Pub Date : 2023-11-01DOI: 10.1080/10509208.2023.2274786
Vera Dika
{"title":"Seared Surfaces: The Trauma Cinema of MM Serra","authors":"Vera Dika","doi":"10.1080/10509208.2023.2274786","DOIUrl":"https://doi.org/10.1080/10509208.2023.2274786","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"55 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135370966","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}
Pub Date : 2023-11-01DOI: 10.1080/10509208.2023.2276015
Roshan B. Karimpaniyil, Shashikantha Koudur
Click to increase image sizeClick to decrease image size AcknowledgementThe Authors would like to thank the anonymous reviewers for their insightful comments and valuable improvements to the paper.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Freedom Fight is an anthology movie, and two of its segments The Unorganised Sector and Old Age Home, are considered for analysis in this paper.2 A string hopper dish popular in the South Indian state of Kerala.3 Known in English as Calicut, Kozhikode is an important city in the Malabar region of Kerala.4 The first segment under consideration from the anthology Freedom Fight.5 In the context of the marriages in Kerala, it is customary for the brides to clothe themselves in the finest embellishment as wedding ceremonies are usually an occasion of social display.6 The second segment under consideration from the anthology Freedom Fight.
{"title":"Outside the ‘Sexual’: Depiction of the Female Body in the New-Generation Malayalam Cinema","authors":"Roshan B. Karimpaniyil, Shashikantha Koudur","doi":"10.1080/10509208.2023.2276015","DOIUrl":"https://doi.org/10.1080/10509208.2023.2276015","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementThe Authors would like to thank the anonymous reviewers for their insightful comments and valuable improvements to the paper.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Freedom Fight is an anthology movie, and two of its segments The Unorganised Sector and Old Age Home, are considered for analysis in this paper.2 A string hopper dish popular in the South Indian state of Kerala.3 Known in English as Calicut, Kozhikode is an important city in the Malabar region of Kerala.4 The first segment under consideration from the anthology Freedom Fight.5 In the context of the marriages in Kerala, it is customary for the brides to clothe themselves in the finest embellishment as wedding ceremonies are usually an occasion of social display.6 The second segment under consideration from the anthology Freedom Fight.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"55 11-12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135271796","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}
Pub Date : 2023-10-24DOI: 10.1080/10509208.2023.2270405
Kevin Corbett
Click to increase image sizeClick to decrease image size Notes1 https://www.youtube.com/watch?v=w9AhbLSPi0gAdditional informationNotes on contributorsKevin CorbettKevin Corbett, PhD, is a Professor in the School of Communication, Journalism and Media at Central Michigan University, where he teaches courses in screenwriting and film history, theory and documentary.
点击增大图片尺寸点击缩小图片尺寸备注1 https://www.youtube.com/watch?v=w9AhbLSPi0gAdditional information关于投稿人的说明kevin Corbett kevin Corbett，博士，是中密歇根大学传播、新闻和媒体学院的教授，在那里他教授编剧和电影史、理论和纪录片课程。
{"title":"Genre Destroyed and Being Obnoxious: The Metamodernism of Everything Everywhere All at Once","authors":"Kevin Corbett","doi":"10.1080/10509208.2023.2270405","DOIUrl":"https://doi.org/10.1080/10509208.2023.2270405","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 https://www.youtube.com/watch?v=w9AhbLSPi0gAdditional informationNotes on contributorsKevin CorbettKevin Corbett, PhD, is a Professor in the School of Communication, Journalism and Media at Central Michigan University, where he teaches courses in screenwriting and film history, theory and documentary.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"27 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135267039","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}
Pub Date : 2023-10-23DOI: 10.1080/10509208.2023.2270403
Anna Siomopoulos
Click to increase image sizeClick to decrease image size Notes1 On the way that the personal is linked to the political in the broader category of the conspiracy film, see Mike Wayne, “The Conspiracy Film, Hollywood’s Cultural Paradigms, and Class Consciousness,” 210. On conspiracy as a metaphor for the abuse of power by the corporation and the state, see John S. Nelson, “Conspiracy as a Hollywood Trope for System.”2 Coma (1978) is an interesting exception to the female whistleblower film, in that the female protagonist is a successful professional who has no financial worries, but, like other female whistleblowers, she unequivocally succeeds in exposing the criminal activity of her workplace, her romantic relationship restored in the final scene.3 The interactions between Jeffrey and Lowell often convey an intensity that borders on the sexual and romantic; for example, at their initial clandestine meeting in a hotel room, Lowell asks Jeffrey if there is anything he wants to know about Lowell, and Jeffrey responds with reference to a cliched pickup line, “Like what? Your sign?” Later in the film, after Jeffrey has become estranged from his wife, he calls Lowell and tells him not only that he is now staying at “our favorite hotel,” but also that he requested to stay in the same room where they first met.4 Both the social and sexual contracts are political fictions, to be sure, but ones that continue to underlie dominant assumptions of public discourse in the West about the political obligation of white, male individuals to the state, assumptions that simultaneously legitimate the subordination of women and