Review of: Bull Durham in 1 Frame Bull Durham (1988) USA Director Ron Shelton Runtime 108 minutes Blu-ray USA, 2018 Produced and Distributed by The Criterion Collection (region A/1)
{"title":"Bull Durham in 1 Frame","authors":"Carrie Goodison","doi":"10.1386/fm_00278_5","DOIUrl":"https://doi.org/10.1386/fm_00278_5","url":null,"abstract":"Review of: Bull Durham in 1 Frame\u0000 \u0000 Bull Durham (1988)\u0000 USA\u0000 Director Ron Shelton\u0000 Runtime 108 minutes\u0000 Blu-ray\u0000 USA, 2018\u0000 Produced and Distributed by The\u0000 Criterion Collection (region A/1)","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122217332","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}
Review of: Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture, Jeff Menne (2019) New York: Columbia University Press, 272 pp., ISBN: 9780231183710 (pbk), $32.00, ISBN: 9780231183703 (hbk), $105.00, ISBN: 9780231545082 (ebk), $31.99
{"title":"Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture, Jeff Menne (2019)","authors":"Logan Wells","doi":"10.1386/fm_00271_5","DOIUrl":"https://doi.org/10.1386/fm_00271_5","url":null,"abstract":"Review of: Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture, Jeff Menne (2019)\u0000 New York: Columbia University Press, 272 pp.,\u0000 ISBN: 9780231183710 (pbk), $32.00, ISBN: 9780231183703 (hbk), $105.00, ISBN: 9780231545082 (ebk), $31.99","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131614747","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}
Review of: Horror Film and Otherness, Adam Lowenstein (2022) New York: Columbia University Press, 248 pp., ISBN: 9780231205771 (pbk), $35.00, ISBN: 9780231205764 (hbk), $140.00, ISBN: 9780231556156 (ebk), $34.99
{"title":"Horror Film and Otherness, Adam Lowenstein (2022)","authors":"Chloe Crawford","doi":"10.1386/fm_00260_5","DOIUrl":"https://doi.org/10.1386/fm_00260_5","url":null,"abstract":"Review of: Horror Film and Otherness, Adam Lowenstein (2022)\u0000 New York: Columbia University Press, 248 pp.,\u0000 ISBN: 9780231205771 (pbk), $35.00, ISBN: 9780231205764 (hbk), $140.00, ISBN: 9780231556156 (ebk), $34.99","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125505049","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}
Scott Barley’s Sleep Has Her House is a recent landmark of experimental cinema, combining recent trends in the landscape and slow cinema movements to produce a painstakingly crafted meditation on nature and the viewer’s gaze upon it. Characterized by its manipulation of light and temporality, the film draws upon the various modes of viewing established by preceding experimental movements, as exemplified by the work of Warhol, Deleuze, and Brakhage, amongst others, to test the relationship between viewer and viewed. The film’s further environmental concerns, as filtered through its landscape focus, are explored through the recent writings of Plumwood, Kimmerer, and Heidegger and their concerns with animacy and human–nature relations. The result is a film that tests the relationship between man and environment through its manipulation of viewing and seeing, prompting a more animate and holistic view of the natural world.
