Pub Date : 2021-06-30DOI: 10.17947/fs.2021.6.88.33
Do hoon Lee
{"title":"The Society of Chaos and Urban Rhythm: An Experimental Form in Korean Independent Films in the 1970∼1980s","authors":"Do hoon Lee","doi":"10.17947/fs.2021.6.88.33","DOIUrl":"https://doi.org/10.17947/fs.2021.6.88.33","url":null,"abstract":"","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81436031","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}
Harun Farocki’s Eye/Machine (2003) is a video installation which analyses how what Farocki calls ‘the operational image’ reconfigures our visual regimes. The ‘operational image’ allows machines to operate ever more autonomously and to perform their tasks with no need for human supervision. Farocki links the birth of such operational images to the missiles with integrated cameras used during the Gulf War (1991) and therefore to military purposes. Eye/Machine poses a paradox: operational images generate a process of abstraction in which the image depicted (in the case of the war, the battlefield) gets detached from its indexical dimension, appearing as abstract and unreal. However, such detachment can be reversed when these images are recontextualised and reframed within an exhibition space, since that places them within a human experiential framework. Images, and our perception of them, are part of what Judith Butler calls the ‘extended materiality of war’. Thus, war is not only fought in the battlefield, but also at the level of the senses.
{"title":"Distance and Implication","authors":"A. Gimenez","doi":"10.7227/FS.22.0008","DOIUrl":"https://doi.org/10.7227/FS.22.0008","url":null,"abstract":"Harun Farocki’s Eye/Machine (2003) is a video installation which analyses how what Farocki calls ‘the operational image’ reconfigures our visual regimes. The ‘operational image’ allows machines to operate ever more autonomously and to perform their tasks with no need for human supervision. Farocki links the birth of such operational images to the missiles with integrated cameras used during the Gulf War (1991) and therefore to military purposes. Eye/Machine poses a paradox: operational images generate a process of abstraction in which the image depicted (in the case of the war, the battlefield) gets detached from its indexical dimension, appearing as abstract and unreal. However, such detachment can be reversed when these images are recontextualised and reframed within an exhibition space, since that places them within a human experiential framework. Images, and our perception of them, are part of what Judith Butler calls the ‘extended materiality of war’. Thus, war is not only fought in the battlefield, but also at the level of the senses.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"281 1","pages":"112-128"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77613545","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}
Giovanna Maina, Federico Zecca, Danielle E. Hipkins, Catherine O’Rawe
This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.
{"title":"From Youth Icon to Scarlet Diva","authors":"Giovanna Maina, Federico Zecca, Danielle E. Hipkins, Catherine O’Rawe","doi":"10.7227/FS.22.0004","DOIUrl":"https://doi.org/10.7227/FS.22.0004","url":null,"abstract":"This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"62 1","pages":"47-64"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85139208","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}
During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
{"title":"Reaganite America and Its Mnemonic Menaces","authors":"L. Soberon","doi":"10.7227/FS.22.0009","DOIUrl":"https://doi.org/10.7227/FS.22.0009","url":null,"abstract":"During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"1 1","pages":"129-149"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82363544","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 interview with Mia Bays (Birds’ Eye View), we discuss the recent Reclaim The Frame project, a UK-wide touring programme that showcases female-directed or -scripted films, usually new or recent releases. The interview explores the idea that this kind of curation is a necessary feminist intervention in the contemporary British cinema circuit, one that offers audiences agency and acknowledges that initiatives in film production alone are not sufficient to shift structural inequalities in the film industry. The piece begins with some contextual detail before turning to my discussion with Bays.
在对Mia Bays (Birds’Eye View)的采访中，我们讨论了最近的Reclaim the Frame项目，这是一个英国范围内的巡回节目，展示女性导演或编剧的电影，通常是新的或最近发布的。采访探讨了这样一种观点，即这种策展是当代英国电影圈中必要的女权主义干预，它为观众提供了代理，并承认仅靠电影制作的主动性不足以改变电影行业的结构性不平等。这篇文章从一些背景细节开始，然后转向我与贝斯的讨论。
{"title":"Getting Over the Woman Problem","authors":"Fiona Handyside","doi":"10.7227/FS.22.0007","DOIUrl":"https://doi.org/10.7227/FS.22.0007","url":null,"abstract":"In this interview with Mia Bays (Birds’ Eye View), we discuss the recent Reclaim The Frame project, a UK-wide touring programme that showcases female-directed or -scripted films, usually new or recent releases. The interview explores the idea that this kind of curation is a necessary feminist intervention in the contemporary British cinema circuit, one that offers audiences agency and acknowledges that initiatives in film production alone are not sufficient to shift structural inequalities in the film industry. The piece begins with some contextual detail before turning to my discussion with Bays.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"72 1","pages":"98-111"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86336382","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 co-authored review-reflection, we discuss the African Feminisms 2019 conference, offering both a snapshot of the vital and emboldening African feminist work being conducted by researchers, cultural producers and creative practioners at all levels of their careers, as well as a sense of the emotional labour that this work entails. We note that the particular, shocking event that took place in South Africa just prior to the conference informed the papers, performances and ensuring discussions. We also note that the conference and many of its attendees advocated for a variety of approaches (and more than one feminism) when seeking to challenge power.