people of color. See Carole Pateman and Charles W. Mills, Contract and Domination.5 The diminished authority of the husband can in part be explained by the decreasing significance of formal marriage to the state over the course of the 20th century, as the state less and less needed to work through male household heads to locate or govern female family members that it could monitor directly through employment, taxation, social welfare, etc. (Cott Citation2002, 213).6 Wendy Brown writes that consent is mediated by an authority that it both constitutes and legitimates, that it is “a response to power,” but not “a mode of … sharing power” (States of Injury, 163). I would argue that the problem of consent “as a sign of legitimate subordination” (163) is aggravated by the fact that, beginning with Locke, political philosophers have grounded the legitimacy of the political power and authority of the state on a consent that need only be “tacit.”7 While Ham’s name recalls the biblical ancestor of the people of Africa, whose story has been interpreted throughout history as a justification for slavery, he calls attention here to the continued violence of white exploitation and imperialism.8 Both Joe’s critical race consciousness and his sexism are conveyed when he calls an Islamophobic acquaintance “a racist pussy.”9 Joe conveys his feelings of emasculatio
{"title":"The White Couple and the Neoliberal Social Contract in 21st-Century Whistleblower Films","authors":"Anna Siomopoulos","doi":"10.1080/10509208.2023.2270403","DOIUrl":"https://doi.org/10.1080/10509208.2023.2270403","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 On the way that the personal is linked to the political in the broader category of the conspiracy film, see Mike Wayne, “The Conspiracy Film, Hollywood’s Cultural Paradigms, and Class Consciousness,” 210. On conspiracy as a metaphor for the abuse of power by the corporation and the state, see John S. Nelson, “Conspiracy as a Hollywood Trope for System.”2 Coma (1978) is an interesting exception to the female whistleblower film, in that the female protagonist is a successful professional who has no financial worries, but, like other female whistleblowers, she unequivocally succeeds in exposing the criminal activity of her workplace, her romantic relationship restored in the final scene.3 The interactions between Jeffrey and Lowell often convey an intensity that borders on the sexual and romantic; for example, at their initial clandestine meeting in a hotel room, Lowell asks Jeffrey if there is anything he wants to know about Lowell, and Jeffrey responds with reference to a cliched pickup line, “Like what? Your sign?” Later in the film, after Jeffrey has become estranged from his wife, he calls Lowell and tells him not only that he is now staying at “our favorite hotel,” but also that he requested to stay in the same room where they first met.4 Both the social and sexual contracts are political fictions, to be sure, but ones that continue to underlie dominant assumptions of public discourse in the West about the political obligation of white, male individuals to the state, assumptions that simultaneously legitimate the subordination of women and people of color. See Carole Pateman and Charles W. Mills, Contract and Domination.5 The diminished authority of the husband can in part be explained by the decreasing significance of formal marriage to the state over the course of the 20th century, as the state less and less needed to work through male household heads to locate or govern female family members that it could monitor directly through employment, taxation, social welfare, etc. (Cott Citation2002, 213).6 Wendy Brown writes that consent is mediated by an authority that it both constitutes and legitimates, that it is “a response to power,” but not “a mode of … sharing power” (States of Injury, 163). I would argue that the problem of consent “as a sign of legitimate subordination” (163) is aggravated by the fact that, beginning with Locke, political philosophers have grounded the legitimacy of the political power and authority of the state on a consent that need only be “tacit.”7 While Ham’s name recalls the biblical ancestor of the people of Africa, whose story has been interpreted throughout history as a justification for slavery, he calls attention here to the continued violence of white exploitation and imperialism.8 Both Joe’s critical race consciousness and his sexism are conveyed when he calls an Islamophobic acquaintance “a racist pussy.”9 Joe conveys his feelings of emasculatio","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"1 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135366728","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}
Click to increase image sizeClick to decrease image size Disclosure StatementThere are no relevant financial or non-financial competing interests to report.Additional informationNotes on contributorsAltynay AigelovaAltynay Aigelova is a Doctoral Student of the Department of Printing and Publishing at the L. N. Gumilyov Eurasian National University, Astana, Republic of Kazakhstan. Her research focuses on a role of the digital media and Internet platforms.Assima IshanovaAssima Ishanova is a Full Doctor of Philology, Professor of the Department of Printing and Publishing at the L. N. Gumilyov Eurasian National University, Astana, Republic of Kazakhstan. Her research focuses on a modern mass media, cultural memory and literary games.Ainur SuleimenovaAinur Suleimenova is a Doctoral Student of the Department of Journalism and Communication Management at the A. Baitursynov Kostanay Regional University, Kostanay, Republic of Kazakhstan. Her research focuses on a documentary films, media criticism in blogs and Internet space.
