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Miraculous Realism: The French-Walloon Cinéma du Nord 神奇的现实主义:法国-瓦隆人的cin<s:1> ma du Nord
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-05 DOI: 10.1080/17411548.2022.2073777
Michael Cramer
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引用次数: 1
Seeing from scratch: fifteen lessons with Godard, with the postcard game 从头开始:戈达尔的15节课,明信片游戏
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-05 DOI: 10.1080/17411548.2022.2073775
Michael Grace
Study of Film Museums is shorter than the standard length for scholarly monographs. It could easily cover more. Whilst reading the text, I frequently found myself needing to go check online for additional information. This may on the one hand be a shortcoming as the details could have been in the book. But on the other hand, it could also be interpreted as a factor that confirms the book as sufficiently interesting to prompt further investigation. I give it the benefit of the doubt: it is a useful study that I wholeheartedly recommend. As a final aside, though, I do notice in this book a trend in the publishing of scholarly monographs that I have also noticed in recently published texts: no longer is there a bibliography at the end of the book. Rather, there are separate bibliographies at the end of each chapter. Besides the often-unnecessary repetitions, this practice is in breach of the style manuals’ standards for presenting scholarly monographs. Yet, it seems this is the new standard that profit-craving publishers impose: a sustained longer piece of writing is cut into manageable and ‘sellable’ chunks. As publishers ‘rule,’ this new standard will prevail. But it also spells out the end of the coherent treatise as an intellectual project.
《电影博物馆研究》比学术专著的标准篇幅要短。它可以很容易地覆盖更多。在阅读文本时,我经常发现自己需要上网查看更多信息。一方面,这可能是一个缺点,因为书中可能有细节。但另一方面,它也可以被解释为一个因素,证实这本书足够有趣,从而促使进一步的调查。我对此表示怀疑:这是一项有用的研究,我衷心推荐。不过,作为最后一句话,我在这本书中确实注意到了学术专著出版的趋势,我在最近出版的文本中也注意到了这一趋势:书的结尾不再有参考书目。相反,在每一章的末尾都有单独的参考书目。除了经常不必要的重复之外,这种做法还违反了风格手册对学术专著的标准。然而,这似乎是渴望利润的出版商强加的新标准:一篇持续更长的文章被切成可管理和“可销售”的大块。按照出版商的规定,这一新标准将占上风。但它也将连贯论文的结尾作为一个智力项目。
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引用次数: 0
The Spanish quinqui film: delinquency, sound, sensation 西班牙quinqui电影:犯罪,声音,感觉
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-05 DOI: 10.1080/17411548.2022.2073776
C. Donnelly
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引用次数: 0
Luchino Visconti and the fabric of cinema 卢奇诺·维斯康蒂和电影的结构
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-05 DOI: 10.1080/17411548.2022.2073773
Will Kitchen
precisely it is able to demonstrate the nature of these institutions, instead of simply gesturing towards an inchoate thing called ‘art cinema.’ My chief reservations about the book, however, concern the nature and function of its critical agnosticism. Jorge seems concerned mostly to use Costa as a kind of unusual case study, rarely intervening forcefully in any critical debates. Although he declares his intention to ‘give attention . . . to how possible political expression in Costa’s authorial practice is negotiated via critical discourses’ (130), after surveying the very disparate critical evaluations of Horse Money, he simply concludes that ‘[t]he debates emerging around the critical reception of Horse Money are still divided and to some extent inconclusive’ (146). At times I found myself caught between two stools, unsure whether I was frustrated by the scarcity of sustained critical and evaluative work in the book, or whether I would have preferred Jorge to have explicitly thematised his neutrality. Although it goes against my usual instincts, I did find myself wondering whether a rigorous refusal to engage in aesthetic evaluation might have been even more intellectually productive. Different readers will feel differently, but anybody interested either in Costa’s work or in the contexts within which it exists will find in the breadth and depth of the material presented in The Films of Pedro Costa an invaluable resource.
