{"title":"David Cronenberg: Interviews","authors":"Murray Leeder","doi":"10.3138/cjfs-2022-0042","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0042","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41319030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé : Le film American Sniper de Clint Eastwood (version française : Tireur d’élite américain ; 2014) a soulevé de grands débats à sa sortie : de nombreux critiques lui ont reproché de constituer une célébration choquante de la bravoure des militaires étatsuniens en Iraq. Le film s’inspire de l’autobiographie de Chris Kyle, légendaire tireur d’élite de l’armée américaine actif en Iraq, dont la vie et la mort après son retour aux États-Unis ont été célébrées dans les médias de tout le pays. L’article propose de réexaminer ce film d’un point de vue critique particulier, qu’on pourrait appeler le modèle de la vision double, caractéristique de nombreux films parmi les plus importants d’Eastwood. Analysé de ce point de vue, American Sniper révèle une superposition complexe de perspectives thématiques qui tendent à s’opposer. En particulier, cette lecture contredit la version triomphaliste existante de l’activité militaire et jette sur la stature héroïque de Kyle et, par extension, de la présence américaine en Iraq, un regard chargé d’un doute complexe.
{"title":"The Two Sides of <i>American Sniper</i>: Reflections on Clint Eastwood’s “Doubleness” Ten Years Later","authors":"William Beard","doi":"10.3138/cjfs-2021-0034","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0034","url":null,"abstract":"Résumé : Le film American Sniper de Clint Eastwood (version française : Tireur d’élite américain ; 2014) a soulevé de grands débats à sa sortie : de nombreux critiques lui ont reproché de constituer une célébration choquante de la bravoure des militaires étatsuniens en Iraq. Le film s’inspire de l’autobiographie de Chris Kyle, légendaire tireur d’élite de l’armée américaine actif en Iraq, dont la vie et la mort après son retour aux États-Unis ont été célébrées dans les médias de tout le pays. L’article propose de réexaminer ce film d’un point de vue critique particulier, qu’on pourrait appeler le modèle de la vision double, caractéristique de nombreux films parmi les plus importants d’Eastwood. Analysé de ce point de vue, American Sniper révèle une superposition complexe de perspectives thématiques qui tendent à s’opposer. En particulier, cette lecture contredit la version triomphaliste existante de l’activité militaire et jette sur la stature héroïque de Kyle et, par extension, de la présence américaine en Iraq, un regard chargé d’un doute complexe.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135938136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Forfaiture de Cecil B. Demille","authors":"Karine Abadie","doi":"10.3138/cjfs-2022-0048","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0048","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43194422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the past twenty years, documentary film and television have become far more popular and widely available than in previous decades. Yet the scholarship on documentary has tended to privilege the most formally inventive and politically radical documentary films, from Chronique d’un été (Chronicle of a Summer, Jean Rouch and Edgar Morin, 1961) to Tongues Untied (Marlon T. Riggs, 1989) and The Act of Killing (Joshua Oppenheimer, 2012). Noël Carroll pointed out this tendency to focus on the “art-documentary” in 1996, and the trend has continued.1 It is easy to dismiss popular documentaries, from fawning celebrity portraits to protracted true-crime miniseries, but doing so leaves a vital area of film and media understudied at the very moment when audiences are viewing and engaging with documentary media more than ever before. Reclaiming Popular Documentary is an excellent start to correcting this oversight. Edited by Christie Milliken and Steve F. Anderson, the volume contains invigorating contributions that cover a wide swath of documentary media. In the introduction, Milliken and Anderson ask, “What is the relationship between documentary and entertainment and between popular documentary and advocacy? Can popular documentary be productively reconceived in relation to genre, modes, or rhetorical forms? Assuming the