{"title":"Analysis of the Content of the Kazakhstan Segment of YouTube","authors":"Altynay Aigelova, Assima Ishanova, Ainur Suleimenova","doi":"10.1080/10509208.2023.2265784","DOIUrl":"https://doi.org/10.1080/10509208.2023.2265784","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementThere are no relevant financial or non-financial competing interests to report.Additional informationNotes on contributorsAltynay AigelovaAltynay Aigelova is a Doctoral Student of the Department of Printing and Publishing at the L. N. Gumilyov Eurasian National University, Astana, Republic of Kazakhstan. Her research focuses on a role of the digital media and Internet platforms.Assima IshanovaAssima Ishanova is a Full Doctor of Philology, Professor of the Department of Printing and Publishing at the L. N. Gumilyov Eurasian National University, Astana, Republic of Kazakhstan. Her research focuses on a modern mass media, cultural memory and literary games.Ainur SuleimenovaAinur Suleimenova is a Doctoral Student of the Department of Journalism and Communication Management at the A. Baitursynov Kostanay Regional University, Kostanay, Republic of Kazakhstan. Her research focuses on a documentary films, media criticism in blogs and Internet space.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884482","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}
Pub Date : 2023-10-12DOI: 10.1080/10509208.2023.2265778
Arindam Nandi
Click to increase image sizeClick to decrease image size AcknowledgementsThe author has contributed to the study, preparation, and analysis of the paper.Competing InterestsThe author has no relevant financial or non-financial interests to disclose. This research does not involve any Human Participants or Animals.Additional informationNotes on contributorsArindam NandiArindam Nandi is a doctoral research scholar and a part-time research assistant in the Department of Humanities and Social Sciences at Indian Institute of Technology (IIT) Madras specializing in English Literature. He has previously completed his Masters and MPhil in English Literature from the University of Calcutta. While his MPhil work had concerned an exploration of Michel Foucault’s anti-establishment politics in the works of Franco-Czech novelist Milan Kundera, his current PhD research involves a critical investigation of disease and contagious metaphors in post-eighteenth century literary and cultural works.
