Review of: Charlotte Gainsbourg: Transnational and Transmedia Stardom, Felicity Chaplin (2020) Manchester: Manchester University Press, 204 pp., ISBN 978-1-52614-297-9, h/bk, £85.00
With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.
{"title":"An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)","authors":"C. Vera","doi":"10.1386/NCIN_00015_1","DOIUrl":"https://doi.org/10.1386/NCIN_00015_1","url":null,"abstract":"With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"163-181"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48551245","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}
Unlike its western counterparts, Hindi war films constitute a rather peripheral genre, one that has understandably received scant critical attention over the last two decades. The conventional aesthetic registers and thematic templates of these films reveal an explicit engagement with questions relating to heroic masculinity, exceptional leadership and nationalist triumphalism. And yet, movies such as War Chhod Na Yaar (‘Quit the war, dude’) (Haider 2013) and Kya Dilli Kya Lahore (‘Delhi and Lahore are not so different after all’) (Raaz 2014) categorically denounce idealistic notions of armed conflicts and sensationalized portrayals of ostensibly justified violence. This article examines the rhetoric of conflict resolution that constitutes the organizing principle of these two films. It demonstrates how War Chhod Na Yaar discursively satirizes the earlier Hindi war films through a pronounced emphasis on the fanciful camaraderie that exists between the respective battalion captains of India and Pakistan. By contrast, the anti-war rhetoric of Kya Dilli Kya Lahore is not only historically situated within the larger framework of Partition narratives, but is also facilitated by an alternative configuration of masculinity that resists territorial divisions in favour of affective solidarities and shared lived experiences.
与西方的战争片不同，印度战争片是一种相当边缘的类型，可以理解的是，在过去20年里，它很少受到评论界的关注。这些电影的传统美学记录和主题模板揭示了与英雄气概、卓越领导力和民族主义必胜信念有关的问题的明确参与。然而，像《War Chhod Na Yaar》(海德尔2013)和《Kya Dilli Kya Lahore》(拉兹2014)这样的电影明确谴责武装冲突的理想主义观念和表面上合理的暴力的耸人听闻的描绘。本文考察了构成这两部电影组织原则的冲突解决修辞。它展示了War Chhod Na Yaar如何通过对印度和巴基斯坦各自营长之间存在的幻想般的同志情谊的明显强调，话语性地讽刺了早期的印度战争电影。相比之下，Kya Dilli Kya Lahore的反战言论不仅在历史上处于分裂叙事的更大框架内，而且还受到男性气概的另一种配置的促进，这种配置反对领土分裂，支持情感团结和共同的生活经历。
{"title":"Satire, masculinity and the rhetoric of conflict resolution in War Chhod Na Yaar and Kya Dilli Kya Lahore","authors":"Shailendra Kumar Singh","doi":"10.1386/NCIN_00014_1","DOIUrl":"https://doi.org/10.1386/NCIN_00014_1","url":null,"abstract":"Unlike its western counterparts, Hindi war films constitute a rather peripheral genre, one that has understandably received scant critical attention over the last two decades. The conventional aesthetic registers and thematic templates of these films reveal an explicit engagement with questions relating to heroic masculinity, exceptional leadership and nationalist triumphalism. And yet, movies such as War Chhod Na Yaar (‘Quit the war, dude’) (Haider 2013) and Kya Dilli Kya Lahore (‘Delhi and Lahore are not so different after all’) (Raaz 2014) categorically denounce idealistic notions of armed conflicts and sensationalized portrayals of ostensibly justified violence. This article examines the rhetoric of conflict resolution that constitutes the organizing principle of these two films. It demonstrates how War Chhod Na Yaar discursively satirizes the earlier Hindi war films through a pronounced emphasis on the fanciful camaraderie that exists between the respective battalion captains of India and Pakistan. By contrast, the anti-war rhetoric of Kya Dilli Kya Lahore is not only historically situated within the larger framework of Partition narratives, but is also facilitated by an alternative configuration of masculinity that resists territorial divisions in favour of affective solidarities and shared lived experiences.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"151-162"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714725","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 is a text-based analysis of 107 Hong Kong local productions produced from 2000 to August 2018. These films are made by the current young generation of filmmakers who joined the industry in the new millennium, when it gradually entered an era marked by the domination of Hong Kong–mainland co-productions. With the aim of expanding the scholarly discussion on the emerging ‘Hong Kong SAR New Wave Cinema’, it identifies four themes that recurrently appear in their films: (1) a tendency to feature people with physical or mental disabilities as their protagonists; (2) the possession of a sense of nostalgia for the glorious 1980s; (3) a manifestation of larger Hong Kong–mainland relations through characters; and (4) varying degrees of politicization. The young generation of filmmakers, whose works denote the social responsibility these young people bring to their filmmaking, shows their greater engagement with civic issues, less consideration of the mainland market and capital and a stronger desire to tell local Hong Kong stories, preserve local Hong Kong culture and emphasize the Hong Kong identity it represents. These traits, as the conclusion argues, are rooted deeply in economic, cultural and political realities.
