New Review of Film and Television Studies最新文献_第9页

The landscapes of western movies: a history of filming on location, 1900–1970 西方电影的风景：外景拍摄史，1900-1970

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-01-02 DOI: 10.1080/17400309.2023.2165375

J. Winn

{"title":"The landscapes of western movies: a history of filming on location, 1900–1970","authors":"J. Winn","doi":"10.1080/17400309.2023.2165375","DOIUrl":"https://doi.org/10.1080/17400309.2023.2165375","url":null,"abstract":"with most matters they may deem under-examined or neglected within it. In other words, her entry shows there is still much to be studied and debated in terms of how artists have figured (and continue to aesthetically figure) landscape. Lastly, since Elwes openly acknowledges the benefits of experiencing artwork in person, this book should provide all types of readers with a useful companion for navigating environmentally themed experimental art local to them. Accordingly, I envision Elwes’ book for both academic and non-academic contexts. In my current university setting, it could be a great teaching aid for units on topics like environmental art and experimental film. Selections also could be included in environmental media production courses to introduce students to the rich alternatives for creating media on environmental issues outside of a typical documentary or narrative frame. For instance, this past summer, my advisor was involved in a nine-week environmental media production and documentary studies program called the ‘Coastal Media Project’. While planning her syllabus, she mentioned looking forward to introducing students to environmentally themed films other than conventional nature and wildlife documentaries. Given these remarks, I am confident the program would have welcomed Elwes’ insights had they been available during its run. And if it gets greenlit for future sessions, I’ll recommend the book with enthusiasm to the faculty, filmmakers, and students involved.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"124 - 127"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42901663","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

Highroads and skyroads: mountain roadbuilding in U.S. government films of the 1920s and ‘30s 公路和天桥：20世纪二三十年代美国政府电影中的山路建设

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-01-02 DOI: 10.1080/17400309.2022.2102401

J. Peterson

引用次数: 0

Revisiting Brokeback Mountain – how mountains matter, or: melodrama, melancholy, (im-)mobility 重温断背山——山是如何重要的，或者：情节剧、忧郁、（im-）流动性

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-01-02 DOI: 10.1080/17400309.2022.2114257

S. Sielke

{"title":"Revisiting Brokeback Mountain – how mountains matter, or: melodrama, melancholy, (im-)mobility","authors":"S. Sielke","doi":"10.1080/17400309.2022.2114257","DOIUrl":"https://doi.org/10.1080/17400309.2022.2114257","url":null,"abstract":"ABSTRACT Returning to Brokeback Mountain and its mountainous aesthetics, my contribution develops a three-part argument that reengages the cinematic landscape projected in Ang Lee’s ‘love story’ – a landscape that echoes, as I show, a national visual culture mapped and remapped by paradigmatic moments in art, photography, and film. In part one, ‘Brokeback Mountain and “the force-field of melodrama”’, I show how mountains figure and function in the central genre of film history where they foreground, yet also curtail, the political dimension of personal fears and longings. Calling on the tradition of the Western as much as on the work of Edward Hopper, Ansel Adams, Andrew Wyeth, William Eggleston, Richard Avedon, and beyond, Brokeback Mountain – so I delineate in my second part ‘(Im-)mobility, mediation, melancholy’ – superimposes its own version of the West on representations we are more familiar with, producing a visual space and soundscape that is bound to shift our perspective. In its third and final part, ‘Landscaping a desire that has no name – or art’, my contribution shows why, since then, mountains have never been the same in the US-American cultural imaginary, and why we look at Westerns, at Adams, and Avedon even more mournfully now, superimposing on them Brokeback Mountain’s gender melancholy.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"53 - 74"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49404860","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

Cinematic figurations of mountains 山的电影形象

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2023-01-02 DOI: 10.1080/17400309.2023.2163864

Cornelia Klecker, Christian Quendler

引用次数: 0

On longing for loss: a theory of cinematic memory and an aesthetics of nostalgia 对失落的渴望：一种电影记忆理论与怀旧美学

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-11-18 DOI: 10.1080/17400309.2022.2132074

Zoë Anne Laks

{"title":"On longing for loss: a theory of cinematic memory and an aesthetics of nostalgia","authors":"Zoë Anne Laks","doi":"10.1080/17400309.2022.2132074","DOIUrl":"https://doi.org/10.1080/17400309.2022.2132074","url":null,"abstract":"ABSTRACT Nostalgia is everywhere in media today—be it films, television, or advertisements. But what does it mean to say that media is nostalgic? Beyond presenting nostalgic narratives, media texts can also express nostalgia stylistically. So how does this nostalgia look and feel? This article presents an original theory of the aesthetics of nostalgia, arguing that ‘pastness’ becomes fantastical when nostalgic media use an artificial style: often a hazy and hyper-coloured image. Through a case study of Guy Maddin’s Careful (1992), this article demonstrates how nostalgia may function audiovisually in the context of cinematic melodrama theory. These nostalgic aesthetics serve as both an articulation of mediated memory and a reflection of lived nostalgia, which is a longing for the inaccessible, the impossible, the lost—in other words, fantasy itself. Using phenomenologies of nostalgia by Edward Casey, James Hart, and Steven Galt Crowell, this article defines nostalgia philosophically, as the contradictory position between emotional yearning and a self-reflexive distance from the past. Such a radically critical nostalgia locates nostalgics not in a regressive and idealized relic of the past, but in the present moment, in which we may long for the loss of a past so inaccessible that it never was.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"402 - 426"},"PeriodicalIF":0.8,"publicationDate":"2022-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46457116","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: 2