{"title":"Post-Anthropocentric Futures: Rootlessness and Liquid Identities in George Miller’s Mad Max: Fury Road, Steven Soderbergh’s Solaris, and Christopher Nolan’s Interstellar","authors":"Arindam Nandi","doi":"10.1080/10509208.2023.2265778","DOIUrl":"https://doi.org/10.1080/10509208.2023.2265778","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementsThe author has contributed to the study, preparation, and analysis of the paper.Competing InterestsThe author has no relevant financial or non-financial interests to disclose. This research does not involve any Human Participants or Animals.Additional informationNotes on contributorsArindam NandiArindam Nandi is a doctoral research scholar and a part-time research assistant in the Department of Humanities and Social Sciences at Indian Institute of Technology (IIT) Madras specializing in English Literature. He has previously completed his Masters and MPhil in English Literature from the University of Calcutta. While his MPhil work had concerned an exploration of Michel Foucault’s anti-establishment politics in the works of Franco-Czech novelist Milan Kundera, his current PhD research involves a critical investigation of disease and contagious metaphors in post-eighteenth century literary and cultural works.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136012858","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}
Pub Date : 2023-10-12DOI: 10.1080/10509208.2023.2264147
Robinson Murphy
Click to increase image sizeClick to decrease image size Notes1 Leo Bersani posed a similar question: “is it possible to invent ‘new relational modes’ [Foucault’s phrase] while taking into account the intractability of the death drive?” (Bersani Citation2010, 134).2 For a Lowery film that features a great many long takes, see A Ghost Story (2017).3 Ecocentrism values the entire ecosphere, not just what humans deem worthy. The Green Knight’s ecocentrism extends to its extra-textual commitments: “no leather used in this production; all clothes were vegan” (Griffin Citation2021).4 I have in mind here what Elizabeth Freeman calls “chrononormativity”—the structured clock-time according to which humans are directed so as to ensure “maximum productivity” (Freeman Citation2010, 3).5 Lowery has critiqued deforestation in his filmmaking since at least the time of the film Pete’s Dragon (2016).6 See Murphy, Castration Desire: Less Is More in Global Anglophone Fiction (Murphy Citation2023).7 Sarabeth Rambold pointed out to me that this casting seems like part of a trend wherein major symbols in British culture are recast as people of color, for example: Dev Patel as Gawain and David Copperfield (2019), Nikki Amuka-Bird as Lady Russell, Henry Golding as William Elliot, and many more casting choices in Persuasion (2022), not to mention Bridgerton totally reimagining racial hierarchy in Regency-era London. Such casting would be consistent with Lowery’s anticolonial politics in The Green Knight.8 Reviewing the Ultra HD disc version, Al Griffin relays, “The Green Knight was shot digitally in large format using the Arri Alexa 65 camera and mastered at 4K resolution. Consequently, its images are at once panoramic and crisp. Landscapes brim with fine natural detail, and so do the intricate period-inspired costumes. Shots in Arthur’s court and in dark castles use a combination of natural and candle light and Dolby Vision high dynamic range ensures that blacks in these scenes are solid and deep, while flames and occasional shafts of sunlight impart a powerful sense of contrast” (2021).9 Cocooning is a social science concept that refers to the growing tendency of people to spend more time inside their homes, given the technological advancements that make leaving the domestic sphere seemingly less necessary (Mulligan Citation2018, 37-8).10 The “metabolic rift” is Marx’s terms for the separation of human populations from the land on which they grow their food.11 Jessica Kiang similarly understands mother! as “a portrait of the trophy wife of a Great Man from the point of view of the trophy” (Kiang Citation2017).12 For another source that reads mother! as ecofeminist, see Hauke (Citation2020). Hódosy similarly sees mother! as “representing an ecofeminist indictment of the effects of the Judeo-Christian tradition” (Hódosy Citation2023, 80-81).13 In her review for Bitch Media, Dahlia Balcazar also observes, “Mother! is a very, very long metaphor in which Mother’s character