{"title":"The post-2000 Hong Kong young filmmakers: Embrace, resistance and new chances","authors":"Fang Chen","doi":"10.1386/NCIN_00017_1","DOIUrl":"https://doi.org/10.1386/NCIN_00017_1","url":null,"abstract":"This article is a text-based analysis of 107 Hong Kong local productions produced from 2000 to August 2018. These films are made by the current young generation of filmmakers who joined the industry in the new millennium, when it gradually entered an era marked by the domination of Hong Kong–mainland co-productions. With the aim of expanding the scholarly discussion on the emerging ‘Hong Kong SAR New Wave Cinema’, it identifies four themes that recurrently appear in their films: (1) a tendency to feature people with physical or mental disabilities as their protagonists; (2) the possession of a sense of nostalgia for the glorious 1980s; (3) a manifestation of larger Hong Kong–mainland relations through characters; and (4) varying degrees of politicization. The young generation of filmmakers, whose works denote the social responsibility these young people bring to their filmmaking, shows their greater engagement with civic issues, less consideration of the mainland market and capital and a stronger desire to tell local Hong Kong stories, preserve local Hong Kong culture and emphasize the Hong Kong identity it represents. These traits, as the conclusion argues, are rooted deeply in economic, cultural and political realities.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"209-226"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44612920","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 New Chinese Cinemas were unprecedented in critiquing official narratives of progress through dramatic location-shot images of rural Taiwan and China. Much more than standing in as a picturesque backdrop, the rural was a site of complex ideological contestations. Yet, existing scholarship overlooks the richness of rural representations, reductively interpreting rural films as works of nostalgia and cultural salvage. Through a comparative analysis of representations of landscape, travel and visual perception in Hou Hsiao-Hsien’s Dust in the Wind (1986) and Jia Zhangke’s Platform (2000), this article brings into focus the important but largely ignored roles that Hou and Jia have played in envisioning new frameworks for thinking about rural geographies. Drawing from Doreen Massey’s notion of the ‘progressive place’, I investigate how Jiufen and Fenyang – the films’ shooting locations – are stages upon which the directors experimented with imaging and imagining communities. Jiufen is represented in Dust as a porous interface between the urban and rural, a metonym for the film’s representation of Taiwan as a contact zone with China. Platform, by contrast, fashions an image of Fenyang as a non-place, a microcosm of China as it undergoes unchecked neo-liberal development. Significantly, these films went beyond revising rural imaginaries on-screen, to making a material impact on Jiufen and Fenyang by transforming them into landmarks of global film tourism. This work demonstrates how Hou and Jia responded to disorienting social changes not by resisting, but by tactically embracing the blurring of divides between the urban and rural, and local and global.
