Maggie Kamal is an Egyptian filmmaker based in New York City. Culminating in a scene of sexual harassment, her short film Microbus (2021) serves as a microcosm of patriarchal society and the precarious situations that women often have to navigate. During its festival run from March 2021 until August 2023, the short film drew passionate yet diverging responses from across the United States, Europe and the Middle East, suggesting how audience reception can reveal the different yet subtle ways in which sexism operates.
{"title":"Witnessing sexual harassment in Microbus: A conversation with filmmaker Maggie Kamal","authors":"Dian Weys","doi":"10.1386/sfs_00096_7","DOIUrl":"https://doi.org/10.1386/sfs_00096_7","url":null,"abstract":"Maggie Kamal is an Egyptian filmmaker based in New York City. Culminating in a scene of sexual harassment, her short film Microbus (2021) serves as a microcosm of patriarchal society and the precarious situations that women often have to navigate. During its festival run from March 2021 until August 2023, the short film drew passionate yet diverging responses from across the United States, Europe and the Middle East, suggesting how audience reception can reveal the different yet subtle ways in which sexism operates.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343985","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}
Immigration and refugee crises have become a major focus of discourses about international politics that are influenced by geopolitical conflicts and, increasingly, by climate change. Such discourses can influence personal interactions between people. As political situations develop and change such interactions are increasingly represented in media forms such as film in national industries. This article examines how the short film The View from Up Here explores the political ideology of the War on Terror and the theory of Orientalism through interactions between two characters.
{"title":"‘Who else is in here?’: Orientalism and War on Terror ideology in The View from Up Here","authors":"Jason Avilez","doi":"10.1386/sfs_00102_1","DOIUrl":"https://doi.org/10.1386/sfs_00102_1","url":null,"abstract":"Immigration and refugee crises have become a major focus of discourses about international politics that are influenced by geopolitical conflicts and, increasingly, by climate change. Such discourses can influence personal interactions between people. As political situations develop and change such interactions are increasingly represented in media forms such as film in national industries. This article examines how the short film The View from Up Here explores the political ideology of the War on Terror and the theory of Orientalism through interactions between two characters.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343538","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":"The View from Up Here","authors":"Marco Calvani","doi":"10.1386/sfs_00099_7","DOIUrl":"https://doi.org/10.1386/sfs_00099_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345311","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 article analyses the hierarchical visual compositions and framing of Marco Calvani’s The View from Up Here and argues that its carefully structured compositions create a metaphorical imbalance in power between the two main characters, an American housewife and a Syrian refugee. The repeated use of low-angle camera positions and the claustrophobic framings adds a connotative layer to the film that emphasizes the subaltern refugee’s inferior status in the view of the American.
文章分析了马尔科-卡尔瓦尼（Marco Calvani）的《从这往上看》（The View from Up Here）中等级分明的视觉构图和取景，认为其精心安排的构图在两位主角--一位美国家庭主妇和一位叙利亚难民--之间营造了一种隐喻性的权力失衡。低角度摄影机位置和幽闭恐惧症框架的反复使用为影片增添了一层内涵，强调了在美国人眼中处于次等地位的难民的低下地位。
{"title":"Hierarchical textual compositions and (post-)colonial framing in The View from Up Here","authors":"Anna Batori","doi":"10.1386/sfs_00101_1","DOIUrl":"https://doi.org/10.1386/sfs_00101_1","url":null,"abstract":"The article analyses the hierarchical visual compositions and framing of Marco Calvani’s The View from Up Here and argues that its carefully structured compositions create a metaphorical imbalance in power between the two main characters, an American housewife and a Syrian refugee. The repeated use of low-angle camera positions and the claustrophobic framings adds a connotative layer to the film that emphasizes the subaltern refugee’s inferior status in the view of the American.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345936","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 analyses the 1998 short film Nocturne, directed by artist Peggy Ahwesh in one of her most earnest engagements with the horror genre. It demonstrates the ways in which Nocturne uses visual and aural horrific elements to show how the gendered female body is socioculturally constructed. Importantly, its horrific elements open up the possibility for women to reclaim corporeal agency, a feat otherwise absent in the very source material that Ahwesh borrows from in her film. The female body is presented in Nocturne as uninhibitedly able to move, touch, explore, desire and, yes, kill, as it navigates through, and eventually destroys, the intricate systems of power keeping it in check. After exploring Ahwesh’s larger body of work, the article considers how Nocturne assigns the so-called corporeal weight to its female bodies on-screen, through horrific elements and, to a lesser extent, the woman-as-animal metaphor.
