Pub Date : 2023-01-24DOI: 10.54103/2036-461x/19082
Annalisa Pellino
{"title":"Ph.D. Thesis Abstract - The Voice in Transition. Cinema, Contemporary Art and Audiovisual Culture","authors":"Annalisa Pellino","doi":"10.54103/2036-461x/19082","DOIUrl":"https://doi.org/10.54103/2036-461x/19082","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130633195","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}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17384
S. Biernoff
Dutch director Sacha Polak’s Dirty God (2019) is the first narrative film with a female lead whose scars are real, and arguably the first to tackle the assumption that scars (especially on a woman’s body) are shameful or tragic. Vicky Knight, who plays Jade, a young woman rebuilding her life after an acid attack, has talked about the revelation of seeing her body on screen after enduring years of abuse because of her appearance. Polak ‘saved my life’ she says, by enabling her to see her scarred body as beautiful, ‘a piece of art.’ Like any art form, film has the potential to be transformative, and in interviews both Knight and Polak have repeatedly spoken of their work in those terms. This article uses Dirty God to think about what is at stake in the dismantling of stereotypes and the reclamation of beauty — a goal shared by many disability rights campaigners. Made at a time when escalating cases of acid violence in London were making headlines around the world, Polak’s film prompts comparisons with Katie Piper’s Beautiful (2011) and other survivor memoirs. Privileging imperfection over repair and fragility over strength, it challenges existing portrayals of disfigurement and, in the process, offers a more radical understanding of beauty and authenticity.
{"title":"Sacha Polak's Dirty God and the Politics of Authenticity","authors":"S. Biernoff","doi":"10.54103/2036-461x/17384","DOIUrl":"https://doi.org/10.54103/2036-461x/17384","url":null,"abstract":"\u0000\u0000\u0000\u0000Dutch director Sacha Polak’s Dirty God (2019) is the first narrative film with a female lead whose scars are real, and arguably the first to tackle the assumption that scars (especially on a woman’s body) are shameful or tragic. Vicky Knight, who plays Jade, a young woman rebuilding her life after an acid attack, has talked about the revelation of seeing her body on screen after enduring years of abuse because of her appearance. Polak ‘saved my life’ she says, by enabling her to see her scarred body as beautiful, ‘a piece of art.’ Like any art form, film has the potential to be transformative, and in interviews both Knight and Polak have repeatedly spoken of their work in those terms. This article uses Dirty God to think about what is at stake in the dismantling of stereotypes and the reclamation of beauty — a goal shared by many disability rights campaigners. Made at a time when escalating cases of acid violence in London were making headlines around the world, Polak’s film prompts comparisons with Katie Piper’s Beautiful (2011) and other survivor memoirs. Privileging imperfection over repair and fragility over strength, it challenges existing portrayals of disfigurement and, in the process, offers a more radical understanding of beauty and authenticity.\u0000\u0000\u0000\u0000","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122785671","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}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17775
Nicole Miglio, Giulio Galimberti
Our paper is situated within the broader exploration of the epistemic and aesthetic potential of biomedical imaging technologies on the human lived experience. Intra-Active Sense-Making is guided by the grounding thesis that imaging technology ought to be understood as a set of material, rhetorical and performative processes, and as a way to challenge the ocularcentric presuppositions. By drawing on the new materialistic theses that phenomena are not pre-existent to intra-action, and that agency should be understood as distributed on human, animal, objectual, and ‘physical’ levels, we offer a performative understanding of biomedical imaging operations complementary to the reflective paradigm. Biomedical imaging may be understood through our idea of intra-active sense-making; while much literature states that medical imaging establishes a view of the self as quantified, atomized, and governable, we argue that the co-configuration of human senses and digital sensors is a source of new sense-making capabilities.
