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":"60 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139797483","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":"Film Audiences: Personal Journeys with Film, by Bridgette Wessels et al.","authors":"M. Sellers Johnson","doi":"10.33178/alpha.26.16","DOIUrl":"https://doi.org/10.33178/alpha.26.16","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"6 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857019","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":"One More for the Road: Director’s Notes on Exile, Family and Film, by Rajko Grlić","authors":"Ana Djordjevic","doi":"10.33178/alpha.26.12","DOIUrl":"https://doi.org/10.33178/alpha.26.12","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"260 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857675","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":"One More for the Road: Director’s Notes on Exile, Family and Film, by Rajko Grlić","authors":"Ana Djordjevic","doi":"10.33178/alpha.26.12","DOIUrl":"https://doi.org/10.33178/alpha.26.12","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"14 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139797605","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 emergence of virtual reality (VR) humanitarian filmmaking as a genre over the past ten years has generated a large body of critical debate around the efficacy and ethics of VR as a tool for generating empathy towards marginalised communities. Whilst numerous studies have indicated the potential for VR to impact empathy levels of end users, there have been recurrent critiques of the power dynamics of VR production, as well as the value of empathy as a means of producing social change. Lacking in these discussions has been a detailed consideration of VR aesthetics and the extent to which stylistic strategies impact audience positioning. Through the example of the animated VR experience The Key (Celine Tricart, 2019), this article will explore experience design in the context of ethical debates around humanitarian VR. As an interactive, narrative experience that addresses themes of loss and displacement, The Key can be productively analysed in relation to both VR ethics and wider cultural understandings of home and belonging. Responding to ethical debates around proximity within immersive experiences, the article will examine aesthetic strategies within The Key for ensuring what Roger Silverstone has labelled “proper distance” between the user and the virtually represented space. Through its use of visual abstraction and simplification, as well as the limited physical interaction it affords with its virtual world, the virtual home of The Key will be understood as a site of resistance to universalising narratives of home, one which invites critical reflection on the factors that determine our access to shelter.
{"title":"The key: Abstraction, embodiment, and proper distance within the virtual home","authors":"C. Holohan","doi":"10.33178/alpha.26.09","DOIUrl":"https://doi.org/10.33178/alpha.26.09","url":null,"abstract":"The emergence of virtual reality (VR) humanitarian filmmaking as a genre over the past ten years has generated a large body of critical debate around the efficacy and ethics of VR as a tool for generating empathy towards marginalised communities. Whilst numerous studies have indicated the potential for VR to impact empathy levels of end users, there have been recurrent critiques of the power dynamics of VR production, as well as the value of empathy as a means of producing social change. Lacking in these discussions has been a detailed consideration of VR aesthetics and the extent to which stylistic strategies impact audience positioning. Through the example of the animated VR experience The Key (Celine Tricart, 2019), this article will explore experience design in the context of ethical debates around humanitarian VR. As an interactive, narrative experience that addresses themes of loss and displacement, The Key can be productively analysed in relation to both VR ethics and wider cultural understandings of home and belonging. Responding to ethical debates around proximity within immersive experiences, the article will examine aesthetic strategies within The Key for ensuring what Roger Silverstone has labelled “proper distance” between the user and the virtually represented space. Through its use of visual abstraction and simplification, as well as the limited physical interaction it affords with its virtual world, the virtual home of The Key will be understood as a site of resistance to universalising narratives of home, one which invites critical reflection on the factors that determine our access to shelter.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"30 S98","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139794571","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":"Jonas Mekas, Shiver of Memory, by Peter Delpeut","authors":"Muriel Tinel-Temple","doi":"10.33178/alpha.26.19","DOIUrl":"https://doi.org/10.33178/alpha.26.19","url":null,"abstract":"","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139854884","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}
Representations of the home are a central point for discussion in contemporary Portuguese cinema. From being a prime site for the understanding of gender inequality, to allowing for examinations of untamed urban expansion, the home has also featured in Portuguese films of the past decades as a proxy for social identity. The significance of the home for marginalised communities is the focus of this article, which examines Ana Rocha de Sousa’s Listen (2020). A Portuguese and British coproduction, Listen tells the story of a Portuguese immigrant family to the UK and their battle against social services, who take their children into custody. By presenting it as their last resource, as the space in which they are attacked but also reorganise for retaliation, Listen values the home not only as built infrastructure, but also as a signifier for unity, family and cultural and linguistic identity. Structured around three key plot points of the film that coincide with keywords featuring in recent feminist scholarship (marginality, resistance and escape), this article argues a discussion about global Portuguese cinema, and this film in particular, illuminates ongoing debates about the significance of the home and its relationship to class and gender in contemporary European film.
