Résumé:Dans cette brève analyse suscitée par la publication récente de l'ouvrage de Caroline Zéau Le Cinéma direct : un art de la mise en scène, je soutiens que les généralistes qui abordent la naissance de l'histoire du cinéma, spécialement dans un contexte éducatif, ont beaucoup à gagner d'une approche « parallèle » de concepts comme « les débuts du cinéma ». Comme Zéau nous permet de le comprendre, on pourrait dire la même chose, en partie, de l'évolution du cinéma direct, ou cinéma-vérité. Les œuvres de Mitchell et Kenyon et les séquences ethnographiques filmées par Zora Neale Hurston illustrent cette idée de façon convaincante.Abstract:This brief discussion, led by the recent publication of Caroline Zéau's Le Cinéma direct : un art de la mise en scène, argues that generalists approaching early film history, especially in a classroom environment, have much to gain by considering a more "parallel" approach to concepts such as "early cinema." Much the same can be said, Zéau helps us to see, of the evolution of Direct Cinema. Key examples are the work of Mitchell and Kenyon and the ethnographic footage shot by Zora Neale Hurston.
小结:在这个简短的分析,对最近出版的该书的Caroline Zéau直播:一个艺术电影的导演,我认为那些涉及综合类电影史诞辰,专门教育环境下的并行«»方式,赢得了很多的概念,如同«»电影的开端。正如zau让我们理解的那样，在某种程度上，直接电影或cinema - verite的演变也是如此。米切尔和凯尼恩的作品以及佐拉·尼尔·赫斯顿拍摄的民族志序列令人信服地说明了这一观点。摘要:这个简短的讨论，由Caroline zau最近出版的Le cinema direct: un art de la mise en scene领导，认为一般人处理早期电影历史，特别是在课堂环境中，考虑一个更“平行”的方法，如“早期电影”，有很多好处。Much the same can be said, Zéau帮助各us to see the Cinema of直接演变。= =地理= =根据美国人口普查，这个县的面积为。
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In Kill the Documentary, celebrated documentarian and educator Jill Godmilow argues we must do away with the “documentary-as-we-know-it,” replacing such “conventional documentaries” with a postrealist cinema. Godmilow calls her missive to filmmakers, students, and scholars, delivered in accessible language and free of heavy-handed theorizing, a “letter.” (In his foreword, film scholar Bill Nichols calls it a “manifesto” [xi].) The author’s reasons for parting ways with conventional documentaries are varied, beginning with how they typically focus on delivering a dramatic narrative, building empathy for individual on-screen figures, and offering reassuring climaxes and neat conclusions, all with the pretense of showing us “reality.” Furthermore, such conventional documentaries are regularly guilty of offences such as servicing cultural imperialism by promulgating an image of “us” and “them” that situates the Western viewer as the ultimate arbiter of knowledge, not illuminating underlying social or economic structures, and flattering liberal viewers into believing they are well-informed citizens. Among the productions Godmilow singles out for extended criticism are Nanook of the North (Robert Flaherty, 1922), for fuelling Western fantasies of a heroic but backward indigenous Other; Hoop Dreams (Steve James, 1994) for focusing on two adversity-defying individual African American characters instead of exploring structural economic oppression and racism; and The Vietnam War (Ken Burns and Lynn Novick, 2017), for neatly consigning this war to the history books without pressing the viewer to consider the moral question “who am I next to this?” (59). Documentaries like these are, Godmilow writes, “a relatively useless cultural product, especially for political change” (2); they fascinate and seduce us, rile our emotions, and then send us contentedly on our way believing we have witnessed reality and are better people for the experience (19). These arguments echo well-versed criticisms of the documentary, from the apprehension that Griersonian reform-minded productions typically serve as “liberal consensus documentaries” (to borrow a term from activist film programmer and scholar Ezra Winton), to Susan Sontag’s linking of indexical photographic images with voyeurism, or studies that show how well-intended documentary film festivals can reduce the travails of Global South constituencies to little more than an entertaining spectacle for Global North audiences.