{"title":"Horror, bodily agency and Peggy Ahwesh’s Nocturne (1998)","authors":"Erica Tortolani","doi":"10.1386/sfs_00098_1","DOIUrl":"https://doi.org/10.1386/sfs_00098_1","url":null,"abstract":"This article analyses the 1998 short film Nocturne, directed by artist Peggy Ahwesh in one of her most earnest engagements with the horror genre. It demonstrates the ways in which Nocturne uses visual and aural horrific elements to show how the gendered female body is socioculturally constructed. Importantly, its horrific elements open up the possibility for women to reclaim corporeal agency, a feat otherwise absent in the very source material that Ahwesh borrows from in her film. The female body is presented in Nocturne as uninhibitedly able to move, touch, explore, desire and, yes, kill, as it navigates through, and eventually destroys, the intricate systems of power keeping it in check. After exploring Ahwesh’s larger body of work, the article considers how Nocturne assigns the so-called corporeal weight to its female bodies on-screen, through horrific elements and, to a lesser extent, the woman-as-animal metaphor.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"122 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139346501","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}
Founded in 1997, Internationale Kurzfilmtage Winterthur is Switzerland’s largest and most important short film festival. It is also one of the most renowned events of its kind worldwide, whose prize winners qualify for prestigious awards consideration, including for Oscar, BAFTA and European film awards. With roughly 17,000 visitors and 800 accredited industry guests, it is a popular festival for the cinephile audience as well as an important hub for the domestic and international short film scene, and it offers a wide range of training and networking opportunities geared specifically towards short film professionals. This article outlines how the festival posits that the short film can be viewed politically, as a way to build an international community of filmmakers, curators and audiences. Taking the festival’s longstanding ties with Ukrainian filmmakers as an illustrative example, the authors delineate how curating short film is a practice of caring for cinema and communities.
{"title":"Focus on Ukraine: The politics of curating short film and creating a global community","authors":"John Canciani, Laura Walde","doi":"10.1386/sfs_00095_1","DOIUrl":"https://doi.org/10.1386/sfs_00095_1","url":null,"abstract":"Founded in 1997, Internationale Kurzfilmtage Winterthur is Switzerland’s largest and most important short film festival. It is also one of the most renowned events of its kind worldwide, whose prize winners qualify for prestigious awards consideration, including for Oscar, BAFTA and European film awards. With roughly 17,000 visitors and 800 accredited industry guests, it is a popular festival for the cinephile audience as well as an important hub for the domestic and international short film scene, and it offers a wide range of training and networking opportunities geared specifically towards short film professionals. This article outlines how the festival posits that the short film can be viewed politically, as a way to build an international community of filmmakers, curators and audiences. Taking the festival’s longstanding ties with Ukrainian filmmakers as an illustrative example, the authors delineate how curating short film is a practice of caring for cinema and communities.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345168","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 the Oscar-winning film Trevor, paying particular attention to how the filmmakers depict the public/external and private/internal aspects of the title character’s identity as he comes to terms with being gay and navigates the coming-out process. The backbone of the film’s narrative is a series of diary entries voiced aloud by Trevor, granting the viewer access to his private thoughts. The film’s soundtrack, consisting mostly of songs by Diana Ross, further externalizes Trevor’s private feelings while linking him to queer culture through his worship of a gay icon. Through a discussion of these elements, this article argues that Trevor uses its narrative structure along with various visual and sonic techniques to illuminate the public and private aspects of coming out in a productive and empowering way.
