{"title":"ReFocus: The Films of William Friedkin, by Steve Choe","authors":"Michael Gibson","doi":"10.33178/alpha.26.14","DOIUrl":"https://doi.org/10.33178/alpha.26.14","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"78 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857995","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 successful Brazilian fictional film The Second Mother (Que horas ela volta?, 2015), directed by Anna Muylaert, illustrates that mobility is chiefly limited or stagnant for the main character, Val (Regina Case), a live-in racialised female domestic labourer who migrates from the Brazilian northeast to the southeast to work in the house of a wealthy family in São Paulo. However, the film subtly shapes Val’s mobility as a more active, unrestrained experience once her daughter arrives in town ten years later. My goal is to understand the fundamental factors influencing Val’s range of motions. Building upon on the cultural geography notion of mobility as a socially produced movement of time and space, I look at how control over Val’s ability to move derives from the embodiment of practices of power built on derogatory discourses around the ideas of the doméstica (“maid”) and the domestic spatial and interpersonal emotional relations ingrained in class, gender, and the racial dimensions of Brazil’s former colonial, plantation-based patriarchal society. On the other hand, Val begins to disembody the powerful practices that previously controlled her mobility. I argue that the spatial, social, emotional, and bodily mobility gained by Val, echoing the Brazilian period of empowerment for the working classes, reflects gains from law such as PEC das Domésticas EC 72/2013 and Lei Complementar 150/2015.
安娜-穆伊拉特（Anna Muylaert）执导的巴西虚构电影《第二个母亲》（Que horas ela volta?，2015 年）取得了巨大成功，影片中的主人公瓦尔（雷吉娜-凯斯 Regina Case 饰）是一名留宿的种族化女性家庭佣工，她从巴西东北部迁移到东南部，在圣保罗一户富裕人家工作。然而，影片巧妙地塑造了瓦尔的流动性，当她的女儿十年后来到镇上时，瓦尔的流动性成为了一种更加活跃、无拘无束的体验。我的目标是了解影响瓦尔行动范围的基本因素。根据文化地理学中关于流动性是由社会生产的时间和空间运动的概念，我研究了对瓦尔行动能力的控制是如何从围绕着女仆（doméstica）概念的贬义话语以及根植于巴西前殖民地种植园父权社会的阶级、性别和种族层面的家庭空间和人际情感关系的权力实践中产生的。另一方面，瓦尔开始脱离以前控制其流动性的强大实践。我认为，瓦尔所获得的空间、社会、情感和身体流动性，与巴西工人阶级的赋权时期相呼应，反映了 PEC das Domésticas EC 72/2013 和 Lei Complementar 150/2015 等法律的成果。
{"title":"“Beyond the kitchen door”: Racialised female domestic labourer’s mobility experiences in Anna Muylaert’s The Second Mother","authors":"Francianne dos Santos Velho","doi":"10.33178/alpha.26.07","DOIUrl":"https://doi.org/10.33178/alpha.26.07","url":null,"abstract":"The successful Brazilian fictional film The Second Mother (Que horas ela volta?, 2015), directed by Anna Muylaert, illustrates that mobility is chiefly limited or stagnant for the main character, Val (Regina Case), a live-in racialised female domestic labourer who migrates from the Brazilian northeast to the southeast to work in the house of a wealthy family in São Paulo. However, the film subtly shapes Val’s mobility as a more active, unrestrained experience once her daughter arrives in town ten years later. My goal is to understand the fundamental factors influencing Val’s range of motions. Building upon on the cultural geography notion of mobility as a socially produced movement of time and space, I look at how control over Val’s ability to move derives from the embodiment of practices of power built on derogatory discourses around the ideas of the doméstica (“maid”) and the domestic spatial and interpersonal emotional relations ingrained in class, gender, and the racial dimensions of Brazil’s former colonial, plantation-based patriarchal society. On the other hand, Val begins to disembody the powerful practices that previously controlled her mobility. I argue that the spatial, social, emotional, and bodily mobility gained by Val, echoing the Brazilian period of empowerment for the working classes, reflects gains from law such as PEC das Domésticas EC 72/2013 and Lei Complementar 150/2015.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"64 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139794915","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 successful Brazilian fictional film The Second Mother (Que horas ela volta?, 2015), directed by Anna Muylaert, illustrates that mobility is chiefly limited or stagnant for the main character, Val (Regina Case), a live-in racialised female domestic labourer who migrates from the Brazilian northeast to the southeast to work in the house of a wealthy family in São Paulo. However, the film subtly shapes Val’s mobility as a more active, unrestrained experience once her daughter arrives in town ten years later. My goal is to understand the fundamental factors influencing Val’s range of motions. Building upon on the cultural geography notion of mobility as a socially produced movement of time and space, I look at how control over Val’s ability to move derives from the embodiment of practices of power built on derogatory discourses around the ideas of the doméstica (“maid”) and the domestic spatial and interpersonal emotional relations ingrained in class, gender, and the racial dimensions of Brazil’s former colonial, plantation-based patriarchal society. On the other hand, Val begins to disembody the powerful practices that previously controlled her mobility. I argue that the spatial, social, emotional, and bodily mobility gained by Val, echoing the Brazilian period of empowerment for the working classes, reflects gains from law such as PEC das Domésticas EC 72/2013 and Lei Complementar 150/2015.