在《杀死纪录片》(Kill the Documentary)一书中，著名纪录片导演兼教育家吉尔·戈德米洛(Jill Godmilow)认为，我们必须废除“我们所熟知的纪录片”，用后现代主义电影取代这种“传统纪录片”。戈德米洛称她写给电影制作人、学生和学者的信是一封“信”，用通俗易懂的语言传达，没有生硬的理论化。(电影学者比尔·尼科尔斯(Bill Nichols)在前言中称其为“宣言”。)作者与传统纪录片分道扬镳的原因多种多样，首先是它们通常专注于提供戏剧性的叙事，为屏幕上的个人人物建立同理心，并提供令人安心的高潮和简洁的结论，所有这些都是为了向我们展示“现实”。此外，这种传统的纪录片经常会犯一些错误，比如通过传播“我们”和“他们”的形象，为文化帝国主义服务，将西方观众定位为知识的最终仲裁者，而不是阐明潜在的社会或经济结构，并奉承自由派观众，使他们相信自己是见多识广的公民。戈德米洛挑选的作品中有《北方的纳努克》(Robert Flaherty, 1922)，因为它助长了西方对英雄但落后的土著他者的幻想;《篮球梦》(Steve James, 1994)聚焦于两个敢于挑战逆境的非裔美国人，而不是探索结构性的经济压迫和种族主义;《越南战争》(肯·伯恩斯和林恩·诺维克，2017年)，因为它巧妙地将这场战争扔进了历史书，而没有迫使观众考虑“在这场战争面前我是谁?””(59)。戈德米洛写道，像这样的纪录片是“一种相对无用的文化产品，尤其是对政治变革而言”(2);它们使我们着迷，引诱我们，刺激我们的情绪，然后心满意足地送我们上路，相信我们目睹了现实，并因为这次经历而成为更好的人。这些论点呼应了对纪录片的深刻批评，从对格里尔森改革思想的作品通常被视为“自由共识纪录片”(借用激进主义电影制片人和学者埃兹拉·温顿的术语)的担忧，到苏珊·桑塔格将索引式摄影图像与偷窥癖联系起来，也有研究表明，善意的纪录片电影节可以将全球南方选区的痛苦减少到仅仅是全球北方观众的娱乐奇观。
{"title":"Kill the Documentary: A Letter to Filmmakers, Students, and Scholars by Jill Godmilow (review)","authors":"Lyell Davies","doi":"10.3138/cjfs-2022-0050","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0050","url":null,"abstract":"In Kill the Documentary, celebrated documentarian and educator Jill Godmilow argues we must do away with the “documentary-as-we-know-it,” replacing such “conventional documentaries” with a postrealist cinema. Godmilow calls her missive to filmmakers, students, and scholars, delivered in accessible language and free of heavy-handed theorizing, a “letter.” (In his foreword, film scholar Bill Nichols calls it a “manifesto” [xi].) The author’s reasons for parting ways with conventional documentaries are varied, beginning with how they typically focus on delivering a dramatic narrative, building empathy for individual on-screen figures, and offering reassuring climaxes and neat conclusions, all with the pretense of showing us “reality.” Furthermore, such conventional documentaries are regularly guilty of offences such as servicing cultural imperialism by promulgating an image of “us” and “them” that situates the Western viewer as the ultimate arbiter of knowledge, not illuminating underlying social or economic structures, and flattering liberal viewers into believing they are well-informed citizens. Among the productions Godmilow singles out for extended criticism are Nanook of the North (Robert Flaherty, 1922), for fuelling Western fantasies of a heroic but backward indigenous Other; Hoop Dreams (Steve James, 1994) for focusing on two adversity-defying individual African American characters instead of exploring structural economic oppression and racism; and The Vietnam War (Ken Burns and Lynn Novick, 2017), for neatly consigning this war to the history books without pressing the viewer to consider the moral question “who am I next to this?” (59). Documentaries like these are, Godmilow writes, “a relatively useless cultural product, especially for political change” (2); they fascinate and seduce us, rile our emotions, and then send us contentedly on our way believing we have witnessed reality and are better people for the experience (19). These arguments echo well-versed criticisms of the documentary, from the apprehension that Griersonian reform-minded productions typically serve as “liberal consensus documentaries” (to borrow a term from activist film programmer and scholar Ezra Winton), to Susan Sontag’s linking of indexical photographic images with voyeurism, or studies that show how well-intended documentary film festivals can reduce the travails of Global South constituencies to little more than an entertaining spectacle for Global North audiences.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132006466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:L'article étudie la transformation historique de la présentation de films en salle depuis le début des années 2000 à travers le cas de Cineplex Divertissement, la plus grande chaine de salles de cinéma au Canada. Suivant la tendance générale du marché des films sur grand écran aux États-Unis et au Canada, Cineplex a réagi à la crise par un mouvement de consolidation et de diversification et par de nouvelles options de projection haut de gamme. En réponse aux changements sectoriels, sa campagne publicitaire de 2016 donnait à son marketing un tour personnel, émotionnel et nostalgique en évoquant une éthique bourdieusienne du plaisir, qui fait de celui-ci une responsabilité morale. Ce faisant, la chaine de cinémas a révélé son investissement dans les classes moyennes et supérieures, ciblées par les nouvelles pratiques de diversification et les technologies de projection de pointe. Le recours à la nostalgie inscrivait fictivement Cineplex et ses nouvelles activités dans la lignée des pratiques de projection antérieures, ce qui a permis à la chaine de légitimer ses offres les plus récentes et la continuité de sa position centrale dans la vie culturelle publique.Abstract:This article examines the historical transformation of film exhibition since the early 2000s through a case study of Cineplex Entertainment, Canada's largest theatre chain. In line with broader shifts in the US–Canada theatrical market, Cineplex has responded to a period of crisis with movements toward consolidation, diversification, and the introduction of new premium screening options. Responding to these industrial shifts, the exhibitor's 2016 "See the Big Picture" branding campaign turned its marketing toward the personal, emotional, and nostalgic, evoking a Bourdieuian fun ethic that frames pleasure as a moral responsibility. In doing so, it revealed the theatre chain's investments in the middle- and upper-class audiences targeted by emerging diversification practices and premium screening technologies. This nostalgic turn positioned Cineplex and its newest activities in an imagined lineage with previous exhibition practices, allowing the chain to legitimize its newest offerings and its continued importance as a centre for public cultural life.
