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JCMS-Journal of Cinema and Media Studies最新文献

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On Building Black Film Archive, a Digital Archive that Responds to a Movement 构建黑色电影资料馆——一个回应运动的数字资料馆
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0069
Maya S. Cade
{"title":"On Building Black Film Archive, a Digital Archive that Responds to a Movement","authors":"Maya S. Cade","doi":"10.1353/cj.2022.0069","DOIUrl":"https://doi.org/10.1353/cj.2022.0069","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"31 1","pages":"167 - 169"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83378998","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
Who Gets to Call It Black? Practicing Decentering the United States in Film Programming 谁能说它黑?在电影节目中实践去中心化的美国
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0074
Heitor Augusto
{"title":"Who Gets to Call It Black? Practicing Decentering the United States in Film Programming","authors":"Heitor Augusto","doi":"10.1353/cj.2022.0074","DOIUrl":"https://doi.org/10.1353/cj.2022.0074","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"135 1","pages":"189 - 193"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73017207","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
Effecting Repair: A Canyon Cinema Report on the "Rediscovery" of Toney W. Merritt 影响修复:托尼·w·梅里特“再发现”的峡谷电影报道
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0070
Brett Kashmere
{"title":"Effecting Repair: A Canyon Cinema Report on the \"Rediscovery\" of Toney W. Merritt","authors":"Brett Kashmere","doi":"10.1353/cj.2022.0070","DOIUrl":"https://doi.org/10.1353/cj.2022.0070","url":null,"abstract":"The Bay Area– based independent filmmaker Toney W. Merritt has been creating work for over fifty years. His unique corpus of personal films and videos draws upon and subverts numerous experimental, narrative, and documentary strategies and techniques. Like the work of acclaimed African American visual artist David Hammons, who rose to prominence in Los Angeles and New York in the 1970s and 1980s, Merritt’s work shares some of the same allegorical and selfreferential aspects and obscure humor and is distinguished by an unusual combination of playfulness, opacity, and formal concision. As a graduate student at the San Francisco Art Institute (SFAI) in the late 1970s, Merritt was part of a thriving subculture of personal cinema and radical individualism. Like many of his teachers and peers of the time, such as James Broughton, Mike Henderson, George Kuchar, Robert Nelson, Dean Snider, Babeth M. VanLoo, Marian Wallace, and Al Wong, Merritt made art firmly rooted in a San Franciscan bohemian tradition and style.1 Iconoclastic, performative, and disarmingly funny, Merritt’s films belong to a broader repudiation of the aesthetic seriousness that dominated experimental cinema culture in the 1970s.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"29 1","pages":"170 - 175"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78136049","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
Seeing in Circles: Narrative Circularity, the Cosmetic Gaze, and the Fusion of Self and Other in Kim Ki-duk's Sigan 循环观:金基德《sign》中的叙事循环、化妆凝视与自我与他者的融合
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0064
S. Kim
{"title":"Seeing in Circles: Narrative Circularity, the Cosmetic Gaze, and the Fusion of Self and Other in Kim Ki-duk's Sigan","authors":"S. Kim","doi":"10.1353/cj.2022.0064","DOIUrl":"https://doi.org/10.1353/cj.2022.0064","url":null,"abstract":"abstract:This article examines the connections between narrative circularity, cosmetic surgery, and the circular nature of the cosmetic gaze in South Korean auteur Kim Ki-duk's film Sigan (Time, 2006). I argue that the cosmetic gaze, which allows the human body to act as both subject and object to the self, also mirrors the looping circularity of Kim's film. By formally and narratively (con)fusing the film's male and female protagonists, Sigan enacts the interconnectedness of male and female, subject and object, and, consequently, self and other while offering a critique of how Korean subjects have literally embodied the burdens of the male-identified, Eurocentric gaze.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"133 1","pages":"107 - 82"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90481131","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
Wild Blue Media: Thinking through Seawater by Melody Jue (review) Wild Blue Media: Thinking through海水作者:Melody Jue(评论)
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0076
A. Elias
{"title":"Wild Blue Media: Thinking through Seawater by Melody Jue (review)","authors":"A. Elias","doi":"10.1353/cj.2022.0076","DOIUrl":"https://doi.org/10.1353/cj.2022.0076","url":null,"abstract":"The image on the cover of Melody Jue’s book Wild Blue Media: Thinking through Seawater intimates many of the book’s themes: views from inside the ocean that put media scholarship in the cool bluegreen light of the underwater, representations of sensory immersion and intimacy that demonstrate the value of learning from unfamiliar realms, and milieuspecific planetary understandings enabled by scuba diving and the “cognitive estrangement” it engenders.1 Jue’s exciting book advances ecological ethics by exploring oceans as environments for thinking beyond the conventions and habits of human experience on land. It argues that by experiencing the buoyancy of oceans, the limitations of humancentered perspectives, acculturated by gravity on land, are critically challenged. An interest in attuning to planetary entanglements is identified early on when Jue evokes Jacques Cousteau’s curiosity as a diver for his “flesh feeling what the fish scales know.”2 But the book is also about rethinking media theory through an embodied perspective in the fluidity of ocean water. Consequently, the first three chapters are divided into “interface,” “inscription,” and “database,” media concepts that become defamiliarized when submerged in the materiality of the pressure, fluidity, and salinity of oceans, while the fourth chapter on “underwater museums”","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"80 1","pages":"201 - 204"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83854894","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
