Willem Dafoe has become a staple of the American film industry, contributing his talents to arthouse and blockbuster cinema alike. In this interview, Dafoe explores his many collaborations with Abel Ferrara such as Pasolini and Tommaso, films that are driven by anxiety about the changing world. He also shares his thoughts on the importance of auteurs and the theatrical experience.
{"title":"Constructing Characters: An Interview with Willem Dafoe","authors":"Ethan Binotto","doi":"10.1386/fm_00230_7","DOIUrl":"https://doi.org/10.1386/fm_00230_7","url":null,"abstract":"Willem Dafoe has become a staple of the American film industry, contributing his talents to arthouse and blockbuster cinema alike. In this interview, Dafoe explores his many collaborations with Abel Ferrara such as Pasolini and Tommaso, films that are driven by anxiety\u0000 about the changing world. He also shares his thoughts on the importance of auteurs and the theatrical experience.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"295 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132447810","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: The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema, Andrew Shail (2019)London: Bloomsbury Academic, 424 pp., ISBN: 9781788312073 (hbk), $120.00, ISBN: 9781350111417 (pdf), $108.00, ISBN: 9781350111424 (ebk), $108.00
{"title":"The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema, Andrew Shail (2019)","authors":"Miranda A. Sprouse","doi":"10.1386/fm_00234_5","DOIUrl":"https://doi.org/10.1386/fm_00234_5","url":null,"abstract":"Review of: The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema, Andrew Shail (2019)London: Bloomsbury Academic, 424 pp., ISBN: 9781788312073 (hbk), $120.00, ISBN: 9781350111417 (pdf), $108.00, ISBN: 9781350111424 (ebk), $108.00","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121316705","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}
Using Søren Kierkegaard’s formative writing from The Concept of Anxiety as a catalyst for thinking about the multiplicity and complexity of anxiety, the preface of this Special Issue of Film Matters outlines how the editorial board at Chapman University thought about the topic “Generation Anxiety” throughout the editorial process. Considering anxiety as an embodied, sensuous, and ambiguous experience, this issue discusses films from varied genres, time periods, and countries, diverse perspectives and frameworks, and distinct explorations and experiences of anxiety. Finally, the preface acknowledges that there is no one definition of “Generation Anxiety,” but that through undergraduate scholars’ work, a contemporary perspectives on this ambiguous emotion emerges.
{"title":"Generation Anxiety: Preface","authors":"Sophia Bain","doi":"10.1386/fm_00221_2","DOIUrl":"https://doi.org/10.1386/fm_00221_2","url":null,"abstract":"Using Søren Kierkegaard’s formative writing from The Concept of Anxiety as a catalyst for thinking about the multiplicity and complexity of anxiety, the preface of this Special Issue of Film Matters outlines how the editorial board at Chapman University thought\u0000 about the topic “Generation Anxiety” throughout the editorial process. Considering anxiety as an embodied, sensuous, and ambiguous experience, this issue discusses films from varied genres, time periods, and countries, diverse perspectives and frameworks, and distinct explorations\u0000 and experiences of anxiety. Finally, the preface acknowledges that there is no one definition of “Generation Anxiety,” but that through undergraduate scholars’ work, a contemporary perspectives on this ambiguous emotion emerges.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130298400","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}
Popular Hollywood movies do not often attempt to meaningfully criticize capitalism. What proliferates, instead, are performative optics; media starts a revolution for us so capital can continue its death march forward, unphased. Academia has begun to wrestle with the concept of accelerationism—that is, the full maximization of capitalism’s mechanics as a destabilizing strategy. Though accelerationism may lack merit as a political praxis, this article frames it as a subversive narrative strategy in popular media, fully embodied through the final installment of Paul W. S. Anderson’s film adaptation of the Resident Evil video game franchise, Resident Evil: The Final Chapter (2016).