{"title":"Reclaiming Popular Documentary","authors":"BarbaraD.F. Evans","doi":"10.3138/cjfs-2022-0052","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0052","url":null,"abstract":"Over the past twenty years, documentary film and television have become far more popular and widely available than in previous decades. Yet the scholarship on documentary has tended to privilege the most formally inventive and politically radical documentary films, from Chronique d’un été (Chronicle of a Summer, Jean Rouch and Edgar Morin, 1961) to Tongues Untied (Marlon T. Riggs, 1989) and The Act of Killing (Joshua Oppenheimer, 2012). Noël Carroll pointed out this tendency to focus on the “art-documentary” in 1996, and the trend has continued.1 It is easy to dismiss popular documentaries, from fawning celebrity portraits to protracted true-crime miniseries, but doing so leaves a vital area of film and media understudied at the very moment when audiences are viewing and engaging with documentary media more than ever before. Reclaiming Popular Documentary is an excellent start to correcting this oversight. Edited by Christie Milliken and Steve F. Anderson, the volume contains invigorating contributions that cover a wide swath of documentary media. In the introduction, Milliken and Anderson ask, “What is the relationship between documentary and entertainment and between popular documentary and advocacy? Can popular documentary be productively reconceived in relation to genre, modes, or rhetorical forms? Assuming the","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43980568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a newly minted art historian, I had the immense pleasure of presenting at the Coloquio Sara Gómez: Imagen múltiple (Sara Gómez Colloquium: Multiple Images) in Havana in the fall of 2007. During those two busy days in Havana, Sara Gómez was the focal point around which a diverse crowd of film historians, art historians, journalists, filmmakers, film students, and researchers from a broad spectrum of the humanities and social sciences came together to analyze the enormous potential of gendered film practice, analysis, and theorization in Cuba, as well as the many challenges this work has faced. Gómez’s film corpus served as a platform for an engaged, intersectional approach to Cuban audiovisual tradition at a time when feminist, queer, and critical race theories were only timidly alluded to and not openly or comprehensively discussed in Cuba. Little did I know that I was witnessing the birth of the book The Cinema of Sara Gómez: Reframing Revolution. Much like the multiple perspectives offered during that colloquium, Susan Lord and María Caridad Cumaná, with the collaboration of Victor Fowler Calzada—all part of the colloquium’s original line-up of presenters—harness the same inquisitive, pluralistic spirit of that event in this volume. Only now it is enhanced with the added perspectives and research focus afforded by time. From the onset, the volume embraces the varied, complex readings that this Afro-Cuban auteur tackled head on in the ecstatic early years of Cuban revolutionary film culture. Gómez shared this enthusiasm, of course, but she was careful to remain critical toward the same processes and organizations that she herself helped build from the ground. The Cinema of Sara Gómez compiles “a history, criticism, biography, methodology, and theory of [her] work,” according to Lord. It takes the form of essays and a wide variety of archival material: film scripts, interviews, personal photographs, film stills, a detailed filmography, and posters (Lord 1-2). The sheer diversity of knowledge interventions, theoretical lenses, testimonial voices, and artifacts is one of the most singular contributions of this book. Throughout its pages, Gómez’s full being is revealed through her professional career—as a young journalist, ethnographer, film director, and
作为一名新兴的艺术史学家，2007年秋天，我有幸参加了在哈瓦那举行的萨拉Gómez多重图像研讨会(colloquio Sara Gómez: Imagen múltiple)。在哈瓦那忙碌的两天里，Sara Gómez成为了一个焦点，电影历史学家、艺术历史学家、记者、电影人、电影学生和来自广泛人文社会科学领域的研究人员聚集在一起，分析古巴性别电影实践、分析和理论化的巨大潜力，以及这项工作面临的许多挑战。Gómez的电影语料库为古巴的视听传统提供了一个互动的平台，当时女权主义、酷儿和批判种族理论在古巴只是胆怯地被提及，而不是公开或全面地讨论。我一点也不知道我正在见证《萨拉的电影Gómez:重塑革命》这本书的诞生。就像那次研讨会提供的多种观点一样，苏珊·洛德和María Caridad cuman，以及维克多·福勒·卡尔扎达的合作——都是那次研讨会最初的演讲者之一——在这本书中利用了那次会议同样的好奇和多元精神。只是现在，随着时间的推移，它得到了更多的视角和研究重点的加强。从一开始，这本书就包含了这位非裔古巴导演在古巴革命电影文化狂热的早期所面对的各种复杂的解读。当然，Gómez分享了这种热情，但她小心翼翼地对她自己从基础上帮助建立的相同流程和组织保持批评。根据洛德的说法，《萨拉的电影》Gómez汇集了“关于她的作品的历史、评论、传记、方法论和理论”。它采用散文和各种各样的档案材料的形式:电影剧本，访谈，个人照片，电影剧照，详细的电影目录和海报(Lord 1-2)。纯粹的多样性的知识干预，理论镜头，证词的声音，和文物是这本书的最独特的贡献之一。在全书中，Gómez的完整存在通过她的职业生涯——作为一名年轻的记者、民族志学家、电影导演和