{"title":"\"See The Big Picture\": Cineplex Entertainment and Branded Cinemagoing","authors":"Charlotte Orzel","doi":"10.3138/cjfs-2022-0002","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0002","url":null,"abstract":"Résumé:L'article étudie la transformation historique de la présentation de films en salle depuis le début des années 2000 à travers le cas de Cineplex Divertissement, la plus grande chaine de salles de cinéma au Canada. Suivant la tendance générale du marché des films sur grand écran aux États-Unis et au Canada, Cineplex a réagi à la crise par un mouvement de consolidation et de diversification et par de nouvelles options de projection haut de gamme. En réponse aux changements sectoriels, sa campagne publicitaire de 2016 donnait à son marketing un tour personnel, émotionnel et nostalgique en évoquant une éthique bourdieusienne du plaisir, qui fait de celui-ci une responsabilité morale. Ce faisant, la chaine de cinémas a révélé son investissement dans les classes moyennes et supérieures, ciblées par les nouvelles pratiques de diversification et les technologies de projection de pointe. Le recours à la nostalgie inscrivait fictivement Cineplex et ses nouvelles activités dans la lignée des pratiques de projection antérieures, ce qui a permis à la chaine de légitimer ses offres les plus récentes et la continuité de sa position centrale dans la vie culturelle publique.Abstract:This article examines the historical transformation of film exhibition since the early 2000s through a case study of Cineplex Entertainment, Canada's largest theatre chain. In line with broader shifts in the US–Canada theatrical market, Cineplex has responded to a period of crisis with movements toward consolidation, diversification, and the introduction of new premium screening options. Responding to these industrial shifts, the exhibitor's 2016 \"See the Big Picture\" branding campaign turned its marketing toward the personal, emotional, and nostalgic, evoking a Bourdieuian fun ethic that frames pleasure as a moral responsibility. In doing so, it revealed the theatre chain's investments in the middle- and upper-class audiences targeted by emerging diversification practices and premium screening technologies. This nostalgic turn positioned Cineplex and its newest activities in an imagined lineage with previous exhibition practices, allowing the chain to legitimize its newest offerings and its continued importance as a centre for public cultural life.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"56 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117315747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:L'immersion et l'illusion de présence générées par la réalité virtuelle (RV) posent problème dans le contexte de récits documentaires, où la RV peut conduire à ce que Kate Nash a appelé une « distance inappropriée » (improper distance). Comment pouvons-nous nous assurer que la capacité de la RV à créer une impression de présence soit utilisée pour produire une posture de témoin qui soit éthique? Le but de cet article est de proposer que la RV n'est pas totalement incompatible avec les objectifs éthiques des formes de témoignage par l'entremise des médias. Plus précisément, bien que le penchant de la RV pour les expériences à la première personne mérite d'être critiqué, ce projet démontre comment différents modes d'adresse peuvent être utilisés pour concevoir des formes documentaires qui placent le public dans une position de témoin qui serait respectueuse des sujets représentés et de leurs expériences.Abstract:While virtual reality (VR) has long been recognized for its ability to generate a sensation of presence (e.g., the illusion of "being there" in a remote or virtual place), the implications of this illusion merit further consideration. This is especially true in the context of nonfiction storytelling, where VR can lead to what Kate Nash has called "improper distance." How can we make sure that VR's ability to create the impression of presence is used to create an ethically sound witness position? The goal of this article is to argue that VR is not wholly incompatible with the ethical aims of mediated forms of witnessing. Specifically, while VR's penchant for first-person experiences has been criticized, this article demonstrates how different modes of address can be employed to design nonfiction stories that cast the viewer in a more proper witness position.
