Pub Date : 2021-07-11DOI: 10.1080/17411548.2021.1930974
V. Baptist, J. Noordegraaf, Thunnis van Oort
ABSTRACT In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic and demographic profile of their surroundings, and film programming. Driven by the centrality of space as one of the defining traits of new cinema history, we operationalise this inquiry through a data-driven toolkit of interconnected scalable approaches, in order to establish a multilayered contextualisation of Amsterdam’s early cinema landscape. We analyse Amsterdam’s historical cinema market both on the meso level of the city’s overall surroundings and on the micro level of two neighbouring film venues within a specific urban district. By switching between different levels of scale to analyse the cinemas’ programming profiles, we highlight the venues’ positioning within the socio-spatial structure of the city and their neighbourhood community in particular. In the future, the multifaceted analytical exploration enabled by our digital toolkit can be further enhanced by an increased availability of more fine-grained archival and contextual data.
{"title":"A digital toolkit to detect cinema audiences of the silent era: scalable perspectives on film exhibition and consumption in Amsterdam neighbourhoods (1907-1928)","authors":"V. Baptist, J. Noordegraaf, Thunnis van Oort","doi":"10.1080/17411548.2021.1930974","DOIUrl":"https://doi.org/10.1080/17411548.2021.1930974","url":null,"abstract":"ABSTRACT In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic and demographic profile of their surroundings, and film programming. Driven by the centrality of space as one of the defining traits of new cinema history, we operationalise this inquiry through a data-driven toolkit of interconnected scalable approaches, in order to establish a multilayered contextualisation of Amsterdam’s early cinema landscape. We analyse Amsterdam’s historical cinema market both on the meso level of the city’s overall surroundings and on the micro level of two neighbouring film venues within a specific urban district. By switching between different levels of scale to analyse the cinemas’ programming profiles, we highlight the venues’ positioning within the socio-spatial structure of the city and their neighbourhood community in particular. In the future, the multifaceted analytical exploration enabled by our digital toolkit can be further enhanced by an increased availability of more fine-grained archival and contextual data.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1930974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-19DOI: 10.1080/17411548.2021.1921931
S. Angeli, Chiara Quaranta
ABSTRACT This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quilléveré), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Brüggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.
本文探讨了三部以宗教确认为中心的西欧电影中青春期女性身体的表现和肉体在天主教中的相关性。它们是:unpoison violent(爱如毒药，2010年，Katell quillver)， Corpo celeste(天体，2011年，Alice Rohrwacher)和Kreuzweg(十字架站，2014年，Dietrich brgemann)。三部电影中所描绘的确认圣礼成为青春期动态(即身体变化，性行为发展，家庭冲突)展开的轴心，为分析女性主体性与天主教调节角色之间的相互作用开辟了空间。我们将看到天主教在试图驯服女性身体时经常使用的微妙暴力，以及女性青少年在宗教权威背景下(重新)协商自己身份的方式。我们的论点是，在电影中，女主人公对确认的减法成为一种与天主教顺从的身体保持距离的方式，并重申她们个人的、具体化的主体性。为此，我们探讨天主教、女性和女性身体之间的复杂关系，探索天主教理想的、不变的身体和不断变化的、渴望的女性身体之间的二分法。
{"title":"Confirmations that were not meant to be: religion, violence and the female body in Un poison violent (2010), Corpo celeste (2011) and Kreuzweg (2014)","authors":"S. Angeli, Chiara Quaranta","doi":"10.1080/17411548.2021.1921931","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921931","url":null,"abstract":"ABSTRACT This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quilléveré), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Brüggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921931","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44716881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411548.2021.1921932
Tugce Kutlu
ABSTRACT This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.
{"title":"The rule of the weird: power relations in the films of Yorgos Lanthimos","authors":"Tugce Kutlu","doi":"10.1080/17411548.2021.1921932","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921932","url":null,"abstract":"ABSTRACT This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921932","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48465048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411548.2021.1929364
Owen M. Evans, G. Harper
{"title":"Building back better for the ‘new normal’?","authors":"Owen M. Evans, G. Harper","doi":"10.1080/17411548.2021.1929364","DOIUrl":"https://doi.org/10.1080/17411548.2021.1929364","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1929364","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45081208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411548.2019.1686891
Marie Orton
ABSTRACT Italy’s status as Europe’s ‘unguarded door’ in terms of arriving migrants and refugees has both altered and intensified long-standing divisions – within Italy, as well as between Italy and the rest of Europe. This paper examines the cultural reverberations of the migration crisis in two films: Con il sole negli occhi (Sun in His Eyes, 2015), and Cose dell’altro mondo (Things from Another World, 2011). In different ways, both these films reveal Italy’s anxieties about cultural re-negotiation as it responds to the migration phenomenon, and to its own inferiority complex as Europe’s internal Other. At the same time, these films highlight how the influx of refugees and migrants into Europe has forced the European Union to examine its foundational aspirations of ‘unity in diversity’ and universal equality, because migration inherently poses the problem of inside v. outside. Reading these films against the ideals of inclusion and egalitarianism suggests that the Enlightenment idea of ‘united in diversity’ that informs the European cultural project is only ethical and egalitarian if it is universal, extending from Europeans to non-Europeans as well, and that it can succeed only if it is supported economically as well as rhetorically.