在当代葡萄牙电影中，对家的描述是讨论的中心点。从作为理解性别不平等的主要场所，到允许对桀骜不驯的城市扩张进行审视，住宅在过去几十年的葡萄牙电影中也是社会身份的代表。家园对于边缘化社区的意义是本文的重点，本文将对安娜-罗查-德-索萨（Ana Rocha de Sousa）的《聆听》（2020 年）进行研究。作为一部葡萄牙和英国共同制作的作品，《倾听》讲述了一个葡萄牙移民家庭在英国与社会服务机构斗争的故事。听》将家作为他们最后的资源，作为他们受到攻击但又重新组织起来进行报复的空间，重视家的价值，不仅将其视为已建成的基础设施，还将其视为团结、家庭、文化和语言身份的象征。本文围绕影片的三个关键情节点展开，这些情节点与近期女权主义学术研究中的关键词（边缘化、反抗和逃离）不谋而合，本文认为，关于全球葡萄牙电影的讨论，尤其是这部影片，揭示了当代欧洲电影中关于家的意义及其与阶级和性别的关系的持续辩论。
{"title":"Marginality, resilience and escape: Home in Ana Rocha de Sousa’s Listen","authors":"Mariana Liz","doi":"10.33178/alpha.26.02","DOIUrl":"https://doi.org/10.33178/alpha.26.02","url":null,"abstract":"Representations of the home are a central point for discussion in contemporary Portuguese cinema. From being a prime site for the understanding of gender inequality, to allowing for examinations of untamed urban expansion, the home has also featured in Portuguese films of the past decades as a proxy for social identity. The significance of the home for marginalised communities is the focus of this article, which examines Ana Rocha de Sousa’s Listen (2020). A Portuguese and British coproduction, Listen tells the story of a Portuguese immigrant family to the UK and their battle against social services, who take their children into custody. By presenting it as their last resource, as the space in which they are attacked but also reorganise for retaliation, Listen values the home not only as built infrastructure, but also as a signifier for unity, family and cultural and linguistic identity. Structured around three key plot points of the film that coincide with keywords featuring in recent feminist scholarship (marginality, resistance and escape), this article argues a discussion about global Portuguese cinema, and this film in particular, illuminates ongoing debates about the significance of the home and its relationship to class and gender in contemporary European film.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"48 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139856135","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":"71 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139857910","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}
In this article, we analyse home as a site of labour through two Indian films, The Great Indian Kitchen (Jeo Baby, 2021) and Jaya Jaya Jaya Jaya Hai (Vipin Das, 2022). Produced and released in the Malayalam movie industry belonging to the South Indian State, Kerala, the two films received critical attention and generated broader discussion among Malayali audiences in the recent past. While the intricacies of gendered divisions of labour and domestic violence are documented through the day-to-day chronicles of the housewives’ lives in these films, we argue that both The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai illustrate how home is a different entity for men and women, conceptually and practically, as a space of leisure and labour respectively. Through narrative analysis, we interpret how these two films conceive and depict the disproportionate care work of women, highlight prevailing gender discrimination in a patriarchal setting, and expose new visual sensibilities to the audience.
{"title":"Reproducing home as a space of labour: The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai","authors":"Niyathi R. Krishna, P. Sivakumar","doi":"10.33178/alpha.26.04","DOIUrl":"https://doi.org/10.33178/alpha.26.04","url":null,"abstract":"In this article, we analyse home as a site of labour through two Indian films, The Great Indian Kitchen (Jeo Baby, 2021) and Jaya Jaya Jaya Jaya Hai (Vipin Das, 2022). Produced and released in the Malayalam movie industry belonging to the South Indian State, Kerala, the two films received critical attention and generated broader discussion among Malayali audiences in the recent past. While the intricacies of gendered divisions of labour and domestic violence are documented through the day-to-day chronicles of the housewives’ lives in these films, we argue that both The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai illustrate how home is a different entity for men and women, conceptually and practically, as a space of leisure and labour respectively. Through narrative analysis, we interpret how these two films conceive and depict the disproportionate care work of women, highlight prevailing gender discrimination in a patriarchal setting, and expose new visual sensibilities to the audience.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"128 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":"139855398","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}
In this article, we analyse home as a site of labour through two Indian films, The Great Indian Kitchen (Jeo Baby, 2021) and Jaya Jaya Jaya Jaya Hai (Vipin Das, 2022). Produced and released in the Malayalam movie industry belonging to the South Indian State, Kerala, the two films received critical attention and generated broader discussion among Malayali audiences in the recent past. While the intricacies of gendered divisions of labour and domestic violence are documented through the day-to-day chronicles of the housewives’ lives in these films, we argue that both The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai illustrate how home is a different entity for men and women, conceptually and practically, as a space of leisure and labour respectively. Through narrative analysis, we interpret how these two films conceive and depict the disproportionate care work of women, highlight prevailing gender discrimination in a patriarchal setting, and expose new visual sensibilities to the audience.
{"title":"Reproducing home as a space of labour: The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai","authors":"Niyathi R. Krishna, P. Sivakumar","doi":"10.33178/alpha.26.04","DOIUrl":"https://doi.org/10.33178/alpha.26.04","url":null,"abstract":"In this article, we analyse home as a site of labour through two Indian films, The Great Indian Kitchen (Jeo Baby, 2021) and Jaya Jaya Jaya Jaya Hai (Vipin Das, 2022). Produced and released in the Malayalam movie industry belonging to the South Indian State, Kerala, the two films received critical attention and generated broader discussion among Malayali audiences in the recent past. While the intricacies of gendered divisions of labour and domestic violence are documented through the day-to-day chronicles of the housewives’ lives in these films, we argue that both The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai illustrate how home is a different entity for men and women, conceptually and practically, as a space of leisure and labour respectively. Through narrative analysis, we interpret how these two films conceive and depict the disproportionate care work of women, highlight prevailing gender discrimination in a patriarchal setting, and expose new visual sensibilities to the audience.","PeriodicalId":378992,"journal":{"name":"Alphaville: Journal of Film and Screen Media","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139795729","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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