Fiction as a challenge to text-oriented film studies 小说对以文本为导向的电影研究的挑战

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-10-20 DOI: 10.1080/17400309.2022.2132072

Mario Slugan

{"title":"Fiction as a challenge to text-oriented film studies","authors":"Mario Slugan","doi":"10.1080/17400309.2022.2132072","DOIUrl":"https://doi.org/10.1080/17400309.2022.2132072","url":null,"abstract":"ABSTRACT Fiction film remains the privileged focus of text-oriented film studies despite the growing interest in other film forms. Fiction as a concept also organizes the field’s key taxonomy – fiction v. nonfiction – yet little work has been devoted to the notion of fiction itself. The work that does exist is either textualist or spectator centred. The article argues that this leads to significant issues. First, categorization of numerous films diverges significantly from the ordinary understanding of the fiction/nonfiction divide. Second, such categorization may lead to both misunderstanding of audience experience and ethical problems alike. Third, theoretical commitments revolving around indexicality although partially applicable to documentary cannot shed light on fiction contrary to numerous attempts to do so. Fourth, one of discipline’s key assumptions – fiction films change real-life beliefs – demands a theory of the relationship between fiction and belief that is currently absent in film studies. Closer scrutiny of the notion of fiction, the article argues, is necessary to dispel these issues. Specifically, the article advocates for 1) non-textualist accounts of fiction and 2) a theory of the relationship of fiction to imagination and belief.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"427 - 450"},"PeriodicalIF":0.8,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48724944","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

Documentary’s expanded fields: new media and the twenty-first-century documentary 纪录片的拓展领域：新媒体与21世纪纪录片

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-10-02 DOI: 10.1080/17400309.2022.2138388

R. Watson

引用次数: 1

The new female antihero: the disruptive women of twenty-first-century US television 新女性反英雄：21世纪美国电视的颠覆性女性

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-10-02 DOI: 10.1080/17400309.2022.2135928

Arya Rani

引用次数: 0

Brooklyn: gendered Irish migration to the United States 布鲁克林:爱尔兰移民到美国的性别

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-10-02 DOI: 10.1080/17400309.2022.2138393

C. Rocha

引用次数: 0

“It’s Top Chef, not a personality contest”: grammars of stereotype, neoliberal logics of personhood, and the performance of the racialized self in Top Chef: New York “这是《顶级厨师》，不是人格竞赛”:刻板印象的语法，新自由主义的人格逻辑，以及《顶级厨师:纽约》中种族化自我的表现

IF 0.8 2区艺术学

New Review of Film and Television Studies Pub Date : 2022-10-02 DOI: 10.1080/17400309.2022.2133920

Olivia Stowell

{"title":"“It’s Top Chef, not a personality contest”: grammars of stereotype, neoliberal logics of personhood, and the performance of the racialized self in Top Chef: New York","authors":"Olivia Stowell","doi":"10.1080/17400309.2022.2133920","DOIUrl":"https://doi.org/10.1080/17400309.2022.2133920","url":null,"abstract":"ABSTRACT This article explores the intersections of racial identity performance, culinary style, and neoliberal logics within reality cooking television. By close reading the performance and evaluation of Top Chef: New York contestant Carla Hall, this article argues that reality cooking competitions depend on a grammar of stereotype in order to transform contestants into characters, and the contestants both acquiesce to and resist these preconceived notions, sometimes simultaneously. Neoliberal logics of personhood both constrain contestants within their ‘characters’/‘brands’ and also allow chefs to agentially and reflexively self-construct particular personas out of their own culinary ethos. Relatedly, food operates as a multivalent racialized signifier of identity, in which the contestants racialize the food and the food racializes the contestants. As Carla Hall’s performance in Top Chef: New York demonstrates, reality cooking competitions place demands on their contestants to ‘appropriately’ perform their identities, and contestants are evaluated by both the judges and the viewers on how they navigate these performances. This article contends that in its reliance on racial stereotype and conflations between labor, identity, and being, Top Chef propagates neoliberal and multicultural/postracial logics, demanding that its contestants of color perform their individualized, racialized identities in ways that the program deems ‘authentic’ and ‘appropriate’.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"569 - 587"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42802400","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