Studies in European Cinema最新文献

英文中文

East German Film and the Holocaust 东德电影与大屠杀

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2023-01-24 DOI: 10.1080/17411548.2023.2169529

S. Allan

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Europe’s irresolvable messiness 欧洲无法解决的混乱

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Studies in European Cinema

Pub Date : 2023-01-02 DOI: 10.1080/17411548.2023.2181568

Owen Evans, G. Harper

In a recent discussion with students about what European cinema might look like, it was striking how the descriptions that emerged seemed to focus principally on what French cinema was perceived to be, which was then transposed onto cinema production across the continent as a whole. When pressed to provide examples of films to help flesh out the debate, a core of students offered up a selection of greats from the French New Wave. Les Quatre Cents Coups/The Four Hundred Blows (Truffaut, 1959) and A Bout de Souffle/ Breathless (Godard, 1960) were uppermost in their thinking, therefore, which no doubt bespeaks the way film studies has tended to fall back on a certain canon, which in turn has been cemented by curricula over many years. Matthieu Kassovitz’s La Haine/Hate (1995) also made an appearance, not unexpectedly either in view of its apparent ubiquity on A-level syllabi, but it was the mention of Portrait de la jeune fille en feu/Portrait of a Lady on Fire (Sciamma, 2019) that was the most pleasing and encouraging. As a recent film, its high profile and appeal to, and influence on, a contemporary student audience is very gratifying. Indeed, it has already cropped up regularly in a number of student presentations since its release. Nevertheless, these are still all French films. Where are the Rossellini, Bergman, Tarkovsky or Fassbinder films? What about Haneke, Almodóvar, Hogg or Akin? Why are they seemingly so overlooked? Why is it that French cinema seems to remain synonymous with European film as a whole for so many? These are the questions that linger. When pressed a little more about other European films they might be familiar with, it was telling that a number of films available on Netflix were cited by the same group of students. El hoyo/The Platform (Gaztelu-Urrutia, 2019), for example, was cited and sparked an interesting conversation about Spanish horror films of recent times, many of which students began to remember and list with no little enthusiasm. Most strikingly of all, Edward Berger’s Im Westen nichts Neues/All Quiet on the Western Front (2022), the first German-language adaptation of Erich Maria Remarque’s powerful anti-war novel, was also mentioned, unsurprisingly perhaps in view of the recent publicity surrounding its significant BAFTA awards and Oscar nominations. However, because these were seen specifically as genre films the students seemed to ascribe them to popular cinema more generally, as opposed to European cinema per se. Maybe their distribution on Netflix rather than to a more typical art cinema setting contributed to that perception, their accessibility also perhaps removing something of that arty mystique the students appeared to associate with European films such as those produced by the auteurs of the French New Wave. There is no doubt that that label – auteur – continues to colour the perception of what constitutes European cinema more than anything else, and that is perhaps the fault of film courses everywhe

在最近与学生们讨论欧洲电影可能是什么样子时，令人惊讶的是，出现的描述似乎主要集中在法国电影的形象上，然后将其转化为整个欧洲大陆的电影制作。当被要求提供电影的例子来帮助充实这场辩论时，一名核心学生提供了法国新浪潮中的一些伟大人物。因此，《四分硬币政变》/《四百次打击》（Truffaut，1959年）和《Souffle Bout de Souffle》/《Breathless》（Godard，1960年）是他们最关心的问题，这无疑表明电影研究倾向于依赖某一经典，而这一经典又被多年来的课程所巩固。马蒂厄·卡索维茨（Matthieu Kassovitz）的《海恩/仇恨》（La Haine/Hate，1995）也出现了，这也并不意外，因为它在A级教学大纲中明显无处不在，但最令人高兴和鼓舞的是《着火女士的肖像》（Portrait de La jeune fille en feu/Portrait of A Lady on Fire，Sciamma，2019）。作为最近的一部电影，它的高调和号召力，以及对当代学生观众的影响，是非常令人欣慰的。事实上，自发布以来，它已经定期出现在许多学生的演讲中。尽管如此，这些仍然都是法国电影。罗塞里尼、伯格曼、塔可夫斯基或法斯宾德的电影在哪里？哈内克、阿尔莫多瓦、霍格或阿金呢？为什么它们看起来如此被忽视？为什么对这么多人来说，法国电影似乎仍然是欧洲电影的代名词？这些都是挥之不去的问题。当被问及他们可能熟悉的其他欧洲电影时，这说明同一组学生引用了Netflix上的一些电影。例如，El hoyo/The Platform（Gaztelu Urrutia，2019）被引用，并引发了一场关于近期西班牙恐怖电影的有趣对话，其中许多学生开始以不小的热情回忆和列举。最引人注目的是，爱德华·伯杰（Edward Berger）的《Im Westen nichts Neues/all Quiet on the Western Front》（2022）也被提及，这是根据埃里希·玛丽亚·雷马克（Erich Maria Remarque）强有力的反战小说改编的第一部德语作品，这或许并不奇怪，因为最近围绕其重要的英国电影和电视艺术学院奖和奥斯卡提名的宣传。然而，由于这些电影被专门视为类型电影，学生们似乎更普遍地将其归因于流行电影，而不是欧洲电影本身。也许它们在Netflix上的发行，而不是更典型的艺术电影环境，促成了这种看法，它们的可访问性或许也消除了学生们似乎与欧洲电影（如法国新浪潮导演制作的电影）联系在一起的艺术神秘感。毫无疑问，这个标签——导演——继续给欧洲电影的构成带来色彩，这可能是世界各地电影课程的错。这可能只是与Netflix经常默认配音版本的电影有关，这可能会诱使观众相信《2023年欧洲电影研究》，第20卷，第1期，第1-3页https://doi.org/10.1080/17411548.2023.2181568

