­BOX experience of the film. Due to the technology’s standardization of immersive viewing, current uses of D­BOX technology ironically represent a return to the ideological concerns of 1970s apparatus theory—most notably, the solitary, transcendent, disembodied nature of film view­ ing linked to an empowered gaze. In this way, D­BOX’s technology, marketing, and aesthetics currently transform the shared aspects of cin­ ema into an individual experience of renewed narrative absorption that further supports on april 3, 2009, the newest iteration of immersive cinema technology quietly rolled into two American multiplexes—the Mann Chi­ nese in Los Angeles and the UltraStar Surprise Pointe in Surprise, Arizona (Harris). In both theaters, Fast & Furious (2009) debuted with the option for audiences to experience the film in D­BOX motion code. Select spectators paid a premium to “live the action” through D­BOX’s patented motion effects and specially equipped seats in an update of Hale’s Tours (1904–15) and William Castle’s Percepto. Like these earlier motion­based immersive tech­ nologies, D­BOX offered moviegoers a sense of presence at a remove from one’s lived experi­ ence and a feeling of embodied participation in the world of the film (Griffiths 2). However, although it shares aspects with earlier visually immersive “movie rides” and other contempo­ rary 4­D exhibition technologies, D­BOX owes more to the development of film sound technol­ ogy and aesthetics, particularly digital surround sound. As I will discuss, D­BOX is a digital cinema technology that “envelops” the specta­ tor in the cinematic diegesis through a person­ alization of the surround­sound experience. Rather than amplifying the surround­sound effects to make spectators feel like they are in","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"19 - 3"},"PeriodicalIF":0.1,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47663786","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":"Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey","authors":"E. Akçalı","doi":"10.5406/JFILMVIDEO.71.1.0020","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.71.1.0020","url":null,"abstract":"©2019 by the board of trustees of the university of illinois recent years have seen a rise in the num­ ber of films produced in Turkey that cannot be classified as either fiction or documentary, but remain in between. Some filmmakers include nonfiction sequences within a fictional narra­ tive; others choose to rewrite and reenact true stories; and some edit documentary images to make them feel fictive. Almost all of these films deal with social and political matters, and most are well­known examples of an emerging Kurd­ ish cinema in Turkey,1 especially tackling issues regarding the freedom and rights of Kurds.2 Another characteristic they share is the film­ makers’ personal connections to and involve­ ments in these matters, which turn the films’ narratives into fresh interpretations of current and historical events. The following films can be included in this category: Dûr [Distant] (Kazım Öz, 2005); Demsala Dawî: Şewaxan [The Last Season: Shawaks] (Kazım Öz, 2008); Gitmek: Benim Marlon ve Brandom [My Marlon and Brando] (Hüseyin Karabey, 2008); İki Dil Bir Bavul [On the Way to School] (Orhan Eskiköy and Özgür Doğan, 2008); Press (Sedat Yılmaz, 2010); Babamın Sesi [Voice of My Father] (Orhan Eskiköy and Zeynel Doğan, 2012); Ez Firiyam Tu Mayî Li Cî [I Flew, You Stayed] (Mizgin Müjde Arslan, 2012); Bûka Baranê [The Children Chasing the Rainbow] (Dilek Gökçin, 2013); and He bû tune bû [Once upon a Time] (Kazım Öz, 2014). Some of these films are fiction, whereas others are first­person observational documen­ taries, or “creative” documentaries as their makers call them. I evaluate these films within “the domain of the essayistic,” as phrased by Rascaroli (The Personal Camera 189) because of their in­between nature along with the pres­ ence of the filmmakers’ personal viewpoints and their autobiographical links to the stories, which will be discussed further later. This shared essayism prompts a series of questions with regard to filmic representa­ tion in Turkey: Are political subject matters perceived as less real (and more tolerable) when fictionalized? What are the practical and stylistic possibilities that essayism offers for recounting the past? How does un­belonging to a conventional category, such as fiction or documentary, affect a film’s reception and criticism? Why, in general, is there a tendency to tell facts through fiction among filmmakers (specifically of political cinema) in Turkey? In­ deed, the answers to these questions are not easily assessable, at least not within the limits of this article. However, they are useful in di­ recting us to uncover the details of the differ­ ent modes of essayistic representation avail­ able in these films and to identify some of the ways in which filmic form allows, emphasizes, and reflects upon the overlap of conventional categories. This article addresses those Kurd­ ish films that narrativize the Kurdish­Turkish conflict in Turkey through the use of some shared essayistic choices in their visua","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"20 - 34"},"PeriodicalIF":0.1,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41424594","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":"Teaching Creativity: A Practical Guide for Training Filmmakers, Screenwriters, and Cinema Studies Students","authors":"Frank P. Tomasulo","doi":"10.5406/jfilmvideo.71.1.0051","DOIUrl":"https://doi.org/10.5406/jfilmvideo.71.1.0051","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"51 - 62"},"PeriodicalIF":0.1,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49084877","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}