{"title":"Interactive documentary: theory and debate","authors":"H. Mcintosh","doi":"10.1080/17400309.2022.2106746","DOIUrl":"https://doi.org/10.1080/17400309.2022.2106746","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46337630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The mind-game film: distributed agency, time travel, and productive pathology","authors":"Marissa C. de Baca","doi":"10.1080/17400309.2022.2100213","DOIUrl":"https://doi.org/10.1080/17400309.2022.2100213","url":null,"abstract":"While he pursued a mercurial breadth of topics across his career – ranging from Weimar film to early cinema to media archaeology – pioneering film scholar Thomas Elsaesser maintained a long-standing interest in Hollywood. The Mind-Game Film: Distributed Agency, Time Travel, and Productive Pathology, a posthumous collection of Elsaesser’s essays edited by Warren Buckland, Dana Polan, and Seung-hoon Jeong, brings together his analyses of the complex narratives emerging in contemporary Hollywood cinema. This book, however, is not the first appearance of his evolving framework, which premiered within Buckland’s edited anthology Puzzle Films: Complex Storytelling in Contemporary Cinema (2009) and continued to mature until Elsaesser’s passing in December 2019. In The Mind-Game Film, Elsaesser expands upon Hollywood’s post-classical films and their self-referential classicism to formulate an emergent mode of contemporary cinema that plays games with either the spectator or the protagonist. As his final contribution to the discipline of film and media studies, the ‘mind-game’ continues to bear the imprint of Thomas Elsaesser’s indelible legacy.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45082459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contemporary Balkan cinema: transnational exchanges and global circuits","authors":"Murat Akser","doi":"10.1080/17400309.2022.2101847","DOIUrl":"https://doi.org/10.1080/17400309.2022.2101847","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49379044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"There is no such thing as one realism: systematising André Bazin’s film theory","authors":"Lourdes Esqueda Verano","doi":"10.1080/17400309.2022.2088979","DOIUrl":"https://doi.org/10.1080/17400309.2022.2088979","url":null,"abstract":"ABSTRACT Over the past two decades, film scholarship has experienced a renewed interest in the theory of André Bazin. This French film critic is most commonly quoted regarding the ontological basis of realism, prompting some highly varied – and sometimes unexpected – readings of his most renowned essay, ‘The Ontology of the Photographic Image’. Of course, it is no mere accident that he chose this ontological study as the opening text for Qu’est-ce que le cinéma? However, as I will argue, what Bazin classified as ‘true realism’ relates to aesthetics and encompasses different elements present in film: (1) the ontology of the image; (2) the style of film language; and (3) the veritative level (aesthetic truth or ‘deep meaning’). The aim of this paper is to provide a definition of these three levels of realism. Special attention will be given to the third and least explored of the three, the veritative, which, as this level has hitherto received little scholarly attention, constitutes the most original contribution of this article to studies of Bazinian theory.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43056241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Revisionary metaphysics in Ken Russell’s Altered States (1980): on the ontological subversiveness of psychedelic sequences","authors":"Vik Verplanken","doi":"10.1080/17400309.2022.2091887","DOIUrl":"https://doi.org/10.1080/17400309.2022.2091887","url":null,"abstract":"ABSTRACT This article explores the ontological subversiveness of psychedelic sequences in Ken Russell’s Altered States (1980). Exposing the viewer to a mode of experiencing the world that radically deviates from his/her standard mode of experiencing, these sequences call into question the foundations of the viewer’s ‘folk ontology’. Distinguishing between two levels of subversion, the article’s first section explores the notion of an experiential field that is the outcome of a subject-object interaction, opposing the common-sense view that the perceiver is separate from the perceived. Building on but also deviating from this reading, the second section introduces a second and more radical level of subversion. Specifically, the article suggests that the psychedelic sequences expose the viewer to a ‘subject-less’ experience not anchored in any perceiving entity. By maximizing the incomprehensibility coefficient in both the characters and the interpreting viewer, this second level of subversion exposes us to our folk ontological fallacies more directly than the first level does. In this way, Altered States potentially facilitates a process of revisionary metaphysics in the viewer.