Quarterly Review of Film and Video最新文献

英文中文

Intercultural Experiences and Memories: Shigeko Kubota’s Artistic Journey through Her Video Art Spanning Japan to the American Southwest 跨文化的体验与记忆：久保田茂从日本到美国西南部的影像艺术之旅

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-19 DOI: 10.1080/10509208.2023.2237397

Jiajie Zhang

引用次数: 0

Defying the Binaries: Body, Desire and Sexual Identity in Nagarkirtan 反抗二元对立：Nagarkirtan的身体、欲望和性身份

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-18 DOI: 10.1080/10509208.2023.2234868

K. Ruchi, Smita Jha

引用次数: 0

Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process 欧洲法语国家的女性散文电影。女性视听思维过程探析

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-15 DOI: 10.1080/10509208.2023.2229910

Lourdes Monterrubio Ibáñez

引用次数: 0

Patriarchal “Engineering”: Caste-Gender-Culture in Tamil Cinema 父权“工程”:泰米尔电影中的种姓-性别文化

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-12 DOI: 10.1080/10509208.2023.2232712

A. Divya

引用次数: 0

Altruistic Guardians or Propagators of Regressive Norms?: A Comparative Analysis of the Savior Archetype in Contemporary Kannada Films and Soap Operas 利他主义的守护者还是退化规范的传播者?当代卡纳达语电影与肥皂剧中救世主原型的比较分析

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-11 DOI: 10.1080/10509208.2023.2232713

D. Amrutha, M. Ashwini

引用次数: 0

From Symbolic to Agential: The Evolution of Natural Representation in Indian Eco-Sensitive Films 从象征到代理:印度生态敏感电影中自然再现的演变

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-10 DOI: 10.1080/10509208.2023.2231820

Rakesh Kumar Pankaj, Dibyakusum Ray

引用次数: 0

Personality and Aesthetic Predictors of Narrative Liking in Film 个性与电影叙事喜好的审美预测因素

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-07 DOI: 10.1080/10509208.2023.2231819

Mohammad Homafar, Ali Sheikhmehdi, R. Afhami

引用次数: 0

Discussions on the “Revival of Marxism”: A Literature Review on Post-2008 Marxist Film Studies 论“马克思主义的复兴”——2008年后马克思主义电影研究综述

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-07-03 DOI: 10.1080/10509208.2022.2054267

F. N. Yarar Aksoy

In recent years, it seems that the calls for rereading Marx have increased (Musto 2020; Zi zek and Douzinas 2010; Hobsbawm 2011; Jeffries 2012; Fuchs and Mosco 2012; Christophers 2014; Menand 2016; Eagleton 2018; Tooze 2018). In some places, the revival of interest in Marxism has even been called the “Das Capital Renaissance” (Jeffries 2012). During this period, striking views have been seen that “the Marx of the twenty-first century will almost certainly be very different from the Marx of the twentieth” (Hobsbawm 2011). One of the dimensions of this difference may refer to the shift of the identity-based politics within the framework of cultural Marxism in the 1970s and 1980s toward a class-based analysis in today’s conditions. Because, “the political, social, ideological conditions of “the crisis” served to consolidate the dominance of capital over labor, converting a crisis of capital into a crisis for labor” (Petras and Veltmeyer 2012, 200). It is said that the burden of the crisis falls disproportionately on the labor in general and the low-income segments of the society in particular, not only post-2008 but also post-1980s (Dufour and Orhangazi 2014, 461). It is noted the most important consequences of the 2008 crisis such as the radical deterioration of living conditions for most of the world’s population, the increasing income/wealth inequality and social insecurity, and the shrinking of the minimum livelihood required for survival (Cingano 2014; UN News 2020). Post-crisis income inequality has increased not only because the upper class is taking over more wealth, but also because the little wealth, middle and lower-middle classes have, is being destroyed (Fligstein and RucksAhidiana 2015). The limitation of the way out of the global crash to the

近年来，重读马克思的呼声似乎有所增加(Musto 2020;Zi zek and Douzinas 2010;霍布斯鲍姆2011;Jeffries 2012;Fuchs and moscow 2012;克里斯托弗·2014;梅纳德2016;伊格尔顿2018;Tooze 2018)。在一些地方，对马克思主义兴趣的复兴甚至被称为“资本复兴”(Jeffries 2012)。在此期间，人们看到了引人注目的观点，即“21世纪的马克思几乎肯定会与20世纪的马克思大不相同”(Hobsbawm 2011)。这种差异的一个维度可能是指20世纪70年代和80年代文化马克思主义框架内基于身份的政治向今天条件下基于阶级的分析的转变。因为，“危机的政治、社会、意识形态条件”有助于巩固资本对劳动的统治地位，将资本危机转化为劳动危机”(Petras and Veltmeyer 2012, 200)。据说，危机的负担不成比例地落在了一般劳动者身上，特别是社会的低收入阶层，不仅是2008后，而且是80后(Dufour and Orhangazi 2014, 461)。报告指出了2008年危机最重要的后果，如世界上大多数人口生活条件的急剧恶化，收入/财富不平等和社会不安全的加剧，以及生存所需的最低生计的缩小(Cingano 2014;《联合国新闻2020》)。危机后的收入不平等加剧不仅是因为上层阶级接管了更多的财富，还因为中产阶级和中下层阶级拥有的少量财富正在被摧毁(Fligstein和RucksAhidiana 2015)。走出全球危机的局限性在于

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引用次数: 0

Haunted by Godard 被戈达尔困扰

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-06-26 DOI: 10.1080/10509208.2023.2227939

