New Review of Film and Television Studies最新文献_第6页

The aesthetics of impasse and the affective rhythms of survival: Andrea Arnold’s Fish Tank as cinema of precarity 绝境的美学和生存的情感节奏:作为不稳定电影的安德里亚·阿诺德的《鱼缸》

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-06-05 DOI: 10.1080/17400309.2023.2218784

Katarzyna Paszkiewicz

{"title":"The aesthetics of impasse and the affective rhythms of survival: Andrea Arnold’s Fish Tank as cinema of precarity","authors":"Katarzyna Paszkiewicz","doi":"10.1080/17400309.2023.2218784","DOIUrl":"https://doi.org/10.1080/17400309.2023.2218784","url":null,"abstract":"ABSTRACT This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist cinema or the phenomenological representations of female experience. Situating Fish Tank within the broader framework of the cinema of precarity helps articulate a position from which to problematise the overemphasis on movement in critical writings on the film – which, as I will discuss, is also predominant in both affect theory and film phenomenology. I argue that with its simultaneous focus on movement and impasse, realised through framing and composition of the shot, camera movement, and repetition of visual tropes that convey confinement, Fish Tank is able to capture and aesthetically re-enact the impact of neoliberalism, while simultaneously paying attention to class and gendered styles of bodily adjustment to crisis ordinariness. I conclude that Berlant’s critical apparatus illuminates the formal and affective complexity of Fish Tank in new ways, and creates space to address larger questions of affect, aesthetics, and the profilmic body.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41889083","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

‘This I rebel against’: television advertising, Rod Serling’s The Twilight Zone, and a changing industry “我反对这个”：电视广告、罗德·瑟林的《暮光之城》和一个不断变化的行业

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-06-04 DOI: 10.1080/17400309.2023.2216101

C. Bartlett

{"title":"‘This I rebel against’: television advertising, Rod Serling’s The Twilight Zone, and a changing industry","authors":"C. Bartlett","doi":"10.1080/17400309.2023.2216101","DOIUrl":"https://doi.org/10.1080/17400309.2023.2216101","url":null,"abstract":"ABSTRACT This article re-examines Rod Serling’s career as he transitioned from writing live anthology teleplays to his famous series, The Twilight Zone (1959–1964), in service of investigating the changing definitions of authorship as the television industry changed. It does so in order to show that the techniques many critics agree Serling used to subvert corporate sponsors may have been rooted in pragmatic compromise engendered by the need to remain working within the shifting world of TV. These techniques include using science fiction and fantasy on television and becoming a writer-producer and the face of The Twilight Zone. Serling’s transition to science fiction and fantasy, this article argues, could also be seen as a retreat from early TV’s dominant mode of storytelling: social realism. His becoming the face of The Twilight Zone may have been a way to assuage producers’ fears in supporting another anthology series without a consistent cast. This leads to the conflation of Serling the writer with Serling the salesman. Ultimately, these compromises result in the blurring of the line between commercial and series, as well as between writer and salesman.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41923811","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

A queer way of feeling: girl fans and personal archives of early Hollywood 一种奇怪的感觉方式：早期好莱坞的女粉丝和个人档案

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-05-30 DOI: 10.1080/17400309.2023.2207439

Angie Fazekas

引用次数: 0

Black box universe: the mind-game phenomenon, the hacker film, and the new millennium 黑箱宇宙:思维游戏现象、黑客电影和新千年

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-05-26 DOI: 10.1080/17400309.2023.2207425

Madeleine Collier

{"title":"Black box universe: the mind-game phenomenon, the hacker film, and the new millennium","authors":"Madeleine Collier","doi":"10.1080/17400309.2023.2207425","DOIUrl":"https://doi.org/10.1080/17400309.2023.2207425","url":null,"abstract":"ABSTRACT It is the beginning of the new millennium. Globalization is picking up the pace, and Marxist media theorists warn about affective and ‘immaterial’ modes of extraction, as well as the rise of the attention economy. It is within this web of post-Fordist anxieties and chameleonic, flexible mechanisms of control that Thomas Elsaesser first charts the rise of the mind-game phenomenon, in his 2009 article ‘The Mind-Game Film’. Elsaesser and his successors perceptively trace the mind-game film back to a range of global conditions and technological innovations which marked the passage from the twentieth to twenty-first centuries, from interactive VCR and DVD technology to confrontations with post-colonial Others. However, little-to-no mind-game scholarship thus far has centered the rise of Web 2.0 and the concurrent privatization of the Internet; furthermore, with the obvious exception of the Matrix trilogy, the mind-bending hacker films of the 1980s and 1990s (e.g. WarGames, Sneakers, The Net) have been largely overlooked as mind-game and mind-game-adjacent films. Accordingly, this paper examines whether and how the hacker film might be folded into the broader field of mind-game scholarship.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43019675","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

