JOURNAL OF POPULAR FILM AND TELEVISION最新文献

{"title":"Mapping Imperialist Movement in Postmodern Horror Film Midsommar","authors":"Monica E. Wolfe","doi":"10.1080/01956051.2021.1881036","DOIUrl":"https://doi.org/10.1080/01956051.2021.1881036","url":null,"abstract":"ABSTRACT: Ari Aster’s 2019 postmodern horror film Midsommar reflects current cultural preoccupations with globalization and American empire building in the twenty-first century United States. Mapping the film’s ideological attributes (including femininity/masculinity, academic knowledge/folk knowledge, and capitalism/communism—the strict binaries of which set false expectations for all other binaries to hold) onto its physical locations makes clear two prominent ideological spaces: the perverse urban and the idealized pastoral, which appear not only in Midsommar but in many horror films to which this chart can be applied. The horror of the film is driven by the objectified Other’s resistance to the imperial power’s desire to dominate physical place and own ideological space, but is complicated by a suggestion that, in this unique case, the Other is also a nationalist, right-wing power, and the tension between home and foreign reflects that of a new Cold War. The boundaries between spaces and places are disrupted, and our very inquiry into the structure of space is called into question.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"36 1","pages":"210 - 222"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76488784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE STREAMING OF HILL HOUSE: ESSAYS ON THE HAUNTING NETFLIX ADAPTATION Ed. Kevin J. Wetmore, Jr. Jefferson: Mcfarland & Company, 2020. 282 pp. $39.95 paper.","authors":"Paul N. Reinsch","doi":"10.1080/01956051.2021.1987828","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987828","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"37 1","pages":"233 - 234"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84051402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SEE! HEAR! CUT! KILL! EXPERIENCING FRIDAY THE 13TH By Wickham Clayton. Jackson: U Mississippi P, 2020. 238 pp. $30.00 paper.","authors":"Alissa Burger","doi":"10.1080/01956051.2021.1987834","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987834","url":null,"abstract":"As part of this project, essays within Women Make Horror: Filmmaking, Feminism, Genre explore a range of texts including narrative and experimental cinema, as well as short, anthology, and feature filmmaking. The essays included present case studies of North American as well as international filmmakers, films, and festivals. While the collection’s eighteen (in total) chapters include a range of topics—and veer into quite different scholarly directions—a recurring concern seen in a number of the essays has to do with the relationship between gender and genre. This focus can be clearly observed in several of the chapters that address American films. For example, in “Stephanie Rothman and Vampiric Film Histories,” Alicia Kozma addresses the intersection of gender and labor in the entertainment industries through an insightful case study of director Stephanie Rothman. Similarly, in “Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare,” Tosha R. Taylor examines the relationship between gender and genre while uncovering how film director Rachel Talalay hones a style and creates strong female characters that defy expectations as well as break barriers. This concern is addressed as well by Laura Mee in “Murders and Adaptations: Gender in American Psycho.” There, Mee discusses Bret Easton Ellis’s controversial 1991 novel and its (equally) controversial film adaptation by exploring the involvement by female filmmakers in bringing the work to the big screen. While it is true that many of the chapters that concern international films and filmmakers tackle a range of disparate topics, noteworthy essays in this collection effectively address the crucial relationship between gender and genre in non-US based films, as well (while also covering other important issues related to international cinema, such as those related to industry norms and reception history). For instance, in her worthwhile and nuanced essay, “The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship,” Martha Shearer considers the relationship between authorship, gender, and genre in the 1977 Italian supernatural horror film. Molly Kim’s thought-provoking essay, “Women-Made Horror in Korean Cinema,” also shines a light on the relationship between gender and genre, while she reexamines the history of Korean horror cinema. In both cases, the authors raise interesting questions about the assumptions traditionally associated with women filmmakers working in the field of horror cinema—and they thus both also participate in an important and ongoing discussion about these stillrelevant issues. As essays such as these demonstrate, Women Make Horror succeeds in highlighting the underexplored role women have played in creating horror films. Thus, by bringing these essays together, Peirse creates an important dialogue about horror films and their cultural relevance. In this sense, the collection fulfills its objective, which is to transform traditional views about","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"236 - 237"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90811790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Make America Hate Again? The Politics of Vigilante Geriaction","authors":"G. Frame","doi":"10.1080/01956051.2021.1957337","DOIUrl":"https://doi.org/10.1080/01956051.2021.1957337","url":null,"abstract":"Abstract The article explores the politics of the vigilante geriaction film, with specific focus on the remake of Death Wish (Eli Roth, 2018). In its construction of a nation under mortal threat from within and without, the subgenre is uncritical in its reinforcement of Trumpian rhetoric regarding the marginalization, precarity, and obsolescence of the older white male. Typical of the contemporary vigilante film, through its visual style, representation of masculinity, and aging star (Bruce Willis), Death Wish attempts to resuscitate a form of authoritarian heroism considered outmoded in the contemporary cultural landscape.