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":"18 1","pages":"235 - 251"},"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":"20 1","pages":"111 - 113"},"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":"20 1","pages":"4 - 19"},"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":"18 1","pages":"212 - 221"},"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":"20 1","pages":"113 - 115"},"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}
Pub Date : 2021-03-04DOI: 10.1080/17411548.2021.1896432
Mohamed Chamekh
{"title":"Cinemas and cinema-going in the United Kingdom: decades of decline, 1945–65","authors":"Mohamed Chamekh","doi":"10.1080/17411548.2021.1896432","DOIUrl":"https://doi.org/10.1080/17411548.2021.1896432","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"109 - 111"},"PeriodicalIF":0.2,"publicationDate":"2021-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1896432","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43691117","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 : 2021-02-18DOI: 10.1080/17411548.2021.1886454
N. Archer
ABSTRACT This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with industrial and/or cultural remits: specifically, the UK Film Council, the British Council and the British Film Institute. As I discuss, Dinard is a significant case study for understanding the British film-industrial relationship with France, but also for analysing the interrelationship between economic and cultural policy-making in the British film industry. As I also argue, looking at the history of the Dinard festival offers a significant example of the ways such showcases for ‘national cinema’ are bound up with the shifting contexts of film-industry policymaking. As I conclude, the changing economic fortunes in British film, and the economic contexts informing UK film policy, have not only impacted on Dinard, but also given the festival a renewed outlook – as well as a more political one in the recent contexts of the UK’s EU referendum and ‘Brexit’.
{"title":"French connection UK: the Dinard film festival and the politics of culture","authors":"N. Archer","doi":"10.1080/17411548.2021.1886454","DOIUrl":"https://doi.org/10.1080/17411548.2021.1886454","url":null,"abstract":"ABSTRACT This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with industrial and/or cultural remits: specifically, the UK Film Council, the British Council and the British Film Institute. As I discuss, Dinard is a significant case study for understanding the British film-industrial relationship with France, but also for analysing the interrelationship between economic and cultural policy-making in the British film industry. As I also argue, looking at the history of the Dinard festival offers a significant example of the ways such showcases for ‘national cinema’ are bound up with the shifting contexts of film-industry policymaking. As I conclude, the changing economic fortunes in British film, and the economic contexts informing UK film policy, have not only impacted on Dinard, but also given the festival a renewed outlook – as well as a more political one in the recent contexts of the UK’s EU referendum and ‘Brexit’.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"397 - 411"},"PeriodicalIF":0.2,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1886454","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44928784","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 : 2021-02-16DOI: 10.1080/17411548.2021.1886443
David Forrest, P. Merrington
ABSTRACT This article explores focus group responses to Mia Hansen-Løve’s Things to Come (2016). The focus groups were conducted across four English regions in Autumn 2018, and drew participants from a range of social, cultural and economic backgrounds. The responses reveal some of the ways in which audiences in the English regions form and make meaning around particular kinds of textual and contextual experiences of cinemagoing and consumption. In particular, the article aims to develop our understanding of contemporary art cinema to take account of the ways in which audiences identify and respond to a film clip which captures the particular textual characteristics associated with the mode. Our research finds that for many, the pleasures of art cinema are contingent on participation within related, elite social and cultural practices, whereas for others, art cinema conventions operate as sites of labour and exclusion. The responses also reveal some of the ways in which narratives of nationhood are constructed in relation to art cinema The methodological approach of the research, drawing on film elicitation, indicates ways in which traditional models of textual analysis might be enriched by more pluralised accounts of the relationships between form and meaning.
{"title":"A ‘space to imagine’: Frenchness and the pleasures and labours of art cinema in the English regions","authors":"David Forrest, P. Merrington","doi":"10.1080/17411548.2021.1886443","DOIUrl":"https://doi.org/10.1080/17411548.2021.1886443","url":null,"abstract":"ABSTRACT This article explores focus group responses to Mia Hansen-Løve’s Things to Come (2016). The focus groups were conducted across four English regions in Autumn 2018, and drew participants from a range of social, cultural and economic backgrounds. The responses reveal some of the ways in which audiences in the English regions form and make meaning around particular kinds of textual and contextual experiences of cinemagoing and consumption. In particular, the article aims to develop our understanding of contemporary art cinema to take account of the ways in which audiences identify and respond to a film clip which captures the particular textual characteristics associated with the mode. Our research finds that for many, the pleasures of art cinema are contingent on participation within related, elite social and cultural practices, whereas for others, art cinema conventions operate as sites of labour and exclusion. The responses also reveal some of the ways in which narratives of nationhood are constructed in relation to art cinema The methodological approach of the research, drawing on film elicitation, indicates ways in which traditional models of textual analysis might be enriched by more pluralised accounts of the relationships between form and meaning.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"380 - 396"},"PeriodicalIF":0.2,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1886443","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47876267","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 : 2021-01-10DOI: 10.1080/17411548.2020.1848097
Talya Alon-Altman
ABSTRACT Rainer Werner Fassbinder, one of the New German Cinema’s most prominent directors, included an unusual variety of characters and social classes in his films, in which he presented a critical view of modern Germany. As such, after his death many obituaries perceived him as the chief representative of new Germany. Following that, this article offers a new perspective for viewing Fassbinder’s work: it argues that Fassbinder’s films became the face of ‘New Germany’ not only because they portray a variety of characters and social classes and deal with West Germany’s modern history, but also that they relate to German cinematic heritage. To do so, this article observes Fassbinder’s film Lola (1981) by using a Bloomian discourse; it examines Lola as a ‘misreading’ of von Sternberg’s film Der blaue Engel (1931), a film based on Heinrich Mann’s novel Professor Unrat (1905).
摘要新德国电影界最杰出的导演之一Rainer Werner Fassbinder在他的电影中加入了不同寻常的人物和社会阶层，他在电影中对现代德国进行了批判。因此，在他去世后，许多讣告都认为他是新德国的首席代表。随后，本文为观看法斯宾德的作品提供了一个新的视角：认为法斯宾德电影之所以成为“新德国”的代言人，不仅是因为它们描绘了各种各样的人物和社会阶层，处理了西德的现代史，还因为它们与德国的电影遗产有关。为此，本文运用布卢姆话语来观察法斯宾德1981年的电影《洛拉》；它将《洛拉》视为对冯·斯滕伯格的电影《Der blaue Engel》（1931）的“误读”，这部电影是根据海因里希·曼的小说《Unrat教授》（1905）改编的。
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Pub Date : 2021-01-02DOI: 10.1080/17411548.2019.1580022
Maria-Cristina Necula
{"title":"Cristi Puiu","authors":"Maria-Cristina Necula","doi":"10.1080/17411548.2019.1580022","DOIUrl":"https://doi.org/10.1080/17411548.2019.1580022","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"95 - 97"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2019.1580022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45184706","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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