Murky waters: Incident at Loch Ness, Grizzly Man, and Herzogian notions of truth 黑暗的水域:尼斯湖事件，灰熊人，和赫尔佐格的真理观念

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-05-25 DOI: 10.1080/17400309.2023.2214052

Brandon West

{"title":"Murky waters: Incident at Loch Ness, Grizzly Man, and Herzogian notions of truth","authors":"Brandon West","doi":"10.1080/17400309.2023.2214052","DOIUrl":"https://doi.org/10.1080/17400309.2023.2214052","url":null,"abstract":"ABSTRACT Werner Herzog avers that cinema reveals a truth beyond mere fact, a truth he calls ‘ecstatic truth’. The film that offers the clearest view of this conception, the mockumentary Incident at Loch Ness (2004), remains understudied and obscure. In Incident, Herzog plays a fictionalized version of himself who is making a documentary about the Loch Ness monster. This fictional version of Herzog shares the real Herzog’s filmmaking philosophy, a philosophy Incident lays bare for study: namely, Incident reveals how the pursuit of ecstatic truth takes us to the limits of human understanding. While Incident helps us explore the concept of ecstatic truth, I argue it also helps us understand much of Herzog’s oeuvre, including 2005’s Grizzly Man. In this paper, therefore, I analyze ecstatic truth as presented in Incident and apply that understanding to Grizzly Man and its controversial tape scene. Examining said scene through the lens of the ecstatic truth will, I argue, not only garner us fuller insight into Herzog’s films, but will also shed light on the effects of Herzog’s controversial choice to not play the tape of Timothy Treadwell’s death in Grizzly Man.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41298164","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

Affective production value on queer community television: a case study of the Gay Cable Network and Gay USA 同性恋社区电视的情感制作价值——以美国同性恋有线电视网为例

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-04-03 DOI: 10.1080/17400309.2023.2196782

L. Herold

{"title":"Affective production value on queer community television: a case study of the Gay Cable Network and Gay USA","authors":"L. Herold","doi":"10.1080/17400309.2023.2196782","DOIUrl":"https://doi.org/10.1080/17400309.2023.2196782","url":null,"abstract":"ABSTRACT This article assesses the significance of the Gay Cable Network (GCN), a production company that aired a dozen shows on public access cable television made by and for LGBTQ New Yorkers. Drawing upon archival research and interviews with producers, hosts, and assistants at GCN, I argue that LGBTQ producers experience both transformational opportunities for political engagement as well as precarity, frustration, and loss through public access cable television production. I evaluate the social experience of television production to analyze what I am calling affective production value: a metric that establishes how community media production generates a range of powerful emotional experiences for its producers. I examine the daily experience of queer television production through GCN founder Lou Maletta’s tireless efforts to produce and distribute LGBTQ programming for more than twenty years as well as the continuing efforts of his contemporaries on Gay USA, an LGBTQ news program that still airs weekly. Examining cable access shows in terms of affective production value allows scholars to decenter normative standards of production quality in order to understand how local production generates meaning for its producers, offering us the opportunity to explore the personal and cultural impact of community television production.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45182617","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

“It’s not really a cat”: art, media, and queer wildness in Cat People (1942, 1982) “它不是真正的猫”：《猫人》中的艺术、媒体和酷儿野性（1942、1982）

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-04-03 DOI: 10.1080/17400309.2023.2196221

