Pub Date : 2017-10-01DOI: 10.3138/CJFS.26.2.2017-0005
A. Gaudreault, P. Gauthier
Abstract:General agreement exists today that David Wark Griffith, while not the "inventor" of crosscutting, is nevertheless a key figure in its development. But what does that mean exactly? Or, more precisely: how does one establish a list of Griffith's concrete contributions to the development of the technique? The goal of this article is to present a new theoretical framework for evaluating the evolution of various parameters of crosscutting during cinema's transitional era. This framework results from the combination of our hypothesis concerning actorial and narratorial cuts with a new theory on the articulations of spatial language. This new theoretical tool allows us to detect variations in the presence of an underlying narrator as the agent responsible for filmic enunciations and to establish, in the end, a typology of cuts connecting the shots in a crosscutting sequence.Résumé:On convient généralement aujourd'hui du fait que David Wark Griffith, s'il n'est pas l'« inventeur » du montage alterné, n'en a pas moins joué un rôle clé dans le développement de cette figure. Mais qu'est-ce que cela veut dire, au juste ? Plus précisément : comment arriver à établir la liste des contributions concrètes de Griffith en la matière ? L'objectif de cet article est de présenter un nouveau cadre théorique permettant d'étudier l'évolution des différents paramètres du montage alterné durant la période de transition entre la cinématographie-attraction et le cinéma-institution. Ce cadre théorique, qui combine les hypothèses des deux auteurs sur les coupes d'ordre actoriel et d'ordre narratoriel avec une théorie des articulations du langage spatial, permet de mettre en évidence les divers gradients de la présence du narrateur à titre d'instance responsable des énoncés filmiques et d'établir in fine une typologie des coupes susceptibles de relier les plans d'une séquence en montage alterné.
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George Kleine, though central to the development of American cinema, has always seemed something of an outlier: one of the founding members of the Motion Picture Patents Company (MPPC, also known as the Edison Trust), he was neither a manufacturer of equipment nor a producer of films at the time of the Trust’s inception. Instead, Kleine made his mark in distribution, and distribution of foreign films at that. Kleine’s position in early film history seems secure, but until now he has remained relatively underexamined as an industry player, his activities never garnering the attention of his more widely chronicled peers, such as Edison or Lubin. Joel Frykholm’s George Kleine and American Cinema: The Movie Business and Film Culture in the Silent Era, seeks to remedy that situation by assessing the full span of Kleine’s career, from his beginnings as a purveyor of Edison films and projectors in the late 1890s until his exit from the industry by the mid-1920s. But, as his title indicates, Frykholm’s study is more than simply a biography: the author views Kleine’s somewhat unorthodox experiences as an opportunity to analyze the economic logic of the American film industry in its early years, while also situating that analysis within a consideration of cinema’s shifting cultural value during the same period. As Frykholm puts it, “the goal is to join three storylines—a career history, an economic/industrial history and a cultural history—into a unified narrative of how the institution of cinema took its shape from its emergence to the end of the silent era” (3). Ultimately, as Frykholm himself would likely concede, the economic history takes precedence. Frykholm’s approach, indebted in particular to the work of Gerben Bakker, attempts to make sense of the business actions of the entrepreneur within a matrix of market forces, industrial performance, and a changing socio-economic landscape. Borrowing concepts and approaches from economist Arthur De Vany (who has argued that revenue distribution in the film industry tends toward the “kurtotic,” or is heavily skewed toward success for the few) and business scholar Candace Jones (who has argued for the interplay of “entrepreneurial choice and institutional rules”), Frykholm views the fluctuations in the career of Kleine as a way to promote a particular understanding of the early institutionalization of cinema. At first glance, this appears to be Frykholm’s boldest historiographic move: positioning his work squarely in the centre
