{"title":"Response: It has been a pleasure","authors":"M. Barker","doi":"10.1386/NCIN.14.2.165_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.2.165_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"25 1","pages":"165-173"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66740297","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 aims to discuss pleasure as a way of understanding film. I do not seek to judge the correctness, political or otherwise, of certain pleasures, or to offer any overarching theory of pleasure. Instead I investigate what film scholars talk about when we talk about pleasure. Understanding pleasure more as an attitude to film spectatorship rather than an object in and of itself, I consider the importance not solely of the rational pursuit of prima facie pleasures but also of more enigmatic emotional needs relating to intimacy, pain and the confirmation of shared values. Separating cinematic pleasure from any necessary association with positivity, I caution against the potential for pleasure to be instrumentalized as part of a neo-liberal ethic of happiness.
{"title":"Beyond the pleasure principle: exploring the limits of a pervasive term","authors":"L. Bayman","doi":"10.1386/ncin.14.2.123_1","DOIUrl":"https://doi.org/10.1386/ncin.14.2.123_1","url":null,"abstract":"This article aims to discuss pleasure as a way of understanding film. I do not seek to judge the correctness, political or otherwise, of certain pleasures, or to offer any overarching theory of pleasure. Instead I investigate what film scholars talk about when we talk about pleasure. Understanding pleasure more as an attitude to film spectatorship rather than an object in and of itself, I consider the importance not solely of the rational pursuit of prima facie pleasures but also of more enigmatic emotional needs relating to intimacy, pain and the confirmation of shared values. Separating cinematic pleasure from any necessary association with positivity, I caution against the potential for pleasure to be instrumentalized as part of a neo-liberal ethic of happiness.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"123-134"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739431","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":"Queer effractions: Male to male porn and the pursuit of self-shattering","authors":"J. Champagne","doi":"10.1386/NCIN.14.2.135_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.2.135_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"135-142"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739932","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 offers the first analysis of the role of film as a soft power asset In South Africa. It examines ways in which the policy priorities of the South African government have, until recently, seemed to work against the nation’s strategic aim to use film as a tool to leverage soft power in order to gain political influence across Africa, as well as to maximise the economic potential of globalisation. The South African film economy is booming. Cape Town, in particular, has become a key production centre globally. International productions are attracted to the country by the versatility of its locations, its weather and its low cost, high quality, facilities. This has provided great employment opportunities for local production staff. However, it has done very little to support the development of local creative talent. Thus, unlike, for example, Nollywood, which supports the entire ‘value chain’ of production and which is allowing creative and technical expertise to develop in tandem, the success of the South African production infrastructure is to the detriment of its South African filmmakers. In this article I investigate the extent to which the government’s economic imperative to develop the industry is working against its soft power aim to project South African stories both locally and internationally, and with it, the national ‘strategic narrative’, considered to be one of the country’s prime soft power assets. I then go on to suggest that the landscape would currently seem to be changing as a new generation of South African filmmakers are starting to gain ground.
{"title":"Soft Power and South African Film: Negotiating Mutually Incompatible Agendas?","authors":"P. Cooke","doi":"10.1386/NCIN.14.1.93_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.1.93_1","url":null,"abstract":"This article offers the first analysis of the role of film as a soft power asset In South Africa. It examines ways in which the policy priorities of the South African government have, until recently, seemed to work against the nation’s strategic aim to use film as a tool to leverage soft power in order to gain political influence across Africa, as well as to maximise the economic potential of globalisation. The South African film economy is booming. Cape Town, in particular, has become a key production centre globally. International productions are attracted to the country by the versatility of its locations, its weather and its low cost, high quality, facilities. This has provided great employment opportunities for local production staff. However, it has done very little to support the development of local creative talent. Thus, unlike, for example, Nollywood, which supports the entire ‘value chain’ of production and which is allowing creative and technical expertise to develop in tandem, the success of the South African production infrastructure is to the detriment of its South African filmmakers. In this article I investigate the extent to which the government’s economic imperative to develop the industry is working against its soft power aim to project South African stories both locally and internationally, and with it, the national ‘strategic narrative’, considered to be one of the country’s prime soft power assets. I then go on to suggest that the landscape would currently seem to be changing as a new generation of South African filmmakers are starting to gain ground.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"93-109"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739384","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 takes as its starting point what we define as Brazil’s soft-power halcyon days (around 2009), as the nation seems set to maximize a range of opportunities (the upcoming World Cup and Olympics, for example) to take on a more significant role in global politics. It assesses the potential contribution of cinema to the Brazilian soft-power narrative, focusing on film policy, support for the dissemination of Brazilian films abroad and the place of film production within Brazil’s soft-power vision. It then discusses two films – Lula: Filho do Brasil (Lula: Son of Brazil, Barreto, 2009) and Aquarius (Mendonca Filho, 2016) – and the extent to which they trouble the very notion of film as a soft-power asset in Brazil. It concludes by commenting on more recent events in Brazil, and their likely effect on both the nation as a soft-power powerhouse and on film production in the country more broadly.
