This article analyses chosen Apichatpong’s short films, organized in two thematic areas, with reference to the director’s primary interest in communicating about post-traumatic memory. The first part is dedicated to ghostly presences, their meanings and depictions. Apichatpong’s ghosts derive from the light penetrating the surface to human-shape projections or figments of imagination. This part of the analysis will refer to Derrida’s hauntology concept and its dissemination in such films as A Letter to Uncle Boonmee (2009) or Apichatpong’s early project Haunted Houses (2001). In the following part of the article, I will focus on the destruction of memory, symbolized by the images of fire, burning objects or split narrative structures. Here I will analyse films such as Blue (2018) and Ashes (2012), pointing out similar semiotic references in Apichatpong’s feature films. The analysis presented is accompanied by the observation of connections between Apichatpong’s feature films and short films, with a particular emphasis on his new short projects. My reflection on the topic was built upon the audio-visual resources, including interviews and records from exhibitions, as well as subject literature in English, Polish and Japanese.
{"title":"The boundaries of oblivion: Ghosts and memory in Apichatpong Weerasethakul’s short films","authors":"Agnieszka Kiejziewicz","doi":"10.1386/sfs_00089_1","DOIUrl":"https://doi.org/10.1386/sfs_00089_1","url":null,"abstract":"This article analyses chosen Apichatpong’s short films, organized in two thematic areas, with reference to the director’s primary interest in communicating about post-traumatic memory. The first part is dedicated to ghostly presences, their meanings and depictions. Apichatpong’s ghosts derive from the light penetrating the surface to human-shape projections or figments of imagination. This part of the analysis will refer to Derrida’s hauntology concept and its dissemination in such films as A Letter to Uncle Boonmee (2009) or Apichatpong’s early project Haunted Houses (2001). In the following part of the article, I will focus on the destruction of memory, symbolized by the images of fire, burning objects or split narrative structures. Here I will analyse films such as Blue (2018) and Ashes (2012), pointing out similar semiotic references in Apichatpong’s feature films. The analysis presented is accompanied by the observation of connections between Apichatpong’s feature films and short films, with a particular emphasis on his new short projects. My reflection on the topic was built upon the audio-visual resources, including interviews and records from exhibitions, as well as subject literature in English, Polish and Japanese.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43611869","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}
Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.
安布罗斯·比尔斯（Ambrose Bierce）的内战故事《猫头鹰溪桥事件》（An Occurrence at Owl Creek Bridge）于1959年改编为阿尔弗雷德·希区柯克（Alfred Hitchcock Presents）的电视集，1962年改编为罗伯特·恩里科（Robert Enrico）的法国电影《黄昏地带》（The Twilight Zone）的一集。尽管人们对这个故事的普遍解读使其与作者的其他“反战”叙事相一致，但非裔美国人的奴役在这两部视听改编作品中都显得突出，但内涵相反。考察它们在叙事和风格方向上的偏离，可以看出电影美学的二分法：低级艺术与高级艺术、主流艺术与前卫艺术、逃避现实与社会批判——并证明了这些截然不同的方法同时成为流行媒体产品的文化可能性。
{"title":"Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’","authors":"David Melbye","doi":"10.1386/sfs_00090_1","DOIUrl":"https://doi.org/10.1386/sfs_00090_1","url":null,"abstract":"Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43638147","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 Return to Forms with regard to Levi R. Bryant’s flat ontology, which eliminates any degree of hierarchy between things. Foregrounding the entanglements of different textures, Zachary Epcar’s haptic and sonic experiment echoes Bryant’s object-oriented philosophy and calls for a radical ecological sensibility through assembling the manifold fabrics of everyday life with an unusual tone. In this new materialist outlook, human and non-human, actual and virtual, body and matter coincide.
{"title":"Textures of ecology: A flat ontology of things in Zachary Epcar’s Return to Forms","authors":"A. Bülbül","doi":"10.1386/sfs_00091_1","DOIUrl":"https://doi.org/10.1386/sfs_00091_1","url":null,"abstract":"This article analyses Return to Forms with regard to Levi R. Bryant’s flat ontology, which eliminates any degree of hierarchy between things. Foregrounding the entanglements of different textures, Zachary Epcar’s haptic and sonic experiment echoes Bryant’s object-oriented philosophy and calls for a radical ecological sensibility through assembling the manifold fabrics of everyday life with an unusual tone. In this new materialist outlook, human and non-human, actual and virtual, body and matter coincide.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47900459","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}
In the Malaysian short film, Nor from the Second Level, in addition to the use of Soviet montage editing techniques, the juxtaposition between the Malaysian deputy prime minister’s speech and the monologue of Nor, the protagonist, creates a conflicting discourse about the survival of the working class and other marginalized groups during economic turmoil. The juxtaposition of the two voices is aligned with the concept or approach called ‘Two Social Reality’ and was conceptualized by the Malaysian social anthropologist Shamsul Amri Baharuddin, who argued that our overall social reality is defined by the social phenomena that take place within the two social realities: ‘authority-defined’ and ‘everyday-defined’.
