This is a reading of the film Waking Life (2001) in the framework of the Indic philosophy of ‘Vedanta,’ more specifically the ‘Advaita’ or the non-dual school of Vedanta. The film’s narrative is constructed out of the protagonist’s dreamscapes. The itinerant protagonist moves through conversations within his dreams, trying to make sense of his ‘wake walking’ situation. These conversations take the form of a more significant philosophical reflection upon the conscious life of humans. In this paper, I analyze some of these conversations and discussions from the Advaita point of view to affirm the film’s orientation towards a spiritual and metaphysical reflection on human life.
{"title":"Waking (Dreaming): A Vedantic Reflection on Richard Linklater’s Waking Life","authors":"Jayakrishna Upadhyay","doi":"10.5195/CINEJ.2021.330","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.330","url":null,"abstract":"This is a reading of the film Waking Life (2001) in the framework of the Indic philosophy of ‘Vedanta,’ more specifically the ‘Advaita’ or the non-dual school of Vedanta. The film’s narrative is constructed out of the protagonist’s dreamscapes. The itinerant protagonist moves through conversations within his dreams, trying to make sense of his ‘wake walking’ situation. These conversations take the form of a more significant philosophical reflection upon the conscious life of humans. In this paper, I analyze some of these conversations and discussions from the Advaita point of view to affirm the film’s orientation towards a spiritual and metaphysical reflection on human life.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91014088","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}
Hong Sang-soo’s cinema is one in which his characters consistently avoid reality, whether by constructing explanatory narratives and patterns or by turning other people into emotionally projected images. Woman on the Beach (2007), I argue, openly diagnoses this tendency and finds instead what one of its characters calls “the real thing.” Placing this film in the context of Hong’s oeuvre as a whole, I explore Hong’s overarching interest in trying to see “the real thing” instead of imaginatively constructing it. And thus, in a career frequently compared to Rohmer’s, Woman on the Beach, with its search for this almost mystical encounter with reality, emerges as Hong’s variation on Rohmer’s own search for what’s real in Le Rayon vert (1986).
洪尚秀(Hong Sang-soo)的电影中，他的角色总是回避现实，无论是通过构建解释性的叙事和模式，还是通过将其他人变成情感投射的形象。我认为，《海滩上的女人》(2007)公开地诊断了这种倾向，反而发现了其中一个角色所说的“真实的东西”。把这部电影放在洪的整个作品的背景下，我探索了洪的首要兴趣，试图看到“真实的东西”，而不是想象地构建它。因此，在一个经常被拿来与侯麦比较的职业生涯中，《海滩上的女人》(Woman on the Beach)以其对近乎神秘的现实遭遇的探索，作为侯麦自己在《Le Rayon vert》(1986)中对真实的探索的变化而出现。
{"title":"“About Miracles”: Seeing the “real thing” in Hong Sang-soo’s Woman on the Beach and Éric Rohmer’s Le Rayon vert","authors":"Jacob Hovind","doi":"10.5195/CINEJ.2021.326","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.326","url":null,"abstract":"Hong Sang-soo’s cinema is one in which his characters consistently avoid reality, whether by constructing explanatory narratives and patterns or by turning other people into emotionally projected images. Woman on the Beach (2007), I argue, openly diagnoses this tendency and finds instead what one of its characters calls “the real thing.” Placing this film in the context of Hong’s oeuvre as a whole, I explore Hong’s overarching interest in trying to see “the real thing” instead of imaginatively constructing it. And thus, in a career frequently compared to Rohmer’s, Woman on the Beach, with its search for this almost mystical encounter with reality, emerges as Hong’s variation on Rohmer’s own search for what’s real in Le Rayon vert (1986).","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"307 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74199596","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}
The purpose of the present article is to study the social implications of repetitive metaphors in the film and of the word Parasite (2019) and to observe what makes the life of a lower-class family parasitic within a typical capitalistic society. In the mainstream discussion, the metaphorical functions of such words as ‘smell,’ ‘insects,’ ‘the rock,’ and ‘the party’ are assessed within the context of the film. The central questions of the article, therefore, are: What are the recurrent and metaphorical motifs in the plotline and how can their implications be related to the overall theme of the film? How does Parasite exhibit the clash of classes in a capitalist society? To answer the questions, the present study offers a comprehensive analysis of its recurring metaphors as well as its treatment of the characters who visibly belong to two completely different classes. Through a complex story of two families whose fate gets intermingled, Bong Joon-ho masterfully presents a metaphoric picture of a society where inequality is rampant and the poor can only experience temporary happiness in the shadow of the rich (represented by the Park family).