{"title":"The Death-Driven Eco-Ethics of David Lowery’s <i>The Green Knight</i> (2021) and Darren Aronofsky’s <i>mother!</i> (2017)","authors":"Robinson Murphy","doi":"10.1080/10509208.2023.2264147","DOIUrl":"https://doi.org/10.1080/10509208.2023.2264147","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Leo Bersani posed a similar question: “is it possible to invent ‘new relational modes’ [Foucault’s phrase] while taking into account the intractability of the death drive?” (Bersani Citation2010, 134).2 For a Lowery film that features a great many long takes, see A Ghost Story (2017).3 Ecocentrism values the entire ecosphere, not just what humans deem worthy. The Green Knight’s ecocentrism extends to its extra-textual commitments: “no leather used in this production; all clothes were vegan” (Griffin Citation2021).4 I have in mind here what Elizabeth Freeman calls “chrononormativity”—the structured clock-time according to which humans are directed so as to ensure “maximum productivity” (Freeman Citation2010, 3).5 Lowery has critiqued deforestation in his filmmaking since at least the time of the film Pete’s Dragon (2016).6 See Murphy, Castration Desire: Less Is More in Global Anglophone Fiction (Murphy Citation2023).7 Sarabeth Rambold pointed out to me that this casting seems like part of a trend wherein major symbols in British culture are recast as people of color, for example: Dev Patel as Gawain and David Copperfield (2019), Nikki Amuka-Bird as Lady Russell, Henry Golding as William Elliot, and many more casting choices in Persuasion (2022), not to mention Bridgerton totally reimagining racial hierarchy in Regency-era London. Such casting would be consistent with Lowery’s anticolonial politics in The Green Knight.8 Reviewing the Ultra HD disc version, Al Griffin relays, “The Green Knight was shot digitally in large format using the Arri Alexa 65 camera and mastered at 4K resolution. Consequently, its images are at once panoramic and crisp. Landscapes brim with fine natural detail, and so do the intricate period-inspired costumes. Shots in Arthur’s court and in dark castles use a combination of natural and candle light and Dolby Vision high dynamic range ensures that blacks in these scenes are solid and deep, while flames and occasional shafts of sunlight impart a powerful sense of contrast” (2021).9 Cocooning is a social science concept that refers to the growing tendency of people to spend more time inside their homes, given the technological advancements that make leaving the domestic sphere seemingly less necessary (Mulligan Citation2018, 37-8).10 The “metabolic rift” is Marx’s terms for the separation of human populations from the land on which they grow their food.11 Jessica Kiang similarly understands mother! as “a portrait of the trophy wife of a Great Man from the point of view of the trophy” (Kiang Citation2017).12 For another source that reads mother! as ecofeminist, see Hauke (Citation2020). Hódosy similarly sees mother! as “representing an ecofeminist indictment of the effects of the Judeo-Christian tradition” (Hódosy Citation2023, 80-81).13 In her review for Bitch Media, Dahlia Balcazar also observes, “Mother! is a very, very long metaphor in which Mother’s character ","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136012592","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}
Pub Date : 2023-10-10DOI: 10.1080/10509208.2023.2265782
Alireza Sayyad, Javad Nematollahi
Click to increase image sizeClick to decrease image size Notes1 It should be noted that for Sobchak, “home” is the equivalent of Bachelard’s “House” whereas in her literature, “house” is not the same with “home” and it lacks the intimacy expected from “home”.2 It is interesting to note how Ashraf herself is a modern individual, in contrast to traditional maternal figure of Ali’s mom. Ashraf can’t have a home whereas Ali’s mom does, that is of course until it is threatened by Ali’s misdeeds.3 We should note that in films like The Strait and The Beehive, any kind of modernization is the direct actualization of modernity, which was perceived to be a western concept; so Shah’s modernization project was equaled with westernization of Iran by the majority of intellectuals of the time (Talattof Citation2011).4 It is with having this point in mind that we can understand characters like Ebi and mr. Hosseini as “traditional.” They engage in activities such as drinking, gambling and visiting brothels which are against traditional Islamic-Iranian values. Nonetheless, they are presented as traditional since they adhere to values such as family and honour. Their traditionality is synthesized with modernity.Additional informationNotes on contributorsAlireza SayyadAlireza Sayyad is an associate professor in the Department of Cinema, the Faculty of Cinema and Theater, University of Art. His interdisciplinary research focused on the relationship between cinema and urban experience, is based on his education in architecture, cinema, and art.Javad NematollahiJavad Nematollahi is a researcher, cinephile, and Ph.D. candidate of art studies at Tarbiat Modares University. He holds MA. in cinema from Tehran university of art. He defended his MA. dissertation titled Manifestation of flâneur of metropolitan area in pre–Islamic Revolution Iranian new wave of cinema. He is interested in studies of modernity and cinema, flanerie and cinema, and has published articles in these fields.