{"title":"Nor from the Second Level: Multilayer juxtaposition and the Two Social Reality approach","authors":"Adam Muhammad Taufiq Mohamad Suharto","doi":"10.1386/sfs_00092_1","DOIUrl":"https://doi.org/10.1386/sfs_00092_1","url":null,"abstract":"In the Malaysian short film, Nor from the Second Level, in addition to the use of Soviet montage editing techniques, the juxtaposition between the Malaysian deputy prime minister’s speech and the monologue of Nor, the protagonist, creates a conflicting discourse about the survival of the working class and other marginalized groups during economic turmoil. The juxtaposition of the two voices is aligned with the concept or approach called ‘Two Social Reality’ and was conceptualized by the Malaysian social anthropologist Shamsul Amri Baharuddin, who argued that our overall social reality is defined by the social phenomena that take place within the two social realities: ‘authority-defined’ and ‘everyday-defined’.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47260549","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 presents a conversation with Laura U. Marks, a distinguished scholar of film and new media who launched the Small File Media Festival in 2020. Marks’ message is that large-file streaming is harmful to the planet and that we need to act against its growing yet under-the-radar carbon footprint. The festival’s goal is to demonstrate that movies can be captivating and immersive even if they are not large in file size, and encourages creators to experiment with low-energy technologies and techniques. Given the high stakes, the festival’s organizers hope that small-file media will become increasingly influential as an aesthetic movement.
{"title":"‘Compression makes every movie a melodrama’: A conversation with Laura U. Marks on the Small File Media Festival","authors":"Martin P. Rossouw","doi":"10.1386/sfs_00088_7","DOIUrl":"https://doi.org/10.1386/sfs_00088_7","url":null,"abstract":"This article presents a conversation with Laura U. Marks, a distinguished scholar of film and new media who launched the Small File Media Festival in 2020. Marks’ message is that large-file streaming is harmful to the planet and that we need to act against its growing yet under-the-radar carbon footprint. The festival’s goal is to demonstrate that movies can be captivating and immersive even if they are not large in file size, and encourages creators to experiment with low-energy technologies and techniques. Given the high stakes, the festival’s organizers hope that small-file media will become increasingly influential as an aesthetic movement.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49087851","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 ecological landscape an individual, and by extension a community, inhabits is an influential and integral aspect of their experiences and cultural practices in life. But today, capitalist activity continues to cause major ecological collapse and, consequently, mass migrations. This article examines how the Portuguese short film Flores explores a time of ecological apocalypse in two ways. In the first, personal and collective memory of a land before collapse enables inhabitants to hold onto their homes and, in the second, global capitalist forces combine to create a loose form of ecological ‘recovery’.
{"title":"Purple and blue: Memory, capitalism and ecological collapse in Flores","authors":"Jason Avilez","doi":"10.1386/sfs_00093_1","DOIUrl":"https://doi.org/10.1386/sfs_00093_1","url":null,"abstract":"The ecological landscape an individual, and by extension a community, inhabits is an influential and integral aspect of their experiences and cultural practices in life. But today, capitalist activity continues to cause major ecological collapse and, consequently, mass migrations. This article examines how the Portuguese short film Flores explores a time of ecological apocalypse in two ways. In the first, personal and collective memory of a land before collapse enables inhabitants to hold onto their homes and, in the second, global capitalist forces combine to create a loose form of ecological ‘recovery’.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49184176","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 ‘Editor’s introduction’ notes the two interviews and five critical/analytical articles included in issue 13.1, which include attention to the energy-focused Small File Media Festival; Richard Raskin’s book, The Yin and Yang of Short Film Storytelling (); Thai filmmaker Apichatpong Weerasethakul’s short films; two historical short film adaptations of the Ambrose Bierce story, ‘An Occurrence at Owl Creek Bridge’; the experimental short, Return to Forms ; the Malaysian fiction short, Nor from the Second Level , and Portuguese science-fiction short Flores .
{"title":"Editor’s Introduction","authors":"Cynthia Felando","doi":"10.1386/sfs_00086_2","DOIUrl":"https://doi.org/10.1386/sfs_00086_2","url":null,"abstract":"The ‘Editor’s introduction’ notes the two interviews and five critical/analytical articles included in issue 13.1, which include attention to the energy-focused Small File Media Festival; Richard Raskin’s book, The Yin and Yang of Short Film Storytelling (); Thai filmmaker Apichatpong Weerasethakul’s short films; two historical short film adaptations of the Ambrose Bierce story, ‘An Occurrence at Owl Creek Bridge’; the experimental short, Return to Forms ; the Malaysian fiction short, Nor from the Second Level , and Portuguese science-fiction short Flores .","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135467515","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 Richard Raskin, the distinguished short film scholar and teacher – and founding editor of Short Film Studies (SFS), who discusses his new book, The Yin and Yang of Short Film Storytelling.
{"title":"An interview with Richard Raskin about his book, The Yin and Yang of Short Film Storytelling","authors":"Cynthia Felando","doi":"10.1386/sfs_00087_7","DOIUrl":"https://doi.org/10.1386/sfs_00087_7","url":null,"abstract":"This article features an interview with Richard Raskin, the distinguished short film scholar and teacher – and founding editor of Short Film Studies (SFS), who discusses his new book, The Yin and Yang of Short Film Storytelling.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45412650","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}
In this article, I explore the landscape of short fiction film in the frame of two broad categories, Classical and Art shorts, and present a chart identifying how styles and devices are at play. Finally, as a brief case study, a short fiction film example is scrutinized and tentatively categorized according to the chart.
{"title":"Charting the short fiction film","authors":"P. Fikse","doi":"10.1386/sfs_00085_1","DOIUrl":"https://doi.org/10.1386/sfs_00085_1","url":null,"abstract":"In this article, I explore the landscape of short fiction film in the frame of two broad categories, Classical and Art shorts, and present a chart identifying how styles and devices are at play. Finally, as a brief case study, a short fiction film example is scrutinized and tentatively categorized according to the chart.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43045118","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}
Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.
{"title":"The aesthetic reception of the film Exam","authors":"Aynaz Ghaderi Ghalehno","doi":"10.1386/sfs_00079_1","DOIUrl":"https://doi.org/10.1386/sfs_00079_1","url":null,"abstract":"Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48796431","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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