Studies in European Cinema最新文献

{"title":"Potential for a new normal after all?","authors":"Owen Evans","doi":"10.1080/17411548.2023.2264584","DOIUrl":"https://doi.org/10.1080/17411548.2023.2264584","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971288","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":"Socialist cinema, gender, and the robot revolution: Ion Popescu Gopo’s Galax, the Doll-Man (1984) beyond Utopia and Dystopia","authors":"C. Ungureanu","doi":"10.1080/17411548.2023.2224703","DOIUrl":"https://doi.org/10.1080/17411548.2023.2224703","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46165546","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":"History as Ritual: Fernando Arrabal’s L’arbre de Guernica and the Panic Historical Film","authors":"Yago Paris","doi":"10.1080/17411548.2023.2224704","DOIUrl":"https://doi.org/10.1080/17411548.2023.2224704","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48712956","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":"Racially profiled?: ‘Jewish’ vampirism in Friedrich Wilhelm Murnau’s Nosferatu (1922)","authors":"Molly Harrabin","doi":"10.1080/17411548.2023.2224702","DOIUrl":"https://doi.org/10.1080/17411548.2023.2224702","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43418429","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":"Social observation in miniature: Ruben Östlund’s short films as a model for his feature films","authors":"Birger Langkjær","doi":"10.1080/17411548.2023.2224730","DOIUrl":"https://doi.org/10.1080/17411548.2023.2224730","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46615933","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":"Docu-musical, migration and media reflexivity in The Harvest (2017) and Dimmi chi sono (2019)","authors":"Sabine Schrader","doi":"10.1080/17411548.2023.2200685","DOIUrl":"https://doi.org/10.1080/17411548.2023.2200685","url":null,"abstract":"ABSTRACT In the documentaries The Harvest (2017, Andrea Paco Mariani) and Dimmi chi sono (Sarita, 2019, Sergio Basso), the directors seek to raise awareness of a rarely told story, true to the tradition of politically engaged documentary. The Harvest denounces the slavery-like conditions in which Indian harvest hands work in Italy, while Dimmi chi photosono serves both as an archive for forgotten stories of the stateless Lhotshampa (an ethnic group displaced from Bhutan to Nepal) and to reveal the role of audio-visual media as vehicles for individual and collective memory. Though they tell very different stories, the films are united by their search for a suitable documentary language, since they can no longer rely on the authenticity effects that have been made hackneyed by the mass media to lend credibility to their accounts. The directors therefore combine conventional documentary methods with intermedial references to painting and photography, in particular pastiches of Hollywood/Bollywood musical scenes, so as to question Western concepts of authenticity.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42286962","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 and out of the zoom: The photographic act as frame of precarity in Italy’s postcolonial cinema since 1990","authors":"Stella Lange","doi":"10.1080/17411548.2023.2200633","DOIUrl":"https://doi.org/10.1080/17411548.2023.2200633","url":null,"abstract":"ABSTRACT Michele Placido’s Pummarò (1990) and Carmine Amoroso’s Cover Boy (2006) bring the legal, economic, and social precarity of West African and East European migrants in Italy to the screen. This article examines, firstly, how subjects who come from the Global South, or who are marked as such, are framed in their precarity from a Eurocentric perspective and, secondly, how they exercise agency and break free of the colonial, racializing, gender-critical, or classist frames imposed on them. The ‘illegitimate art’ of photography is suited to reflect this two-sided process of precarization and empowerment because it is accessible to diverse social classes. This heterogeneous plurality that produces, mediates, and receives photographs also determines an intersection of gazes that emerge from divergent positionings before and behind the camera. To bridge professional with amateur approaches, my performative analysis combines Philippe Dubois’ artistic concept of the ‘photographic act’ with Ariella Azoulay’s critique to reconsider the contingent and civil potentiality of photography by reimagining the ‘event of photography’. A media-critical relation between photography and film ultimately reveals this interplay of gazes to be a meta-aesthetic gesture by the observing medium of film, which self-critically interrogates its own cinematographic modes of representing precarious subjects.