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

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

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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

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引用次数: 0

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":"21 1","pages":"375 - 401"},"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":"21 1","pages":"505 - 526"},"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

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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":"32 12","pages":"567 - 586"},"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