{"title":"The Social Implications of Metaphor in Bong Joon-ho’s Parasite","authors":"A. Farahbakhsh, Ramtin Ebrahimi","doi":"10.5195/CINEJ.2021.291","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.291","url":null,"abstract":"The purpose of the present article is to study the social implications of repetitive metaphors in the film and of the word Parasite (2019) and to observe what makes the life of a lower-class family parasitic within a typical capitalistic society. In the mainstream discussion, the metaphorical functions of such words as ‘smell,’ ‘insects,’ ‘the rock,’ and ‘the party’ are assessed within the context of the film. The central questions of the article, therefore, are: What are the recurrent and metaphorical motifs in the plotline and how can their implications be related to the overall theme of the film? How does Parasite exhibit the clash of classes in a capitalist society? To answer the questions, the present study offers a comprehensive analysis of its recurring metaphors as well as its treatment of the characters who visibly belong to two completely different classes. Through a complex story of two families whose fate gets intermingled, Bong Joon-ho masterfully presents a metaphoric picture of a society where inequality is rampant and the poor can only experience temporary happiness in the shadow of the rich (represented by the Park family).","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"64 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76006650","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}
Shakespeare’s tragedies and Quentin Tarantino’s aesthetically violent films bear striking similarities in the problematization of both villainy and reality. Such concerns reverberate the most in Othello (1604) and The Hateful Eight (2015). Although critical scholarship about both works abounds, this essay offers an alternative approach by consulting the thoughts of Jean Baudrillard on the issues of hyperreality, criminality, and terrorism. The dialogue between the three can be important in two ways. First, it establishes a link between Early Modern and contemporary culture by engaging three canonical figures. Second, it provides a novel commentary about each artistic piece by drawing on the profound ways (hyper)reality and villainy can function. The essay also discusses the (non-voluntaristic) crises of reality that follow, when opposing parties battle for the ultimate power.
{"title":"Baudrillard, Hyperreality, and the Evil in Othello and The Hateful Eight","authors":"Pouria Torkamaneh, Farhad Poordakan, Pedram Lalbakhsh","doi":"10.5195/CINEJ.2021.354","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.354","url":null,"abstract":"Shakespeare’s tragedies and Quentin Tarantino’s aesthetically violent films bear striking similarities in the problematization of both villainy and reality. Such concerns reverberate the most in Othello (1604) and The Hateful Eight (2015). Although critical scholarship about both works abounds, this essay offers an alternative approach by consulting the thoughts of Jean Baudrillard on the issues of hyperreality, criminality, and terrorism. The dialogue between the three can be important in two ways. First, it establishes a link between Early Modern and contemporary culture by engaging three canonical figures. Second, it provides a novel commentary about each artistic piece by drawing on the profound ways (hyper)reality and villainy can function. The essay also discusses the (non-voluntaristic) crises of reality that follow, when opposing parties battle for the ultimate power. ","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"165 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74139113","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}
The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach explores the idea of simulacrum by analizing two examples: Blue (Apichatpong Weerasethakul, 2018) and Decor (Ahmad Abdalla, 2014).
{"title":"Cinema: Not Frames But Veils","authors":"Maria del Carmen Molina Barea","doi":"10.5195/CINEJ.2021.312","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.312","url":null,"abstract":"The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach explores the idea of simulacrum by analizing two examples: Blue (Apichatpong Weerasethakul, 2018) and Decor (Ahmad Abdalla, 2014).","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87450640","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}
Lie, S. (2020). Towards a Political Aesthetics of Cinema: The Outside of Film. Amsterdam University Press.