摘要意大利作为欧洲移民和难民“无人看守之门”的地位，改变并加剧了意大利内部以及意大利与欧洲其他地区之间长期存在的分歧。本文在两部电影中探讨了移民危机的文化反响：《Con il sole negli occhi》（《他眼中的太阳》，2015年）和《Cose dell’altro mondo》（《来自另一个世界的事物》，2011年）。这两部电影以不同的方式揭示了意大利在应对移民现象时对文化重新谈判的焦虑，以及其作为欧洲内部他者的自卑感。与此同时，这些电影强调了难民和移民涌入欧洲如何迫使欧盟审视其“多样性中的团结”和普遍平等的基本愿望，因为移民本质上构成了内部与外部的问题。阅读这些反对包容和平等主义理想的电影表明，启蒙运动的“在多样性中团结一致”理念是欧洲文化项目的基础，如果它是普遍的，从欧洲人延伸到非欧洲人，那么它只有在经济和修辞上得到支持，它才能成功。
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Pub Date : 2021-04-13DOI: 10.1080/17411548.2021.1903295
Enrique Fibla-Gutiérrez
ABSTRACT If we understand cinema only as commercially produced and exhibited films then we are bound to a silent film history marked by loss and irreversibility. But what if we expand our conception of cinema to the numerous film experiences that happened beyond the commercial screen? This essay poses this question with the hope of initiating a transnational reinterpretation of silent film historiography through noncommercial cinema. I focus on two Catalan amateur filmmakers from the late 1920s and early 1930s, Lluís Gisbert and Llorenç Llobet Gràcia, , to show how silent film practices continued to develop beyond commercial cinema in the films, writings, and screening venues of amateurs throughout the world for decades after the release of the first talkies.
{"title":"From loss to reconsideration: rethinking silent film historiography through amateur cinema","authors":"Enrique Fibla-Gutiérrez","doi":"10.1080/17411548.2021.1903295","DOIUrl":"https://doi.org/10.1080/17411548.2021.1903295","url":null,"abstract":"ABSTRACT If we understand cinema only as commercially produced and exhibited films then we are bound to a silent film history marked by loss and irreversibility. But what if we expand our conception of cinema to the numerous film experiences that happened beyond the commercial screen? This essay poses this question with the hope of initiating a transnational reinterpretation of silent film historiography through noncommercial cinema. I focus on two Catalan amateur filmmakers from the late 1920s and early 1930s, Lluís Gisbert and Llorenç Llobet Gràcia, , to show how silent film practices continued to develop beyond commercial cinema in the films, writings, and screening venues of amateurs throughout the world for decades after the release of the first talkies.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1903295","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42741886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-20DOI: 10.1080/17411548.2021.1896433
Veronica R. F. Johnson
{"title":"The films of Lenny Abrahamson: a filmmaking of philosophy","authors":"Veronica R. F. Johnson","doi":"10.1080/17411548.2021.1896433","DOIUrl":"https://doi.org/10.1080/17411548.2021.1896433","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1896433","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43761628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-19DOI: 10.1080/17411548.2021.1903296
Hasan Gürkan, Övünç Ege
ABSTRACT This study investigates how the post-2010 Turkish action films portray men. Popular cinema positions all other sexual identities as secondary and often Other than (hegemonic) masculinity. In this context, this study examines masculinity in the centre of the narrative in the Turkish action films. The sample of the study consists of three action films with high production and box office hit in Turkey from 2010 to the present day, Kaos: Örümcek Ağı (Chaos: Spider Web, 2012), Çakal (The Jackal, 2010) and Panzehir (Antidote, 2014). Thus, the relationship between masculinity representations in Turkish mainstream action films and reality is discussed. In this study, the male characters can be categorized either fearless to sacrifice themselves for their family and nationality or negative subject men who never have characteristics that are not approved by the society. While there are almost no women in the narratives of these films, it can be classified that Turkish action films, as films that completely reflect the men’s world and become womanless.