{"title":"Rural geographies and the New Chinese Cinemas: Imaging progressive places in Hou Hsiao-Hsien’s Dust in the Wind and Jia Zhangke’s Platform","authors":"D. Lo","doi":"10.1386/NCIN_00013_1","DOIUrl":"https://doi.org/10.1386/NCIN_00013_1","url":null,"abstract":"The New Chinese Cinemas were unprecedented in critiquing official narratives of progress through dramatic location-shot images of rural Taiwan and China. Much more than standing in as a picturesque backdrop, the rural was a site of complex ideological contestations. Yet, existing scholarship overlooks the richness of rural representations, reductively interpreting rural films as works of nostalgia and cultural salvage. Through a comparative analysis of representations of landscape, travel and visual perception in Hou Hsiao-Hsien’s Dust in the Wind (1986) and Jia Zhangke’s Platform (2000), this article brings into focus the important but largely ignored roles that Hou and Jia have played in envisioning new frameworks for thinking about rural geographies. Drawing from Doreen Massey’s notion of the ‘progressive place’, I investigate how Jiufen and Fenyang – the films’ shooting locations – are stages upon which the directors experimented with imaging and imagining communities. Jiufen is represented in Dust as a porous interface between the urban and rural, a metonym for the film’s representation of Taiwan as a contact zone with China. Platform, by contrast, fashions an image of Fenyang as a non-place, a microcosm of China as it undergoes unchecked neo-liberal development. Significantly, these films went beyond revising rural imaginaries on-screen, to making a material impact on Jiufen and Fenyang by transforming them into landmarks of global film tourism. This work demonstrates how Hou and Jia responded to disorienting social changes not by resisting, but by tactically embracing the blurring of divides between the urban and rural, and local and global.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"131-150"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41605198","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}
A large body of documentary scholarship approves of the documentary’s effectiveness in addressing social issues beneficially. However, documentaries that have been made with the primary aim of testing such effectiveness are rare. This article presents the findings based on a documentary made specifically to test this theory. Titled Forsaken, the documentary was made and used as a test tool to assess its rhetorical ability to generate pledges for support of neglected adolescent orphans in South African communities. This article highlights the documentary’s rhetorical strategies and the extent to which such strategies led audience members to pledge support for this category of orphans. Contrary to views in the extant literature that pay little attention to the contextual limitations of the documentary’s rhetorical principles, the present article argues that a documentary’s effectiveness in addressing social issues beneficially is largely dependent on the cultural attuning of the documentary’s rhetorical principles.
{"title":"Film as dialogue: Documentary theorization through practice","authors":"Mahoro Semege","doi":"10.1386/NCIN_00016_1","DOIUrl":"https://doi.org/10.1386/NCIN_00016_1","url":null,"abstract":"A large body of documentary scholarship approves of the documentary’s effectiveness in addressing social issues beneficially. However, documentaries that have been made with the primary aim of testing such effectiveness are rare. This article presents the findings based on a documentary made specifically to test this theory. Titled Forsaken, the documentary was made and used as a test tool to assess its rhetorical ability to generate pledges for support of neglected adolescent orphans in South African communities. This article highlights the documentary’s rhetorical strategies and the extent to which such strategies led audience members to pledge support for this category of orphans. Contrary to views in the extant literature that pay little attention to the contextual limitations of the documentary’s rhetorical principles, the present article argues that a documentary’s effectiveness in addressing social issues beneficially is largely dependent on the cultural attuning of the documentary’s rhetorical principles.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"183-208"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41459255","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}
Annie Baker’s 2013 play The Flick prompted divisive reactions from its audience from the time of its original run, ones largely based on the play’s feeling extremely slow. Setting out from the intersection of the play’s temporal affect and the play’s setting ‐ a movie theatre ‐ this article builds on recent work on slow-cinema scholarship, particularly as it relates to theatrical exhibition, to explore contemporary discourse on both slowness and cinema. Going further, it sets this work against the backdrop of broader, multi-disciplinary conversations about the cultures of speed and slowness, before considering the particular slowness in The Flick as well as its evocation of the theatrical experience. Finally, the article concludes by asking what it means today to attend the cinema.
{"title":"‘A very very long amount of time passes’: Slowness, cinema and Annie Baker’s The Flick (2013)","authors":"David T. Johnson","doi":"10.1386/ncin_00021_1","DOIUrl":"https://doi.org/10.1386/ncin_00021_1","url":null,"abstract":"Annie Baker’s 2013 play The Flick prompted divisive reactions from its audience from the time of its original run, ones largely based on the play’s feeling extremely slow. Setting out from the intersection of the play’s temporal affect and the play’s setting\u0000 ‐ a movie theatre ‐ this article builds on recent work on slow-cinema scholarship, particularly as it relates to theatrical exhibition, to explore contemporary discourse on both slowness and cinema. Going further, it sets this work against the backdrop of broader, multi-disciplinary\u0000 conversations about the cultures of speed and slowness, before considering the particular slowness in The Flick as well as its evocation of the theatrical experience. Finally, the article concludes by asking what it means today to attend the cinema.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44744324","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 representations of witchcraft in relation to Julia Kristeva’s 1980 essay Powers of Horror. It begins by investigating the genesis of Dario Argento and Daria Nicolodi’s depiction of witchcraft in their 1977 horror film Suspiria, drawing on historical studies of witchcraft by Ronald Hutton and Marion Gibson. In particular, it examines the characterization of the witches’ coven as an all-female, all-powerful death cult ‐ before proposing that Kristeva’s essay on the abject can be seen to explain this specific conceptualization, in line with Barbara Creed’s analysis of how horror film has inherited the role of ‘purifying’ the abject from religious ritual. The second half of this article then focuses on David Kajganich and Luca Guadagnino’s 2018 remake of Suspiria, reflecting on how the later film can be seen to attempt to redeem the association between witchcraft and abjectness. In doing so, this article reflects on how the attempt to rescue the witch while maintaining an association with the abject is contiguous with other contemporary depictions of witchcraft. It is proposed that such efforts amount to a Foucauldian attempt at a ‘reverse discourse’ celebrating the subversive potential of an initially derogatory identity formation ‐ but that Kristeva’s writing points to the limitations of appropriating the abject in this way.