李，S.(2020)。走向电影的政治美学:电影的外在。阿姆斯特丹大学出版社。
{"title":"Review of Towards A Political Aesthetics of Cinema: The Outside of Film","authors":"M. Poloni","doi":"10.5195/CINEJ.2021.371","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.371","url":null,"abstract":"Lie, S. (2020). Towards a Political Aesthetics of Cinema: The Outside of Film. Amsterdam University Press.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"41 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80815100","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}
J. Murphy and L. Rascaroli (Eds.). Theorizing Film Through Contemporary Art Expanding Cinema. 302 pp. ISBN: 9789462989467
J. Murphy和L. Rascaroli(编)。通过当代艺术拓展电影来理论电影。302页。ISBN: 9789462989467
{"title":"Review of Theorizing Film Through Contemporary Art: Expanding Cinema","authors":"M. Wilmink","doi":"10.5195/CINEJ.2021.404","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.404","url":null,"abstract":"J. Murphy and L. Rascaroli (Eds.). Theorizing Film Through Contemporary Art Expanding Cinema. 302 pp. ISBN: 9789462989467","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87308584","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}
As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.
{"title":"Formation Of The Ambiguous Heroic Archetype: Three Jewish-American Film Actors And The United States’ Film System, 1929-1948","authors":"J. McGuire","doi":"10.5195/CINEJ.2021.322","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.322","url":null,"abstract":"As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"97 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74696023","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}
Ezra, E. (2020). Shoe Reels: The History and Philosophy of Footwear in Film. Edinburgh: Edinburgh University Press. xi + 293 pp. ISBN: 978-1-4744-5140-6
以斯拉，E.(2020)。鞋卷:电影中鞋类的历史和哲学。爱丁堡:爱丁堡大学出版社。xi + 293 pp. ISBN: 978-1-4744-5140-6
{"title":"Review of Shoe Reels: The History and Philosophy of Footwear in Film","authors":"Nilay Ulusoy","doi":"10.5195/CINEJ.2021.388","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.388","url":null,"abstract":"Ezra, E. (2020). Shoe Reels: The History and Philosophy of Footwear in Film. Edinburgh: Edinburgh University Press. xi + 293 pp. ISBN: 978-1-4744-5140-6","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84040350","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 contemporary, transnational exilic cinema exile an artist is made in an exilic journey. The 21st century journey departs from entirely opposite premises than those of the ancient journey, namely with the desire to escape one’s birthplace. The aim of the exile has also transformed: from a necessary step to secure one’s livelihood or even life, it has become one of exploration. Rather than the desire to settle elsewhere or to eventually return home, the exile sets on an open-ended, exploratory journey the premise of which is finding oneself. In this, the physical journey has come to resemble the metaphysical one of the artist. The exile departs from a physical place and journeys into a metaphysical space, geography becoming secondary while still being necessary. This journey is best recounted in the film Synonymes (2019) by Israeli director Nadav Lapid, an autobiographical tale that chronicles the director’s own exile from Israel to Paris and captures his journey toward becoming an artist. The paper references two prominently antinostalgic authors: 20th century Polish writer Witold Gombrowicz and Polsih-Jewish writer Henryk Grynberg.
{"title":"The Millennial Antinostalgic: Yoav in Nadav Lapid’s Synonymes","authors":"Jora Vaso","doi":"10.5195/CINEJ.2021.288","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.288","url":null,"abstract":"In contemporary, transnational exilic cinema exile an artist is made in an exilic journey. The 21st century journey departs from entirely opposite premises than those of the ancient journey, namely with the desire to escape one’s birthplace. The aim of the exile has also transformed: from a necessary step to secure one’s livelihood or even life, it has become one of exploration. Rather than the desire to settle elsewhere or to eventually return home, the exile sets on an open-ended, exploratory journey the premise of which is finding oneself. In this, the physical journey has come to resemble the metaphysical one of the artist. The exile departs from a physical place and journeys into a metaphysical space, geography becoming secondary while still being necessary. This journey is best recounted in the film Synonymes (2019) by Israeli director Nadav Lapid, an autobiographical tale that chronicles the director’s own exile from Israel to Paris and captures his journey toward becoming an artist. The paper references two prominently antinostalgic authors: 20th century Polish writer Witold Gombrowicz and Polsih-Jewish writer Henryk Grynberg.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"26 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75620273","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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