{"title":"Performative Revolution in Popular Media and Accelerationist Narratives in Resident Evil","authors":"Mason Dickerson","doi":"10.1386/fm_00225_7","DOIUrl":"https://doi.org/10.1386/fm_00225_7","url":null,"abstract":"Popular Hollywood movies do not often attempt to meaningfully criticize capitalism. What proliferates, instead, are performative optics; media starts a revolution for us so capital can continue its death march forward, unphased. Academia has begun to wrestle with the concept of accelerationism—that\u0000 is, the full maximization of capitalism’s mechanics as a destabilizing strategy. Though accelerationism may lack merit as a political praxis, this article frames it as a subversive narrative strategy in popular media, fully embodied through the final installment of Paul W. S. Anderson’s\u0000 film adaptation of the Resident Evil video game franchise, Resident Evil: The Final Chapter (2016).","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"15 9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125289141","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: On the Wings of Hypothesis: Collected Writings on Soviet Cinema, Annette Michelson (2020)Cambridge: MIT Press, 256 pp., ISBN: 9780262044493 (hbk), $29.95
{"title":"On the Wings of Hypothesis: Collected Writings on Soviet Cinema, Annette Michelson (2020)","authors":"Matthew Scipione","doi":"10.1386/fm_00233_5","DOIUrl":"https://doi.org/10.1386/fm_00233_5","url":null,"abstract":"Review of: On the Wings of Hypothesis: Collected Writings on Soviet Cinema, Annette Michelson (2020)Cambridge: MIT Press, 256 pp., ISBN: 9780262044493 (hbk), $29.95","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128843554","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 manuscript is an analysis of homosociality among the male Avengers in the first film depicting the unification of the superhero team. It argues that The Avengers replicates and valorizes hierarchical homosociality as the preferred method of communication and unifying force among the male Avengers, thereby maintaining hegemonic masculinity and the gender hegemony in the superhero franchise. This article’s focus on homosociality takes on a different approach to analyzing gender in superhero films as it takes an in-depth look at same-sex interactions in a group setting, as opposed to the individual gender identities of the characters.
{"title":"“No, I Am the Man”: Hierarchical Male Homosociality in The Avengers (2012)","authors":"Sharon K. Yuen","doi":"10.1386/fm_00210_1","DOIUrl":"https://doi.org/10.1386/fm_00210_1","url":null,"abstract":"The manuscript is an analysis of homosociality among the male Avengers in the first film depicting the unification of the superhero team. It argues that The Avengers replicates and valorizes hierarchical homosociality as the preferred method of communication and unifying force\u0000 among the male Avengers, thereby maintaining hegemonic masculinity and the gender hegemony in the superhero franchise. This article’s focus on homosociality takes on a different approach to analyzing gender in superhero films as it takes an in-depth look at same-sex interactions in a\u0000 group setting, as opposed to the individual gender identities of the characters.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117221324","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}
Japanese New Wave filmmaker Nagisa Ōshima repeatedly tackled Japan’s cultural and systemic discrimination toward Koreans in his films. The “Korean problem” is a complex issue that stems from a storied history between the two countries. However, Ōshima was undaunted at the task of confronting his Japanese audience with challenges to their potential biases. Ōshima incorporated essay film techniques in his films Forgotten Soldiers (1963), Diary of Yunbogi (1965), Death by Hanging (1968), and Three Resurrected Drunkards (1968) to disrupt the illusion of film and encourage self-reflection among the audience.