乔治·克莱因虽然对美国电影的发展起到了核心作用，但他总是显得有些异类:他是电影专利公司(MPPC，也被称为爱迪生信托)的创始成员之一，在该公司成立之初，他既不是设备制造商，也不是电影制片人。相反，克莱恩在发行领域留下了自己的印记，而且是在外国电影的发行领域。克莱恩在早期电影史上的地位似乎是稳固的，但直到现在，作为一个行业参与者，他仍然相对较少受到关注，他的活动从未引起爱迪生或鲁宾等更广为人知的同行的注意。Joel Frykholm的《George Kleine and American Cinema: The Movie Business and Film Culture in The Silent Era》试图通过评估Kleine的整个职业生涯来弥补这种情况，从他在19世纪90年代末开始作为爱迪生电影和放映机的供应商，直到他在20世纪20年代中期退出这个行业。但是，正如他的标题所示，Frykholm的研究不仅仅是一本传记:作者将克莱因有些非正统的经历视为分析早期美国电影业经济逻辑的机会，同时也将这种分析置于对同一时期电影文化价值转变的考虑之中。正如Frykholm所说，“我们的目标是将三个故事线——一个职业生涯的历史，一个经济/工业的历史和一个文化的历史——连接成一个统一的故事，讲述电影制度从出现到无声时代结束是如何形成的”(3)。最终，正如Frykholm自己可能会承认的那样，经济史是优先考虑的。Frykholm的方法，特别得益于Gerben Bakker的工作，试图在市场力量、工业绩效和不断变化的社会经济格局的矩阵中理解企业家的商业行为。Frykholm借鉴了经济学家Arthur De Vany(他认为电影行业的收入分配倾向于“kurtotic”，或严重倾向于少数人的成功)和商业学者Candace Jones(他认为“企业家选择和制度规则”的相互作用)的概念和方法，将Kleine职业生涯的波动视为促进对早期电影制度化的特定理解的一种方式。乍一看，这似乎是Frykholm最大胆的史学举动:将他的作品直接置于中心位置
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Pub Date : 2017-04-01DOI: 10.3138/CJFS.26.1.2017-0003
M. Raymond
Résumé:Dans cet article, nous analysons le thème du viol dans les films du réalisateur sud-coréen Hong Sang-soo, en comparant le traitement que celui-ci en fait avec les représentations que l’on en retrouve historiquement à la fois dans le cinéma sud-coréen et dans les films d’art et d’essai réalisés dans le monde. Ce qui m’intéresse d’abord est d’une part la façon dont le viol reflète ou contredit la politique d’égalité des sexes dans les films de Hong, et particulièrement le lien entre celle-ci et le féminisme, et d’autre part l’évolution, au cours de la carrière du réalisateur, du traitement que celui-ci fait de la violence sexuelle et de la sexualité en général. L’étude se concentre sur quatre films, Le jour où le cochon est tombé dans les puits (2009), La Vierge mise à nu par ses prétendants (2003), La femme est l’avenir de l’homme (2004) et Les Femmes de mes amis (2009), et se conclut par une discussion sur les œuvres plus récentes, et plus introspectives, du réalisateur.Abstract:This essay analyzes the subject of rape in the films of South Korean auteur Hong Sang-soo, comparing his treatment with the history of representations of sexual assault in both the cinema of South Korea and the international art film. Of particular interest is the issue of how rape reflects and/or contradicts the gender politics of Hong’s films, especially their relationship with feminism, and how his handling of both sexual violence and sexuality as a whole has evolved over the course of his career. The essay focuses on four films, The Day a Pig Fell in the Well (1996), Virgin Stripped Bare by Her Bachelors (2000), Woman Is the Future of Man (2004), and Like You Know It All (2009), with a concluding discussion of Hong’s recent, more self-reflexive narratives.
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Pub Date : 2017-04-01DOI: 10.3138/CJFS.26.1.2017-0001
Ghislain Thibault
Résumé:En 1968, l’essayiste québécois Jean Le Moyne a filmé un entretien avec le philosophe français Gilbert Simondon. L’entretien portait sur la « mécanologie » ou « science des machines ». Le réalisateur envisageait cet entretien comme l’une des pièces d’un plus grand projet intellectuel et artistique qui, grâce au soutien de l’Office national du film du Canada, contribuerait à l’éducation technique et scientifique des Canadiens. Le Moyne partageait avec Simondon un intérêt pour les nouvelles pédagogies philosophiques portant sur les machines. Mais, finalement, l’entretien ainsi que le projet de Le Moyne n’ont pas reçu le soutien de l’ONF. Cet article explore donc à la fois cette aventure intellectuelle oubliée qui visait à explorer la philosophie à travers le cinéma, et le contexte institutionnel ayant mené à son échec.Abstract:In 1968, Quebec essayist Jean Le Moyne conducted and filmed an interview with French philosopher Gilbert Simondon on the topic of mechanology, or the “science of machines.” Working for the National Film Board of Canada, Le Moyne envisioned using the filmed interview as part of a larger intellectual and artistic project to educate Canadians about modern machines. Like Simondon, he shared an interest in new kinds of philosophical pedagogy about machines. Ultimately, however, neither the filmed interview nor Le Moyne’s project received support from the NFB. By recovering the failed Entretien mécanologique project, this article sheds light on an intellectual experiment that sought to explore philosophy through film, while also addressing the context for the NFB’s resistance to Le Moyne’s project.