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"58 1","pages":"168 - 180"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73604989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Geri-Actions of the Aging Amitabh Bachchan","authors":"Rajinder Dudrah","doi":"10.1080/01956051.2021.1957334","DOIUrl":"https://doi.org/10.1080/01956051.2021.1957334","url":null,"abstract":"Abstract Geri-action as a term within film studies describes a subgenre of action cinema in which, largely though not exclusively, men in their middle ages partake in narratives of action and spectacle, whilst simultaneously dealing with issues of aging bodies that participate in a move, or not as the case might be, towards some sort of an idea of retirement. This article explores how we might make the term work for us critically and discernibly in film, media, and cultural studies, especially in the non-Hollywood and global cinematic context. It uses the example of the Indian actor and star Amitabh Bachchan, aged 79, one of the country’s most iconic and longest serving entertainers in its cinema and related media industries. The case of Bachchan allows us to think about the notion of geri-action as not just a universal cinematic subcategory but one that we also have to make nuanced for local and global cultural contexts.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"80 1","pages":"136 - 143"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90583681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Geriaction Cinema: Introduction","authors":"Laura Crossley, Austin Fisher","doi":"10.1080/01956051.2021.1957332","DOIUrl":"https://doi.org/10.1080/01956051.2021.1957332","url":null,"abstract":"TO SAY that Da 5 Bloods (Spike Lee, 2020) is self-conscious in its engagement with cinematic precedents would be an understatement. The Vietnam veterans at the heart of the narrative directly criticize Rambo: First Blood Part II (George P. Cosmatos, 1985) and Missing in Action (Joseph Zito, 1984) as manifestations of Hollywood “trying to go back and win the Vietnam War,” even as they themselves return to Ho Chi Minh City decades after the conflict on a quest to address unfinished business. The riverboat trip that takes them back into the jungle where they will confront their demons is accompanied by Richard Wagner’s “Ride of the Valkyries,” adding Apocalypse Now (Francis Ford Coppola, 1979) to a long list of overt film references. Even amongst such programmatically knowing intertextuality, one element of Da 5 Bloods stands out as jarringly nonnaturalistic. The numerous flashbacks to the war focus on the four main characters and their fallen comrade, Stormin’ Norman. For the purposes of narrative verisimilitude, all five men should be in their late teens or twenties, yet Paul, David, Otis, and Eddie remain in their sixties, still played by the actors who portray them in their present-day manifestations. No attempt is made to de-age these actors, either through makeup or digital manipulation, resulting in an incongruous spectacle that unavoidably draws our attention to the artifice of the filmmaking process. We might argue that the effect is to place the audience on a cognitive level with the four main characters, whose flashbacks we are witnessing as they look back on their youth through the prism of age and bitter experience. This reading is supported by the film’s official press Geriaction Cinema:","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"16 1","pages":"130 - 135"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75738700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reflections on Mortality: The Imagery of Mirrors in Clint Eastwood’s Gran Torino","authors":"Christa van Raalte","doi":"10.1080/01956051.2021.1957335","DOIUrl":"https://doi.org/10.1080/01956051.2021.1957335","url":null,"abstract":"ABSTRACT Like much of Clint Eastwood’s late work, Gran Torino is a film that directly addresses themes and images of old age. It is also a film about mortality. This article discusses the imagery of mirrors and reflections in the film and way they are used symbolically and structurally to highlight and explore issues of aging, entropy, and death. Drawing on Kathleen Woodward’s notion of a mirror stage of old age, it argues that Walt moves from rejection of the aging self to a form of acceptance, albeit one that uses the heroic persona to effectively bypass natural mortality.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"129 1","pages":"144 - 154"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77974011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TOO OLD FOR THIS SH*T: Aged Action Heroes, Affect, and “the Economy of Exertion”","authors":"L. Soberon","doi":"10.1080/01956051.2021.1957336","DOIUrl":"https://doi.org/10.1080/01956051.2021.1957336","url":null,"abstract":"Abstract This article discusses how old age aligns with ideals of hegemonic masculinity and generic conventions of the action film through the performance of strenuous heroics. Whereas it is commonly assumed that action films omit many characteristics which reference the geriaction hero’s age in order to safeguard his masculine status, aspects of age and aging are in many contexts instead emphasized. The ailments and efforts that come with old age provide a potent source of melodramatic scenarios that set up the action hero as a morally right victim in pursuit of heroic restoration. Using the films The Last Stand, 3 Days to Kill, and Taken 3, an illustration is offered of how action films engage their heroes in an economy of exertive situations to draw power from this victimization and frame the violent actions of the characters as pleasurable.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"28 1","pages":"155 - 167"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77996115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"James Cameron’s Avatar and the Filmic Legacy of the White Hunter","authors":"Hosein Jalilvand","doi":"10.1080/01956051.2020.1870427","DOIUrl":"https://doi.org/10.1080/01956051.2020.1870427","url":null,"abstract":"ABSTRACT: This article explores the representation of the White Hunter as an archetypal figure across different periods and genres in Hollywood, mapping the legacy of this colonial icon in James Cameron’s Avatar (2009). In its redefinition of the safari film genre, Avatar embeds colonial tropes of wild Africa in an alien fantasy world of simulations, where the “eco-romantic” postcolonial production codes regarding African wildlife cease to apply, allowing Jake Sully, the protagonist, to reenact a colonial big-game safari and rehabilitate his white hunting masculinity in an artificial Africa. In doing so, the film rebrands and propagates the acceptance of a number of colonial heroes and themes of yore in today’s popular culture.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"55 1","pages":"92 - 108"},"PeriodicalIF":0.1,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75461646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"HOLLYWOOD AT THE RACES: FILM’S LOVE AFFAIR WITH THE TURF. By Alan Shuback. UP of Kentucky, 2019. 278pp. $34.36 softcover.","authors":"Sue Matheson","doi":"10.1080/01956051.2021.1923297","DOIUrl":"https://doi.org/10.1080/01956051.2021.1923297","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"10 1","pages":"122 - 123"},"PeriodicalIF":0.1,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78131129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}