{"title":"Closing the Gap: Storytelling in Nonfiction Virtual Reality","authors":"Philippe Bédard","doi":"10.3138/cjfs-2022-0031","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0031","url":null,"abstract":"Résumé:L'immersion et l'illusion de présence générées par la réalité virtuelle (RV) posent problème dans le contexte de récits documentaires, où la RV peut conduire à ce que Kate Nash a appelé une « distance inappropriée » (improper distance). Comment pouvons-nous nous assurer que la capacité de la RV à créer une impression de présence soit utilisée pour produire une posture de témoin qui soit éthique? Le but de cet article est de proposer que la RV n'est pas totalement incompatible avec les objectifs éthiques des formes de témoignage par l'entremise des médias. Plus précisément, bien que le penchant de la RV pour les expériences à la première personne mérite d'être critiqué, ce projet démontre comment différents modes d'adresse peuvent être utilisés pour concevoir des formes documentaires qui placent le public dans une position de témoin qui serait respectueuse des sujets représentés et de leurs expériences.Abstract:While virtual reality (VR) has long been recognized for its ability to generate a sensation of presence (e.g., the illusion of \"being there\" in a remote or virtual place), the implications of this illusion merit further consideration. This is especially true in the context of nonfiction storytelling, where VR can lead to what Kate Nash has called \"improper distance.\" How can we make sure that VR's ability to create the impression of presence is used to create an ethically sound witness position? The goal of this article is to argue that VR is not wholly incompatible with the ethical aims of mediated forms of witnessing. Specifically, while VR's penchant for first-person experiences has been criticized, this article demonstrates how different modes of address can be employed to design nonfiction stories that cast the viewer in a more proper witness position.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121287346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Cet article réévalue l'image convenue du documentariste Humphrey Jennings, passé à la postérité à titre de poète cinématographique de « la guerre du peuple ». On y étudie le contexte poétique visionnaire de son poème "I See London", composé pendant la guerre (1941), et de son film London Can Take It! (1940), en contextualisant leur représentation de la vie quotidienne pendant l'urgence nationale que fut le Blitz ; cette contextualisation s'appuie sur les paradoxes qui animent la poétique postsurréaliste déployée par Jennings au sujet de cette guerre du peuple. Nous défendons l'idée que l'apport le plus important de Jennings au moral de l'Angleterre pendant la guerre repose sur la manière dont il affirme la capacité collective de la population à s'adapter aux conditions de guerre totale – conditions extraordinaires qui, comme le montre le cinéaste, possèdent leurs propres éléments (extra)ordinaires de rythme et de routine. Cependant, au lieu de normaliser simplement les paradoxes de l'époque, nous suggérons ici que Jennings fait appel à l'imagination poétique afin de protéger les dimensions historiques et symboliques du mode de vie de la population, évitant ainsi de réduire celle-ci à la position d'objet cible de la destruction.Abstract:This article reconsiders the image of documentary filmmaker Humphrey Jennings that is perhaps best known to posterity—that of the cinematic poet of "the people's war." It discusses the visionary poetic background of Jennings's wartime poem "I See London" (1941) and his film London Can Take It! (1940) and contextualizes their representations of everyday life during the national emergency of the Blitz through reference to the paradoxes animating Jennings's post-surrealist poetics of the people's war. The article argues that Jennings's most significant contribution to wartime morale resides in the way in which he affirms the people's imaginative capacity to collectively adapt to the conditions of total war—extraordinary conditions that, as Jennings shows, also possess their own (extra)ordinary aspects of rhythm and routine. Rather than simply normalizing wartime paradoxes, however, the article suggests that Jennings appeals to the poetic imagination to protect the historical and symbolic dimensions of the form of life of the people, thus resisting their reduction to the targeted object of destruction.
