Pub Date : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.06
Miška Mandić
Debashree Mukherjee’s writing on cine-ecology (2020) defines a materialist concept of cinema production that recognizes a relational mesh between ideologies, places, practices, infrastructures, climates, and human and non-human actors. This article provides a situated account of my recent cinematic practice to illustrate how such a relational view of film production can be useful in sustaining radical temporalities outside capitalist Western modernity’s valuations of speed and movement (Povinelli 2016, 2021; Doane 2002). To do this, I adapt Mukherjee’s concept of cine-ecology to focus on time, care and pleasure, using my works The Fold (2022) and Residue (2023) as case studies. Reconfiguring cine-ecologies through a temporal lens emphasizes even more relations, widening the net of what actors and processes can be linked in exchange.
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Pub Date : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.07
Alan Salvadó-Romero, C. Martínez-López
Una de las manifestaciones de la colapsología en el seno de la cultura visual contemporánea son las visiones apocalípticas basadas en la espectacularidad de la naturaleza. Sin embargo, podemos encontrar propuestas alternativas que muestran la complejidad de las relaciones que el ser humano establece con el planeta y que podrían ayudar a revertir las consecuencias del colapso, tal y como lo entienden Pablo Servigne y Raphaël Stevens. El siguiente artículo se propone analizar imaginarios alternativos a los catastrofistas –característicos de un determinado cine comercial y omnipresentes en los medios– que, desde el cine experimental, encarnan unos discursos y unas formas propiamente ecológicas. Más allá de la filmación de la naturaleza, dichas propuestas exploran, desde una perspectiva fenomenológica y kinestésica, diferentes posibilidades del lenguaje y la maquinaria cinematográficos.
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Pub Date : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.05
Irene Rihuete Varea
This article explores the relationship between anxiety and the nonhuman in the films La Ciénaga (Lucrecia Martel, 2001) and Distancia de rescate (Claudia Llosa, 2021). The recognition of the material continuity between the characters and their environment is central to the production of negative affect in both diegesis. Anxiety is condensed in specific signifiers that produce a palpable tension between absence and excess, and in the configuration of milieus where overproximity among agents is unavoidable. In addition, the liminality of interiority and exteriority, the hybridization of the self and the vulnerability of the body to toxic substances contribute to this oppressive affective landscape. Anxiety, as a signal of danger, points towards foundational fears around the blurring of ontological boundaries between the human and the nonhuman. The impossibility of isolation emerges in these films as an anxious trace in the form of cinematographic images, through characters that try to navigate a world in which dualism and human exceptionalism are being questioned.
本文探讨了电影《La Ciénaga》（Lucrecia Martel，2001 年）和《Distanceancia de rescate》（Claudia Llosa，2021 年）中焦虑与非人类之间的关系。在这两部影片中，对人物与其环境之间物质连续性的认识是产生负面情绪的核心。焦虑凝结在特定的符号中，在缺失与过度之间产生了明显的张力，在环境的配置中，参与者之间的过度接近是不可避免的。此外，内部性和外部性的临界性、自我的混杂性以及身体对有毒物质的脆弱性也促成了这种压抑的情感景观。焦虑作为危险的信号，指向人类与非人类之间本体界限模糊的基本恐惧。在这些影片中，孤立的不可能性以电影图像的形式，通过试图在二元论和人类特殊性受到质疑的世界中航行的人物，作为一种焦虑的痕迹出现。
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Pub Date : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.02
Adam O'Brien
The initiating comparison for this essay is between two images, or shots; one appears in Jessica Sarah Rinland’s Black Pond (2018), and shows two people looking offscreen, surrounded by dense woodland; the other is reprinted and described in Bruno Latour’s essay “Circulating Reference” (1999) and shows three scientists near a border between a savanna and a forest, looking and gesturing in different directions. Rinland and Latour share an ethnographic interest in the material and gestural minutiae of scientific engagement with the non-human world. This essay explores their common interest in pointing, and in ostension more generally, as it emerges in both case studies. Latour provides a rich and suggestive framework through which to understand Black Pond, particularly in its conception of natural-history study as a multi-stage process of mediation, made up of tools and gestures and inferences – rather than the momentary encountering or witnessing more familiar to eco-film aesthetics.
