JOURNAL OF POPULAR FILM AND TELEVISION最新文献

{"title":"COLD WAR FILM GENRES Edited by Homer B. Pettey. Edinburgh UP, 2018. 280 pp. $110 hardcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2021.1971918","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971918","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"13 4","pages":"232 - 232"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72458141","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 Representation of Urban Surface Culture in Asphalt (1929)","authors":"Jee-Hae Jung","doi":"10.1080/01956051.2021.1972924","DOIUrl":"https://doi.org/10.1080/01956051.2021.1972924","url":null,"abstract":"Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine’s urban experiences, this essay discusses the ways in which the film valorizes “surface culture” as opposed to moral “depth.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"83 2 1","pages":"223 - 231"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77907722","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":"From Mrs. G. to Marmee: The Facts of Life and Little Women","authors":"Michelle Ann Abate","doi":"10.1080/01956051.2021.1871876","DOIUrl":"https://doi.org/10.1080/01956051.2021.1871876","url":null,"abstract":"Abstract This essay gives much-needed critical attention to the 1980s sitcom, The Facts of Life. While the show was a spinoff to the series Diff’rent Strokes, I make a case that its true creative and cultural debt is to a far different source: Louisa May Alcott’s 1868 novel, Little Women.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"182 - 195"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89742383","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":"WOMEN MAKE HORROR: FILMMAKING, FEMINISM, GENRE. Edited by Alison Peirse. Rutgers UP, 2020. 270 pp. $29.95 paper.","authors":"H. Humann","doi":"10.1080/01956051.2021.1971926","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971926","url":null,"abstract":"Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"15 1","pages":"235 - 236"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79491771","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":"HBO’s Watchmen and Generic Revision in a Genre of Adaptation","authors":"D. McLean","doi":"10.1080/01956051.2021.1875974","DOIUrl":"https://doi.org/10.1080/01956051.2021.1875974","url":null,"abstract":"Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"21 1","pages":"196 - 209"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73763200","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":"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}