摘要:本文重新审视了纪录片导演汉弗莱·詹宁斯作为《人民战争》电影诗人的传统形象。我们研究了他在战争期间(1941年)创作的诗歌《我看到伦敦》和他的电影《伦敦可以拿走它!》(1940)，将他们对闪电战期间国家紧急状态下日常生活的描绘置于背景中;这种语境化依赖于詹宁斯对这场人民战争的后超现实主义诗歌的悖论。我们捍卫的理念,詹宁斯在英格兰士气的最大贡献是以战争期间他声称的集体能力,如何适应战争的条件,总人口—非同一般的条件,可以看出,导演有自己的元素(extra)在正常的节奏和常规检查。然而，詹宁斯并没有简单地将时代的悖论标准化，而是利用诗意的想象力来保护人们生活方式的历史和象征层面，从而避免将他们减少到毁灭的目标。摘要:本文回顾了纪录片制片人汉弗莱·詹宁斯的形象，他可能是最著名的“人民战争”电影诗人。背景of It the visionary discusses poetic Jennings’s wartime poem I See London”和他的电影》(1941)伦敦Can Take It !(1940)，并通过参考詹宁斯的后超现实主义人民战争诗歌的悖论，将他们对国家闪电战紧急情况下日常生活的表现置于背景中。argues that The篇Jennings’s科技部重大贡献to wartime寓意resides The people in The way in which he affirms想象力的能力to collectively adapt to The of war—总非凡的条件条件Jennings shows that, as, also普普通通的their own (extra) of节奏和日常的方方面面。用than simply normalizing wartime悖论,《suggests that Jennings条呼吁“poetic想象力to protect the historical and symbolic of the form of life of the people)的尺寸,thus随时可能减少their to the“object of destruction。
{"title":"The Imagination at War: Visionary Poetics in Humphrey Jennings's \"I See London\" and London Can Take It!","authors":"Scott Birdwise","doi":"10.3138/cjfs-2021-0028","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0028","url":null,"abstract":"Résumé:Cet article réévalue l'image convenue du documentariste Humphrey Jennings, passé à la postérité à titre de poète cinématographique de « la guerre du peuple ». On y étudie le contexte poétique visionnaire de son poème \"I See London\", composé pendant la guerre (1941), et de son film London Can Take It! (1940), en contextualisant leur représentation de la vie quotidienne pendant l'urgence nationale que fut le Blitz ; cette contextualisation s'appuie sur les paradoxes qui animent la poétique postsurréaliste déployée par Jennings au sujet de cette guerre du peuple. Nous défendons l'idée que l'apport le plus important de Jennings au moral de l'Angleterre pendant la guerre repose sur la manière dont il affirme la capacité collective de la population à s'adapter aux conditions de guerre totale – conditions extraordinaires qui, comme le montre le cinéaste, possèdent leurs propres éléments (extra)ordinaires de rythme et de routine. Cependant, au lieu de normaliser simplement les paradoxes de l'époque, nous suggérons ici que Jennings fait appel à l'imagination poétique afin de protéger les dimensions historiques et symboliques du mode de vie de la population, évitant ainsi de réduire celle-ci à la position d'objet cible de la destruction.Abstract:This article reconsiders the image of documentary filmmaker Humphrey Jennings that is perhaps best known to posterity—that of the cinematic poet of \"the people's war.\" It discusses the visionary poetic background of Jennings's wartime poem \"I See London\" (1941) and his film London Can Take It! (1940) and contextualizes their representations of everyday life during the national emergency of the Blitz through reference to the paradoxes animating Jennings's post-surrealist poetics of the people's war. The article argues that Jennings's most significant contribution to wartime morale resides in the way in which he affirms the people's imaginative capacity to collectively adapt to the conditions of total war—extraordinary conditions that, as Jennings shows, also possess their own (extra)ordinary aspects of rhythm and routine. Rather than simply normalizing wartime paradoxes, however, the article suggests that Jennings appeals to the poetic imagination to protect the historical and symbolic dimensions of the form of life of the people, thus resisting their reduction to the targeted object of destruction.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121043705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Cet article explore le point où la cryptozoologie, les études archivistiques et la recherche en éthique animale se rencontrent, pour tâcher de révéler le potentiel théorique de l'image animale soi-disant « rétive ». Relisant attentivement les épisodes de Lost Tapes, série de documenteurs présentée par la chaine Animal Planet (2008–2010), l'article soutient que les images d'animaux résistent aux modes archivistiques de l'utilisation (ou de la réutilisation) et de l'appropriation parce qu'elles résistent à l'activation archivistique. Par leur caractère obstinément factuel, ces images refusent l'appropriation métaphorique pour devenir des chimères animales – elles refusent de représenter davantage que ce qu'elles sont. En tant qu'images d'archives demeurant inertes et immuables, ces images indisciplinées s'opposent aux impulsions archivistiques, tant instrumentales qu'anthropocentriques, et ouvrent, en définitive, une voie vers l'évaluation de la fonction et du potentiel théorique d'une contrearchive posthumaine. Dans cette perspective, les matériaux archivés conservent une relation éthique avec leurs homologues du monde réel, vivants et morts, selon une éthique plus large du soin et de la responsabilité archivistiques.Abstract:This article explores the unique intersection point of cryptozoology, archive studies, and research in animal ethics to draw out the theoretical potential of the so-called "unruly" animal image. Through a close reading of Animal Planet's mockumentary television program Lost Tapes (2008–2010), this article argues that images of animals can resist archival modes of (re)use and appropriation through their resistance to archival activation. In their stubborn facticity, such images refuse metaphorical appropriation to become animal chimeras—to stand for more than they are. As archival images that remain inert and immutable, these unruly images work against both instrumental and anthropocentric archival impulses and ultimately offer a path toward evaluating the function and theoretical potential of a posthuman counter-archive. According to such a perspective, archived material maintains an ethical relationship to its living and dead counterparts in the world, according to a wider ethic of archival care and responsibility.
