Pub Date : 2023-08-23DOI: 10.1080/10509208.2023.2249373
S. Kaliazhdarova, S. Ashenova, S. Velitchenko, Anarkhan Zhumabayeva, B. Serdali
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Pub Date : 2023-08-22DOI: 10.1080/10509208.2023.2250977
D. Sterritt
Well now, Johnny-O, was it a ghost? – Midge in Vertigo The protagonist of Vertigo suffers a severe trauma in the first scene, tips into catatonic madness around the midway point, and doesn’t fully recover until the final moments of the story, if indeed he recovers at all. Scottie is a haunted character throughout – haunted first by the memory of witnessing a colleague’s violent death and later by his attraction to Madeleine, who herself pretends to be haunted by a ghostly presence and is actually haunted by perilous love for the man she has been deceiving since the beginning. More broadly, the film mirrors these perplexities by cultivating a powerful aura of detachment from the realm of reason and rationality, generating a dreamlike atmosphere fostered by its implausible events and eccentric structure as well as such secondary elements as its hypnotic titles and destabilizing music. All of these factors point to hauntology as a useful tool for illuminating this resonant and elusive work. As posited by Jacques Derrida, hauntology contests and displaces its near-homonym ontology, imagining the figure of the specter as an unfathomable intruder that is, as the philosopher Colin Davis puts it, “neither present nor absent, neither dead nor alive,” presenting an otherness that is both manifestly present and ultimately inexplicable (Davis 2005, 373). Fredric Jameson sees a strong charge of irony in this Derridean idea, but that aside, I find it a suggestive and productive analytical concept. A major reference point for Derrida’s hauntology is Hamlet’s complaint that “time is out of joint,” suggesting that the esthetics of hauntology are characterized by a temporal displacement through which, in the words of the philosopher Liam Sprod, “the past invades, or haunts, the present with its return,” bringing back “the ideas, images and ideals of a past age, which now grate and creak against the joints of the present” (Shakespeare 2012, I:5; Sprod 2012). Time is very much out of joint for Scottie Ferguson, whose well-ordered life has been disrupted by forced retirement, allowing him to spend increasingly long periods discovering and inhabiting a delusive situation designed to persuade him that the spirit of a woman long dead has taken possession of a woman who is now haunting him – “available Ferguson,” as he whimsically calls himself – in turn. Madeleine’s unearthly beauty seduces him into
{"title":"Hauntological Perplexities: Spectrality, Theodicy, and Vertigo","authors":"D. Sterritt","doi":"10.1080/10509208.2023.2250977","DOIUrl":"https://doi.org/10.1080/10509208.2023.2250977","url":null,"abstract":"Well now, Johnny-O, was it a ghost? – Midge in Vertigo The protagonist of Vertigo suffers a severe trauma in the first scene, tips into catatonic madness around the midway point, and doesn’t fully recover until the final moments of the story, if indeed he recovers at all. Scottie is a haunted character throughout – haunted first by the memory of witnessing a colleague’s violent death and later by his attraction to Madeleine, who herself pretends to be haunted by a ghostly presence and is actually haunted by perilous love for the man she has been deceiving since the beginning. More broadly, the film mirrors these perplexities by cultivating a powerful aura of detachment from the realm of reason and rationality, generating a dreamlike atmosphere fostered by its implausible events and eccentric structure as well as such secondary elements as its hypnotic titles and destabilizing music. All of these factors point to hauntology as a useful tool for illuminating this resonant and elusive work. As posited by Jacques Derrida, hauntology contests and displaces its near-homonym ontology, imagining the figure of the specter as an unfathomable intruder that is, as the philosopher Colin Davis puts it, “neither present nor absent, neither dead nor alive,” presenting an otherness that is both manifestly present and ultimately inexplicable (Davis 2005, 373). Fredric Jameson sees a strong charge of irony in this Derridean idea, but that aside, I find it a suggestive and productive analytical concept. A major reference point for Derrida’s hauntology is Hamlet’s complaint that “time is out of joint,” suggesting that the esthetics of hauntology are characterized by a temporal displacement through which, in the words of the philosopher Liam Sprod, “the past invades, or haunts, the present with its return,” bringing back “the ideas, images and ideals of a past age, which now grate and creak against the joints of the present” (Shakespeare 2012, I:5; Sprod 2012). Time is very much out of joint for Scottie Ferguson, whose well-ordered life has been disrupted by forced retirement, allowing him to spend increasingly long periods discovering and inhabiting a delusive situation designed to persuade him that the spirit of a woman long dead has taken possession of a woman who is now haunting him – “available Ferguson,” as he whimsically calls himself – in turn. Madeleine’s unearthly beauty seduces him into","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"40 1","pages":"801 - 806"},"PeriodicalIF":0.0,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45255326","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 : 2023-08-18DOI: 10.1080/10509208.2023.2246866
Abhik Mukherjee
{"title":"Lawrence in India: Reading Lady Chatterley’s Lover through the Films of Satyajit Ray","authors":"Abhik Mukherjee","doi":"10.1080/10509208.2023.2246866","DOIUrl":"https://doi.org/10.1080/10509208.2023.2246866","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59791645","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 : 2023-08-18DOI: 10.1080/10509208.2023.2247312
A. Utterson