{"title":"Appropriating the abject: Witchcraft in Dario Argento and Daria Nicolodi’s Suspiria (1977) and David Kajganich and Luca Guadagnino’s 2018 remake","authors":"L. Davies","doi":"10.1386/ncin_00020_1","DOIUrl":"https://doi.org/10.1386/ncin_00020_1","url":null,"abstract":"This article explores representations of witchcraft in relation to Julia Kristeva’s 1980 essay Powers of Horror. It begins by investigating the genesis of Dario Argento and Daria Nicolodi’s depiction of witchcraft in their 1977 horror film Suspiria, drawing\u0000 on historical studies of witchcraft by Ronald Hutton and Marion Gibson. In particular, it examines the characterization of the witches’ coven as an all-female, all-powerful death cult ‐ before proposing that Kristeva’s essay on the abject can be seen to explain this specific\u0000 conceptualization, in line with Barbara Creed’s analysis of how horror film has inherited the role of ‘purifying’ the abject from religious ritual. The second half of this article then focuses on David Kajganich and Luca Guadagnino’s 2018 remake of Suspiria,\u0000 reflecting on how the later film can be seen to attempt to redeem the association between witchcraft and abjectness. In doing so, this article reflects on how the attempt to rescue the witch while maintaining an association with the abject is contiguous with other contemporary depictions of\u0000 witchcraft. It is proposed that such efforts amount to a Foucauldian attempt at a ‘reverse discourse’ celebrating the subversive potential of an initially derogatory identity formation ‐ but that Kristeva’s writing points to the limitations of appropriating the abject\u0000 in this way.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46300133","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}
Typical discourses around the puzzle film ‐ a genre that typically eschews classic storytelling for more complex narrative techniques, such as entangled secondary/tertiary plotlines, and characters with mental or psychological instability ‐ often privilege the manipulation of the film’s temporality and narratology. However, in this article, I perform a close textual analysis of the mise en scène of Inception by Christopher Nolan (2010) and Eternal Sunshine of the Spotless Mind (2004) by Michel Gondry to demonstrate how these puzzle films privilege spatiality over time and plot to depict cognitive processes associated with mental and psychological instability, thereby bringing attention to an underrepresented attribute of the genre. I focus on the influence of surrealism on mise en scène, as surrealist art and cinema manipulate space to explore the psyche. I also draw on these films’ production history to show how the filmmakers, production crew and actors understood approaches to space as a cognitive process.