{"title":"A Review-Reflection on African Feminisms 2019","authors":"Bibi Burger, Motlatsi Khosi, Lavinia Brydon","doi":"10.7227/FS.22.0005","DOIUrl":"https://doi.org/10.7227/FS.22.0005","url":null,"abstract":"In this co-authored review-reflection, we discuss the African Feminisms 2019 conference, offering both a snapshot of the vital and emboldening African feminist work being conducted by researchers, cultural producers and creative practioners at all levels of their careers, as well as a sense of the emotional labour that this work entails. We note that the particular, shocking event that took place in South Africa just prior to the conference informed the papers, performances and ensuring discussions. We also note that the conference and many of its attendees advocated for a variety of approaches (and more than one feminism) when seeking to challenge power.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"45 1","pages":"65-75"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85252477","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 focuses on Angelina Nikonova’s debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.
本文聚焦于安吉丽娜·尼科诺娃的处女作《暮光之城》(Portret v sumerkakh, 2011)，并分析了“难相处”的女主人公玛丽娜(olga Dykhovichnaia)的轨迹，以及她在电影中居住和重新获得的空间。文章认为，尽管玛丽娜在银幕内外都引发了怀疑和敌意，但她象征着在当代俄罗斯社会根深蒂固的父权背景下，一场复杂而广泛的女性主权斗争。通过这样做，它表明了这部电影对性别等级和制度的持续探索，尽管模棱两可，使这部电影对俄罗斯电影，以及更广泛的女权主义电影制作和女权主义文化话语做出了重要贡献。
{"title":"Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011)","authors":"Adelaide McGinity-Peebles","doi":"10.7227/FS.22.0002","DOIUrl":"https://doi.org/10.7227/FS.22.0002","url":null,"abstract":"This article focuses on Angelina Nikonova’s debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the ‘difficult’ female protagonist, Marina (Ol´ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims within the film. The article argues that, despite the incredulity and hostility that she inspires both on-screen and off-screen, Marina symbolises a complex, wider struggle for women’s sovereignty within the deeply patriarchal context of contemporary Russian society. In so doing, it shows that the film’s sustained, albeit ambiguous, probing of gendered hierarchies and institutions renders the film an important contribution to Russian cinema and, also, to the wider feminist filmmaking and feminist cultural discourse.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"71 1","pages":"11-29"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73194085","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 concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.
{"title":"A Queer Tension","authors":"Olu Jenzen","doi":"10.7227/FS.22.0003","DOIUrl":"https://doi.org/10.7227/FS.22.0003","url":null,"abstract":"This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"7 1","pages":"30-46"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75333441","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 : 2021-03-31DOI: 10.17947/FS.2021.3.87.183
Hee-suk Chai
{"title":"‘The Private’ and Recordability in Korean Independent Documentaries","authors":"Hee-suk Chai","doi":"10.17947/FS.2021.3.87.183","DOIUrl":"https://doi.org/10.17947/FS.2021.3.87.183","url":null,"abstract":"","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"17 1","pages":"183-213"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82457477","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 : 2021-03-31DOI: 10.17947/FS.2021.3.87.153
Chen Lu, Great Root Woods
{"title":"The Colonization of Love, or the Love of Colonization: a Deconstructionist Approach to the Film A Simple Life","authors":"Chen Lu, Great Root Woods","doi":"10.17947/FS.2021.3.87.153","DOIUrl":"https://doi.org/10.17947/FS.2021.3.87.153","url":null,"abstract":"","PeriodicalId":41237,"journal":{"name":"Film Studies","volume":"71 1","pages":"153-181"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83163229","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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