Studies in European Cinema最新文献

{"title":"Experiencing films","authors":"Owen Evans","doi":"10.1080/17411548.2024.2322181","DOIUrl":"https://doi.org/10.1080/17411548.2024.2322181","url":null,"abstract":"Published in Studies in European Cinema (Vol. 21, No. 1, 2024)","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140037070","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}

{"title":"João de Deus’s musical perversions: a case study on the music and sexuality in two films by João César Monteiro","authors":"José Pinto, Margarida Medeiros","doi":"10.1080/17411548.2024.2320493","DOIUrl":"https://doi.org/10.1080/17411548.2024.2320493","url":null,"abstract":"This article addresses the music and its interactions in two films directed by João César Monteiro – Recordações da Casa Amarela [Recollections of the Yellow House] and A Comédia de Deus [God’s Com...","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140003554","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}

{"title":"Romance and Hitchcock? Viewing master of suspense as master of romance","authors":"Indumathi Somashekar, Nivedhitha D, Melwyn S. Pinto","doi":"10.1080/17411548.2024.2319850","DOIUrl":"https://doi.org/10.1080/17411548.2024.2319850","url":null,"abstract":"This essay through literature and textual analysis argues that romance or romantic love is a dominant theme in Alfred Hitchcock’s films alongside suspense. Romance in Hitchcock’s films is highlight...","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139967784","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}

{"title":"The motherly gaze in Aslaug Holm’s Brothers (Brødre, 2015)","authors":"Atėnė Mendelytė","doi":"10.1080/17411548.2024.2319406","DOIUrl":"https://doi.org/10.1080/17411548.2024.2319406","url":null,"abstract":"Award-winning Norwegian filmmaker Aslaug Holm’s Brothers (Brødre, 2015) is a documentary that explores the question of how to imbue contingency with significance and extract what is the most real (...","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139950385","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}

{"title":"Black Film British Cinema II","authors":"William Brown","doi":"10.1080/17411548.2024.2319876","DOIUrl":"https://doi.org/10.1080/17411548.2024.2319876","url":null,"abstract":"Published in Studies in European Cinema (Ahead of Print, 2024)","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139909869","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}

{"title":"Sublime aesthetics in Philippe Grandrieux’s <i>Un lac</i>","authors":"Troy Michael Bordun","doi":"10.1080/17411548.2023.2264602","DOIUrl":"https://doi.org/10.1080/17411548.2023.2264602","url":null,"abstract":"ABSTRACTIn this article, I assess Philippe Grandrieux’s Un lac (2008) through the lens of the sublime. I offer a formal analysis of the film supported by contemporary theorists who have previously articulated the stakes of Grandrieux’s work in the tradition of narrative cinema. Similar to prior research, my work sets out to understand Grandrieux’s aesthetics and how his filmmaking attempts to engage spectators’ sensory engagements and alter their perceptions of film. Where I diverge is in demonstrating how the theory of the sublime is useful for theoretical understandings of Grandrieux’s films and experimentations with narrative cinema more generally. Specifically, I turn to Un lac’s protagonist Alexi as an anchor to unpack Grandrieux’s experimental cinematography, editing, and sound. Following this, I examine the film through Cynthia A. Freeland’s conceptualization of sublime cinema. I conclude that the snowy landscapes, overwhelming woods, treacherous weather, and fragile bodies in the film work to diminish and dismantle the human figure. I draw on recent theories of cinema and affect to argue that the sublime encourages us to rethink our ontological presuppositions – Un lac posits an alternative to anthropocentrism.KEYWORDS: Affectsublimefilm aestheticsContemporary French Cinemafilm-philosophy Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. For commentary on Burke’s racism and sexism, see Armstrong (Citation2019) and Shapiro (Citation2018, 43).2. Speaking to Nicole Brenez (Citation2003), when asked whether he is happy with his then new film La vie nouvelle, Grandrieux replies, ‘Yes, very happy. It was made in such a dazzled state of perception, and to see that projected and recaptured gives me great joy’.3. The parallels to 21st-century film theory are striking. Recent theorists channel affect theory to consider the ways a film’s narrative, actors, characters, scenes, or techniques cause an initial bedazzlement, even a painful one, and a positive change in a (hypothetical) viewer’s outlook. Among many others, see (Grønstad Citation2011; Lübecker Citation2015; Bordun Citation2017).4. For details about the inspiration and process of developing the story, see Hainge (Citation2017, 182–187).5. For Grandrieux, the additional reason for the fairy tale archetypes is to remove questions of morality from the film, again suggesting an emphasis on the immediate engagement with the images and sounds. Chamarette (Citation2012, 215), quoting Grandrieux, personal interview.6. For my account of Carlos Reygadas’s similar flirtations with experimental cinema and weak narrative, see Bordun (Citation2017, 37–47).7. For David T. Mitchell and Sharon L. Snyder, disability in literary works is often featured as a ‘narrative prosthesis’ whereby characters with disabilities challenge ‘cultural ideals of the “normal” or “whole” body’ while also operating ‘as a crutch upon which literary narratives lean for their representation","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135017830","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}