{"title":"In the Infinite Pool: The Cinematic Spectatorship of Sleep Has Her House (2017)","authors":"Sloane Dzhitenov","doi":"10.1386/fm_00244_1","DOIUrl":"https://doi.org/10.1386/fm_00244_1","url":null,"abstract":"Scott Barley’s Sleep Has Her House is a recent landmark of experimental cinema, combining recent trends in the landscape and slow cinema movements to produce a painstakingly crafted meditation on nature and the viewer’s gaze upon it. Characterized by its manipulation of light and temporality, the film draws upon the various modes of viewing established by preceding experimental movements, as exemplified by the work of Warhol, Deleuze, and Brakhage, amongst others, to test the relationship between viewer and viewed. The film’s further environmental concerns, as filtered through its landscape focus, are explored through the recent writings of Plumwood, Kimmerer, and Heidegger and their concerns with animacy and human–nature relations. The result is a film that tests the relationship between man and environment through its manipulation of viewing and seeing, prompting a more animate and holistic view of the natural world.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121362354","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}
This paper investigates the competitive nature of masculinity as presented in Robert Egger’s film The Lighthouse. Applying gender theory, I examine three crucial scenes in the film that demonstrate the two protagonists’ pursuit of ascendance, which manifests as their lust to possess the lamp of the lighthouse. Borrowing from the works of sociologists, anthropologists, and historians, I was able to understand the naturally recurring crises of masculinity that circulate around a hegemonic model of the masculine ideal, ultimately leading to competition between men to achieve said hegemony. The Lighthouse proves this enduring phenomenon through Robert Pattinson and Willem Dafoe’s volatile relationship and their brutal demise. While the film might not propose a direct solution, I argue it serves as a bleak reminder of how misogyny and toxic masculinity harm men and their relationships with one another.
{"title":"Men to Villains: Competitive Masculinity in The Lighthouse","authors":"Madison Coleman","doi":"10.1386/fm_00251_1","DOIUrl":"https://doi.org/10.1386/fm_00251_1","url":null,"abstract":"This paper investigates the competitive nature of masculinity as presented in Robert Egger’s film The Lighthouse. Applying gender theory, I examine three crucial scenes in the film that demonstrate the two protagonists’ pursuit of ascendance, which manifests as their lust to possess the lamp of the lighthouse. Borrowing from the works of sociologists, anthropologists, and historians, I was able to understand the naturally recurring crises of masculinity that circulate around a hegemonic model of the masculine ideal, ultimately leading to competition between men to achieve said hegemony. The Lighthouse proves this enduring phenomenon through Robert Pattinson and Willem Dafoe’s volatile relationship and their brutal demise. While the film might not propose a direct solution, I argue it serves as a bleak reminder of how misogyny and toxic masculinity harm men and their relationships with one another.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125327391","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 five essays compiled in this dossier address issues of representation in classic and contemporary horror cinema. Students from the Film program at Georgia Gwinnett College (Lawrenceville, Georgia) consider films by Alfred Hitchcock, Jordan Peele, Wes Craven, Pedro Almodovar, and others. In this brief introduction, the three faculty editors of the dossier discuss the theoretical and cultural stakes of the essays to follow.
{"title":"Dossier Introduction: Contemporary Horror Cinema","authors":"Adam Cottrel, C. Michael, S. Rusnak","doi":"10.1386/fm_00248_1","DOIUrl":"https://doi.org/10.1386/fm_00248_1","url":null,"abstract":"The five essays compiled in this dossier address issues of representation in classic and contemporary horror cinema. Students from the Film program at Georgia Gwinnett College (Lawrenceville, Georgia) consider films by Alfred Hitchcock, Jordan Peele, Wes Craven, Pedro Almodovar, and others. In this brief introduction, the three faculty editors of the dossier discuss the theoretical and cultural stakes of the essays to follow.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117268956","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}
This article analyzes the Spanish horror film The Skin I Live In (TSILI) from a feminist perspective. Different feminist theories such as the male gaze, toxic masculinity, and the Final Girl are used to explore how TSILI criticizes heteronormative masculinity. By comparing Almodóvar’s film to other horror classics such as Psycho and Halloween, I discuss how TSILI offers a unique and modernist depiction of gender within horror.