{"title":"The Nature of Ostension","authors":"Adam O'Brien","doi":"10.31009/cc.2023.v11.i20.02","DOIUrl":"https://doi.org/10.31009/cc.2023.v11.i20.02","url":null,"abstract":"The initiating comparison for this essay is between two images, or shots; one appears in Jessica Sarah Rinland’s Black Pond (2018), and shows two people looking offscreen, surrounded by dense woodland; the other is reprinted and described in Bruno Latour’s essay “Circulating Reference” (1999) and shows three scientists near a border between a savanna and a forest, looking and gesturing in different directions. Rinland and Latour share an ethnographic interest in the material and gestural minutiae of scientific engagement with the non-human world. This essay explores their common interest in pointing, and in ostension more generally, as it emerges in both case studies. Latour provides a rich and suggestive framework through which to understand Black Pond, particularly in its conception of natural-history study as a multi-stage process of mediation, made up of tools and gestures and inferences – rather than the momentary encountering or witnessing more familiar to eco-film aesthetics.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"1522 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139251572","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 : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.04
Maia Gattás Vargas, Irene Depetris Chauvin
Este artículo aborda Río Turbio (2020) de Tatiana Mazú González, un documental que retrata un territorio patagónico minero atravesado por conflictos políticos, ecológicos y feministas. Desde una perspectiva ecofeminista del cine y los aportes de los tiempos profundos y de la geología de los medios, que piensan la relación del mundo mineral con las máquinas y tecnologías que nos rodean, se busca trazar algunas conexiones entre cine y geología para observar cómo en esta película los tiempos y estéticas fósiles se traducen y vinculan con el montaje de los diversos archivos visuales y sonoros que construyen el documental.
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Pub Date : 2023-11-21DOI: 10.31009/cc.2023.v11.i20.03
Ariadna Cordal
As today we face the urgency of thinking film history through the implications of the ecological emergency, the aesthetics of oil extraction in cinema can be linked to representations of petro-masculinity and to discourses of capitalist exploitation of nature. Considering the ecocritical trend in film studies, this paper analyzes the subgenre of the oil film, which is inextricably related to the genre of the western historical tradition and its revisions, and presents There Will Be Blood (Paul Thomas Anderson, 2007) as a key case. The comparative analysis discovers that the critical and aesthetic representational strategies of landscape and character of the US founding myth in First Cow (Kelly Reichardt, 2019) manifest a proposal that deconstructs the genre with the intention of filming the relationships between the human and more-than-human from a viewpoint that approaches environmental consciousness. Keywords: oil, masculinity, western, Paul Thomas Anderson, Kelly Reichard, nature aesthetic, ecological emergency, film history
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Pub Date : 2023-03-31DOI: 10.31009/cc.2022.v10.i19.04
Víctor Santos López
This article proposes definitions of sense time and actual time as dimensions that affect our perception of the filmic image. We believe sense time to be a succession of changes to perceivable phenomena. Meanwhile, actual time is the time that needs only itself in order to manifest, transcending the object and sense as mediators and measurements. The article embarks on an historical-aesthetic journey that examines various examples of structural and avant-garde cinema in an attempt to explore these temporalities. Likewise, the article introduces the idea of filmic matter as an independent creator of discourse and technical support of memory.
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Pub Date : 2023-03-31DOI: 10.31009/cc.2022.v10.i19.02
Álex Mendíbil
Within fantastic and horror cinema, the technique of superimposing images has played a fundamental role since its inception when it comes to representing the supernatural. In this text we will focus on the adaptations of Bram Stoker’s Dracula in a range of vampire films, which, starting with Murnau’s Nosferatu (Nosferatu, eine Symphonie des Grauens, 1922), have their own peculiarities in the use of superimposition as a visual effect. To delve into the effectiveness and narrative uses of the technique, we will compare two films that adapt the novel from very different times and perspectives: Count Dracula (El conde Drácula, 1969) and Vampire Blues (Los blues del vampiro, 1999), both directed by Jesús “Jess” Franco. We will distinguish the superimposition made in 35mm and the technique that digital video allows today, and we will analyze the technical and rhetorical functions that this device performs in the narrative levels of the story and the discourse of both titles.
在奇幻和恐怖电影中，图像叠加技术从一开始就在表现超自然现象方面发挥着重要作用。在这篇文章中，我们将把重点放在Bram Stoker的《德古拉》在一系列吸血鬼电影中的改编上，这些电影从Murnau的Nosferatu (Nosferatu, eine Symphonie des Grauens, 1922)开始，在使用叠加作为视觉效果方面有自己的特点。为了深入研究这种技巧的效果和叙事运用，我们将比较两部改编自小说的电影，它们都是从不同的时代和角度改编的:《德古拉伯爵》(El conde Drácula, 1969)和《吸血鬼布鲁斯》(Los Blues del vampiro, 1999)，这两部电影都是由Jesús“杰斯”弗兰科执导的。我们将区分35mm制作的叠加和今天数字视频所允许的技术，我们将分析这种设备在故事的叙事层面和两个标题的话语中所表现的技术和修辞功能。
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