{"title":"Intra-Active Sense-Making. Towards a Performative Understanding of Biomedical Imaging","authors":"Nicole Miglio, Giulio Galimberti","doi":"10.54103/2036-461x/17775","DOIUrl":"https://doi.org/10.54103/2036-461x/17775","url":null,"abstract":"Our paper is situated within the broader exploration of the epistemic and aesthetic potential of biomedical imaging technologies on the human lived experience. Intra-Active Sense-Making is guided by the grounding thesis that imaging technology ought to be understood as a set of material, rhetorical and performative processes, and as a way to challenge the ocularcentric presuppositions. By drawing on the new materialistic theses that phenomena are not pre-existent to intra-action, and that agency should be understood as distributed on human, animal, objectual, and ‘physical’ levels, we offer a performative understanding of biomedical imaging operations complementary to the reflective paradigm. Biomedical imaging may be understood through our idea of intra-active sense-making; while much literature states that medical imaging establishes a view of the self as quantified, atomized, and governable, we argue that the co-configuration of human senses and digital sensors is a source of new sense-making capabilities.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"148 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133582298","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}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/19079
Enrico Carocci
{"title":"Adriano D’Aloia, Neurofilmology of the Moving Image: Gravity and Vertigo in Contemporary Cinema, Amsterdam: Amsterdam University Press, 2021, pp. 254","authors":"Enrico Carocci","doi":"10.54103/2036-461x/19079","DOIUrl":"https://doi.org/10.54103/2036-461x/19079","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133186323","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/17202
M. Locatelli
My contribution aims to discuss the topic of rhythm as presented by the classic psychologist and filmologist, Paul Fraisse (1911-1994) in his founding studies, to understand its scope, and to consider the possible inheritance to be spent in contemporary research on film. I will first outline Fraisse’s contribution to the psychology of rhythm, a model grounded both on the value of Gestalt organisation and on related dimensions of sensory-motor activation. Secondly, I will investigate contemporary thinking in this field, showing on the one hand how Fraisse’s contribution still helps the psychology of music in defining rhythmic listening experiences, and on the other how the French scholar’s multilayered notion of time perception finds legitimation in neuroscientific research on timing. Finally, I will delve into film theory. In particular, I will put forward the assumption that the sense of rhythm, due to its values of Gestalt organisation, plays a fundamental role in narrative and event-based viewing, enhancing it; yet, due to the dimensions of sensory-motor activation, sound rhythms, in particular, can induce both bodily and neural entrainment and constitute in film an auditive analogon of those embodied and enactive visual processes recognised by the most recent neurofilmological approaches.
{"title":"Paul Fraisse’s Psychology of Rhythm: A Case for Filmology?","authors":"M. Locatelli","doi":"10.54103/2036-461x/17202","DOIUrl":"https://doi.org/10.54103/2036-461x/17202","url":null,"abstract":"My contribution aims to discuss the topic of rhythm as presented by the classic psychologist and filmologist, Paul Fraisse (1911-1994) in his founding studies, to understand its scope, and to consider the possible inheritance to be spent in contemporary research on film. I will first outline Fraisse’s contribution to the psychology of rhythm, a model grounded both on the value of Gestalt organisation and on related dimensions of sensory-motor activation. Secondly, I will investigate contemporary thinking in this field, showing on the one hand how Fraisse’s contribution still helps the psychology of music in defining rhythmic listening experiences, and on the other how the French scholar’s multilayered notion of time perception finds legitimation in neuroscientific research on timing. Finally, I will delve into film theory. In particular, I will put forward the assumption that the sense of rhythm, due to its values of Gestalt organisation, plays a fundamental role in narrative and event-based viewing, enhancing it; yet, due to the dimensions of sensory-motor activation, sound rhythms, in particular, can induce both bodily and neural entrainment and constitute in film an auditive analogon of those embodied and enactive visual processes recognised by the most recent neurofilmological approaches.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115085943","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/17107
R. Pierson
This article explores the affinities between animation practice and experiments in perception by Gestalt psychologists. By drawing out a Gestalt style of seeing — a sensitivity to the visual forces that scaffold an image — we can better describe movements, figures, and spaces in animation. Although these affinities make Gestalt appropriate for discussing animation, they do not necessarily imply that animated films merely illustrate or independently verify Gestalt laws of perception. Rather, they suggest two branches of cultural practice sharing what philosopher of science Ian Hacking calls a ‘style of reasoning’: a regularized procedure whose consistent results form a basis for knowledge in a given culture. This article argues that Gestalt and animation are co-participants in the ‘culture of design’: a project of shaping sensory arrangements in order to shape populations, which began in the nineteenth century and has gained force through the present day. It is this culture of design, which includes the exploration of cinema as an art of graphic arrangement, that has become all-but-ubiquitous in the 21stcentury and has led to the ubiquity of animation.