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41301862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Problems with Kubrick: reframing Stanley Kubrick through archival research","authors":"James Fenwick","doi":"10.1080/17400309.2022.2091888","DOIUrl":"https://doi.org/10.1080/17400309.2022.2091888","url":null,"abstract":"ABSTRACT Through three archival case studies, this article explores problematic aspects of Stanley Kubrick’s relations of production and the power underlying his role as a film producer by the 1960s and 1970s. The case studies explore Kubrick’s practices in the casting of women, his attitude toward trade union regulation and labor relations, and his interactions with politicians in the UK in the 1970s in attempting to lobby for more favorable tax conditions. This article makes a critical intervention in Kubrick studies to argue that the use of the Stanley Kubrick Archive is vital for future research to reframe scholarly understanding of Kubrick. The filmmaker instigated a ‘myth’ about himself that continues to dominate, a self-promotional strategy that has obscured the relations of production on his films. Empirical evidence is required to reveal new perspectives on his attitudes and professional behavior. The article concludes that wider comparative research is imperative in Kubrick studies to ascertain the level of Kubrick’s uniqueness or otherwise in these relations of production and to determine whether they are indicative of wider systemic behaviors across the American and British film industries in the twentieth century.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48729249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Gulliver effect: screen size, scale and frame, from cinema to mobile phones","authors":"M. Beugnet","doi":"10.1080/17400309.2022.2081461","DOIUrl":"https://doi.org/10.1080/17400309.2022.2081461","url":null,"abstract":"ABSTRACT The encounter between the cinema image, originally created to be seen on a large screen, and the mobile phone used as screening device, stands as one of the most striking instances of what Erkki Huhtamo calls the ‘Gulliverisation’ of our contemporary environments: “a two-directional optical-cultural ‘mechanism’” that works “against the idea of a common anthropomorphic scale”. In what follows, I focus on the aesthetic impact of the coexistence of images coming from extremes of the representational scale, from the cinema to the monumental projections that typify the contemporary trend in spectacular displays in museums and public spaces, to the tiny screens of our mobile phones. With reference to practices of collecting, archiving and possessive viewing, as well as to the relationship between off- and on-screen space, I suggest that strategies of making strange help us historicize, as well as appreciate the aesthetic complexity such shifts in scale produce.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49169041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Looks that kill: Double Indemnity (1944) reimagined in postmodern neo-noir and television","authors":"Michael Lipiner, Yael Maurer","doi":"10.1080/17400309.2022.2060009","DOIUrl":"https://doi.org/10.1080/17400309.2022.2060009","url":null,"abstract":"ABSTRACT This article examines the transformation of the femme fatale figure from classic noir to neo-noir film and to contemporary television. Exploring the reasons for this transformation and its implications yields fresh revelations about the new femme fatale. Using Billy Wilder’s Double Indemnity (1944) as the focal point, we examine the intertextual allusions to this classic in two postmodern neo-noir films – Lawrence Kasdan’s Body Heat (1981) and John Dahl’s The Last Seduction (1994) – and in one of Netflix’s earliest original television series, House Of Cards (2013–2018), created by Beau Willimon. In addition, this article queries in what ways these filmic reincarnations offer a revolutionary re-envisioning of the femme fatale figure. Unlike the classic femme fatale, the new femme fatale ‘gets away with murder’, thus posing a monstrous threat to the capitalist and patriarchal economy in which she operates. The subversive potential of these neo-noir films lies in their parodic and witty undercutting of societal norms, especially at the height of today’s #MeToo Movement.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44742311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Bad’ women of Bombay films: studies in desire and anxiety","authors":"S. Walia","doi":"10.1080/17400309.2022.2066435","DOIUrl":"https://doi.org/10.1080/17400309.2022.2066435","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45337130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ReFocus: the films of John Hughes","authors":"Aidan Dolby","doi":"10.1080/17400309.2022.2065875","DOIUrl":"https://doi.org/10.1080/17400309.2022.2065875","url":null,"abstract":"the characters in these films and where popular cinema ultimately compromises on its subversive potential. In conclusion, then, there are a few ideas which remain unexplored in this anthology. First, there is no clarity offered as to what constitutes bad in the contemporary moment, although sufficient attention has been paid to what constituted ‘bad’ in the decades leading up to the twenty-first century. Second, horror as a genre that creates female monsters does not find room within this volume, which limits its scope because it is in horror that evil (feminine or otherwise) is not banished to the outskirts of rationality but rather is brought inside the periphery for close analysis. Third is the book’s overwhelming conclusion, which suggests there are in fact no ‘bad’ women, and the quotations in the title begin to haunt and consume the theoretical underpinning of the text. I leave you with this question then: are there in fact, on a closer examination, no bad women to be found in popular imagination?","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44208546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}