Elena Dulgheru. Tarkovsky. Film as Prayer (A Poetic of the Sacred in the Cinema of Andrei Tarkovsky)/Romanian: Filmul ca rugăciune (O poetică a sacrului în cinematogaful lui Andrei Tarkovski)/, second edition, Arca Învierii Publishing House, 2020.
{"title":"Review of A Christian Approach to Cinema: Tarkovsky. Film as Prayer","authors":"Ioan Buteanu","doi":"10.5195/CINEJ.2021.324","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.324","url":null,"abstract":"Elena Dulgheru. Tarkovsky. Film as Prayer (A Poetic of the Sacred in the Cinema of Andrei Tarkovsky)/Romanian: Filmul ca rugăciune (O poetică a sacrului în cinematogaful lui Andrei Tarkovski)/, second edition, Arca Învierii Publishing House, 2020.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84595799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines affective and semiotic aspects of Don’t Breathe’s construction of evil and horror. To work towards a post-genre approach to horror, evil and horror are re-examined and differentiated on a discursive level in a first theoretic step. The following film analysis takes Fede Álvarez’ 2016 horror film Don’t Breathe as its case. In a first part, it draws from the Marxian metaphor of vampiric capital and employs a Deleuzian approach to film in focusing on the impulse-image of Don’t Breathe. In a second part, the analysis of evil and monstrous horror then takes into account political notions of the film’s themes of blindness and (dis)ability, thereby moving from a (primarily) affective perspective to a rather semiotic discussion.
{"title":"The Impulse-Image of Vampiric Capital and the Politics of Vision and Disability: Evil and Horror in Don’t Breathe","authors":"Moritz Wischert-Zielke","doi":"10.5195/CINEJ.2021.382","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.382","url":null,"abstract":"This article examines affective and semiotic aspects of Don’t Breathe’s construction of evil and horror. To work towards a post-genre approach to horror, evil and horror are re-examined and differentiated on a discursive level in a first theoretic step. The following film analysis takes Fede Álvarez’ 2016 horror film Don’t Breathe as its case. In a first part, it draws from the Marxian metaphor of vampiric capital and employs a Deleuzian approach to film in focusing on the impulse-image of Don’t Breathe. In a second part, the analysis of evil and monstrous horror then takes into account political notions of the film’s themes of blindness and (dis)ability, thereby moving from a (primarily) affective perspective to a rather semiotic discussion.","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":"77160802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.
{"title":"Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training","authors":"Murat Akser","doi":"10.5195/cinej.2021.414","DOIUrl":"https://doi.org/10.5195/cinej.2021.414","url":null,"abstract":"This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"199 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90281441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study explores the role of liminality and Surrealism in Luis Bunuel’s The Discreet Charm of the Bourgeoisie. By taking into consideration the relationship between Surrealism, Marxism and Freud, this paper identifies the role of the liminal and Bunuel’s treatment of these topics. The purpose of this study is to examine the use of liminal space and Surrealism to identify the role of the bourgeois and their fears through the lens of Bunuel.
{"title":"The Liminal and the Surreal: The Space of Limbo and Dreams in Luis Bunuel’s The Discreet Charm of the Bourgeoisie","authors":"Miniature Malekpour, Shooka Motamedi","doi":"10.5195/CINEJ.2021.342","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.342","url":null,"abstract":"This study explores the role of liminality and Surrealism in Luis Bunuel’s The Discreet Charm of the Bourgeoisie. By taking into consideration the relationship between Surrealism, Marxism and Freud, this paper identifies the role of the liminal and Bunuel’s treatment of these topics. The purpose of this study is to examine the use of liminal space and Surrealism to identify the role of the bourgeois and their fears through the lens of Bunuel.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"55 3","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72543935","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}
Apart from being shot in almost the same decades, Shame (Steve McQueen, 2011) and Issız Adam (Çağan Irmak, 2008) have other analogies that require to study on. Even though both men live in different cultures and have different relationship models, they struggle in life concurrently. While Steve McQueen’s Shame focuses on uncompromising sex addiction that overthrows a man’s life, Çağan Irmak’s Issız Adam takes it on a romantic level and presents a lonely man who cannot attach women. Though it seems an ordinary attachment problem on the surface, both men have deep social, sexual, familial problems that force them to be left alone. In consideration of adult romantic attachment theory of Hazan and Shaver (1987), both male characters will be examined under the topics of adult loneliness and love, romantic incest and sex addiction to analyze the reasons and the results of the bond that both male characters cannot have built.