Alex Zivkovic

{"title":"“It’s not really a cat”: art, media, and queer wildness in Cat People (1942, 1982)","authors":"Alex Zivkovic","doi":"10.1080/17400309.2023.2196221","DOIUrl":"https://doi.org/10.1080/17400309.2023.2196221","url":null,"abstract":"ABSTRACT This article examines representations of cats across various media in Cat People (Jacques Tourneur, 1942) and its remake (Paul Schrader, 1982). I reorient the scholarship of these films towards issues raised by animal studies: asking what the films’ investigations into animal representations might offer for understanding depictions of women, monsters, and interspecies intimacy across different media. I argue that the two horror films repeatedly expose the inability of static representations like statues, paintings, or photographs to fully ‘capture’ animals or animality. Instead, animal affects are conveyed through shadows, montage, sexual activity, and corporeal violence. Since the cat women protagonists turn into panthers when they feel strong emotions or have sex, this concern with representing animality is intimately tied with representing sexuality. By intertwining these issues, the films suggest that queer wildness is a characteristic that transcends animals, people, and even bodies. In particular, the 1982 film embraces the posthumanist implications of this wildness by concluding with a scene of interspecies intimacy that evokes calls for queer ecological entanglements beyond visual mediation.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49367030","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

The category is: streaming queer television 类别是:流媒体酷儿电视

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-04-03 DOI: 10.1080/17400309.2023.2202597

Zoë Shacklock

{"title":"The category is: streaming queer television","authors":"Zoë Shacklock","doi":"10.1080/17400309.2023.2202597","DOIUrl":"https://doi.org/10.1080/17400309.2023.2202597","url":null,"abstract":"ABSTRACT Streaming television is often seen as a progressive space for queer representation, due to the wealth of queer people and stories found across its programmes. Yet for queer people to be seen on streaming television, they must first be made visible at the level of the interface, which determines which programmes are presented to users and in what ways. Through the organisation of the interface, streaming television acts as a discursive formation that creates knowledge about what it means to be queer. Borrowing from both Eve Kosofsky Sedgwick and Lynne Joyrich, I argue that streaming television constructs an epistemology of the category, in which queerness is presented as categorisable and predictable. I explore how the two key features of streaming television’s interfaces – categories and algorithms – produce an understanding of queerness as normatively visible and inseparable from consumer choice. Yet while streaming giants generate a neoliberal conception of normatively visible and consumable queerness, queer-specific streaming services such as Revry offer a different, ‘messier’ understanding of queer lives, suggesting that streaming television holds the potential for a more radical interface with queerness.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44520398","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

Melancholy, respectability, and credibility in Sean Baker’s Tangerine 肖恩·贝克《橘子》中的忧郁、受人尊敬和可信度

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-04-03 DOI: 10.1080/17400309.2023.2194781

Paige Macintosh

{"title":"Melancholy, respectability, and credibility in Sean Baker’s Tangerine","authors":"Paige Macintosh","doi":"10.1080/17400309.2023.2194781","DOIUrl":"https://doi.org/10.1080/17400309.2023.2194781","url":null,"abstract":"ABSTRACT A complex cinematic history of trans characters precedes contemporary representations of trans people — one of normalizing trans identity through class, gender, and race. In the context of contemporary American cinema, Sean Baker’s Tangerine (2015) demonstrates alternative strategies for representing trans characters and marks a turning point in trans cinema. Tangerine presents a grittier version of transgender experience than was seen in mainstream trans films released during the mid-2010s. The film challenges victimization narratives and the pathologization of the trans body, appealing directly to trans audiences. Moreover, the film’s trans-affirmative casting advocates trans agency, while its depictions of state and individual violence systematically critique conventional trans tropes in earlier trans films. However, the film’s paratexts re-affirm some of the industrial patterns that continue to marginalise trans industry workers. Prominent reviews and interviews with the cast and crew spotlight the redirection of this trans film’s cultural and financial capital away from trans workers and toward industry elites. Ultimately, Tangerine signals a complex turning point in trans media, whereby media industries increasingly value trans performers and consultants for their capacity to legitimize trans media, but trans industry workers continue to remain vulnerable within these industries’ complex power dynamics.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46509862","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

Introduction: queer/trans media now 简介:现在的酷儿/跨性别媒体

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-04-03 DOI: 10.1080/17400309.2023.2207437

Matthew Connolly

引用次数: 0