安娜-穆伊拉特（Anna Muylaert）执导的巴西虚构电影《第二个母亲》（Que horas ela volta?，2015 年）取得了巨大成功，影片中的主人公瓦尔（雷吉娜-凯斯 Regina Case 饰）是一名留宿的种族化女性家庭佣工，她从巴西东北部迁移到东南部，在圣保罗一户富裕人家工作。然而，影片巧妙地塑造了瓦尔的流动性，当她的女儿十年后来到镇上时，瓦尔的流动性成为了一种更加活跃、无拘无束的体验。我的目标是了解影响瓦尔行动范围的基本因素。根据文化地理学中关于流动性是由社会生产的时间和空间运动的概念，我研究了对瓦尔行动能力的控制是如何从围绕着女仆（doméstica）概念的贬义话语以及根植于巴西前殖民地种植园父权社会的阶级、性别和种族层面的家庭空间和人际情感关系的权力实践中产生的。另一方面，瓦尔开始脱离以前控制其流动性的强大实践。我认为，瓦尔所获得的空间、社会、情感和身体流动性，与巴西工人阶级的赋权时期相呼应，反映了 PEC das Domésticas EC 72/2013 和 Lei Complementar 150/2015 等法律的成果。
{"title":"“Beyond the kitchen door”: Racialised female domestic labourer’s mobility experiences in Anna Muylaert’s The Second Mother","authors":"Francianne dos Santos Velho","doi":"10.33178/alpha.26.07","DOIUrl":"https://doi.org/10.33178/alpha.26.07","url":null,"abstract":"The successful Brazilian fictional film The Second Mother (Que horas ela volta?, 2015), directed by Anna Muylaert, illustrates that mobility is chiefly limited or stagnant for the main character, Val (Regina Case), a live-in racialised female domestic labourer who migrates from the Brazilian northeast to the southeast to work in the house of a wealthy family in São Paulo. However, the film subtly shapes Val’s mobility as a more active, unrestrained experience once her daughter arrives in town ten years later. My goal is to understand the fundamental factors influencing Val’s range of motions. Building upon on the cultural geography notion of mobility as a socially produced movement of time and space, I look at how control over Val’s ability to move derives from the embodiment of practices of power built on derogatory discourses around the ideas of the doméstica (“maid”) and the domestic spatial and interpersonal emotional relations ingrained in class, gender, and the racial dimensions of Brazil’s former colonial, plantation-based patriarchal society. On the other hand, Val begins to disembody the powerful practices that previously controlled her mobility. I argue that the spatial, social, emotional, and bodily mobility gained by Val, echoing the Brazilian period of empowerment for the working classes, reflects gains from law such as PEC das Domésticas EC 72/2013 and Lei Complementar 150/2015.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"15 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139854934","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 centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.
本文主要介绍两部关于移民妇女家庭的纪录片：这两部纪录片均由罗西娜-姆巴卡姆（Rosine Mbakam）执导，分别是《在乔丽梳妆店》（Chez Jolie Coiffure，2018年）和《德尔菲娜的祈祷》（Les Prières de Delphine，2021年）。我将作为私人空间的家与作为国家建筑的家进行了对话，后者创造了排斥和限制的类别。我认为，罗西娜-姆巴卡姆采取了一种反民族志的方法，创造了纪录片事件--包括电影制作过程、电影观赏以及以电影为中心的现实生活互动，从而完成了一种 "去殖民框架 "的行为。这种跨国对抗电影为黑人、散居国外者和非洲观众创造了社区，同时扭转了白人观众的视线。姆巴卡姆通过拍摄家园来展示反抗制度性种族主义和殖民胁迫的实例。在银幕上展示家园也为通过多种参与途径为所有人创造美好家园开辟了道路。首先，我分析了姆巴卡姆的电影制作过程，以及她本人作为共同创作行为在银幕上的参与，然后，我审视了她的电影构图，其中反映了主人公复杂的住所，以及建筑如何塑造了这些住所。最后，我将介绍她的电影的接受情况，以说明她的流动电影活动是如何为创造新的家庭空间提供基础设施的。
{"title":"“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam","authors":"Julie Le Hegarat","doi":"10.33178/alpha.26.01","DOIUrl":"https://doi.org/10.33178/alpha.26.01","url":null,"abstract":"This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"104 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139855416","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}
{"title":"Border Witness: Reimagining the US-Mexico Borderlands through Film, by Michael Dear","authors":"Emmanuel Ramos-Barajas","doi":"10.33178/alpha.26.18","DOIUrl":"https://doi.org/10.33178/alpha.26.18","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"45 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139855994","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}
{"title":"Opposable Thumbs: How Siskel & Ebert Changed Movies Forever, by Matt Singer","authors":"Dimitris Passas","doi":"10.33178/alpha.26.17","DOIUrl":"https://doi.org/10.33178/alpha.26.17","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"112 S1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139794749","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 centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.
