New Review of Film and Television Studies最新文献_第5页

Of fleas and Parasite: unpacking class and space in Bong Joon-ho’s Barking Dogs Never Bite 跳蚤和寄生虫：在奉俊昊的《吠狗不咬人》中打开课堂和空间

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-10-12 DOI: 10.1080/17400309.2023.2246349

Bonnie Tilland, Beth Tsai

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Diegetic existence: transmedia instauration in artists’ cinema Diegetic生存：艺术家电影中的跨媒体再现

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-09-26 DOI: 10.1080/17400309.2023.2252306

Jade de Cock de Rameyen

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“Throwing shows against the wall and hoping for the best”: NBC, quality, and the Emmy race for Outstanding Drama Series in the 2010s “把节目扔到墙上，希望最好”：NBC、质量和2010年代艾美奖杰出剧集竞赛

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-09-20 DOI: 10.1080/17400309.2023.2257819

Elizabeth Walters

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The limitation of the bottle episode: Hegel in Community 瓶子事件的局限性：《共同体》中的黑格尔

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-08-30 DOI: 10.1080/17400309.2023.2246348

Ryan Engley

引用次数: 1

Reconsidering remarriage: Stanley Cavell and the vicissitudes of genre 重新考虑再婚:斯坦利·卡维尔与体裁的变迁

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-08-24 DOI: 10.1080/17400309.2023.2246350

Kyle Barrowman

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引用次数: 0

George Miller’s “old-fashioned Hollywood studio”: corporate authorship at Kennedy Miller, 1981–1991 乔治·米勒的“老式好莱坞工作室”：肯尼迪·米勒的企业作者，1981–1991

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-08-24 DOI: 10.1080/17400309.2023.2246351

James Douglas

{"title":"George Miller’s “old-fashioned Hollywood studio”: corporate authorship at Kennedy Miller, 1981–1991","authors":"James Douglas","doi":"10.1080/17400309.2023.2246351","DOIUrl":"https://doi.org/10.1080/17400309.2023.2246351","url":null,"abstract":"ABSTRACT Australia’s George Miller, director of the Mad Max films and others, has an international reputation as a singular creative force. But this reputation overlooks key facts about Miller’s career and working methods, including his co-founding and stewardship of the production company Kennedy Miller (now Kennedy Miller Mitchell), which organized production along collaborative and collective lines. In this article, I undertake an organizational analysis of Kennedy Miller from 1981 to 1991, the period that led Australian film scholars to describe the firm as akin to a classical Hollywood studio operation. I argue that just as we recognize classical Hollywood studios as possessing a collective ‘genius’ that delimits individual claims to authorship, so should we understand Kennedy Miller in this period as possessing a corporate authorship over its film and television production. I locate this strong ‘house’ identity in the firm’s organizational structure, its distinctive culture of ‘comprehensivism’, its collaborative creative procedures, and in the discourses of publicity and critical reception that surrounded its output. I conclude by contending that this understanding of Kennedy Miller’s corporate authorship requires that we reframe our understanding of Miller’s practice to account for his role in this collaborative structure.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49330156","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}

引用次数: 1

Film bleu: the development of cinematic aesthetics and disavowal of cultural traditions in Hong Kong crime cinema 电影布鲁斯：香港犯罪电影电影美学的发展与文化传统的否定

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-08-18 DOI: 10.1080/17400309.2023.2246353

Yi Sun

引用次数: 0

Hollywood’s embassies: how movie theaters projected American power around the world 好莱坞大使馆：电影院如何在世界各地投射美国力量

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-07-03 DOI: 10.1080/17400309.2023.2239517

M. Gibson

引用次数: 0

Perplexing plots: popular storytelling and the poetics of murder 令人困惑的情节：通俗故事与谋杀诗学

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-07-03 DOI: 10.1080/17400309.2023.2239514

Harrison Whitaker

引用次数: 0

‘Have you got any soul?’: reinterpreting High Fidelity’s relationship to Black cultural production “你有灵魂吗?”:重新诠释高保真与黑人文化生产的关系

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-06-12 DOI: 10.1080/17400309.2023.2220635

A. Vesey

{"title":"‘Have you got any soul?’: reinterpreting High Fidelity’s relationship to Black cultural production","authors":"A. Vesey","doi":"10.1080/17400309.2023.2220635","DOIUrl":"https://doi.org/10.1080/17400309.2023.2220635","url":null,"abstract":"ABSTRACT This article uses textual and discourse analysis to examine the interpersonal dynamic between Rob and Cherise in High Fidelity (Hulu 2020), two Black female characters at the center of a gender- and race-flipped TV remake of Nick Hornby’s (1995) novel and Stephen Frears’s (2000) film. It centers Cherise in the frame by examining how she opposes her secondary status as a supporting character with her undervalued critical and creative acumen, traits she shares with her white male literary and cinematic counterparts but activates differently as a Black woman. It situates Cherise and actress Da’Vine Joy Randolph’s interpretation of the source material through the practice of cover singing. Though covers are often dismissed as unoriginal, reinterpretation is particularly useful for Black female performers who transform other peoples’ songs as a tactic against artistic marginalization, one that allows them to critique institutional racism and sexism. This acuity implicates the media industries’ limited imagination for Black female characters and the performers who bring them to life. Thus, Cherise and Randolph reveal the work ahead to bring Black female characters into focus by embellishing the margins of a story and challenging an adaptation process that was not designed to center them.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732521","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}

引用次数: 0