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It is practically a commonplace to say that the subject of animation is marginal in the field of film studies. Indeed, animated films, sometimes called “cartoons,” have often been deliberately excluded from consideration, understood as an unassimilable exception and contrasted with the primary object of analysis—the live-action film, the photographic recording of “real” physical events unfolding in time and space. In Ryan Pierson’s engaging and informative book, Figure and Force in Animation Aesthetics, he seeks not only to reveal the significance of animation but also to show how an “aesthetics” of animated film may provide a more powerful conceptual framework for film studies and film theory more generally, as the basis for a more informative stylistic analysis of cinematic representation broadly conceived. In this respect, perhaps the most important sentence in his book comes in an endnote, where he declares, “I do not wish to define a rigid separation between animation and live-action” (163, n. 1). Yet it is just such a rigid separation that has arguably characterized much of film studies and film theory. Pierson’s book is an important contribution to the more general argument, especially relevant in the so-called “digital era,” that any fundamental distinction between animation and live-action must be discarded, or at the very least reconsidered. By thinking of animation as Pierson proposes, as “an art of coordinating sensory units into perceptible figures and forces,” as “experiments in the possibilities of sensory organization” (4), he provides a powerful means for doing so. Pierson would perhaps not go so far as to say, as Rudolf Arnheim did in 1938, that “the film will be able to reach the heights of the other arts only when it frees itself from the bonds of photographic reproduction and becomes a pure work of man [sic], namely an animated cartoon or painting.” Pierson seeks to reveal the full creative powers of the animator in order to establish the aesthetic bona fides of the animated film, but he is not interested in simply declaring animation superior to live-action, as a crude rebuttal to those who have judged it inferior. He carefully describes and analyzes some of the most significant techniques in animation, focusing specifically on animation of the mid-twentieth century, stressing the importance of that era as “the period in which ‘animation’ as we currently define it—that is, animation as opposed to the more limited term
{"title":"Figure and Force in Animation Aesthetics by Ryan Pierson (review)","authors":"Marc Furstenau","doi":"10.3138/cjfs-2022-0018","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0018","url":null,"abstract":"It is practically a commonplace to say that the subject of animation is marginal in the field of film studies. Indeed, animated films, sometimes called “cartoons,” have often been deliberately excluded from consideration, understood as an unassimilable exception and contrasted with the primary object of analysis—the live-action film, the photographic recording of “real” physical events unfolding in time and space. In Ryan Pierson’s engaging and informative book, Figure and Force in Animation Aesthetics, he seeks not only to reveal the significance of animation but also to show how an “aesthetics” of animated film may provide a more powerful conceptual framework for film studies and film theory more generally, as the basis for a more informative stylistic analysis of cinematic representation broadly conceived. In this respect, perhaps the most important sentence in his book comes in an endnote, where he declares, “I do not wish to define a rigid separation between animation and live-action” (163, n. 1). Yet it is just such a rigid separation that has arguably characterized much of film studies and film theory. Pierson’s book is an important contribution to the more general argument, especially relevant in the so-called “digital era,” that any fundamental