{"title":"Software, Self, Society: The Computer Histories of Adam Curtis","authors":"A. Utterson","doi":"10.1080/10509208.2023.2247312","DOIUrl":"https://doi.org/10.1080/10509208.2023.2247312","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47663039","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 : 2023-08-16DOI: 10.1080/10509208.2023.2246865
Shivalika Agarwal, Nagendra Kumar
{"title":"Do I Exist: Deconstructing the Mother-Daughter Relationship in Anvita Dutt’s Qala","authors":"Shivalika Agarwal, Nagendra Kumar","doi":"10.1080/10509208.2023.2246865","DOIUrl":"https://doi.org/10.1080/10509208.2023.2246865","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45734719","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 : 2023-08-11DOI: 10.1080/10509208.2023.2245319
C. Albarrán-Torres, L. Burke
{"title":"Postcolonial Superheroes: Unmasking Black Panther: Wakanda Forever and Namor, Its Mesoamerican Antihero","authors":"C. Albarrán-Torres, L. Burke","doi":"10.1080/10509208.2023.2245319","DOIUrl":"https://doi.org/10.1080/10509208.2023.2245319","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47667117","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 : 2023-08-10DOI: 10.1080/10509208.2023.2243571
Nenad Jovanovic
{"title":"The Show about the Show as a Brechtian Text","authors":"Nenad Jovanovic","doi":"10.1080/10509208.2023.2243571","DOIUrl":"https://doi.org/10.1080/10509208.2023.2243571","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49381603","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 : 2023-08-08DOI: 10.1080/10509208.2023.2243573
Yang Li
{"title":"Tracking on the “Edge” of Chinese Discourses: Drawing the Trajectories of Pema Tseden’s “Tibetan” Filmmaking in the PRC","authors":"Yang Li","doi":"10.1080/10509208.2023.2243573","DOIUrl":"https://doi.org/10.1080/10509208.2023.2243573","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47792824","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 : 2023-08-04DOI: 10.1080/10509208.2023.2243572
R. James, Maria John Paul
{"title":"The Events of De(Con)Struction: Plasticity in P. Padmarajan’s Innale and Nombarathi Poovu","authors":"R. James, Maria John Paul","doi":"10.1080/10509208.2023.2243572","DOIUrl":"https://doi.org/10.1080/10509208.2023.2243572","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45862382","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 : 2023-08-02DOI: 10.1080/10509208.2023.2235991
Eunha Son
Click to increase image sizeClick to decrease image size AcknowledgementsThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628)Disclosure StatementThe author declares no conflict of interest.Notes1 “I’ve been trying all winter to get my hands on the elements that make up this painting and to find a clear pattern. (omitted) I believe that it’s better to expose their clunkiness than to put on a stereotyped packaging in the end.” An excerpt from van Gogh’s The Potato Eaters.2 The Japanese film Rashomon was the world’s first oil painting animation film.3 For example, Inside Out and Mune: The Guardian of the Moon.4 The Natural Color System (NCS) is a proprietary perceptual color model based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering.5 Examples of such works include Paul Gauguin’s Paintings of Tahiti, Van Gogh’s Café Terrace at Night, and Gustav Klimt’s The Dancer and The Virgin.6 Ukiyo-e is a genre of Japanese woodblock prints and paintings established during the Edo Period (1615-1868) depicting the daily lives and customs of the time.7 To produce this animation, artists were selected by auditioning, and 107 artists drew 65,000 painting by themselves. Since the picture was reproduced in the same standard, imagination was added when it was larger than the original in Living Vincent.Additional informationFundingThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628).Notes on contributorsEunha SonI am currently working as a research professor at the Korean Studies Institute at Pusan National University. I focus on interdisciplinary studies in the humanities and imaging science.
{"title":"Symbolic Image of Colors in the Animation Film, <i>Loving Vincent</i>","authors":"Eunha Son","doi":"10.1080/10509208.2023.2235991","DOIUrl":"https://doi.org/10.1080/10509208.2023.2235991","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementsThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628)Disclosure StatementThe author declares no conflict of interest.Notes1 “I’ve been trying all winter to get my hands on the elements that make up this painting and to find a clear pattern. (omitted) I believe that it’s better to expose their clunkiness than to put on a stereotyped packaging in the end.” An excerpt from van Gogh’s The Potato Eaters.2 The Japanese film Rashomon was the world’s first oil painting animation film.3 For example, Inside Out and Mune: The Guardian of the Moon.4 The Natural Color System (NCS) is a proprietary perceptual color model based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering.5 Examples of such works include Paul Gauguin’s Paintings of Tahiti, Van Gogh’s Café Terrace at Night, and Gustav Klimt’s The Dancer and The Virgin.6 Ukiyo-e is a genre of Japanese woodblock prints and paintings established during the Edo Period (1615-1868) depicting the daily lives and customs of the time.7 To produce this animation, artists were selected by auditioning, and 107 artists drew 65,000 painting by themselves. Since the picture was reproduced in the same standard, imagination was added when it was larger than the original in Living Vincent.Additional informationFundingThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628).Notes on contributorsEunha SonI am currently working as a research professor at the Korean Studies Institute at Pusan National University. I focus on interdisciplinary studies in the humanities and imaging science.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135016566","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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