本文主要介绍两部关于移民妇女家庭的纪录片：这两部纪录片均由罗西娜-姆巴卡姆（Rosine Mbakam）执导，分别是《在乔丽梳妆店》（Chez Jolie Coiffure，2018年）和《德尔菲娜的祈祷》（Les Prières de Delphine，2021年）。我将作为私人空间的家与作为国家建筑的家进行了对话，后者创造了排斥和限制的类别。我认为，罗西娜-姆巴卡姆采取了一种反民族志的方法，创造了纪录片事件--包括电影制作过程、电影观赏以及以电影为中心的现实生活互动，从而完成了一种 "去殖民框架 "的行为。这种跨国对抗电影为黑人、散居国外者和非洲观众创造了社区，同时扭转了白人观众的视线。姆巴卡姆通过拍摄家园来展示反抗制度性种族主义和殖民胁迫的实例。在银幕上展示家园也为通过多种参与途径为所有人创造美好家园开辟了道路。首先，我分析了姆巴卡姆的电影制作过程，以及她本人作为共同创作行为在银幕上的参与，然后，我审视了她的电影构图，其中反映了主人公复杂的住所，以及建筑如何塑造了这些住所。最后，我将介绍她的电影的接受情况，以说明她的流动电影活动是如何为创造新的家庭空间提供基础设施的。
{"title":"“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam","authors":"Julie Le Hegarat","doi":"10.33178/alpha.26.01","DOIUrl":"https://doi.org/10.33178/alpha.26.01","url":null,"abstract":"This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"27 37","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139795825","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}
{"title":"Screening the Posthuman, by Missy Molloy, Pansy Duncan, and Claire Henry","authors":"Karim Townsend","doi":"10.33178/alpha.26.20","DOIUrl":"https://doi.org/10.33178/alpha.26.20","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"51 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139798065","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}
As a teenager in the eighties, French filmmaker Sébastien Lifshitz scoured flea markets for amateur photographs. In 2013, he assembled a book titled The Invisibles comprised of snapshots depicting queer lives. He included a pair of Kodachrome images, which replicate a near-identical domestic scene in the 1960s: two aging women in their bourgeois home sit at a table, embracing as they look at the camera. Taking as a point of departure these personal photographs, this article focuses on two documentaries that queer postwar domesticity: Lifshitz’s The Invisibles (2011) and Magnus Gertten’s Nelly and Nadine (2022). In his film, Lifshitz not only includes postwar snapshots and home movies, but also reinvents the amateur dispositif. He interviews queer aging men and women inside their homes, challenging social exclusion and stigma based on gender nonconformity and aging. In Nelly and Nadine, a sexagenarian named Sylvie retrieves home movies from her attic that uncover a lesbian love story between her grandmother Nelly and a fellow survivor of Ravensbrück named Nadine. Decades later, the centrality of the domestic space and the amateur archive in these two documentaries offers a lesson in seeing the home as survival and unlearning the master narratives of the postwar era.
{"title":"Home as survival: Seeing Queer archival lives","authors":"Jennifer Cazenave","doi":"10.33178/alpha.26.05","DOIUrl":"https://doi.org/10.33178/alpha.26.05","url":null,"abstract":"As a teenager in the eighties, French filmmaker Sébastien Lifshitz scoured flea markets for amateur photographs. In 2013, he assembled a book titled The Invisibles comprised of snapshots depicting queer lives. He included a pair of Kodachrome images, which replicate a near-identical domestic scene in the 1960s: two aging women in their bourgeois home sit at a table, embracing as they look at the camera. Taking as a point of departure these personal photographs, this article focuses on two documentaries that queer postwar domesticity: Lifshitz’s The Invisibles (2011) and Magnus Gertten’s Nelly and Nadine (2022). In his film, Lifshitz not only includes postwar snapshots and home movies, but also reinvents the amateur dispositif. He interviews queer aging men and women inside their homes, challenging social exclusion and stigma based on gender nonconformity and aging. In Nelly and Nadine, a sexagenarian named Sylvie retrieves home movies from her attic that uncover a lesbian love story between her grandmother Nelly and a fellow survivor of Ravensbrück named Nadine. Decades later, the centrality of the domestic space and the amateur archive in these two documentaries offers a lesson in seeing the home as survival and unlearning the master narratives of the postwar era.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"291 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857456","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}
{"title":"Opposable Thumbs: How Siskel & Ebert Changed Movies Forever, by Matt Singer","authors":"Dimitris Passas","doi":"10.33178/alpha.26.17","DOIUrl":"https://doi.org/10.33178/alpha.26.17","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"1 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139854696","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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