distinction between animation and live-action must be discarded, or at the very least reconsidered. By thinking of animation as Pierson proposes, as “an art of coordinating sensory units into perceptible figures and forces,” as “experiments in the possibilities of sensory organization” (4), he provides a powerful means for doing so. Pierson would perhaps not go so far as to say, as Rudolf Arnheim did in 1938, that “the film will be able to reach the heights of the other arts only when it frees itself from the bonds of photographic reproduction and becomes a pure work of man [sic], namely an animated cartoon or painting.” Pierson seeks to reveal the full creative powers of the animator in order to establish the aesthetic bona fides of the animated film, but he is not interested in simply declaring animation superior to live-action, as a crude rebuttal to those who have judged it inferior. He carefully describes and analyzes some of the most significant techniques in animation, focusing specifically on animation of the mid-twentieth century, stressing the importance of that era as “the period in which ‘animation’ as we currently define it—that is, animation as opposed to the more limited term","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Moments of Perception: Experimental Film in Canada has already seen warm reviews in the Toronto Star, the Winnipeg Free Press, and Cinema Scope. This reception likely comes with the recognition that Moments of Perception addresses the need for an accessible survey of Canadian experimental films that brings the topic up-to-date. The book offers obvious utility for the classroom. No one teaching a course on this cinema would fail to find it an indispensable source for syllabus building. Readers of Moments of Perception can feel confident that they are in the capable hands of well-informed writers. The authors, York University film professor Michael Zryd and three filmmaker-programmer-critics, have each spent decades working in experimental film circles. Barbara Sternberg and Jim Shedden are veteran organizers of conferences (including the International Experimental Film Congress in 1989) and innumerable film series. Sternberg is a veteran organizer of film co-ops. Shedden has edited some key Canadian publications on experimental cinema, notably Presence/Absence: The Films of Michael Snow 1956-1991 (1995). Stephen Broomer has published an invaluable interpretive study of Jack Chambers, Joyce Weiland, and Michael Snow in Codes for North: Foundations of the Canadian Avant-Garde Film (2017). In Hamilton Babylon (2016), Broomer devised a detailed history of the McMaster Film Board, a 1960s avant-garde start-up led by John Hofsess. Before Moments of Perception, there was no book offering this kind of coverage. Most books have focused on one filmmaker, such as Catherine Russell’s David Rimmer–Films and Tapes, 1967–1993 (1995). Or, they’ve covered a thematic selection, such as Process Cinema: Handmade Films in the Digital Age (2019), edited by Scott MacKenzie and Janine Marchessault. Bruce Elder’s Image and Identity: Reflections on Canadian Film and Culture (1989) has some features of a survey, but soon enough, the book’s focus narrows to Chambers and Snow. In contrast, Moments of Perception offers some thirty short profiles (all
《感知时刻:加拿大的实验电影》已经在《多伦多星报》、《温尼伯自由出版社》和《电影范围》上得到了热烈的评价。这种接受可能是由于人们认识到，《感知时刻》解决了对加拿大实验电影进行无障碍调查的需要，从而使这个话题与时俱进。这本书在课堂上有明显的用处。任何教授这部电影课程的人都会发现它是教学大纲中不可或缺的资源。《感知时刻》的读者可以自信地认为，他们是在一位见多识广的作家手中。本书的作者是约克大学(York University)电影教授迈克尔•兹里德(Michael Zryd)和三位电影制作人、程序员和评论家，他们都在实验电影圈工作了几十年。芭芭拉·斯滕伯格和吉姆·谢登是会议(包括1989年的国际实验电影大会)和无数电影系列的资深组织者。斯滕伯格是电影合作社的资深组织者。谢登编辑了一些关于实验电影的加拿大重要出版物，其中最著名的是《在场/缺席:迈克尔·斯诺的电影1956-1991》(1995)。斯蒂芬·布鲁姆在《北方密码:加拿大前卫电影的基础》(2017)中发表了对杰克·钱伯斯、乔伊斯·韦兰和迈克尔·斯诺的宝贵解读研究。在2016年的《汉密尔顿·巴比伦》(Hamilton Babylon)中，布鲁姆详细描述了麦克马斯特电影委员会(McMaster Film Board)的历史，这是一家20世纪60年代由约翰·霍夫斯(John Hofsess)领导的前卫初创企业。在《知觉时刻》之前，没有任何一本书提供这样的报道。大多数书都集中在一个电影制作人身上，比如凯瑟琳·罗素的《大卫·里默:电影和磁带，1967-1993》(1995)。或者，他们已经报道了一个主题选择，例如斯科特·麦肯齐和珍妮·马尔切索编辑的《过程电影:数字时代的手工电影》(2019)。布鲁斯·埃尔德的《形象与身份:对加拿大电影与文化的反思》(1989)有一些调查的特点，但很快，这本书的焦点就缩小到钱伯斯和斯诺身上。相比之下，“感知时刻”提供了大约30个简短的简介(全部都是