{"title":"Nagisa Ōshima’s Essayistic Exploration of Japan’s “Korean Problem”","authors":"Dylan O’Connell","doi":"10.1386/fm_00207_1","DOIUrl":"https://doi.org/10.1386/fm_00207_1","url":null,"abstract":"Japanese New Wave filmmaker Nagisa Ōshima repeatedly tackled Japan’s cultural and systemic discrimination toward Koreans in his films. The “Korean problem” is a complex issue that stems from a storied history between the two countries. However, Ōshima was\u0000 undaunted at the task of confronting his Japanese audience with challenges to their potential biases. Ōshima incorporated essay film techniques in his films Forgotten Soldiers (1963), Diary of Yunbogi (1965), Death by Hanging (1968), and Three Resurrected Drunkards\u0000 (1968) to disrupt the illusion of film and encourage self-reflection among the audience.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116007851","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 dossier examines the ways in which spiritual life can be communicated through literary and cinematic expression. The dossier emerged from work with three outstanding students—Elijah Young, Alison Parmenter, and Costanza Chirdo—taking the class on the final-year undergraduate course Studies in Literature and Film which I taught at the Department of English and Creative Writing at Goldsmiths, University of London. By looking at one shared source text the aim is to study, compare, and reveal the ways in which literature and film can serve as unique artistic forms for communicating about faith and the significance of confronting silence as a way to building one’s relationship with God and our fellow human beings. The text in question is the Japanese novel Silence by Shūsaku Endō, and its two eponymous film adaptations, by Masahiro Shinoda and Martin Scorsese, respectively. It is through a comparative study of the texts that we can get the “full picture” of the message of Silence and better understand how each author (or auteur!) adds meaningful depth to the source material’s depiction of the Christian spiritual life.
{"title":"Introduction: What Kind of Faith? On Christian Spiritual Life and the Message of Silence","authors":"M. Radović","doi":"10.1386/fm_00212_7","DOIUrl":"https://doi.org/10.1386/fm_00212_7","url":null,"abstract":"The dossier examines the ways in which spiritual life can be communicated through literary and cinematic expression. The dossier emerged from work with three outstanding students—Elijah Young, Alison Parmenter, and Costanza Chirdo—taking the class on the final-year undergraduate\u0000 course Studies in Literature and Film which I taught at the Department of English and Creative Writing at Goldsmiths, University of London. By looking at one shared source text the aim is to study, compare, and reveal the ways in which literature and film can serve as unique artistic forms\u0000 for communicating about faith and the significance of confronting silence as a way to building one’s relationship with God and our fellow human beings. The text in question is the Japanese novel Silence by Shūsaku Endō, and its two eponymous film adaptations, by Masahiro\u0000 Shinoda and Martin Scorsese, respectively. It is through a comparative study of the texts that we can get the “full picture” of the message of Silence and better understand how each author (or auteur!) adds meaningful depth to the source material’s depiction of the\u0000 Christian spiritual life.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"618 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123068851","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 reveals how the Paradise Theater culturally and socially impacted the lives of the surrounding Black population in Detroit between 1941 and 1951. Firstly, this article examines the programming of the Paradise Theater—especially its live performers/exhibitionists—and specifically highlights the significance of the Paradise Theater’s all-Black stage show policy. Secondly, this article demonstrates how factors such as the Detroit Uprising of 1943 caused the Paradise Theater to transition from a mixed-race house to a primarily Black space. Finally, this article discusses the many philanthropic efforts of the Paradise Theater, which impacted not only Black Detroit, but the entire nation.
{"title":"The Paradise Theater (1941‐1951): African American Movie Palaces and the 1943 Racial Uprising in Detroit","authors":"Drew Meinecke","doi":"10.1386/fm_00206_1","DOIUrl":"https://doi.org/10.1386/fm_00206_1","url":null,"abstract":"This article reveals how the Paradise Theater culturally and socially impacted the lives of the surrounding Black population in Detroit between 1941 and 1951. Firstly, this article examines the programming of the Paradise Theater—especially its live performers/exhibitionists—and\u0000 specifically highlights the significance of the Paradise Theater’s all-Black stage show policy. Secondly, this article demonstrates how factors such as the Detroit Uprising of 1943 caused the Paradise Theater to transition from a mixed-race house to a primarily Black space. Finally,\u0000 this article discusses the many philanthropic efforts of the Paradise Theater, which impacted not only Black Detroit, but the entire nation.","PeriodicalId":272564,"journal":{"name":"Film Matters","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133566659","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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