D. Sterritt

Jean-Luc Godard was haunted by cinema. In his early films, he grappled with genres that had long possessed his thinking, as in the romantic melodrama Contempt (Le M epris, France/Italy, 1963), where ancient literature and a venerable filmmaker represent the tenacious shades of traditional narrative whose confines he was eager to escape. The haunting takes a theological form in Hail Mary (Je vous salut, Marie, France/Switzerland/UK, 1985), where engagements with the soul and the divine manifest his quasi-spiritual faith in painterly and cinematic images. And in Histoire(s) du cinema (France/Switzerland, 1989–99) he conjures up cinema’s ghostly lineage by means of images translated from the crisp materiality of film to the ectoplasmic pliancy of video. These three masterpieces support my proposition that hauntology is an admirable tool for illuminating Godard’s body of work. As posited by Jacques Derrida, hauntology displaces ontology, figuring the specter as an unfathomable intruder that is, in the words of philosopher Colin Davis, “neither present nor absent, neither dead nor alive,” a state resembling cinema’s dual nature, both immanently present and physically unreachable (Davis 2005, 373). Another sense of the term, developed in psychoanalytic theory, emphasizes the phantom, the metaphorical presence of what Davis describes as “a dead ancestor in the living Ego, still intent on preventing its traumatic and usually shameful secrets from coming to light,” which is pertinent to Godard’s fear of an “end of cinema” wrought by capitalist exploitation and political cowardice (Davis 2005, 373). Speculating along similar lines, Fredric Jameson has posited “spectrality” as an awareness “that the living present is scarcely as self-sufficient as it claims to be [and] that we would do well not to count on its density and solidity,” another concept applicable to Godard’s anxieties about cinema’s convoluted past, living present, and threatened future (Jameson 1993, 39). In its revolutionary reworking of film history, Godard’s project exemplifies Derrida’s idea of “an interpretation that transforms what it interprets” (Derrida 2006, 87). A major reference point for Derrida’s hauntology is Hamlet’s complaint that “time is out of joint” (Shakespeare 2012, I:5). It is through temporal displacement, philosopher Liam Sprod contends, that “the past invades, or haunts, the present with its return and in this disjuncture makes possible a new aesthetic that is hauntology,” marked by “a return of the ideas, images and ideals of a past age, which now grate and creak against the joints of the present” (Sprod 2012). This suggests an interesting entryway to Godard’s filmography, beginning with its earliest titles; these are very different from the pictures he made in later years, but although they are narrative movies

让-吕克·戈达尔被电影闹鬼。在他早期的电影中，他与长期占据他思想的类型作斗争，如浪漫情节剧《蔑视》(Le M epris，法国/意大利，1963年)，其中古代文学和一位可敬的电影人代表了传统叙事的顽强阴影，他渴望摆脱这种束缚。在《万福玛利亚》(Je vous salut, Marie，法国/瑞士/英国，1985)中，这种困扰以神学的形式出现，在绘画和电影图像中，他与灵魂和神的接触体现了他的准精神信仰。在《电影史》(Histoire(s) du cinema, 1989 - 1999年，法国/瑞士)中，他通过将电影的清晰物质性转化为视频的外质柔韧性的图像，让人联想到电影的幽灵血统。这三部杰作支持了我的观点，即鬼魂学是阐释戈达尔作品的一个令人钦佩的工具。正如雅克·德里达(Jacques Derrida)所假设的那样，幽灵学取代了本体论，将幽灵视为深不可测的入侵者，用哲学家科林·戴维斯(Colin Davis)的话来说，就是“既不在场也不缺席，既不死也不活”，一种类似于电影的双重性质的状态，既内在存在又物理上不可及(Davis 2005,373)。这个词的另一种含义是在精神分析理论中发展起来的，强调幽灵，戴维斯描述的隐喻性存在，“一个死去的祖先在活着的自我中，仍然意图阻止其创伤性和通常可耻的秘密曝光”，这与戈达尔对资本主义剥削和政治怯懦造成的“电影终结”的恐惧有关(戴维斯2005,373)。沿着类似的路线推测，弗雷德里克·詹姆森(Fredric Jameson)将“幽灵性”假设为一种意识，即“活生生的现在几乎不像它声称的那样自给自足，我们最好不要指望它的密度和坚固性”，这是戈达尔对电影复杂的过去、活生生的现在和受威胁的未来的焦虑的另一个概念(詹姆森1993,39)。戈达尔的项目在其对电影史的革命性改造中，体现了德里达的“一种改变其所解释之物的解释”的理念(德里达2006,87)。德里达的鬼魂学的一个主要参考点是哈姆雷特抱怨“时间脱离了关节”(Shakespeare 2012, I:5)。哲学家利亚姆·斯普罗德(Liam Sprod)认为，正是通过时间位移，“过去入侵或困扰着现在的回归，并在这种脱节中使一种新的美学成为可能，这种美学就是幽灵学”，其标志是“过去时代的思想、形象和理想的回归，现在与现在的关节相摩擦和吱吱作响”(斯普罗德2012)。这为戈达尔的电影作品提供了一个有趣的入口，从它最早的标题开始;这些与他晚年的作品有很大的不同，尽管它们都是叙事电影

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引用次数: 0

Old World Character/Modern Actor: The Transnational Image of Maria Ouspenskaya 旧世界人物/现代演员：玛丽亚·乌斯彭斯卡娅的跨国形象

Q2 Arts and Humanities

Quarterly Review of Film and Video

Pub Date : 2023-06-26 DOI: 10.1080/10509208.2023.2228174

Scott Balcerzak

引用次数: 0

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