{"title":"Moments of Perception: Experimental Film in Canada by Stephen Broomer and Michael Zryd (review)","authors":"Bart Testa","doi":"10.3138/cjfs-2022-0020","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0020","url":null,"abstract":"Moments of Perception: Experimental Film in Canada has already seen warm reviews in the Toronto Star, the Winnipeg Free Press, and Cinema Scope. This reception likely comes with the recognition that Moments of Perception addresses the need for an accessible survey of Canadian experimental films that brings the topic up-to-date. The book offers obvious utility for the classroom. No one teaching a course on this cinema would fail to find it an indispensable source for syllabus building. Readers of Moments of Perception can feel confident that they are in the capable hands of well-informed writers. The authors, York University film professor Michael Zryd and three filmmaker-programmer-critics, have each spent decades working in experimental film circles. Barbara Sternberg and Jim Shedden are veteran organizers of conferences (including the International Experimental Film Congress in 1989) and innumerable film series. Sternberg is a veteran organizer of film co-ops. Shedden has edited some key Canadian publications on experimental cinema, notably Presence/Absence: The Films of Michael Snow 1956-1991 (1995). Stephen Broomer has published an invaluable interpretive study of Jack Chambers, Joyce Weiland, and Michael Snow in Codes for North: Foundations of the Canadian Avant-Garde Film (2017). In Hamilton Babylon (2016), Broomer devised a detailed history of the McMaster Film Board, a 1960s avant-garde start-up led by John Hofsess. Before Moments of Perception, there was no book offering this kind of coverage. Most books have focused on one filmmaker, such as Catherine Russell’s David Rimmer–Films and Tapes, 1967–1993 (1995). Or, they’ve covered a thematic selection, such as Process Cinema: Handmade Films in the Digital Age (2019), edited by Scott MacKenzie and Janine Marchessault. Bruce Elder’s Image and Identity: Reflections on Canadian Film and Culture (1989) has some features of a survey, but soon enough, the book’s focus narrows to Chambers and Snow. In contrast, Moments of Perception offers some thirty short profiles (all","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While the Arab world—often grasped through the non-neutral geopolitical categorization of the Middle East—has been widely under-represented in the field of film and media studies, it tends to acquire greater visibility in times of crisis or political upheaval. Following the Arab uprisings in the early 2010s, a surge in scholarship contributed to solidifying the emerging field of Arab film and media studies. Malu Halasa, Zaher Omareen, and Nawara Mahfoud’s edited collection Syria Speaks (2014), Marwan M. Kraidy’s The Naked Blogger of Cairo (2016), Donatella Della Ratta’s Shooting a Revolution (2018), Alisa Lebow’s digital project Filming Revolution (2018), Kay Dickinson’s Arab Film and Video Manifestos (2018), and Della Ratta, Dickinson, and Sune Haugbolle’s edited collection The Arab Archive (2020) have all brilliantly examined how Arab media histories and cultures and their entanglements with revolutions raise questions about the politics of media. Billie Jeanne Brownlee’s New Media and Revolution: Resistance and Dissent in Pre-uprising Syria (2020) takes part in this conversation from a perspective that is distinct in two regards: first, by combining insights from political science and media studies; second, by looking at the prehistory of new media during the decade that preceded Syria’s revolution-turned-proxy war rather than the uprisings per se. If we critically examine New Media and Revolution’s two main contributions together, it can help us understand the benefits and limitations of transdisciplinary studies while reasserting the necessity of an approach to film and media studies that is in-depth and politically engaged. Against the techno-determinist narrative that dominated in the early years of the uprisings, Brownlee reasserts that new media, understood capaciously as satellite TV, blogs, news websites, Facebook, and YouTube, functioned as a means rather than a cause of upheaval. By implementing a shift in the periodization of the Syrian revolution, the book examines the “infra-politics” of media practices and the emergence of a “contentious culture” since 2000 (9). The regime’s transition from Hafez al-Assad to his son Bashar in 2000 led to a contradictory media landscape. New policies were implemented to privatize new media infrastructures (especially the Internet and satellite TV), which were 10.3138/cjfs-2021-0061