{"title":"Of divas and diaries: Externalizing the internal in Trevor","authors":"David R. Coon","doi":"10.1386/sfs_00097_1","DOIUrl":"https://doi.org/10.1386/sfs_00097_1","url":null,"abstract":"This article examines the Oscar-winning film Trevor, paying particular attention to how the filmmakers depict the public/external and private/internal aspects of the title character’s identity as he comes to terms with being gay and navigates the coming-out process. The backbone of the film’s narrative is a series of diary entries voiced aloud by Trevor, granting the viewer access to his private thoughts. The film’s soundtrack, consisting mostly of songs by Diana Ross, further externalizes Trevor’s private feelings while linking him to queer culture through his worship of a gay icon. Through a discussion of these elements, this article argues that Trevor uses its narrative structure along with various visual and sonic techniques to illuminate the public and private aspects of coming out in a productive and empowering way.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345399","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 how proxemics (by way of cinematography and other formal strategies) as well as microaggressions are brilliantly deployed throughout The View from Up Here in order to demonstrate a racist power dynamic – one that is inherently tied to the manner in which deeply damaging stereotypes of migrants and refugees are not only created and reinforced by the mass media but also subsequently disseminated by audiences.
{"title":"Microaggression and proxemics in The View from Up Here","authors":"Marci Mazzarotto","doi":"10.1386/sfs_00103_1","DOIUrl":"https://doi.org/10.1386/sfs_00103_1","url":null,"abstract":"This article explores how proxemics (by way of cinematography and other formal strategies) as well as microaggressions are brilliantly deployed throughout The View from Up Here in order to demonstrate a racist power dynamic – one that is inherently tied to the manner in which deeply damaging stereotypes of migrants and refugees are not only created and reinforced by the mass media but also subsequently disseminated by audiences.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"242 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344571","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 poses a critical question regarding the concept of everyday life: can everydayness be a source of conflict? It spotlights an overlapping framework of J. Ann Tickner’s notion of the realist and its perception of threat against all that is foreign and Hannah Arendt’s portrait of loneliness and isolation as the common ground for terror. Reinforcing this framework, the article focuses on Marco Calvani’s short film The View from Up Here, which uses space as a foregrounded character embodying an existential dualism of realism and otherism, expressed through the protagonists of Claire and Lila respectively.
本文就日常生活的概念提出了一个关键问题：日常生活会成为冲突的根源吗？安-蒂克纳（J. Ann Tickner）的现实主义概念及其对所有外来事物的威胁感，以及汉娜-阿伦特（Hannah Arendt）将孤独和孤立描绘成恐怖的共同根源，这两个概念的框架相互重叠。为了加强这一框架，文章重点讨论了马尔科-卡尔瓦尼的短片《从这里看风景》，该片将空间作为一个前景人物，体现了现实主义和他者主义的存在主义二元论，分别通过主人公克莱尔和莱拉表现出来。
{"title":"The rhythms and the dualist character of space in Marco Calvani’s The View from Up Here","authors":"Taher Abdel Ghani","doi":"10.1386/sfs_00104_1","DOIUrl":"https://doi.org/10.1386/sfs_00104_1","url":null,"abstract":"This article poses a critical question regarding the concept of everyday life: can everydayness be a source of conflict? It spotlights an overlapping framework of J. Ann Tickner’s notion of the realist and its perception of threat against all that is foreign and Hannah Arendt’s portrait of loneliness and isolation as the common ground for terror. Reinforcing this framework, the article focuses on Marco Calvani’s short film The View from Up Here, which uses space as a foregrounded character embodying an existential dualism of realism and otherism, expressed through the protagonists of Claire and Lila respectively.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"304 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139346917","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 features an interview with Marco Calvani, the award-winning playwright and director, and critically acclaimed short film auteur, about his film The View from Up Here.
本文介绍了对获奖剧作家、导演和广受好评的短片大师马尔科-卡尔瓦尼的采访，内容涉及他的电影《从这里看风景》（The View from Up Here）。
{"title":"Interview with Marco Calvani about The View from Up Here (2017)","authors":"Cynthia Felando","doi":"10.1386/sfs_00100_7","DOIUrl":"https://doi.org/10.1386/sfs_00100_7","url":null,"abstract":"This article features an interview with Marco Calvani, the award-winning playwright and director, and critically acclaimed short film auteur, about his film The View from Up Here.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":"4590 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344091","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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