{"title":"Spaces of Tradition vs. Spaces of Modernity in Street Cinema of Iranian New Wave: Case Study of <i>The Strait</i> (1973) & <i>The Beehive</i> (1975)","authors":"Alireza Sayyad, Javad Nematollahi","doi":"10.1080/10509208.2023.2265782","DOIUrl":"https://doi.org/10.1080/10509208.2023.2265782","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 It should be noted that for Sobchak, “home” is the equivalent of Bachelard’s “House” whereas in her literature, “house” is not the same with “home” and it lacks the intimacy expected from “home”.2 It is interesting to note how Ashraf herself is a modern individual, in contrast to traditional maternal figure of Ali’s mom. Ashraf can’t have a home whereas Ali’s mom does, that is of course until it is threatened by Ali’s misdeeds.3 We should note that in films like The Strait and The Beehive, any kind of modernization is the direct actualization of modernity, which was perceived to be a western concept; so Shah’s modernization project was equaled with westernization of Iran by the majority of intellectuals of the time (Talattof Citation2011).4 It is with having this point in mind that we can understand characters like Ebi and mr. Hosseini as “traditional.” They engage in activities such as drinking, gambling and visiting brothels which are against traditional Islamic-Iranian values. Nonetheless, they are presented as traditional since they adhere to values such as family and honour. Their traditionality is synthesized with modernity.Additional informationNotes on contributorsAlireza SayyadAlireza Sayyad is an associate professor in the Department of Cinema, the Faculty of Cinema and Theater, University of Art. His interdisciplinary research focused on the relationship between cinema and urban experience, is based on his education in architecture, cinema, and art.Javad NematollahiJavad Nematollahi is a researcher, cinephile, and Ph.D. candidate of art studies at Tarbiat Modares University. He holds MA. in cinema from Tehran university of art. He defended his MA. dissertation titled Manifestation of flâneur of metropolitan area in pre–Islamic Revolution Iranian new wave of cinema. He is interested in studies of modernity and cinema, flanerie and cinema, and has published articles in these fields.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136295792","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}
Pub Date : 2023-10-09DOI: 10.1080/10509208.2023.2265777
Bouchra Badaoui
Click to increase image sizeClick to decrease image size AcknowledgementDue thanks go to professor Abdellatif KHAYATI from the Faculty of Lettters, Dhar Mehraz, Fes for his insightful comments and guidance during the writing of this article.Disclosure StatementNo potential conflict of interest was reported by the author(s).
{"title":"Migrant or Diaspora Cinema: Mohamed Ismail’s Film Hna o Lhih (Here and There)","authors":"Bouchra Badaoui","doi":"10.1080/10509208.2023.2265777","DOIUrl":"https://doi.org/10.1080/10509208.2023.2265777","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementDue thanks go to professor Abdellatif KHAYATI from the Faculty of Lettters, Dhar Mehraz, Fes for his insightful comments and guidance during the writing of this article.Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135141700","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}
Pub Date : 2023-10-09DOI: 10.1080/10509208.2023.2265779
Vicente Rodríguez Ortega