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引用次数: 0

The journey of an identity: disorienting transnational ‎identifications in Souad El Bouhati’s Française (2008)‎ 身份之旅：Souad El Bouhati法语中的跨国身份错位（2008年）

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-12-28 DOI: 10.1080/17411548.2022.2162808

Said Chemlal

引用次数: 0

Blackthorn (Mateo Gil, 2011): an inter-national, revisionist, Spanish Western 《黑荆棘》(Mateo Gil, 2011):一部国际修正主义的西班牙西部片

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-12-08 DOI: 10.1080/17411548.2022.2150028

Amaia Ibarraran-Bigalondo

引用次数: 0

Review of Vampires in Italian cinema, 1956-1975 意大利电影中的吸血鬼，1956-1975

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-12-07 DOI: 10.1080/17411548.2022.2154594

L. Bayman

引用次数: 0

German film classics: coming out 德国电影经典:问世

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-12-05 DOI: 10.1080/17411548.2022.2154592

Stephan Ehrig

引用次数: 0

The end of an era? 一个时代的终结?

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-10-21 DOI: 10.1080/17411548.2022.2138121

Owen Evans, Graeme Harper

引用次数: 0

Introduction: non-theatrical film festivals 介绍:非院线电影节

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-09-02 DOI: 10.1080/17411548.2022.2119346

Marco Dalla Gassa, Andrea Gelardi, Angela Bianca Saponari, Federico Zecca

The idea for this publication stemmed from the Reframing Film Festivals conference that the curators of this special issue organised in Venice in February 2020, which was conceived to foster research engagement with the histories of film festivals and their relationship with film historiography and canons. During this two-day event, among the contributions dedicated to the micro-histories of a variety of festivals based in Central and Eastern Europe, South America and South-East Asia, several artists, curators, archivists and historians from France, Austria, Italy, Chile and Spain presented research focused on non-theatrical cultures and related festivals. This strand of research ranged from historical analysis of international competitions for amateur filmmakers to theorisations of the festivals dedicated to analog video art and time-based art, from the study of the historical developments of national non-fiction festivals to the mapping of ethnographic film festival circuits. Hence, in this special issue dedicated to non-theatrical film festivals, readers will find a combination of voices representing film cultures that have been developing outside of movie theatres and away from the logics of theatrical distribution, as the title implies. The common denominator of these essays is their spatial focus on film festivals, understood as ‘sites of passage’ (de Valck 2007, 36) where it is possible to explore and historicise the particular modes of circulation, exhibition practices and promotion strategies associated with ethnographic, amateur, documentary and experimental cinemas. So, the overall purpose of this collection is to understand how certain sub-circuits of festivals have operated and taken shape in the European context, and how they have informed cultural hierarchies, canons, and histories of cinema. In examining a variety of local, national, and international cases, the essays engage with some of the core ideas related to the study of film festivals, including matters of programming, networks and sub-networks, audiences and award ceremonies, access to and curation of their historical archives, and their historical connections with local communities and specific cultural fields. Tackling these and other research topics, the authors provide reflections on how festivals influence the production and circulation of amateur, experimental, and ethnographic films. Thus, this collection draws a set of viable methodological and conceptual paths to frame and analyse the relationship between festivals and developments in film historiographies, while also interrogating a wide range of topics related to film festival studies and non-theatrical film cultures. Following the 1999 Orphan Film Symposium and through a Film History special issue curated by Streible, Roepke, and Mebold (2007), the category of non-theatrical cinema has been primarily adopted in Anglophone film scholarship to describe and historicise amateur and professional small-gauge films ex