{"title":"Excavating Animal Planet's Lost Tapes: The Unruly Images of a Posthuman Counter-Archive","authors":"Zoë Anne Laks","doi":"10.3138/cjfs-2021-0040","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0040","url":null,"abstract":"Résumé:Cet article explore le point où la cryptozoologie, les études archivistiques et la recherche en éthique animale se rencontrent, pour tâcher de révéler le potentiel théorique de l'image animale soi-disant « rétive ». Relisant attentivement les épisodes de Lost Tapes, série de documenteurs présentée par la chaine Animal Planet (2008–2010), l'article soutient que les images d'animaux résistent aux modes archivistiques de l'utilisation (ou de la réutilisation) et de l'appropriation parce qu'elles résistent à l'activation archivistique. Par leur caractère obstinément factuel, ces images refusent l'appropriation métaphorique pour devenir des chimères animales – elles refusent de représenter davantage que ce qu'elles sont. En tant qu'images d'archives demeurant inertes et immuables, ces images indisciplinées s'opposent aux impulsions archivistiques, tant instrumentales qu'anthropocentriques, et ouvrent, en définitive, une voie vers l'évaluation de la fonction et du potentiel théorique d'une contrearchive posthumaine. Dans cette perspective, les matériaux archivés conservent une relation éthique avec leurs homologues du monde réel, vivants et morts, selon une éthique plus large du soin et de la responsabilité archivistiques.Abstract:This article explores the unique intersection point of cryptozoology, archive studies, and research in animal ethics to draw out the theoretical potential of the so-called \"unruly\" animal image. Through a close reading of Animal Planet's mockumentary television program Lost Tapes (2008–2010), this article argues that images of animals can resist archival modes of (re)use and appropriation through their resistance to archival activation. In their stubborn facticity, such images refuse metaphorical appropriation to become animal chimeras—to stand for more than they are. As archival images that remain inert and immutable, these unruly images work against both instrumental and anthropocentric archival impulses and ultimately offer a path toward evaluating the function and theoretical potential of a posthuman counter-archive. According to such a perspective, archived material maintains an ethical relationship to its living and dead counterparts in the world, according to a wider ethic of archival care and responsibility.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122958267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Cette contribution à Ciné-Forum considère l'histoire et le legs de Continuity, le bulletin de la Film Studies Association of Canada/l'Association canadienne d'études cinématographiques (FSAC/ACÉC) publié trimestriellement de 1976 à 2008. Le bulletin a joué un rôle crucial dans les communications internes de l'Association et aidé à préserver la mémoire institutionnelle. Bien que de nombreuses composantes utiles du bulletin, en place depuis longtemps, se sont perdues quand la FSAC/ACÉC a cessé sa publication et déplacé la plus grande part de ses activités en ligne, l'Association, en l'absence du bulletin, a quand même fait preuve de « continuité » dans ses affaires et ses activités.Abstract:This contribution to Ciné-Forum considers the history and legacy of the newsletter of the Film Studies Association of Canada / l'Association canadienne d'études cinématographiques (FSAC/ACÉC), which was published quarterly from 1976 to 2008. The newsletter played a vital role in the intra-organizational communication of the association and helped maintain a sense of institutional memory. Though many valuable ongoing components of the newsletter were lost when FSAC/ACÉC ceased its publication and migrated most of its activities online, the association has nevertheless demonstrated continuity in its affairs and activities in its absence.