{"title":"In the circle of tradition and conservatism: the heroic child in Turkish cinema according to collective values","authors":"Hasan Gürkan, Başak Gezmen","doi":"10.1080/17411548.2023.2269658","DOIUrl":"https://doi.org/10.1080/17411548.2023.2269658","url":null,"abstract":"ABSTRACTThis study focuses on the representation of the child in Turkish cinema, particularly in films where the child is central to the narrative. Turkish cinema constructed a national cinematic language during the Yeşilçam period (1950 – 1980), the most popular period of Turkish cinema, and representation of the child during this period is the basis of this study. Sezercik was an essential character in the history of Turkish cinema, and Sezercik films, of which there are nine, provide the sample of this study. In these films, family and educational theories manipulate the child and assign him the role of savior and confer a heroic mission on him at the moment of the disintegration of the nuclear family pumped by modernism. The child can be seen with traditional Turkish gender roles, establishing a national Turkish identity for the child: urban, embodying masculine values, heroic, and enacting the role of savior despite the fact of being a child. This heroism is portrayed within a broad framework and a range of contexts, from rescuing the disintegrating or disintegrated family to winning the freedom of the nation and ensuring its continuity.KEYWORDS: Childchildren filmsTurkish cinemaSezercik, child identity Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. ‘Sezercik’ is the name of the main character in a film series that gained popularity during what is considered the golden age of Turkish cinema. Sezer İnanoğlu, a renowned actor in Turkish cinema, portrayed this character. Sezercik embodies various personas in each film within the series. At times, the character highlights the adventures and honesty of an orphaned child, while in other instances, Sezercik represents a child from a wealthy family background. These films were primarily created for family and young audiences, and the character of Sezercik has evolved into an iconic figure in Turkish cinema.2. Yeşilçam Cinema refers to the 1950–1960s era cinema industry in Turkey.3. These three films are one of the first trilogies in Turkish cinema.4. Independent films started to be made in this era aside from theatrical films.5. The 1980 coup d’etat was a military intervention. This era lasted about 10 years in Turkey. In the meantime, many amendments, such as Prime Minister Süleyman Demirel’s duty being suspended, cancelation of the Grand Assembly of Turkey, making political parties invalid, and sentencing of the party leaders were occurred (Gürkan Citation2017, 46).6. The film Yalı (1990), which is among Sezercik films and the last film of Sezercik, was not included in the study. In this film, Sezercik is no longer a child but a young adult. The film is about the conflict between the capitalist order and tradition in a nuclear family living in a mansion inherited from a traditional noble family. The character Sezer plays a young man in his 25s.Additional informationFundingThe work was supported by the European Commission.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136033283","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}