虽然阿拉伯世界——通常通过中东非中立的地缘政治分类来理解——在电影和媒体研究领域的代表性普遍不足，但在危机或政治动荡时期，它往往会获得更大的知名度。在2010年代初的阿拉伯起义之后，奖学金的激增有助于巩固阿拉伯电影和媒体研究这一新兴领域。Malu Halasa, Zaher Omareen和Nawara Mahfoud的编辑集《叙利亚说话》(2014)，Marwan M. Kraidy的《开罗的裸体博主》(2016)，Donatella Della Ratta的《拍摄革命》(2018)，Alisa Lebow的数字项目《拍摄革命》(2018)，Kay Dickinson的《阿拉伯电影和视频宣言》(2018)，以及Della Ratta, Dickinson，苏恩·豪伯勒编辑的文集《阿拉伯档案》(2020)都出色地研究了阿拉伯媒体的历史和文化，以及它们与革命的纠缠如何引发了关于媒体政治的问题。比莉·珍妮·布朗利的新媒体与革命:反抗和异议在起义前叙利亚(2020)从两个方面不同的角度参加这次对话:首先，通过结合政治学和媒体研究的见解;第二，研究新媒体在叙利亚由革命演变为代理战争(而非起义本身)之前的10年里的历史。如果我们批判性地审视新媒体和革命的两个主要贡献，它可以帮助我们理解跨学科研究的好处和局限性，同时重申一种深入和政治参与的电影和媒体研究方法的必要性。与在起义早期占主导地位的技术决定论的叙述相反，布朗利重申，新媒体(广泛地理解为卫星电视、博客、新闻网站、Facebook和YouTube)的作用是一种手段，而不是动乱的原因。通过对叙利亚革命时期的转变，本书考察了媒体实践的“政治下”以及自2000年以来“争议文化”的出现(9)。2000年政权从哈菲兹·阿萨德(Hafez al-Assad)过渡到他的儿子巴沙尔(Bashar)，导致了矛盾的媒体格局。实施新媒体基础设施(特别是互联网和卫星电视)私有化的新政策，这是10.3138/cjfs-2021-0061
{"title":"New Media and Revolution: Resistance and Dissent in Pre-uprising Syria by Billie Jeanne Brownlee (review)","authors":"Viviane Saglier","doi":"10.3138/cjfs-2021-0061","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0061","url":null,"abstract":"While the Arab world—often grasped through the non-neutral geopolitical categorization of the Middle East—has been widely under-represented in the field of film and media studies, it tends to acquire greater visibility in times of crisis or political upheaval. Following the Arab uprisings in the early 2010s, a surge in scholarship contributed to solidifying the emerging field of Arab film and media studies. Malu Halasa, Zaher Omareen, and Nawara Mahfoud’s edited collection Syria Speaks (2014), Marwan M. Kraidy’s The Naked Blogger of Cairo (2016), Donatella Della Ratta’s Shooting a Revolution (2018), Alisa Lebow’s digital project Filming Revolution (2018), Kay Dickinson’s Arab Film and Video Manifestos (2018), and Della Ratta, Dickinson, and Sune Haugbolle’s edited collection The Arab Archive (2020) have all brilliantly examined how Arab media histories and cultures and their entanglements with revolutions raise questions about the politics of media. Billie Jeanne Brownlee’s New Media and Revolution: Resistance and Dissent in Pre-uprising Syria (2020) takes part in this conversation from a perspective that is distinct in two regards: first, by combining insights from political science and media studies; second, by looking at the prehistory of new media during the decade that preceded Syria’s revolution-turned-proxy war rather than the uprisings per se. If we critically examine New Media and Revolution’s two main contributions together, it can help us understand the benefits and limitations of transdisciplinary studies while reasserting the necessity of an approach to film and media studies that is in-depth and politically engaged. Against the techno-determinist narrative that dominated in the early years of the uprisings, Brownlee reasserts that new media, understood capaciously as satellite TV, blogs, news websites, Facebook, and YouTube, functioned as a means rather than a cause of upheaval. By implementing a shift in the periodization of the Syrian revolution, the book examines the “infra-politics” of media practices and the emergence of a “contentious culture” since 2000 (9). The regime’s transition from Hafez al-Assad to his son Bashar in 2000 led to a contradictory media landscape. New policies were implemented to privatize new media infrastructures (especially the Internet and satellite TV), which were 10.3138/cjfs-2021-0061","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a book we need. It is a full survey of Denys Arcand’s career, with a generous discussion of each film in sequence. James Leach has previously published a book on another Quebec director, Claude Jutra Filmmaker (1999), and a solid historical survey, Film in Canada (2011). Leach knows how to work through the tangle of Quebec film criticism—a must with a much-debated director like Arcand— and he acts as a judicious mediator for the anglophone academic reader. Arcand’s career has been unusual. He became one of the mostly widely known Canadian directors, comparable in fame to Cronenberg and Egoyan, but Arcand’s recognition rests really on just