{"title":"Storyboard for No Bikini","authors":"Stu Wenschlag","doi":"10.1386/sfs_00064_7","DOIUrl":"https://doi.org/10.1386/sfs_00064_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42622218","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 outlines the theoretical tenets of considering the short film as a format. Taken as a format rather than simply a film of short duration, the conceptual triangle of brevity – format – programme is used as a foundation to reflect on the particular epistemological position of short films in film studies and to address larger questions of canon, circulation and context. Rather than working towards a codification of an essence or specificity of the short film, this article proposes that the technical term ‘format’ is a suitable concept to concretely identify and discuss the factors at play in the production and exhibition of short films.
{"title":"Brevity – format – programme: A conceptual triangle","authors":"Laura Walde","doi":"10.1386/sfs_00058_1","DOIUrl":"https://doi.org/10.1386/sfs_00058_1","url":null,"abstract":"This article outlines the theoretical tenets of considering the short film as a format. Taken as a format rather than simply a film of short duration, the conceptual triangle of brevity – format – programme is used as a foundation to reflect on the particular epistemological position of short films in film studies and to address larger questions of canon, circulation and context. Rather than working towards a codification of an essence or specificity of the short film, this article proposes that the technical term ‘format’ is a suitable concept to concretely identify and discuss the factors at play in the production and exhibition of short films.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970909","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 2017 viral short film sensation, Kirsten Lepore’s Hi Stranger, with special attention to the weird, even unsettling, potency that her stop-motion animation manages to wield. Why is it that this admittedly ‘creepy’ short ultimately leaves viewers and commenters ‘strangely comforted’? A rhetorical solution to this question is proposed: Hi Stranger’s creepy-yet-comforting appeal derives from the density with which it incorporates an array of rhetorical devices and affective registers – particularly the ‘rhetoric of sincerity’ indicative of a more general ‘metamodern’ sensibility. The intensified sincere rhetoric at work in Hi Stranger moreover has a decidedly reflexive dimension, for this online crowd-puller draws on many devices and registers popular in amateur online videos too: its offers of low-stake, anonymous intimacy and no-strings gifting; its ASMR and ‘cute’ appeal; and its self-professed care and appreciation for the viewer.
{"title":"‘Strangely comforted’: The rhetoric of sincerity in Kirsten Lepore’s Hi Stranger","authors":"Johanet Kriel-de Klerk, Martin P. Rossouw","doi":"10.1386/sfs_00055_1","DOIUrl":"https://doi.org/10.1386/sfs_00055_1","url":null,"abstract":"This article examines the 2017 viral short film sensation, Kirsten Lepore’s Hi Stranger, with special attention to the weird, even unsettling, potency that her stop-motion animation manages to wield. Why is it that this admittedly ‘creepy’ short ultimately leaves viewers and commenters ‘strangely comforted’? A rhetorical solution to this question is proposed: Hi Stranger’s creepy-yet-comforting appeal derives from the density with which it incorporates an array of rhetorical devices and affective registers – particularly the ‘rhetoric of sincerity’ indicative of a more general ‘metamodern’ sensibility. The intensified sincere rhetoric at work in Hi Stranger moreover has a decidedly reflexive dimension, for this online crowd-puller draws on many devices and registers popular in amateur online videos too: its offers of low-stake, anonymous intimacy and no-strings gifting; its ASMR and ‘cute’ appeal; and its self-professed care and appreciation for the viewer.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47835340","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 David Fincher’s collaboration with Propaganda Films, an integrated production and talent management company, during the late 1980s and early 1990s. Focusing specifically on Fincher’s music video work, the article investigates how Propaganda’s talent management strategies helped to develop Fincher’s career and construct him as an auteur. To do so, the article adopts a cultural production approach conceptualizing the auteur as a branded identity and discourse mobilized in promotional and critical materials. In doing so, the article shows how Propaganda helped to single out Fincher’s videos as artistic works showcasing the exceptional talent of an aspiring feature-filmmaker. At the same time, however, the article considers how Propaganda’s talent management strategies contributed to sustaining problematic cultural notions surrounding music video and short-form work in general. As a result, the article advocates adopting new and more diverse approaches when examining short-form work and interrelated industry practice.
{"title":"Music video (de)legitimacy and the construction of a (short form) auteur: David Fincher and talent management","authors":"Andrew Stubbs","doi":"10.1386/sfs_00054_1","DOIUrl":"https://doi.org/10.1386/sfs_00054_1","url":null,"abstract":"This article explores David Fincher’s collaboration with Propaganda Films, an integrated production and talent management company, during the late 1980s and early 1990s. Focusing specifically on Fincher’s music video work, the article investigates how Propaganda’s talent management strategies helped to develop Fincher’s career and construct him as an auteur. To do so, the article adopts a cultural production approach conceptualizing the auteur as a branded identity and discourse mobilized in promotional and critical materials. In doing so, the article shows how Propaganda helped to single out Fincher’s videos as artistic works showcasing the exceptional talent of an aspiring feature-filmmaker. At the same time, however, the article considers how Propaganda’s talent management strategies contributed to sustaining problematic cultural notions surrounding music video and short-form work in general. As a result, the article advocates adopting new and more diverse approaches when examining short-form work and interrelated industry practice.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48786945","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}
Director David Wagner says Trade Queen ‘was never intended to be a period film’. However, the suitability of black-and-white 35 mm for the story points to the inflection between markers of analogue and digital registration as one that also codes the boundary between queer and straight experience. This article argues that while Trade Queen is tagged as a film without dialogue, the use of sound design and music in the film is critical to a narrative told aurally as well as visually. Furthermore, it is the use of sound in this film – which ends with vinyl interference – that articulates the tension between analogue and digital, and between heteronormative and queer experience. In punchlines, the synthesized reverb of Ruby Treasure’s score, and in interiors heard from the gated picket fence, we hear as well as see the transitions between public and private selves.