{"title":"Cinema between monochrome painting and light vibrations: <i>Essentieel</i> (1964) by Jef Verheyen and Paul De Vree","authors":"Steven Jacobs, Kathy Vanhout","doi":"10.1080/17411548.2023.2266947","DOIUrl":"https://doi.org/10.1080/17411548.2023.2266947","url":null,"abstract":"ABSTRACTEssentieel (1964) is a short experimental film made by Belgian abstract painter Jef Verheyen in collaboration with poet Paul De Vree. A cinematic equivalent of Verheyen’s attempts in representing the warmth and vibrations of light in his monochrome or ‘essentialist’ paintings of the late 1950s and 1960s, the film plays on the tensions between abstract color surfaces and natural elements. Apart from offering a close-reading of Essentieel, this article investigates the film’s production context. In addition, it situates Essentieel in the history of experimental cinema, particularly abstract and visionary film, and it investigates the work’s relation to the aspirations of the landmark exhibition Vision in Motion – Motion in Vision (Antwerp, 1959), which is usually considered the first important international manifestation of the ZERO art movement. Consequently, this article analyzes Essentieel in the larger European context of ZERO and Verheyen’s collaborations and affinities with leading neo-avant-garde artists such as Lucio Fontana, Piero Manzoni, Yves Klein, and Jésus Rafael Soto.KEYWORDS: Jef VerheyenPaul De Vreemonochrome paintingabstract filmZERO movementexperimental film Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. On Jef Verheyen and his art, Willy Van den Bussche and Léonore Verheyen, Retrospectieve Jef Verheyen, 1932–1984. Brugge: Stichting Kunstboek, 1994; Freddy De Vree and Marie-Claire Nuyens (eds.), Jef Verheyen: Lux est Lex. Wijnegem: Vervoordt, 2004: and Jef Verheyen and Dirk Pörschmann, Jef Verheyen: Le Peintre flamant. Brussels: ASA, 2010.2. Composer Jan Bruyndonckx, who created a soundscape for Essentieel, worked closely with filmmaker Jos Pustjens for, among others, the film Amen (1962). Together with De Vree, he also made several sound poems. Bruyndonckx also wrote the score for the experimental short Mijn Evanaaste (1963), which Pustjens structured on the basis of poems by De Vree. The three artists also collaborated on Kleine Caroli (1964) while Bruyndonckx also recorded the poem Een Roos a rose (1966) together with De Vree. At the 1962 Benelux Film Festival, Amen was awarded the prize for best film and best music. See Folder ‘Benelux Film Festival 1963,’ Antwerpen – Gevaert Auditorium – Nationaal Centrum voor Moderne Kunst. Archives Paul De Vree, M HKA, Antwerp. Pustjens and Bruyndonckx were highly respected in amateur film circles. On 5 November 1964, both ‘amateur cineasts with great renown’ were invited by Amateur Ciné Brabo to screen their most recent films and to elucidate their ‘sonorization.’ See N.N., ‘Mededelingen: Amateur Ciné Brabo,’ Gazet van Antwerpen (4 November 1964): 13. On De Vree’s sonorous poems, see Hugh Davies, Répertoire international des musiques electroacoustiques/International Electronic Music Catalog. Paris: Groupe de Recherches Musicales de l’O.R.T.F, 1968, 13–14.3. On the problematic relation between Verheyen and G58.4. Filmgroep 58 was associa","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136098376","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}

{"title":"Film and the Imagined Image","authors":"Aldo Kempen","doi":"10.1080/17411548.2023.2257116","DOIUrl":"https://doi.org/10.1080/17411548.2023.2257116","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135742252","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}

{"title":"Looking beyond neoliberalism: French and francophone Belgian cinema and the crisis","authors":"Francesco Sticchi","doi":"10.1080/17411548.2023.2257117","DOIUrl":"https://doi.org/10.1080/17411548.2023.2257117","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135878322","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}