{"title":"\"Keeping Continuity: Institutional Memory and the FSAC/ACÉC Newsletter\"","authors":"P. Lester","doi":"10.3138/cjfs-2022-0051","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0051","url":null,"abstract":"Résumé:Cette contribution à Ciné-Forum considère l'histoire et le legs de Continuity, le bulletin de la Film Studies Association of Canada/l'Association canadienne d'études cinématographiques (FSAC/ACÉC) publié trimestriellement de 1976 à 2008. Le bulletin a joué un rôle crucial dans les communications internes de l'Association et aidé à préserver la mémoire institutionnelle. Bien que de nombreuses composantes utiles du bulletin, en place depuis longtemps, se sont perdues quand la FSAC/ACÉC a cessé sa publication et déplacé la plus grande part de ses activités en ligne, l'Association, en l'absence du bulletin, a quand même fait preuve de « continuité » dans ses affaires et ses activités.Abstract:This contribution to Ciné-Forum considers the history and legacy of the newsletter of the Film Studies Association of Canada / l'Association canadienne d'études cinématographiques (FSAC/ACÉC), which was published quarterly from 1976 to 2008. The newsletter played a vital role in the intra-organizational communication of the association and helped maintain a sense of institutional memory. Though many valuable ongoing components of the newsletter were lost when FSAC/ACÉC ceased its publication and migrated most of its activities online, the association has nevertheless demonstrated continuity in its affairs and activities in its absence.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129808868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Dans cet entretien, la cinéaste kanienkéhà:ka (mohawk) et québécoise Sonia Bonspille Boileau retrace, avec humilité et intensité, les origines et les jalons de son parcours dans le cinéma, jusqu'à la sortie de son dernier film, Rustic Oracle (2019). Marqués par la pluralité linguistique et culturelle, ses films sont le reflet de questionnements profonds, à la fois politiques et sociaux, mais également plus personnels et intimes, liés à son identité autochtone et québécoise. Sonia Bonspille Boileau met en lumière le pouvoir de la production cinématographique, comme support pour raconter des histoires depuis le point de vue des autochtones eux-mêmes dans un contexte de marginalisation de leurs récits, mais également pour éduquer et sensibiliser le public aux problèmes complexes que doivent affronter les peuples des Premières Nations au Canada.Abstract:In this interview, Kanienkéhà:ka (Mohawk) and Quebecois film director Sonia Bonspille Boileau traces back with humility and intensity to the origins and milestones of her cinematographic career, up to her most recent movie, Rustic Oracle (2019). Marked by linguistic and cultural plurality, her films reflect deep political and social questionings, as well as more personal and intimate ones stemming from her Indigenous and Quebecois identity. Sonia Bonspille Boileau highlights the power of cinematographic production as a support for narrating stories from an Indigenous point of view, not only in the context where their stories are marginalized, but also to teach and to raise public awareness to the complex problems facing First Nations in Canada.
摘要:在这次采访中，电影制作人kanienkeha:ka(莫霍克人)和quebecois Sonia Bonspille Boileau谦逊而强烈地追溯了她电影生涯的起源和里程碑，直到她的最新电影《乡村神谕》(2019)上映。他的电影以语言和文化的多样性为标志，反映了深刻的政治和社会问题，但也更个人和亲密的问题，与他的土著和魁北克身份有关。Sonia Bonspille Boileau凸显了电影制作权,作为媒介来讲述的故事点以来的边缘化土著观点本身的背景下,他们的故事,但也为教育和提高公众对各国人民面临的复杂问题,在加拿大的原住民。摘要:在这次采访中，kanienkeha:ka(莫霍克)和Quebecois电影导演Sonia Bonspille Boileau以谦卑和强烈的方式追溯她电影生涯的起源和里程碑，直到她最近的电影《乡村Oracle》(2019)。她的电影以语言和文化的多样性为标志，反映了深刻的政治和社会问题，以及更多的个人和亲密的根源于她的土著和魁北克身份。Sonia Bonspille Boileau要闻》(the power of电影生产as a support for narrating stories from an土著point of view, not only in the context子虚乌有,but also to teach and their stories are marginalized to raise awareness to the complex)的公共问题面对First Nations in Canada》。
{"title":"Entretien avec la cinéaste Kanienkéhà: ka (Mohawk), Sonia Bonspille Boileau","authors":"Miléna Santoro, Laura Cahier","doi":"10.3138/cjfs-2021-0052","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0052","url":null,"abstract":"Résumé:Dans cet entretien, la cinéaste kanienkéhà:ka (mohawk) et québécoise Sonia Bonspille Boileau retrace, avec humilité et intensité, les origines et les jalons de son parcours dans le cinéma, jusqu'à la sortie de son dernier film, Rustic Oracle (2019). Marqués par la pluralité linguistique et culturelle, ses films sont le reflet de questionnements profonds, à la fois politiques et sociaux, mais également plus personnels et intimes, liés à son identité autochtone et québécoise. Sonia Bonspille Boileau met en lumière le pouvoir de la production cinématographique, comme support pour raconter des histoires depuis le point de vue des autochtones eux-mêmes dans un contexte de marginalisation de leurs récits, mais également pour éduquer et sensibiliser le public aux problèmes complexes que doivent affronter les peuples des Premières Nations au Canada.Abstract:In this interview, Kanienkéhà:ka (Mohawk) and Quebecois film director Sonia Bonspille Boileau traces back with humility and intensity to the origins and milestones of her cinematographic career, up to her most recent movie, Rustic Oracle (2019). Marked by linguistic and cultural plurality, her films reflect deep political and social questionings, as well as more personal and intimate ones stemming from her Indigenous and Quebecois identity. Sonia Bonspille Boileau highlights the power of cinematographic production as a support for narrating stories from an Indigenous point of view, not only in the context where their stories are marginalized, but also to teach and to raise public awareness to the complex problems facing First Nations in Canada.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125754671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tides roll in, onto the shore, bringing with them pieces from the deep. As they roll out again, the shore is scattered with traces of what’s underneath. These curvy lines of absent waves hold evidence of conditions beneath the surface. The ocean is full of information, and it keeps repairing and cleaning and giving back. It has often been a partner in the documentation of history and change. Salt water has been used for almost 100 years in photographic processes. During World War II, seafaring photographers washed their film with sea water, saving the freshwater for drinking. The ocean has long participated in recording images that mark time. In my practice as a filmmaker I am shifting the lens on how one can approach documentation. During the pandemic when I couldn’t get into the darkroom, I went to the shore to film the waves rolling in, both as solace and to be creatively autonomous. I am now immersed in a practice of eco-processing 16mm moving images, developing the film with seaweed and ocean water: collaborating with the sea. I gather ingredients from the place within the camera frame. The seaweed is used as developer and the salt water is the water source for all steps and the final fixative. The results are oceanic self-portraits. The matter within the frame is the same matter that develops the film. The ocean makes its own movie. I explore how organic matter works within these collaborations to challenge traditional hierarchies in filmmaking. I visit and film shorelines near home and across the continent. I note the differences in colour, texture, and tone that are a result of the combined properties of water and seaweed at each location. I’m tracking levels of shoreline toxicity to see if there is a relationship between its condition and the image it gives. In this practice, I’m wondering if the ocean is expressing its health.