1968年，魁北克散文家让·勒莫因（Jean Le Moyne）拍摄了对法国哲学家吉尔伯特·西蒙顿（Gilbert Simondon）的采访。采访的重点是“机械学”或“机器科学”。导演认为这次采访是一个更大的智力和艺术项目的一部分，在加拿大国家电影委员会的支持下，将有助于加拿大人的技术和科学教育。Le Moyne与Simondon分享了对机器新哲学教学法的兴趣。但最终，采访和Le Moyne项目没有得到NFB的支持。摘要：1968年，魁北克散文家让·勒莫因（Jean Le Moyne）领导并拍摄了对法国哲学家吉尔伯特·西蒙顿（Gilbert Simondon）的采访，主题是力学或“机器科学”。为加拿大国家电影委员会工作，Le Moyne计划将电影采访作为一个更大的智力和艺术项目的一部分，教育加拿大人了解现代机器。和西蒙顿一样，他对机器的新哲学教育学也感兴趣。然而，最终，电影采访或Le Moyne的项目都没有得到NFB的支持。通过恢复失败的机械维护项目，本文揭示了一个试图通过电影探索哲学的智力实验，同时也解决了NFB对Le Moyne项目的抵制。
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Zoë Druick and Gerda Cammaer’s weighty collection, Cinephemera, takes its place among a growing number of volumes (mostly edited collections) tackling the difficult-to-pin-down category of ephemeral film. And, while focused on Canadian works, the book is also the first in this expanding field to consider the topic so broadly (“ephemera,” for example, is a much more inclusive category than, let’s say, “educational” or “industrial” film, though the category might contain both of these as well). For this reason, the self-imposed limits of exploring only Canadian film seem all the more appropriate (even necessary), making Cinephemera a fine companion to the earlier and more narrowly focused Useful Cinema (Charles Acland and Haidee Wasson, Duke University Press, 2011). Cinephemera, however, also hopes to carve out a unique space for itself in its consideration of what it phrases “the digital turn,” and its effect on both cinema studies and archival practice, suggesting, in the introduction, the ways in which these technologies have (or haven’t) altered the work of preservation, access, and distribution. Though dealt with specifically in only a couple of the collection’s essays, this notion forms a kind of organizational logic that runs through the book in its entirety and becomes a significant part of the book’s contribution to the field. Druick and Cammaer’s volume makes explicit the connection, assumed in other recent books, between what we might still call “emergent” technologies and the rediscovery of moving image materials that have, since their creation, existed in a stratum below (sometimes well below) what we conceive of as the “mainstream.” Though the book’s introduction conceives of a loose taxonomy of “cinephemeral” types, the essays themselves are organized in a roughly chronological fashion, which results, ideally, in the reader discovering materials and ideas outside of the rigidity of classifications. In a way, the strategy replicates the very nature of ephemeral film: the category is massive, unruly, full of surprises, and the films themselves are frequently found where you least expect them. Among the many things that recommend this book, then, reader experience (which is infrequently lauded in academic circles) ranks high. I urge readers, no matter the narrowness of their own research focus, to read the book from beginning to end, as this experience is part of the magic the field offers.