{"title":"Gendering Turkish Action Films in the Post-2010 Period: “Hey boy, protect me and don’t cry!”","authors":"Hasan Gürkan, Övünç Ege","doi":"10.1080/17411548.2021.1903296","DOIUrl":"https://doi.org/10.1080/17411548.2021.1903296","url":null,"abstract":"ABSTRACT This study investigates how the post-2010 Turkish action films portray men. Popular cinema positions all other sexual identities as secondary and often Other than (hegemonic) masculinity. In this context, this study examines masculinity in the centre of the narrative in the Turkish action films. The sample of the study consists of three action films with high production and box office hit in Turkey from 2010 to the present day, Kaos: Örümcek Ağı (Chaos: Spider Web, 2012), Çakal (The Jackal, 2010) and Panzehir (Antidote, 2014). Thus, the relationship between masculinity representations in Turkish mainstream action films and reality is discussed. In this study, the male characters can be categorized either fearless to sacrifice themselves for their family and nationality or negative subject men who never have characteristics that are not approved by the society. While there are almost no women in the narratives of these films, it can be classified that Turkish action films, as films that completely reflect the men’s world and become womanless.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1903296","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47248025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.1080/17411548.2021.1899423
Lawrence Napper
ABSTRACT This article takes Peter Jackson’s use of Imperial War Museum footage in They Shall Not Grow Old (2018) and its reception as a starting point for considering the dilemma for film archives over how to enable their work to reach greater audiences without compromising their own reputation or the integrity of the collections they are custodians over. The first part of the article considers some of the issues around the distinction between film restoration and digital enhancement, and some of the pitfalls inherent in a range of well-established archival practices for ‘outreach’. The second half or the essay considers the resistance of military and film historians to the understanding of film footage as evidence, taking the 1916 documentary of The Battle of the Somme as a key case study. Overall the article argues that essay films, and invitations for film-makers and visual artists to offer creative responses to collections should be backed up with a route back to the source material within the collection, and that attention should always be paid to the necessity to explain archival footage to a general audience in the many instances where such footage doesn’t ‘speak for itself’.
{"title":"The Battle of the Somme (1916) and They Shall Not Grow Old (2018): archivists, historians, lies and the archive","authors":"Lawrence Napper","doi":"10.1080/17411548.2021.1899423","DOIUrl":"https://doi.org/10.1080/17411548.2021.1899423","url":null,"abstract":"ABSTRACT This article takes Peter Jackson’s use of Imperial War Museum footage in They Shall Not Grow Old (2018) and its reception as a starting point for considering the dilemma for film archives over how to enable their work to reach greater audiences without compromising their own reputation or the integrity of the collections they are custodians over. The first part of the article considers some of the issues around the distinction between film restoration and digital enhancement, and some of the pitfalls inherent in a range of well-established archival practices for ‘outreach’. The second half or the essay considers the resistance of military and film historians to the understanding of film footage as evidence, taking the 1916 documentary of The Battle of the Somme as a key case study. Overall the article argues that essay films, and invitations for film-makers and visual artists to offer creative responses to collections should be backed up with a route back to the source material within the collection, and that attention should always be paid to the necessity to explain archival footage to a general audience in the many instances where such footage doesn’t ‘speak for itself’.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1899423","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47536397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-08DOI: 10.1080/17411548.2021.1896434
J. Terrill
television was fundamental in constructing his sense of the world beyond the room. He also refers to Ma’s (Brie Larson) interview on television after their escape from the room and how she uses language to create her reality of that experience. The book ends with an interview with Abrahamson in which he offers insights into the motivation behind his filmmaking choices, including his interest in providing a space for what he calls a ‘present tense encounter’ with a character that ‘at least appears, or can appear, as unmediated by an author’ (197). Throughout the book Monahan uses a three-pronged approach: focusing on the philosophical insights offered by the films, using the films as an opportunity to illustrate theory for film students, and, explaining how other films and directors can illuminate Abrahamson’s creative process. This is an ambitious approach to Abrahamson’s work, and at times this triple method can disrupt the flow of the analysis, which is disappointing given that Monahan’s reading of the films is insightful and draws on theory in a nuanced manner. It would be useful to have a conclusion to the book, offering a section in which the themes uniting the films could be connected. The strength of The Films of Lenny Abrahamson lies in Monahan’s knowledge of the films and his ability to draw out their significance, both in the context of Irish film history and in how they contribute to an understanding of film theory. Monahan’s book is a useful first work on an important director.
{"title":"Italian cinema audiences: histories and memories of cinema-going in Post-war Italy","authors":"J. Terrill","doi":"10.1080/17411548.2021.1896434","DOIUrl":"https://doi.org/10.1080/17411548.2021.1896434","url":null,"abstract":"television was fundamental in constructing his sense of the world beyond the room. He also refers to Ma’s (Brie Larson) interview on television after their escape from the room and how she uses language to create her reality of that experience. The book ends with an interview with Abrahamson in which he offers insights into the motivation behind his filmmaking choices, including his interest in providing a space for what he calls a ‘present tense encounter’ with a character that ‘at least appears, or can appear, as unmediated by an author’ (197). Throughout the book Monahan uses a three-pronged approach: focusing on the philosophical insights offered by the films, using the films as an opportunity to illustrate theory for film students, and, explaining how other films and directors can illuminate Abrahamson’s creative process. This is an ambitious approach to Abrahamson’s work, and at times this triple method can disrupt the flow of the analysis, which is disappointing given that Monahan’s reading of the films is insightful and draws on theory in a nuanced manner. It would be useful to have a conclusion to the book, offering a section in which the themes uniting the films could be connected. The strength of The Films of Lenny Abrahamson lies in Monahan’s knowledge of the films and his ability to draw out their significance, both in the context of Irish film history and in how they contribute to an understanding of film theory. Monahan’s book is a useful first work on an important director.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1896434","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123609","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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