{"title":"Gestalt, Animation, and the Culture of Design","authors":"R. Pierson","doi":"10.54103/2036-461x/17107","DOIUrl":"https://doi.org/10.54103/2036-461x/17107","url":null,"abstract":"\u0000This article explores the affinities between animation practice and experiments in perception by Gestalt psychologists. By drawing out a Gestalt style of seeing — a sensitivity to the visual forces that scaffold an image — we can better describe movements, figures, and spaces in animation. Although these affinities make Gestalt appropriate for discussing animation, they do not necessarily imply that animated films merely illustrate or independently verify Gestalt laws of perception. Rather, they suggest two branches of cultural practice sharing what philosopher of science Ian Hacking calls a ‘style of reasoning’: a regularized procedure whose consistent results form a basis for knowledge in a given culture. This article argues that Gestalt and animation are co-participants in the ‘culture of design’: a project of shaping sensory arrangements in order to shape populations, which began in the nineteenth century and has gained force through the present day. It is this culture of design, which includes the exploration of cinema as an art of graphic arrangement, that has become all-but-ubiquitous in the 21stcentury and has led to the ubiquity of animation.\u0000","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114328381","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/17982
Rosa Cinelli
{"title":"Ph.D. Thesis Abstract - A World of Imprints: The Epistemology of Visual Evidence Between Digital and Virtual Media-Ecologies","authors":"Rosa Cinelli","doi":"10.54103/2036-461x/17982","DOIUrl":"https://doi.org/10.54103/2036-461x/17982","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122289491","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/17981
Emiliano Rossi
{"title":"Ph.D. Thesis Abstract - In-Transit Televisions: Productive Patterns and Urban Imageries of Mobility","authors":"Emiliano Rossi","doi":"10.54103/2036-461x/17981","DOIUrl":"https://doi.org/10.54103/2036-461x/17981","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127169637","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/17978
Antonio Patrick D’Amico
{"title":"Daniel Morgan, The Lure of the Image: Epistemic Fantasies of the Moving Camera, Oakland: University of California Press, 2021, 244 pages","authors":"Antonio Patrick D’Amico","doi":"10.54103/2036-461x/17978","DOIUrl":"https://doi.org/10.54103/2036-461x/17978","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125707905","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}
Pub Date : 2022-06-27DOI: 10.54103/2036-461x/16785
Maarten Coëgnarts
This paper examines the meaning potential of directed forces or vectors in cinema. The first part draws on the pioneering work of Rudolf Arnheim to highlight the prominent role of vectors in the visual structuring of meaning in paintings. In the second part, we move on to explore the semantic significance of motion vectors in cinema. To this aim we first define and diagram the filmic space in which vectors may articulate themselves visually. Having firmly grounded this spatial framework in film theory, we adopt the terminology of Herbert Zettl to further distinguish between three types of motion vectors: primary motion vectors (elicited by motion of visual objects), secondary motion vectors (elicited by camera movement) and tertiary motion vectors (elicited by editing). We conclude this paper by applying the proposed conceptual tools of this paper to three filmic case-studies in which the relation between narrative meaning and motion vectors is further discussed and illustrated.
{"title":"Meaning Potential of Motion Vectors in Cinema","authors":"Maarten Coëgnarts","doi":"10.54103/2036-461x/16785","DOIUrl":"https://doi.org/10.54103/2036-461x/16785","url":null,"abstract":"This paper examines the meaning potential of directed forces or vectors in cinema. The first part draws on the pioneering work of Rudolf Arnheim to highlight the prominent role of vectors in the visual structuring of meaning in paintings. In the second part, we move on to explore the semantic significance of motion vectors in cinema. To this aim we first define and diagram the filmic space in which vectors may articulate themselves visually. Having firmly grounded this spatial framework in film theory, we adopt the terminology of Herbert Zettl to further distinguish between three types of motion vectors: primary motion vectors (elicited by motion of visual objects), secondary motion vectors (elicited by camera movement) and tertiary motion vectors (elicited by editing). We conclude this paper by applying the proposed conceptual tools of this paper to three filmic case-studies in which the relation between narrative meaning and motion vectors is further discussed and illustrated.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133363195","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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