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Pub Date : 2017-03-01DOI: 10.3138/CJFS.26.1.2017-0004
R. Richards
Résumé:Dans les films portant sur la diaspora indienne, les mariages arrangés sont typiquement représentés comme le résultat d’un système répressif où les femmes sont les victimes d’un hétéro-patriarcat inflexible. The Namesake (2006), de Mira Nair, revisite toutefois les liens qui existent entre l’amour et les mariages arrangés chez les membres de la diaspora indienne. En adoptant un cadre transnational, le film crée un dialogue dynamique entre les conventions et la contemporanéité, entre le pays d’origine et l’ailleurs. Plus particulièrement, Mira Nair y revoit le rôle des femmes immigrantes en leur donnant un accès à la mobilité transnationale. La réalisatrice transforme la relation conjugale des époux de la diaspora en un hybride desi, en un mariage arrangé/mariage d’amour, façonné par la mobilité et la fluidité.Abstract:In Indian diasporic cinema, arranged marriage is typically represented as a repressive system that makes women victims of an uncompromising heteropatriarchy. Mira Nair’s The Namesake (2006), however, reimagines the relationship between love and arranged marriage for Indian diasporic subjects. By adopting the framework of transnationalism, Nair’s film creates a dynamic dialogue between convention and contemporaneity, home and away. More specifically, it revises the role of the immigrant wife by giving her equal access to transnational mobility. Nair thus transforms the diasporic conjugal relationship into a desi hybrid, an arranged-love marriage, shaped by mobility and fluidity.
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Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908– 1934 and Silent Cinema and the Politics of Space both testify to something that the publishing landscape has made abundantly clear in recent years: that there’s an increasing interest in excavating the previously neglected histories of women’s roles both behind and in front of the camera during the silent era. These two books mark pivotal forays into uncovering two very different, equally crucial, aspects of those histories. While most film viewers might assume that cross-dressing came into its own in the 1930s, with some of the international names who still have tremendous star power—Garbo, Dietrich, Hepburn—Laura Horak’s Girls Will Be Boys unearths a rich history of cinematic gender swapping reaching further back than even many early film aficionados would assume. Traversing archives across the US and Europe, Horak spent almost a decade uncovering the lesser-known history of girls “who will be boys,” as she excavated the earliest roots of cross-dressing in American silent cinema, going back as early as 1908 and continuing until 1934, when the stricter enforcement of the Motion Picture Production Code also created increased backlash against cross-dressing and “mannish” women. Horak explains her rationale for choosing this specific period: it allowed her to begin when cross-dressing women began to surface in a sizeable number and to consider one of the main goals of her project: to contemplate how the most famous cross-dressing performances of the 1930s stemmed from these earlier ones. Horak opens her analysis with a startling claim: “Where previous accounts have identified only thirty-seven silent American films featuring cross-dressed women, I have discovered more than four hundred” (2). And that claim may also be one of the book’s greatest selling points. In her meticulous searching, Horak uncovered 476 titles featuring cross-dressed women, ultimately viewing two hundred extant films. As such, her thoroughly researched book represents a crucial marker in the archival study of lesbian cultural history, collecting as it does such a vast array of material about queer bodies during film’s earliest years.
{"title":"Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908–1934 by Laura Horak, and: Silent Cinema and the Politics of Space ed. by Jennifer M. Bean, Anupama Kapse, and Laura Horak (review)","authors":"April Miller","doi":"10.3138/cjfs.26.1.br3","DOIUrl":"https://doi.org/10.3138/cjfs.26.1.br3","url":null,"abstract":"Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908– 1934 and Silent Cinema and the Politics of Space both testify to something that the publishing landscape has made abundantly clear in recent years: that there’s an increasing interest in excavating the previously neglected histories of women’s roles both behind and in front of the camera during the silent era. These two books mark pivotal forays into uncovering two very different, equally crucial, aspects of those histories. While most film viewers might assume that cross-dressing came into its own in the 1930s, with some of the international names who still have tremendous star power—Garbo, Dietrich, Hepburn—Laura Horak’s Girls Will Be Boys unearths a rich history of cinematic gender swapping reaching further back than even many early film aficionados would assume. Traversing archives