{"title":"Salt and Seaweed","authors":"A. Valine","doi":"10.3138/cjfs-2022-0026","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0026","url":null,"abstract":"Tides roll in, onto the shore, bringing with them pieces from the deep. As they roll out again, the shore is scattered with traces of what’s underneath. These curvy lines of absent waves hold evidence of conditions beneath the surface. The ocean is full of information, and it keeps repairing and cleaning and giving back. It has often been a partner in the documentation of history and change. Salt water has been used for almost 100 years in photographic processes. During World War II, seafaring photographers washed their film with sea water, saving the freshwater for drinking. The ocean has long participated in recording images that mark time. In my practice as a filmmaker I am shifting the lens on how one can approach documentation. During the pandemic when I couldn’t get into the darkroom, I went to the shore to film the waves rolling in, both as solace and to be creatively autonomous. I am now immersed in a practice of eco-processing 16mm moving images, developing the film with seaweed and ocean water: collaborating with the sea. I gather ingredients from the place within the camera frame. The seaweed is used as developer and the salt water is the water source for all steps and the final fixative. The results are oceanic self-portraits. The matter within the frame is the same matter that develops the film. The ocean makes its own movie. I explore how organic matter works within these collaborations to challenge traditional hierarchies in filmmaking. I visit and film shorelines near home and across the continent. I note the differences in colour, texture, and tone that are a result of the combined properties of water and seaweed at each location. I’m tracking levels of shoreline toxicity to see if there is a relationship between its condition and the image it gives. In this practice, I’m wondering if the ocean is expressing its health.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122161605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The essays in this special issue tell a story of possibility and plenitude in Canadian film history. They do so by considering a one-hundred-year-old film format, one constituted by a shifting assemblage of cameras, film stock, projectors, and more. Since the standardization of 16mm in 1923, this family of compatible film technologies has left an expansive and still under-considered impact on cinema, and its institutions and practices. Hundreds of thousands of films have been shot on the gauge, and millions of titles have been printed, circulated, and seen. While often dubbed “small,” we are increasingly learning that there is nothing small about it. The 16mm format enacted a unique technological and aesthetic timeline while enabling vast networks of production, distribution, and presentation, turning any place with a projector into an exhibition venue. Across a seemingly boundless list of uses (educational, experimental, industrial, activism, military, pornography) and venues (living rooms, legion halls, schools, training centres, galleries, underground clubs, hotel rooms), this uniquely influential film format created a complex network that reshaped what it means to make and see a movie.
{"title":"Introduction: 100 Years of 16mm in Canada","authors":"L. Czach, H. Wasson","doi":"10.3138/cjfs-2022-0034","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0034","url":null,"abstract":"The essays in this special issue tell a story of possibility and plenitude in Canadian film history. They do so by considering a one-hundred-year-old film format, one constituted by a shifting assemblage of cameras, film stock, projectors, and more. Since the standardization of 16mm in 1923, this family of compatible film technologies has left an expansive and still under-considered impact on cinema, and its institutions and practices. Hundreds of thousands of films have been shot on the gauge, and millions of titles have been printed, circulated, and seen. While often dubbed “small,” we are increasingly learning that there is nothing small about it. The 16mm format enacted a unique technological and aesthetic timeline while enabling vast networks of production, distribution, and presentation, turning any place with a projector into an exhibition venue. Across a seemingly boundless list of uses (educational, experimental, industrial, activism, military, pornography) and venues (living rooms, legion halls, schools, training centres, galleries, underground clubs, hotel rooms), this uniquely influential film format created a complex network that reshaped what it means to make and see a movie.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127690587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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