本文以我们定义的巴西软实力鼎盛时期(2009年左右)为起点，因为巴西似乎准备充分利用一系列机会(例如即将到来的世界杯和奥运会)，在全球政治中扮演更重要的角色。它评估了电影对巴西软实力叙事的潜在贡献，重点是电影政策，对巴西电影在国外传播的支持以及电影制作在巴西软实力愿景中的地位。然后讨论两部电影——《Lula: Filho do Brasil》(Lula: Son of Brazil, Barreto, 2009)和《Aquarius》(Mendonca Filho, 2016)——以及它们在多大程度上挑战了电影在巴西作为软实力资产的概念。文章最后评论了巴西最近发生的一些事件，以及这些事件对巴西作为软实力强国和更广泛意义上的巴西电影制作可能产生的影响。
{"title":"Brazil, Soft Power and Film Culture","authors":"Stephanie Dennison, A. Meleiro","doi":"10.1386/NCIN.14.1.17_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.1.17_1","url":null,"abstract":"This article takes as its starting point what we define as Brazil’s soft-power halcyon days (around 2009), as the nation seems set to maximize a range of opportunities (the upcoming World Cup and Olympics, for example) to take on a more significant role in global politics. It assesses the potential contribution of cinema to the Brazilian soft-power narrative, focusing on film policy, support for the dissemination of Brazilian films abroad and the place of film production within Brazil’s soft-power vision. It then discusses two films – Lula: Filho do Brasil (Lula: Son of Brazil, Barreto, 2009) and Aquarius (Mendonca Filho, 2016) – and the extent to which they trouble the very notion of film as a soft-power asset in Brazil. It concludes by commenting on more recent events in Brazil, and their likely effect on both the nation as a soft-power powerhouse and on film production in the country more broadly.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"17-30"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.14.1.17_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739724","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 examines how the Chinese ruling party understands the role of film and how film policy has been used to promote China’s soft power. It first explores shifts in policy over a period of 60 years in order to identify the government’s overall approach to the film industry. Then it investigates ‘Zou Chu Qu’, the so-called ‘Going-Out Policy’, specifically aimed at promoting soft power. This article argues that, although the role of the film industry has been adjusted in response to developments in Chinese society, the principal function of film as a tool of propaganda, along with the broader censorship system, has not fundamentally changed. Such policy arrangements have resulted in a tension between the ‘attraction’ of soft power and the state’s attraction to censorship. Consequently, there currently seems little room for Chinese films to contribute to China’s soft power in any meaningful way.
{"title":"Film Policy, the Chinese Government and Soft Power","authors":"Yanling Yang","doi":"10.1386/NCIN.14.1.71_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.1.71_1","url":null,"abstract":"This article examines how the Chinese ruling party understands the role of film and how film policy has been used to promote China’s soft power. It first explores shifts in policy over a period of 60 years in order to identify the government’s overall approach to the film industry. Then it investigates ‘Zou Chu Qu’, the so-called ‘Going-Out Policy’, specifically aimed at promoting soft power. This article argues that, although the role of the film industry has been adjusted in response to developments in Chinese society, the principal function of film as a tool of propaganda, along with the broader censorship system, has not fundamentally changed. Such policy arrangements have resulted in a tension between the ‘attraction’ of soft power and the state’s attraction to censorship. Consequently, there currently seems little room for Chinese films to contribute to China’s soft power in any meaningful way.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"71-91"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.14.1.71_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739833","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}
Through an analysis of government documents regulating the film industry, I examine the structure and reach of Russian soft power in relation to BRICS and the West. I introduce the concept of ‘manipulative soft power’ to account for Russia’s re-orientation politically and also cinematically. The article explores a number of theoretical concerns including soft power and agency in the era of social media, soft power and the ‘attention economy’ where ‘attention currency’ is valued more than the product to which it is attached, and soft power and controversy and notoriety. I focus on a particular event: the release of Zviagintsev’s Leviathan, its nomination for the 2015 Oscars, and the associated controversy that engulfed Russia and the Russian speaking world in 2014–15 and that bled into international media, especially Anglophone media, thus re-focusing global attention on Russia. I analyse the government and media discourse surrounding the release of Leviathan, and I conclude by reflecting on Russian soft power and the country’s role in the process of globalization.
{"title":"Russian ‘Manipulative Smart Power’: Zviagintsev’s Oscar Nomination, (Non-)Government Agency, and Contradictions of the Globalised World","authors":"Vlad Strukov","doi":"10.1386/NCIN.14.1.31_1","DOIUrl":"https://doi.org/10.1386/NCIN.14.1.31_1","url":null,"abstract":"Through an analysis of government documents regulating the film industry, I examine the structure and reach of Russian soft power in relation to BRICS and the West. I introduce the concept of ‘manipulative soft power’ to account for Russia’s re-orientation politically and also cinematically. The article explores a number of theoretical concerns including soft power and agency in the era of social media, soft power and the ‘attention economy’ where ‘attention currency’ is valued more than the product to which it is attached, and soft power and controversy and notoriety. I focus on a particular event: the release of Zviagintsev’s Leviathan, its nomination for the 2015 Oscars, and the associated controversy that engulfed Russia and the Russian speaking world in 2014–15 and that bled into international media, especially Anglophone media, thus re-focusing global attention on Russia. I analyse the government and media discourse surrounding the release of Leviathan, and I conclude by reflecting on Russian soft power and the country’s role in the process of globalization.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"31-49"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.14.1.31_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739765","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":"New modes of cinematic production in contemporary Spanish cinema: Private televisions and the film franchise","authors":"Jara Fernández Meneses","doi":"10.1386/ncin.13.2.139_1","DOIUrl":"https://doi.org/10.1386/ncin.13.2.139_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"2017 1","pages":"139-152"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739595","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":"Inglourious Basterds: Satirizing the spectator and revealing the ‘Nazi’ within","authors":"Andrew B. Chrystall","doi":"10.1386/NCIN.13.2.153_1","DOIUrl":"https://doi.org/10.1386/NCIN.13.2.153_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"13 1","pages":"153-168"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739640","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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