《羞耻》(Steve McQueen, 2011)和《Issız Adam》(Çağan Irmak, 2008)除了在几乎相同的年代拍摄之外，还有其他需要研究的类比。尽管两个人生活在不同的文化背景下，有着不同的关系模式，但他们同时在生活中挣扎。史蒂夫·麦奎因(Steve McQueen)的《羞耻》(Shame)关注的是颠覆男人生活的不妥协的性瘾，Çağan伊尔马克(Irmak)的《Issız亚当》(Adam)将其提升到了浪漫的层面，呈现了一个无法与女人亲近的孤独男人。虽然表面上这似乎是一个普通的依恋问题，但两个人都有深刻的社会、性和家庭问题，这些问题迫使他们独处。考虑到Hazan and Shaver(1987)的成人浪漫依恋理论，我们将在成人孤独与爱情、浪漫乱伦和性瘾的主题下对这两个男性角色进行考察，分析这两个男性角色无法建立的纽带的原因和结果。
{"title":"Disgraced of the West, Deserted of the East: Men in the Films Shame and Issız Adam (Alone)","authors":"Selen Gökçem Akyıldız","doi":"10.5195/CINEJ.2021.359","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.359","url":null,"abstract":"Apart from being shot in almost the same decades, Shame (Steve McQueen, 2011) and Issız Adam (Çağan Irmak, 2008) have other analogies that require to study on. Even though both men live in different cultures and have different relationship models, they struggle in life concurrently. While Steve McQueen’s Shame focuses on uncompromising sex addiction that overthrows a man’s life, Çağan Irmak’s Issız Adam takes it on a romantic level and presents a lonely man who cannot attach women. Though it seems an ordinary attachment problem on the surface, both men have deep social, sexual, familial problems that force them to be left alone. In consideration of adult romantic attachment theory of Hazan and Shaver (1987), both male characters will be examined under the topics of adult loneliness and love, romantic incest and sex addiction to analyze the reasons and the results of the bond that both male characters cannot have built. ","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82438374","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}
Thanks for Sharing (2012) and Don Jon (2013), share similarities in their representation of the lives of unmarried men who are all approaching midlife, and who are all struggling to build meaningful, monogamous, long term attachments with women. In Thanks for Sharing, Adam (Mark Ruffalo) is addicted to brief encounters with numerous partners in contexts devoid of emotional intimacy, while a fellow member of his sex addicts support group, Neil (Josh Gad), struggles with a compulsion to touching strangers in public locations. In counterpoint, Don Jon charts the protagonist’s insatiable consumption of online pornography, since Jon believes that the virtual domain provides a far superior sexual experience than anything, he could find in real life encounters with women. This article is concerned with the relationship between sex addiction and masculinity, and how neoliberalism is imbued in the characters’ embodiment of masculinity regardless of their divergent social backgrounds.
{"title":"“not conducive for sobriety”: Sex Addiction and Neoliberal Masculinity in Don Jon and Thanks for Sharing","authors":"J. R. Gwynne","doi":"10.5195/CINEJ.2021.320","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.320","url":null,"abstract":"Thanks for Sharing (2012) and Don Jon (2013), share similarities in their representation of the lives of unmarried men who are all approaching midlife, and who are all struggling to build meaningful, monogamous, long term attachments with women. In Thanks for Sharing, Adam (Mark Ruffalo) is addicted to brief encounters with numerous partners in contexts devoid of emotional intimacy, while a fellow member of his sex addicts support group, Neil (Josh Gad), struggles with a compulsion to touching strangers in public locations. In counterpoint, Don Jon charts the protagonist’s insatiable consumption of online pornography, since Jon believes that the virtual domain provides a far superior sexual experience than anything, he could find in real life encounters with women. This article is concerned with the relationship between sex addiction and masculinity, and how neoliberalism is imbued in the characters’ embodiment of masculinity regardless of their divergent social backgrounds.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84682900","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 2021 we have received a variety of books on cinema and media from these publishers: American University of Cairo Press, Amsterdam University Press, Auteur, Bloomsbury Academic, Columbia University Press, Edinburgh University Press, IGI Global, Intellect, Liverpool University Press, transcript Verlag, University Press of Mississippi and Wayne State University Press.