围绕益智电影的典型话语——这一类型通常会避开经典故事讲述，转而采用更复杂的叙事技巧，如纠缠的二级/三级情节，以及精神或心理不稳定的角色——通常会优先处理电影的时间性和叙事学。然而，在这篇文章中，我对克里斯托弗·诺兰（Christopher Nolan，2010）的《盗梦空间》（mise en scène of Inception）和米歇尔·贡德里（Michel Gondry，2004）的《无斑心灵的永恒阳光》（Eternal Sunshine of the Spotless Mind，从而引起人们对该类型的代表性不足的属性的关注。我关注的是超现实主义对mise en scène的影响，因为超现实主义艺术和电影操纵空间来探索心理。我还利用这些电影的制作历史来展示电影制作人、摄制组和演员是如何将太空方法理解为一个认知过程的。
{"title":"Residue: The privilege of spatiality in the puzzle film","authors":"Z. Vickers","doi":"10.1386/ncin_00019_1","DOIUrl":"https://doi.org/10.1386/ncin_00019_1","url":null,"abstract":"Typical discourses around the puzzle film ‐ a genre that typically eschews classic storytelling for more complex narrative techniques, such as entangled secondary/tertiary plotlines, and characters with mental or psychological instability ‐ often privilege the manipulation\u0000 of the film’s temporality and narratology. However, in this article, I perform a close textual analysis of the mise en scène of Inception by Christopher Nolan (2010) and Eternal Sunshine of the Spotless Mind (2004) by Michel Gondry to demonstrate how these\u0000 puzzle films privilege spatiality over time and plot to depict cognitive processes associated with mental and psychological instability, thereby bringing attention to an underrepresented attribute of the genre. I focus on the influence of surrealism on mise en scène, as surrealist\u0000 art and cinema manipulate space to explore the psyche. I also draw on these films’ production history to show how the filmmakers, production crew and actors understood approaches to space as a cognitive process.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44904507","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}
Rather than the stereotypical nineteenth-century leathers-and-feathers warriors familiar from countless Hollywood Westerns, many Native filmmakers focus their films on contemporary Native communities. In contrast, Native filmmakers create very different representations of Native life and especially Native masculinity. Along with the foundational Smoke Signals (Eyre 1998), Randy Redroad’s The Doe Boy (2001) was one of the first Native-created films that helped initiate a cluster of Native American films that centre on masculinity and male‐male relationships. Indigenous masculinity is often a site of struggle of rejecting colonialist impositions and finding one’s own identity, and it is in part such a journey that propels Redroad’s film. The Doe Boy responds to not only Hollywood misrepresentations but also Eyre’s earlier film that established masculinity and father‐son relationships as a crucial topic. The Doe Boy focuses on Hunter (James Duval), a mixed-blood Cherokee youth, who must navigate between his White father and Cherokee grandfather and their differing practices of masculinity despite his bodily vulnerability from haemophilia, a strained and sometimes violent relationship with his father and a devastating mistake during an early deer hunt. Not only is Redroad’s film a Cherokee coming-of-age film and period piece (it is set during the AIDS crisis of the 1980s), but it can also be read as a Deer Woman story, albeit a filmic and non-traditional one. Unlike Smoke Signals, which takes the road movie as its genre, The Doe Boy has its foundations in a specific tribal culture. A crucial task in undoing to previous filmic misrepresentations of Hollywood, which lacked any specificity about Native characters, is to take Native filmmakers’ cultural context into careful consideration. Redroad’s film can be seen as a Deer Woman story that depicts Hunter’s struggles as he navigates his way to a mixed-blood manhood.
{"title":"Cherokee film as Cherokee storytelling: Randy Redroad’s The Doe Boy (2001) as filmic Deer Woman story","authors":"L. Beadling","doi":"10.1386/ncin_00018_1","DOIUrl":"https://doi.org/10.1386/ncin_00018_1","url":null,"abstract":"Rather than the stereotypical nineteenth-century leathers-and-feathers warriors familiar from countless Hollywood Westerns, many Native filmmakers focus their films on contemporary Native communities. In contrast, Native filmmakers create very different representations of Native life\u0000 and especially Native masculinity. Along with the foundational Smoke Signals (Eyre 1998), Randy Redroad’s The Doe Boy (2001) was one of the first Native-created films that helped initiate a cluster of Native American films that centre on masculinity and male‐male\u0000 relationships. Indigenous masculinity is often a site of struggle of rejecting colonialist impositions and finding one’s own identity, and it is in part such a journey that propels Redroad’s film. The Doe Boy responds to not only Hollywood misrepresentations but also Eyre’s\u0000 earlier film that established masculinity and father‐son relationships as a crucial topic. The Doe Boy focuses on Hunter (James Duval), a mixed-blood Cherokee youth, who must navigate between his White father and Cherokee grandfather and their differing practices of masculinity\u0000 despite his bodily vulnerability from haemophilia, a strained and sometimes violent relationship with his father and a devastating mistake during an early deer hunt. Not only is Redroad’s film a Cherokee coming-of-age film and period piece (it is set during the AIDS crisis of the 1980s),\u0000 but it can also be read as a Deer Woman story, albeit a filmic and non-traditional one. Unlike Smoke Signals, which takes the road movie as its genre, The Doe Boy has its foundations in a specific tribal culture. A crucial task in undoing to previous filmic misrepresentations\u0000 of Hollywood, which lacked any specificity about Native characters, is to take Native filmmakers’ cultural context into careful consideration. Redroad’s film can be seen as a Deer Woman story that depicts Hunter’s struggles as he navigates his way to a mixed-blood manhood.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"22 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41299905","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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