{"title":"Feminism and the Horrors of Toxic Masculinity in Pedro Almodóvar’s The Skin I Live In (2011)","authors":"Mason Nagy","doi":"10.1386/fm_00252_1","DOIUrl":"https://doi.org/10.1386/fm_00252_1","url":null,"abstract":"This article analyzes the Spanish horror film The Skin I Live In (TSILI) from a feminist perspective. Different feminist theories such as the male gaze, toxic masculinity, and the Final Girl are used to explore how TSILI criticizes heteronormative masculinity. By comparing Almodóvar’s film to other horror classics such as Psycho and Halloween, I discuss how TSILI offers a unique and modernist depiction of gender within horror.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121926024","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}
This article explores the shame that derives from human mortality and how it is put on display in Alfred Hitchcock’s film The Birds. Using the concepts of the natural order and the animalistic other, this article analyzes the film’s commentary on humanity’s inability to accept death willingly, going out of their way to repress it and disrespect it. Unfortunately for the characters in the film, the birds embody a force of nature that remind the humans with their animalistic gaze that they are not above the laws of nature, sharing the same fate as every living being.
{"title":"Defying Death and the Natural Order: True Terror in Alfred Hitchcock’s The Birds","authors":"Andrew Brackens","doi":"10.1386/fm_00250_1","DOIUrl":"https://doi.org/10.1386/fm_00250_1","url":null,"abstract":"This article explores the shame that derives from human mortality and how it is put on display in Alfred Hitchcock’s film The Birds. Using the concepts of the natural order and the animalistic other, this article analyzes the film’s commentary on humanity’s inability to accept death willingly, going out of their way to repress it and disrespect it. Unfortunately for the characters in the film, the birds embody a force of nature that remind the humans with their animalistic gaze that they are not above the laws of nature, sharing the same fate as every living being.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129722737","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}
This article explores the slowly changing representation of African Americans in horror films. Scream 2 (1997), I Am Legend (2007), and Get Out (2017) are used as case studies to illustrate what little progression has taken place through the decades in relationship to African Americans on-screen in horror cinema. Topics such as stereotypical tropes, narrative conventions, themes of dehumanization, and racial oppression are investigated across each film to highlight representational similarities and differences through time.
{"title":"Subverting Representation: African Americans in Horror Film","authors":"Michael Gopaul","doi":"10.1386/fm_00249_1","DOIUrl":"https://doi.org/10.1386/fm_00249_1","url":null,"abstract":"This article explores the slowly changing representation of African Americans in horror films. Scream 2 (1997), I Am Legend (2007), and Get Out (2017) are used as case studies to illustrate what little progression has taken place through the decades in relationship to African Americans on-screen in horror cinema. Topics such as stereotypical tropes, narrative conventions, themes of dehumanization, and racial oppression are investigated across each film to highlight representational similarities and differences through time.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122903437","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 nineteenth-century poet and philosopher Charles Baudelaire has become synonymous with the concept of the flâneur. The flâneur was typically a male who had the leisurely time to “stroll” and observe metropolitan life in all its delights and displeasures. This article examines Paweł Pawlikowski’s 2013 film, Ida and reconceptualizes the concept of the flâneur and appropriates it to a female protagonist, a flâneuse, along with a new setting and time period: the countryside and 1960s Communist Poland. Engaging in flâneuserie in the city allows Ida to experience new things, but it is in the countryside where Ida will come to terms with an instructive truth.
{"title":"Flâneuserie Reimagined: Ida and Purposeful Wandering","authors":"Monica Foster","doi":"10.1386/fm_00246_1","DOIUrl":"https://doi.org/10.1386/fm_00246_1","url":null,"abstract":"The nineteenth-century poet and philosopher Charles Baudelaire has become synonymous with the concept of the flâneur. The flâneur was typically a male who had the leisurely time to “stroll” and observe metropolitan life in all its delights and displeasures. This article examines Paweł Pawlikowski’s 2013 film, Ida and reconceptualizes the concept of the flâneur and appropriates it to a female protagonist, a flâneuse, along with a new setting and time period: the countryside and 1960s Communist Poland. Engaging in flâneuserie in the city allows Ida to experience new things, but it is in the countryside where Ida will come to terms with an instructive truth.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132272422","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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