{"title":"Books Received 2021","authors":"Murat Akser","doi":"10.5195/CINEJ.2021.415","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.415","url":null,"abstract":"In 2021 we have received a variety of books on cinema and media from these publishers: American University of Cairo Press, Amsterdam University Press, Auteur, Bloomsbury Academic, Columbia University Press, Edinburgh University Press, IGI Global, Intellect, Liverpool University Press, transcript Verlag, University Press of Mississippi and Wayne State University Press.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"66 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74133769","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}
Film as a medium of communication uses visual and auditory signs between senders and receivers. It is considered as one of the most influential areas of media. The art form in Cameroon is valorised more through the home video system caused principally by the closure of theatre halls and the advent of cable TV channels dedicated to the broadcasting of movies for home consumption and the emergence of new media. This study looks at the reception of these home videos particularly in the student residential area of Bambili – Cameroon. A total number of 500 students served as sample for the study whose results show that a majority of viewers choose films according to different criteria but mostly influenced by their horizons of expectations.
{"title":"The reception of Cameroon Films and home videos in student residential areas: the case of Bambili – Cameroon","authors":"Paul Animbom Ngong","doi":"10.5195/CINEJ.2021.357","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.357","url":null,"abstract":"Film as a medium of communication uses visual and auditory signs between senders and receivers. It is considered as one of the most influential areas of media. The art form in Cameroon is valorised more through the home video system caused principally by the closure of theatre halls and the advent of cable TV channels dedicated to the broadcasting of movies for home consumption and the emergence of new media. This study looks at the reception of these home videos particularly in the student residential area of Bambili – Cameroon. A total number of 500 students served as sample for the study whose results show that a majority of viewers choose films according to different criteria but mostly influenced by their horizons of expectations.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"118 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88112913","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 study explores the entire journey of the Assamese cinema, which means a journey that will narrate many stories from its past and present, furthermore also will try to analyze its future potential. This paper deals with the trends emerging in genres, technical advancement, and visual representation along with a cult that emphasized the commercial success of cinema by toeing the style of Bollywood and world cinema. It explores the new journey of Assamese cinema, which deals with small budgets, realistic approaches, and portraying stories from the native lanes. It also touches upon the phase of ‘freeze’ that the Assamese cinema industry was undergoing due to global pandemic Covid-19.
{"title":"The world of Assamese celluloid: ‘yesterday and today’","authors":"Violet Barman Deka","doi":"10.5195/cinej.2021.358","DOIUrl":"https://doi.org/10.5195/cinej.2021.358","url":null,"abstract":"The study explores the entire journey of the Assamese cinema, which means a journey that will narrate many stories from its past and present, furthermore also will try to analyze its future potential. This paper deals with the trends emerging in genres, technical advancement, and visual representation along with a cult that emphasized the commercial success of cinema by toeing the style of Bollywood and world cinema. It explores the new journey of Assamese cinema, which deals with small budgets, realistic approaches, and portraying stories from the native lanes. It also touches upon the phase of ‘freeze’ that the Assamese cinema industry was undergoing due to global pandemic Covid-19.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85310872","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 following essay discusses the cultural factors that inspired the “hard body” movies of the 1980’s and 1990’s, but it also describes the changes that occurred, later on, that contributed to the deconstruction of those movies. The hard body movies were characterized by having a reoccurring set of actors (Schwarzenegger, Stallone, and Van Damme) and themes (facing adversaries in a forceful manner), and some of the factors that influenced this portrayal were the Reagan Revolution and a revaluation of the Vietnam war. However, a change in political ideology, and a reassessment of America’s place in the world, inspired the deconstruction of those movies, and newer movies brought with them a new message, of what could be considered a soft body.
{"title":"I’ll be back? The Deconstruction of the 1980s and the 1990s Hard Body Movies","authors":"Moshe Machlev","doi":"10.5195/CINEJ.2021.369","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.369","url":null,"abstract":"The following essay discusses the cultural factors that inspired the “hard body” movies of the 1980’s and 1990’s, but it also describes the changes that occurred, later on, that contributed to the deconstruction of those movies. The hard body movies were characterized by having a reoccurring set of actors (Schwarzenegger, Stallone, and Van Damme) and themes (facing adversaries in a forceful manner), and some of the factors that influenced this portrayal were the Reagan Revolution and a revaluation of the Vietnam war. However, a change in political ideology, and a reassessment of America’s place in the world, inspired the deconstruction of those movies, and newer movies brought with them a new message, of what could be considered a soft body.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89067214","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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