three films, beginning with Le Déclin de l’empire américain (The Decline of the American Empire, 1986). It was released some fifteen years after Arcand’s first feature-length documentary, On est au coton (Cotton Mill, Treadmill, 1970), famously suppressed by its production company, the National Film Board of Canada (NFB). Reaching back into Arcand’s seven preceding shorts that made up the director’s apprenticeship, and following through his whole filmography, Leach strives to find a consistent through line. He almost gets all the way, until Arcand’s most recent films, Le Règne de la beauté (An Eye for Beauty, 2014) and La Chute de l’empire américain (The Fall of the American Empire, 2018). Leach begins his book with a discussion of Arcand’s education, which he takes to be fundamental. Born in 1941 in a small Quebec town, Deschambault, and the product of a Jesuit-Catholic education, Arcand sees himself as a child of the “Great Darkness,” referring to the long era of the Duplessis regime (1936– 1960) and of clerical dominance over Catholic Quebec’s culture. Arcand’s intellectual and artistic life began, however, when he entered the Université de Montréal in 1960. This was at the very start of the Quiet Revolution, which would rapidly secularize and modernize Quebec society. Quickly politicized, Arcand was an eager participant and was already making films by 1962. For his generation of Québécois filmmakers, the Quiet Revolution was the opening. Leach claims, “Arcand’s entire career as a filmmaker can be seen as a recurring commentary on the impact of these social changes.” However, his ambivalent and complex response, and his eventual disappointment, rendered some of his films jagged and dissonant, unlike those of other major Quebec filmmakers who 10.3138/cjfs-2021-0060
这是我们需要的一本书。这是对丹尼斯·阿坎德职业生涯的全面调查，对每部电影都进行了慷慨的讨论。James Leach之前出版了一本关于另一位魁北克导演的书，Claude Jutra Filmmaker(1999)，以及一部扎实的历史调查，Film in Canada(2011)。里奇知道如何拨开魁北克电影评论的迷雾——对于像阿坎德这样备受争议的导演来说，这是必须的——他为讲英语的学术读者充当了一个明智的调解人。阿坎德的职业生涯非同寻常。他成为最广为人知的加拿大导演之一，其名气可与柯南伯格和伊戈扬相媲美，但阿坎德的知名度实际上只取决于三部电影，第一部是《美利坚帝国的衰落》(1986年)。该片上映大约15年前，阿坎德的第一部长篇纪录片《棉花磨坊》(On est au Cotton, Treadmill, 1970)被其制作公司加拿大国家电影局(NFB)压制。回顾阿坎德之前的七部短片，这些短片构成了他的学徒生涯，并贯穿了他的整个电影作品，里奇努力找到一条连贯的贯穿线。他几乎一路走到最后，直到阿坎德的最新电影《美丽之眼》(2014年)和《帝国的没落》(2018年)。利奇在书的开头讨论了阿坎德的教育，他认为这是最基本的。阿坎德1941年出生于魁北克小镇德尚堡(Deschambault)，是耶稣会天主教教育的产物，他认为自己是“大黑暗”时代的孩子，暗指杜普莱西(Duplessis)政权(1936 - 1960)的长期统治时期，以及天主教魁北克文化的神职统治时期。然而，阿坎德的知识和艺术生涯始于1960年他进入蒙特里萨大学。这是“安静革命”的开始，它将迅速使魁北克社会世俗化和现代化。阿坎德很快就被政治化了，他积极参与其中，到1962年就已经开始拍电影了。对于他那一代的quimbsamcois电影制作人来说，《安静的革命》是一个开端。里奇说:“阿坎德作为电影制作人的整个职业生涯可以被看作是对这些社会变化影响的反复评论。”然而，他的矛盾和复杂的反应，以及他最终的失望，使他的一些电影参差不齐，不和谐，不像其他主要的魁北克电影人
{"title":"The Films of Denys Arcand by Jim Leach (review)","authors":"Bart Testa","doi":"10.3138/cjfs-2021-0060","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0060","url":null,"abstract":"This is a book we need. It is a full survey of Denys Arcand’s career, with a generous discussion of each film in sequence. James Leach has previously published a book on another Quebec director, Claude Jutra Filmmaker (1999), and a solid historical survey, Film in Canada (2011). Leach knows how to work through the tangle of Quebec film criticism—a must with a much-debated director like Arcand— and he acts as a judicious mediator for the anglophone academic reader. Arcand’s career has been unusual. He became one of the mostly widely known Canadian directors, comparable in fame to Cronenberg and Egoyan, but Arcand’s recognition rests really on just three films, beginning with Le Déclin de l’empire américain (The Decline of the American Empire, 1986). It was released some fifteen years after Arcand’s first feature-length documentary, On est au coton (Cotton Mill, Treadmill, 1970), famously suppressed by its production company, the National Film Board of Canada (NFB). Reaching back into Arcand’s seven preceding shorts that made up the director’s apprenticeship, and following through his whole filmography, Leach strives to find a consistent through line. He almost gets all the way, until Arcand’s most recent films, Le Règne de la beauté (An Eye for Beauty, 2014) and La Chute de l’empire américain (The Fall of the American Empire, 2018). Leach begins his book with a discussion of Arcand’s education, which he takes to be fundamental. Born in 1941 in a small Quebec