Righting and Re-writing the Historical Record: Re-releasing the Films of Madeline Anderson 改写历史记录:重新发行玛德琳·安德森的电影
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0071
Livia Bloom Ingram
{"title":"Righting and Re-writing the Historical Record: Re-releasing the Films of Madeline Anderson","authors":"Livia Bloom Ingram","doi":"10.1353/cj.2022.0071","DOIUrl":"https://doi.org/10.1353/cj.2022.0071","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"18 1","pages":"176 - 181"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86206557","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
Micro Media Industries: Hmong American Media Innovation in the Diaspora by Lori Kido Lopez (review) 《微媒体产业:旅居海外的苗族美国媒体创新》作者:Lori Kido Lopez
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0057
Zizi Li
{"title":"Micro Media Industries: Hmong American Media Innovation in the Diaspora by Lori Kido Lopez (review)","authors":"Zizi Li","doi":"10.1353/cj.2022.0057","DOIUrl":"https://doi.org/10.1353/cj.2022.0057","url":null,"abstract":"Lori Kido Lopez’s second book, Micro Media Industries: Hmong American Media Innovation in the Diaspora, draws on her multiyear fieldwork from 2012 to 2018 with Hmong American communities in Wisconsin (Appleton, Green Bay, and Milwaukee), California (Fresno), and Minnesota (Minneapolis– St. Paul) to provide an account of Hmong media industries. The Hmong diaspora is constituted in relation to a nonsovereign homeland that is not bounded by a specific nationstate, for Hmong remain an ethnic minority in countries of origin such as Laos, Thailand, Vietnam, and China.1 Hmong Americans face vastly different challenges than diasporic populations originating from and identifying with a nationstate with a strong popular media presence. Lacking a home country of their own limits the scale, power, and available resources of Hmong media. Despite all these difficulties, Hmong Americans have found ways to build and maintain a vibrant media landscape composed almost exclusively of micro media industries and smallscale legacy and new media productions ranging from newspapers to podcasts, from radio shows to social media influencing.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"16 1","pages":"214 - 218"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75227544","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
Emotional Point of View in The Texas Chain Saw Massacre 《德州电锯杀人狂》中的情感视角
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0062
Eliot Bessette
{"title":"Emotional Point of View in The Texas Chain Saw Massacre","authors":"Eliot Bessette","doi":"10.1353/cj.2022.0062","DOIUrl":"https://doi.org/10.1353/cj.2022.0062","url":null,"abstract":"abstract:The Texas Chain Saw Massacre (Tobe Hooper, 1974) forcefully demonstrates an unusual technique for conveying characters' emotions, which I call emotional point of view (POV). This is a means of depicting emotions enmeshed with elements of film form, such as cinematography or mise-en-scène. Reading for emotional POV allows us to witness the distortive effect of characters' emotions on their perception. I examine three episodes of emotional POV in The Texas Chain Saw Massacre: those of fear, horror, and anger.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"18 1","pages":"36 - 59"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84915314","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
Picture Pain: Anti-Heteronormative Female Fandom in Early Hollywood 图片痛苦:早期好莱坞反异性恋的女性粉丝
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0061
Diana W. Anselmo
{"title":"Picture Pain: Anti-Heteronormative Female Fandom in Early Hollywood","authors":"Diana W. Anselmo","doi":"10.1353/cj.2022.0061","DOIUrl":"https://doi.org/10.1353/cj.2022.0061","url":null,"abstract":"abstract:The early Hollywood star system provided templates for young women to negotiate struggles with heteronormative femininity and attendant notions of sacrifice, romance, and recovery. Focusing on the movie scrapbook and diary of one white, rural, working young woman, I recover an unknown history of US female reception wherein one heartbroken spectator harnessed film ephemera of movie star divorces, deaths, and diseases to articulate formative queer feelings of difference, dissidence, and defiance.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"92 1","pages":"35 - 7"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77496593","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
Spotlight: Fan and Audience Studies Scholarly Interest Group 焦点:粉丝和观众研究学术兴趣小组
IF 0.5 2区 艺术学
JCMS-Journal of Cinema and Media Studies Pub Date : 2022-09-01 DOI: 10.1353/cj.2022.0059
Mel Stanfill, R. Garner
{"title":"Spotlight: Fan and Audience Studies Scholarly Interest Group","authors":"Mel Stanfill, R. Garner","doi":"10.1353/cj.2022.0059","DOIUrl":"https://doi.org/10.1353/cj.2022.0059","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":"56 6 1","pages":"1 - 3"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77867410","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
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