本期特刊的策展人于2020年2月在威尼斯组织了“重塑电影节”会议，该会议旨在促进对电影节历史及其与电影史学和经典关系的研究参与。在为期两天的活动中，来自法国、奥地利、意大利、智利和西班牙的几位艺术家、策展人、档案管理员和历史学家对中欧、东欧、南美和东南亚各种节日的微观历史做出了贡献，他们的研究重点是非戏剧文化和相关节日。这一系列的研究范围从业余电影人的国际竞赛的历史分析到致力于模拟视频艺术和基于时间的艺术的节日的理论化，从研究国家非虚构节日的历史发展到绘制民族志电影节线路。因此，在这期非院线电影节特刊中，读者将会发现，正如标题所暗示的那样，在电影院之外、远离院线发行逻辑的电影文化的代表声音组合。这些文章的共同点是他们对电影节的空间关注，被理解为“通道站点”(de Valck 2007, 36)，在那里可以探索和历史化与民族志、业余、纪录片和实验电影院相关的特定流通模式、展览实践和推广策略。因此，本作品集的总体目的是了解电影节的某些子回路是如何在欧洲背景下运作和形成的，以及它们是如何影响文化等级、准则和电影历史的。在研究各种地方、国家和国际案例时，这些文章涉及与电影节研究相关的一些核心思想，包括节目编排、网络和子网络、观众和颁奖典礼、历史档案的获取和管理，以及与当地社区和特定文化领域的历史联系。针对这些和其他研究主题，作者提供了关于节日如何影响业余，实验和民族志电影的制作和流通的思考。因此，本作品集绘制了一套可行的方法和概念路径，以框架和分析电影节与电影史学发展之间的关系，同时也询问了与电影节研究和非戏剧电影文化相关的广泛主题。在1999年孤儿电影研讨会之后，通过Streible、Roepke和Mebold策划的电影史特刊(2007年)，非剧场电影的类别主要被英语电影奖学金所采用，以描述和历史化在非剧场环境中经历的业余和专业小规格电影。最近，“非戏剧”一词在电影和媒体学术领域获得了广泛的应用，用于定义围绕电影数字访问的几种做法(Aveyard 2016;布朗2016)，研究在欧洲电影2022年，卷19,NO。3,187 - 190 https://doi.org/10.1080/17411548.2022.2119346

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Festivals and dispositifs of analog counter-culture 节日和处理模拟反文化

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-09-02 DOI: 10.1080/17411548.2022.2115253

Rossella Catanese, C. Centorrino

ABSTRACT This essay aims to provide an overview of the festivals dedicated to the analog films and performance practices of filmmakers and artist-run laboratories that posit themselves as media counter-culture and analog ‘resistance’. Such events offer the films’ material quality as a contrast to the planned obsolescence common in the IT industry. Currently, many filmmakers, artists and collectives create spaces, cooperatives, and independent labs to construct a media archaeology approach that is based on the experimental, hands-on re-enactment of traditional and obsolete practices. These film performance events thus exhibit the counter-cultural research performatively pursued by filmmakers, artists and collectives in an attempt to attract a perceptive audience capable of fully understanding this complex fruitive experience.

本文旨在概述致力于模拟电影和电影制作人和艺术家运营的实验室的表演实践的节日，这些实验室将自己定位为媒体反文化和模拟“抵抗”。这些活动提供了电影的材料质量，与IT行业中常见的计划淘汰形成鲜明对比。目前，许多电影人、艺术家和集体创建了空间、合作社和独立实验室，以实验性的、动手的方式重新制定传统和过时的做法，构建一种媒体考古学方法。因此，这些电影表演活动展示了电影人、艺术家和集体为了吸引能够充分理解这种复杂的功利体验的敏锐观众而进行的反文化研究。

引用次数: 0

How does film education increase the economic and social impact of European arthouse cinema? the case of the danish initiative Med Skolen i Biografen /School Cinema 电影教育如何增加欧洲艺术电影的经济和社会影响?丹麦的Med Skolen i Biografen /School Cinema项目

IF 0.2 0 FILM, RADIO, TELEVISION

Studies in European Cinema

Pub Date : 2022-08-29 DOI: 10.1080/17411548.2022.2115188

Petar Mitric

引用次数: 0

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