town, Deschambault, and the product of a Jesuit-Catholic education, Arcand sees himself as a child of the “Great Darkness,” referring to the long era of the Duplessis regime (1936– 1960) and of clerical dominance over Catholic Quebec’s culture. Arcand’s intellectual and artistic life began, however, when he entered the Université de Montréal in 1960. This was at the very start of the Quiet Revolution, which would rapidly secularize and modernize Quebec society. Quickly politicized, Arcand was an eager participant and was already making films by 1962. For his generation of Québécois filmmakers, the Quiet Revolution was the opening. Leach claims, “Arcand’s entire career as a filmmaker can be seen as a recurring commentary on the impact of these social changes.” However, his ambivalent and complex response, and his eventual disappointment, rendered some of his films jagged and dissonant, unlike those of other major Quebec filmmakers who 10.3138/cjfs-2021-0060","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Early Japanese cinema is a notoriously challenging period for film historians, because so few prints and production documents survived the geological and geopolitical crises of the twentieth century. Daisuke Miyao has provided some valuable insights into this period by approaching it from the angle of the French connection, particularly the Lumière brothers and their well-travelled emissaries, as well as the vogue for all things Japanese that swept the West at the turn of the century. The term Japonisme may refer to the influence of Japanese aesthetics on European art from the 1860s through to the early twentieth century, but Miyao expands its scope to include the ways that Japanese culture was in turn affected by the French “Orientalist” view of Japan. Japonisme thus becomes “a nodal point in a transmedial network” (5). The key term that Miyao uses to explain the influence of Japanese aesthetics on the Lumière brothers’ films is à traverse cinema, which translates literally as “to cross” or perhaps “cinema that crosses.” A prime example is on the cover of the book: the steel bars of the Eiffel Tower framing and crossing a long view of the Palais du Trocadéro, a monumental building fronted by an equally monumental terrace. This foreground/background composition in which two different viewpoints, or focal distances of far and close, are effectively layered is offered as exemplary of Japonisme. As a frame enlargement, the image does not capture the movement of the elevator on which the camera was positioned, and the term à traverse is, for Miyao, a strictly compositional concept, although he will eventually link it to “phantom ride” cinema. Oddly, the term à traverse is not used for the cultural exchange between France and Japan; nor is the significance of the Trocadéro in French ethnography and orientalism considered in the analysis of this image. Using illustrations of woodblock prints by Hiroshige and Hokusai, compared to frame enlargements from a wide range of Lumière actualités, Miyao draws comparisons between the compositional principles of multi-planar perspective. He argues, via Japanese and Western art historians, that the technique entered Japan in the eighteenth century as a means of creating perspective. Influenced by Western arts of mimetic realism, Japanese artists created their own “physiological realism,” delivering heterogeneous spaces within a single frame. Impressionists such as Monet then adapted that technique back into Western
对于电影历史学家来说，早期的日本电影是一个非常具有挑战性的时期，因为很少有版画和制作文件在20世纪的地质和地缘政治危机中幸存下来。Miyao Daisuke从与法国的联系，特别是lumi兄弟和他们游历广泛的使者，以及世纪之交席卷西方的日本时尚的角度出发，为这一时期提供了一些有价值的见解。“日本主义”一词可以指从19世纪60年代到20世纪初日本美学对欧洲艺术的影响，但Miyao将其范围扩大到包括日本文化反过来受到法国“东方主义”日本观影响的方式。因此，日本主义成为“跨媒体网络中的一个节点”(5)。Miyao用来解释日本美学对lumi兄弟电影的影响的关键术语是“穿越电影”(traverse cinema)，字面上翻译为“跨越”或“跨越的电影”。一个典型的例子是在这本书的封面上:埃菲尔铁塔的钢筋构成了特罗卡德姆罗宫(Palais du trocadsamro)的远景，这是一座具有纪念意义的建筑，前面有一个同样具有纪念意义的露台。这种前景/背景构图，其中两种不同的视点，或远近焦距，有效地分层，是日本主义的典范。作为一个帧放大，图像并没有捕捉到摄像机所在的电梯的运动，对Miyao来说，“穿越”这个词是一个严格的构图概念，尽管他最终将其与“幻影乘坐”电影联系起来。奇怪的是，法国和日本之间的文化交流并不使用“穿越”一词;在对这一形象的分析中，也没有考虑特罗卡德·卡德姆罗在法国民族志和东方主义中的意义。Miyao用Hiroshige和Hokusai的木版版画插图，对比了lumiires actualit的各种画框放大，比较了多平面透视的构图原则。他认为，通过日本和西方艺术史学家，这种技术在18世纪进入日本，作为一种创造视角的手段。受西方模仿现实主义艺术的影响，日本艺术家创造了自己的“生理现实主义”，在单一框架内呈现异质空间。印象派画家，如莫奈，后来又把这种技巧运用到西方
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