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47220404","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":"Debunking anti-Chinese stereotypes in Italy: intersectional perspectives and intermedial aesthetics in Sergio Basso’s Giallo a Milano (2009)1","authors":"Mario Vincenzo Casale","doi":"10.1080/17411548.2023.2200684","DOIUrl":"https://doi.org/10.1080/17411548.2023.2200684","url":null,"abstract":"ABSTRACT In this essay I analyse Sergio Basso’s documentary Giallo a Milano (Made in Chinatown, 2009), which took part in a wide-ranging media debate following the April 2007 protest of the Chinese community in Via Paolo Sarpi in Milan. In particular, my focus is on the various intermedial strategies employed within it, which, on the one hand, offer an extremely multifaceted and aesthetically sophisticated counter-narrative of its subject and, on the other, allow to debunk many of the stereotypes circulating about the Chinese in dominant mass media and popular discourse, powerfully bringing to light a series of portraits of migrant and post-migrant subjectivities in contemporary Italy, in which the complex intertwining of their identities of ethnicity and race, gender, social class and sexual orientation are constructed and performed on the cinema screen.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45714294","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":"Intermediality and media reflexivity in Italian cinema of migration","authors":"Sabine Schrader, S. Lange","doi":"10.1080/17411548.2023.2202956","DOIUrl":"https://doi.org/10.1080/17411548.2023.2202956","url":null,"abstract":"Italy has one of Europe’s most complex, multilayered cultures of migration. Mass emigration by Italians is firmly enshrined in collective memory, while Italy’s location on Europe’s geopolitical border has made the island of Lampedusa, a common arrival point for refugees, into an ambivalent symbol of Europe as ‘sanctuary’ and Europe as ‘fortress’. So it is unsurprising that the Italian film industry has produced a (both qualitatively and quantitatively) rich body of work dealing with the theme of migration. Italian cinema of migration offers a new perspective on transcultural European film, questioning from an Italian standpoint the representation of transcultural topics and the use of aesthetic practices such as hybridisation of spatial, temporal and genre boundaries, or interweaving intra-/intermedial and media-reflexive traditions. At first glance, migration appears to be a hetero-referential phenomenon; that is to say, one situated in the real world, outside the medium of film. But as the German sociologist Niklas Luhmann pointedly observed back in the 90s, ‘whatever we know about our society, or indeed about the world in which we live, we know through the mass media’ (Luhmann 2000b, 1). This seemingly banal observation has far-reaching consequences for a study of the Italian cinema of migration: (a) Firstly, as Luhmann noted immediately afterwards, we cannot really trust media sources. (b) Migration cannot be understood in isolation from mass-media coverage. It is a transmedial phenomenon, not specific to any one medium but the subject of reflection across a wide range of different media. (c) Italian cinema of migration and many TV productions seek to establish counter-discourses to the mass-media economy of attention that presents immigration as a threat. Many films make reference to the way the topic is presented in the mass media by critically showing TV news bulletins, newspaper articles or cameras pointed at refugees. (d) This (albeit mass media-influenced) reference to the outside world can quickly lead us to overlook that migration films are also narrative constructs, which in turn are moulded by intelligible formats or genre logics (Lacey 2005, 136) that make implicit or explicit intramedial references to films or genres and/or intermedially show, imitate and/or structurally reflect on other, distinct mediums. These intraand intermedial techniques can (though they need not) serve a media-reflexive function. Whether they do or not depends in particular on the genre. In participatory documentary, for instance, the choice not to use an invisible camera reinforces the documentary mode rather than critically reflecting on it. The use of intraand intermedial references likewise does not necessarily serve to show the constructed character of fictional worlds (Stam 1985, 131–132) but may have become a well-worn convention, making it necessary to experiment with other, newer estrangement effects (Kirchmann and Ruchatz 2014, 18) to achieve self","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44463707","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":"“È così che è nato il mito dell ’america” – media reflexivity in Emanuele Crialese’s Once We Were Strangers (1997) and Nuovomondo (2006)","authors":"Antonio Salmeri","doi":"10.1080/17411548.2023.2197661","DOIUrl":"https://doi.org/10.1080/17411548.2023.2197661","url":null,"abstract":"ABSTRACT Emanuele Crialese’s films about Italian emigration draw attention to their own mediality, just as in the films of the Taviani brothers (1984, 1987) and Gianni Amelio’s Lamerica (1994). Based on a study of Once We Were Strangers (1997) and Nuovomondo (2006), this article uses the concept of Bildspannung (‘image tension’) to explore the original potential of this media-reflexive technique. The technique involves both references to other media and intramedial forms of difference, as described by Pascal Bonitzer’s (2000 [1978]) concept of décadrage. How is it possible to ‘deceive any controlling immobility of the look’ (ibid. 201) and what (semantic) function does this theory of images serve in relation to collective (media-influenced) memory work on the phenomenon of Italian emigration?","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49260063","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}