across the US and Europe, Horak spent almost a decade uncovering the lesser-known history of girls “who will be boys,” as she excavated the earliest roots of cross-dressing in American silent cinema, going back as early as 1908 and continuing until 1934, when the stricter enforcement of the Motion Picture Production Code also created increased backlash against cross-dressing and “mannish” women. Horak explains her rationale for choosing this specific period: it allowed her to begin when cross-dressing women began to surface in a sizeable number and to consider one of the main goals of her project: to contemplate how the most famous cross-dressing performances of the 1930s stemmed from these earlier ones. Horak opens her analysis with a startling claim: “Where previous accounts have identified only thirty-seven silent American films featuring cross-dressed women, I have discovered more than four hundred” (2). And that claim may also be one of the book’s greatest selling points. In her meticulous searching, Horak uncovered 476 titles featuring cross-dressed women, ultimately viewing two hundred extant films. As such, her thoroughly researched book represents a crucial marker in the archival study of lesbian cultural history, collecting as it does such a vast array of material about queer bodies during film’s earliest years.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48637538","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}
Pub Date : 2017-03-01DOI: 10.3138/CJFS.26.1.2017-0002
Nicolas Lema Habash
Résumé:Dans cet article je propose d’interpréter Dogville (2003), du réalisateur Lars von Trier, comme un film qui prolonge une tradition philosophique de critique de la réification. En appuyant sur les œuvres de Marx et de Lukács, nous mettons l’accent sur le concept de calcul pour analyser l’histoire de la protagoniste, Grace, en tant que récit d’une exploitation fondée sur des mécanismes d’échange de travail. Notre but n’est cependant pas seulement de décrire ce processus par rapport à l’intrigue du film, mais aussi, et surtout, de caractériser ontologiquement le langage et les dispositifs cinématographiques comme une allégorie visuelle du problème de calcul dans le capitalisme contemporain. En faisant transparaître les « limites » de toute chose (par exemple, celles de l’architecture de Dogville, celles du ratio d’échange de la force de travail de Grace, celles de la diégèse du film), von Trier crée avec Dogville ce que nous appelons un « cinéma calculatoire ». Suivant la notion kantienne de « critique », nous avançons que Dogville explore cinématographiquement les limites des mécanismes de calcul eux-mêmes.Abstract:I argue in this article that Lars von Trier’s Dogville (2003) is a film that prolongs a philosophical tradition of critique of reification. Making use of Marx and Lukács’s work, I highlight the concept of calculation for analyzing the story of the protagonist, Grace, as a tale of exploitation based on mechanisms of labour exchange. My aim, however, is not only to describe this process in terms of Dogville’s storyline, but to ontologically characterize the cinematographic language and devices of the film as a visual allegory of the problem of calculation in contemporary capitalism. By making transparent the “limits” of everything (Dogville’s architecture, the exchange rates in Grace’s labour-power, and the limits of the film’s diegesis, for instance), von Trier creates in Dogville what I call “calculative cinema.” Following the Kantian notion of “critique,” I propose that Dogville explores the limits of the mechanisms of calculation in cinematic terms.
摘要：在这篇文章中，我建议将导演拉尔斯·冯·特里尔（Lars von Trier）的《多格维尔》（2003）解读为一部延续批判物化哲学传统的电影。在马克思和卢卡斯作品的基础上，我们强调了计算的概念，以分析主人公格雷斯的故事，作为基于劳动交换机制的剥削叙事。然而，我们的目标不仅是根据电影情节描述这一过程，而且最重要的是，从本体论上将语言和电影设备描述为当代资本主义计算问题的视觉寓言。通过揭示一切事物的“局限性”（例如，多格维尔建筑的局限性、格雷斯劳动力交换率的局限性和电影的迪吉斯的局限性），冯·特里尔与多格维尔一起创造了我们称之为“计算电影”。根据康德的“批判”概念，我们认为多格维尔在电影中探索了计算机制本身的局限性。摘要：我在这篇文章中认为，拉尔斯·冯·特里尔的《多格维尔》（2003）是一部延续了批判重新化哲学传统的电影。利用马克思和卢卡斯的作品，我强调了计算的概念，以分析主人公格雷斯的故事，作为基于劳动交换机制的剥削故事。然而，我的目标不仅仅是用多格维尔的故事情节来描述这一过程，而是从本体上描述电影的电影语言和设备，作为当代资本主义计算问题的视觉寓言。冯·特里尔（Von Trier）在多格维尔创造了我所称的“计算电影”。遵循康德的“批评”概念，我建议多格维尔探索电影术语计算机制的极限。
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{"title":"Doing Time: Temporality, Hermeneutics, and Contemporary Cinema","authors":"Michael Meneghetti","doi":"10.3138/cjfs.26.1.br2","DOIUrl":"https://doi.org/10.3138/cjfs.26.1.br2","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":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90436568","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":"Reimagining Cinema: Film at Expo 67 Edited by Monika Kin Gagnon and Janine Marchessault Montreal: McGill-Queen’s University Press, 2014","authors":"Brian Real","doi":"10.3138/CJFS.25.2.127","DOIUrl":"https://doi.org/10.3138/CJFS.25.2.127","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":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686100","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}
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