{"title":"Gated reverb: Queering the pitch in Trade Queen","authors":"R. Prout","doi":"10.1386/sfs_00047_1","DOIUrl":"https://doi.org/10.1386/sfs_00047_1","url":null,"abstract":"Director David Wagner says Trade Queen ‘was never intended to be a period film’. However, the suitability of black-and-white 35 mm for the story points to the inflection between markers of analogue and digital registration as one that also codes the boundary between queer and straight experience. This article argues that while Trade Queen is tagged as a film without dialogue, the use of sound design and music in the film is critical to a narrative told aurally as well as visually. Furthermore, it is the use of sound in this film – which ends with vinyl interference – that articulates the tension between analogue and digital, and between heteronormative and queer experience. In punchlines, the synthesized reverb of Ruby Treasure’s score, and in interiors heard from the gated picket fence, we hear as well as see the transitions between public and private selves.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47043089","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}
Six years since its release, the main reveal of David Wagner’s Trade Queen is no longer socioculturally sensational given how drag culture has been integrated into mainstream media. The dialogue-less film, nonetheless, artfully delivers a nuanced story of identity, tension between one’s exterior and interior, between what happens in the compartmentalized nine-to-five and after-hours self-states. It raises the question of gender performativity through subtle looks and gestures – how Mr Schmidt and Mr Jonas navigate their complex relationship.
{"title":"Silent revelations in Trade Queen","authors":"Sarah Y Choi","doi":"10.1386/sfs_00048_1","DOIUrl":"https://doi.org/10.1386/sfs_00048_1","url":null,"abstract":"Six years since its release, the main reveal of David Wagner’s Trade Queen is no longer socioculturally sensational given how drag culture has been integrated into mainstream media. The dialogue-less film, nonetheless, artfully delivers a nuanced story of identity, tension between one’s exterior and interior, between what happens in the compartmentalized nine-to-five and after-hours self-states. It raises the question of gender performativity through subtle looks and gestures – how Mr Schmidt and Mr Jonas navigate their complex relationship.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47227381","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 Swimmer, Lynne Ramsay makes a compelling case for a British psychogeographic cinema that takes its audience off the nation’s streets and into its waterways. The proposition recalls – but moves beyond – the earlier sensorial explorations of Glasgow’s canals seen/heard/felt in Ramsay's first feature-length film Ratcatcher.
{"title":"From rivers to reservoirs: Swimmer as psychogeographic cinema","authors":"Lavinia Brydon","doi":"10.1386/sfs_00049_1","DOIUrl":"https://doi.org/10.1386/sfs_00049_1","url":null,"abstract":"In Swimmer, Lynne Ramsay makes a compelling case for a British psychogeographic cinema that takes its audience off the nation’s streets and into its waterways. The proposition recalls – but moves beyond – the earlier sensorial explorations of Glasgow’s canals seen/heard/felt in Ramsay's first feature-length film Ratcatcher.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41344358","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}
Challenging the view of home as the very opposite of voyage, Giuliana Bruno suggests that houses and films share certain similarities insofar as both could be considered inherently mobile sights/sites of passage. Taking this as a starting point, this article considers the ways in which the vignette and the short film act as a vehicle for the young girl’s ‘domestic travel’ in Lynne Ramsay’s ‘Ma and Da’ from Small Deaths (1996) and Gasman (1998).
{"title":"Mapping her-self: ‘Ma and Da’, Small Deaths, Gasman and the ‘mobile home’","authors":"P. Quigley","doi":"10.1386/sfs_00051_1","DOIUrl":"https://doi.org/10.1386/sfs_00051_1","url":null,"abstract":"Challenging the view of home as the very opposite of voyage, Giuliana Bruno suggests that houses and films share certain similarities insofar as both could be considered inherently mobile sights/sites of passage. Taking this as a starting point, this article considers the ways in which the vignette and the short film act as a vehicle for the young girl’s ‘domestic travel’ in Lynne Ramsay’s ‘Ma and Da’ from Small Deaths (1996) and Gasman (1998).","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48204626","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}
Short fiction films generally present brief and concise stories focused on a single character or dramatic moment. Following an episodic structure, Lynne Ramsay’s Small Deaths introduces a series of events from a young girl’s life. The film compresses the passing of time from childhood to early adult life into three delimited and crucial moments. Focusing on Lynne Ramsay’s fragmented storytelling, this article discusses the relations of brevity and unity with the segmented narrative of the film, ultimately emphasizing the role of repetition as a unifying factor.
{"title":"Brevity and unity in Small Deaths","authors":"Bruno Amaral Dariva","doi":"10.1386/sfs_00053_1","DOIUrl":"https://doi.org/10.1386/sfs_00053_1","url":null,"abstract":"Short fiction films generally present brief and concise stories focused on a single character or dramatic moment. Following an episodic structure, Lynne Ramsay’s Small Deaths introduces a series of events from a young girl’s life. The film compresses the passing of time from childhood to early adult life into three delimited and crucial moments. Focusing on Lynne Ramsay’s fragmented storytelling, this article discusses the relations of brevity and unity with the segmented narrative of the film, ultimately emphasizing the role of repetition as a unifying factor.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45078493","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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