Click to increase image sizeClick to decrease image size Notes1 Chungking Mansions is one of the main commercial hubs in Hong Kong for a variety of low-end globalization products. For a long time, Chungking Mansions had a bad reputation as a dodgy place. Still today, some locals avoid stepping inside the building complex.2 Chungking Express and Fallen Angels are connected in a variety of ways. In fact, one of the characters, He Zhiwu, has the same name in both films and shares a number 223 (Cop ID in Chungking Express and prisoner mumber in Fallen Angels). The same actor, Takeshi Kaneshiro, plays both characters. In addition, both films greatly occur in Chungking Mansions.3 Midnight Express is a real, popular food store in Hong Kong.4 The presence of brands such as IBM and McDonald’s is ubiquitous in the film, pointing to the traces of transnational capital all over the textual fabric of Hong Kong.5 Lisiak (Citation2015) identifies four different types of absence within Tsai’s films: absence of movement, absence of speech, absence of home and absence of infrastructure.6 Lim (Citation2013) argues that “silence”—the concomitant foregrounding of silence and the absence of recurrent elements in a film’s soundtrack such as voiceover, music or dialogue—is one of the defining characteristics of Tsai’s works, along with his still compositions.7 The mediating power of the apartment-niche is also the defining aspect of the Taipei Edward Yang portrays in Yi Yi (1999). The city is a space of refracted surfaces that block time after time the spectators’ direct access to the human bodies the city envelopes, preventing us from gaining access to the individuals’ interior condition as articulated through their facial expressions. Privileging sites of encounter placed in the corners of two meeting roads—coffee shops, highway underpasses—Yang often places his camera outside a framing glass that contains his characters’ interactions, punctuating their exchanges with the passing of circulating cars in constant motion through Taipei’s network of freeways. Yang’s cityscape is thus a multi-layered time-space that focuses on the struggles of a particular family to exemplify the troubles of many others since the apartment windows reflect the cars passing by, and, in turn, the in-motion car’s windows reflect the exterior of the buildings they bypass, pointing continuously elsewhere.8 Interestingly, Martin Fran (Citation2003) points out that Vive L’Amour constantly foregrounds emptiness, leaving often characters offscreen and depicting harsh architectural shapes, like building blocks, window frames, doorways or balustrades.9 In “Bringing in the Rain,” Jean-Pierre Rehm invokes Walter Benjamin’s concept of “cinema as a place of narration” to frame Tsai Ming-Liang’s project within the realm of the modern. According to Benjamin, the modern narration requires “a new precision and a new imprecision joined together in a single narrative jargon” (1999, 9), Rehm then, proceeds to lo
点击放大图片点击缩小图片1重庆大厦是香港主要的商业中心之一，为各种低端全球化产品提供服务。很长一段时间以来，重庆大厦都有一个不可靠的坏名声。时至今日，仍有一些当地人不愿踏进这座建筑群《重庆森林》和《堕落天使》在很多方面都有联系。事实上，其中一个角色何志武在两部电影中都有相同的名字，并且共用223号(《重庆森林》中的警察号和《堕落天使》中的囚犯号)。两个角色由同一演员金城武饰演。3午夜快车是香港一家真实的、受欢迎的食品商店。4 IBM和麦当劳等品牌在电影中无处不在，表明跨国资本的痕迹遍布香港的文本结构。5 liisiak (Citation2015)在蔡崇信的电影中发现了四种不同类型的缺席:没有运动，没有说话，没有家，没有基础设施Lim (Citation2013)认为，“沉默”——伴随着沉默的前景和电影原声中缺乏重复元素(如画外音、音乐或对话)——是蔡康永作品的定义特征之一，他的剧照也是如此公寓利基的中介力量也是杨德昌在《一一》(1999)中描绘的台北的决定性方面。城市是一个折射表面的空间，它一次又一次地阻挡了观众直接进入城市外壳的人体，阻止我们通过他们的面部表情获得个人的内部状态。他把相遇的地点放在两条交汇道路的拐角处——咖啡馆和高速公路的地下通道——杨经常把他的相机放在一个框架玻璃外面，这个框架玻璃包含了他的角色的互动，他们的交流与在台北高速公路网络中不断移动的循环车辆的通过打断。因此，杨的城市景观是一个多层次的时空，聚焦于一个特定家庭的挣扎，以例证许多其他家庭的麻烦，因为公寓的窗户反映了经过的汽车，反过来，行驶中的汽车的窗户反映了它们绕过的建筑物的外部，不断指向其他地方有趣的是，Martin Fran (Citation2003)指出，《Vive L’amour》不断突出空虚，经常将角色置于画面之外，并描绘出粗糙的建筑形状，如积木、窗框、门道或栏杆在《带来雨》中，让-皮埃尔·雷姆(Jean-Pierre Rehm)引用了沃尔特·本雅明(Walter Benjamin)关于“电影作为叙事场所”的概念，将蔡明亮的作品置于现代领域。根据本杰明的观点，现代叙事需要“一种新的精确和一种新的不精确结合在一个单一的叙事术语中”(1999,9)，Rehm接着将蔡康永的“现代精确/不精确动态”定位于他为了直接呈现演员身体和心理的不透明性而放弃了以连续性为基础的、解决冲突的叙事风格;对他们亲密的日常生活的近乎沉默的记录，在瞬间剥夺了任何戏剧性的盈余。这一观点呼应了安德烈·巴赞的“纯粹电影”概念——“没有演员，没有故事，没有布景，也就是说，在现实的完美美学幻觉中，没有电影”(Bazin Citation1984, 60)——为理解蔡康宁的电影提供了一个刺激的框架《Skywalk is Gone》是《What Time is It There》的续集。也是《任性的云》(2003)的前传。其他信息关于贡献者的说明vicente Rodríguez OrtegaVicente Rodríguez Ortega是马德里卡洛斯三世大学的终身教授，也是TECMERIN研究小组和西班牙大学研究所Español-UC3M的成员。他是《当代西班牙电影与类型》(曼彻斯特大学出版社)的联合编辑，撰写了20多篇学术文章和书籍章节。他是《Tecmerin: Journal of Audiovisual Essays》的创始编辑。
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