确切地说,它能够展示这些机构的本质,而不是简单地指向一个叫做“艺术电影”的不成熟的东西。然而,我对这本书的主要保留意见是关于其批判不可知论的性质和功能。豪尔赫似乎最关心的是把科斯塔作为一种不同寻常的案例研究,很少有力地干预任何批评性的辩论。尽管他宣称他的意图是“给予关注……”“在Costa的写作实践中,政治表达是如何通过批评话语来协商的”(130),在调查了对《马钱》非常不同的批评评价之后,他简单地得出结论:“围绕《马钱》的批评接受出现的辩论仍然是分裂的,在某种程度上是不确定的”(146)。有时,我发现自己左右为难,不确定我是否因为书中缺乏持续的批判性和评估性工作而感到沮丧,或者我是否更喜欢乔治明确地强调他的中立。虽然这违背了我通常的本能,但我确实发现自己在想,严格拒绝参与审美评价是否会更有智慧。不同的读者会有不同的感受,但任何对科斯塔的作品或其存在的背景感兴趣的人都会发现,《佩德罗·科斯塔的电影》所呈现的材料的广度和深度是非常宝贵的资源。
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引用次数: 1
New realism: contemporary British cinema 新现实主义:当代英国电影
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-05 DOI: 10.1080/17411548.2022.2073769
N. Morris
symbolic for the entire crisis of white masculinity. Just like the white male protagonists of the films analysed in previous chapters, these ‘angry old men,’ having been abandoned by the malfunctioning or withdrawing modern state, feel that ‘the world has changed and is no longer accommodating, comfortable or home-like’ (250) for them. On the one hand, the films in this batch – Tyrannosaur (Paddy Considine, 2011), I, Daniel Blake (Ken Loach, 2016) and En man som heter Ove/A Man Called Ove (Hannes Holm, 2015) – still display potentially damaging aspects of masculinity, while also suggesting more productive channels of resentment and frustration – but only via women who are willing to help. In a talk about the book, Kalmár pointed to its cover. At first glance, a homogeneous reddish-brown, a solid colour taken for granted and unmarked by any possible meaning attribution; but if observed more carefully, it turns out that the cover mimics the rich, multilayered texture of a rusty piece of iron, a leftover of a decaying, post-industrial society, giving a complex and powerful metaphor for understanding the situation of white men in crisis. ‘This rust remains with us,’ Kalmár contended, referring to the fact that new solutions are still needed for coping with the new questions regarding white masculinity, but also hinting at the un-postness of the title’s ‘post-crisis’ expression. The crisis has just begun and we are by no means through it. Even though it seems like a permanent state now, we are just beginning to make sense of what this new episteme might entail for us. That is why Kalmár is hesitant to draw solid conclusions at the end of his work. Instead, he mentions a few trends in European culture and film that might be able to characterise this new world order, but none of them would suggest that it is possible to find final answers. According to Kalmár, post-crisis Europe is characterised by a hostility towards historical metanarratives, and closely related to it, he identifies a new wave of more informed heroism in films, and also as a response to the first claim, ‘a new tendency of post-crisis European films to turn their attention back to the European self’ (264). One thing is certain, though: intellectuals and professional readers of (European) culture are going to play a central role and have a huge responsibility in making sense of what Kalmár convincingly argues is indeed a new paradigm. For the sake of white men – and everyone else, too.
象征着白人男子气概的整个危机。就像前几章分析的电影中的白人男主角一样,这些“愤怒的老人”被失灵或退缩的现代国家抛弃了,他们觉得“世界已经改变了,对他们来说不再是包容、舒适或家一样的了”(250)。一方面,这一批电影——《暴龙》(Paddy Considine,2011)、《我》、《丹尼尔·布莱克》(Ken Loach,2016)和《恩曼·索姆·奥维/一个叫奥维的男人》(Hannes Holm,2015)——仍然展示了男性气概的潜在破坏性方面,同时也暗示了更有效的怨恨和沮丧渠道——但只有通过愿意帮助的女性。在一次关于这本书的谈话中,卡尔马尔指着书的封面。乍一看,这是一种均匀的红棕色,一种被视为理所当然的纯色,没有任何可能的意义归属;但如果仔细观察,发现封面模仿了一块生锈的铁的丰富、多层纹理,这是一个腐朽的后工业社会的残余,为理解处于危机中的白人的处境提供了一个复杂而有力的隐喻Kalmár认为,这种铁锈仍然存在,他指的是仍然需要新的解决方案来应对有关白人男子气概的新问题,但也暗示了标题中“后危机”表达的不确定性。危机才刚刚开始,我们还没有度过。尽管现在它看起来像是一个永久性的状态,但我们才刚刚开始理解这种新的认识可能对我们意味着什么。这就是为什么卡尔马尔在工作结束时犹豫是否要得出实实在在的结论。相反,他提到了欧洲文化和电影中的一些趋势,这些趋势可能能够描述这种新的世界秩序,但没有一个表明有可能找到最终答案。Kalmár认为,危机后的欧洲以对历史元叙事的敌意为特征,与之密切相关的是,他认为电影中出现了新一轮更具见地的英雄主义,也是对第一种说法的回应,即“危机后欧洲电影将注意力转向欧洲自我的新趋势”(264)。不过,有一点是肯定的:知识分子和(欧洲)文化的专业读者将发挥核心作用,并在理解卡尔马尔令人信服地认为的确实是一种新范式方面承担巨大责任。为了白人,也为了其他人。
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引用次数: 2
‘A lot of soundtracks are quite boring’ “很多配乐都很无聊。”
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-04 DOI: 10.1080/17411548.2022.2074958
Owen M. Evans, G. Harper
In an interview with the Los Angeles Times in 1986 about German electronic band Tangerine Dream’s soundtrack for Ridley Scott’s Legend, the late Edgar Froese, the band’s founding member, remarked that ‘a lot of soundtracks are quite boring because they just work with the picture. I think you should also be able to listen to it on record’ (Smith 1986). At that point, Tangerine Dream had already worked with the likes of William Friedkin and Michael Mann, on Sorcerer (1977) and Thief (1981) respectively, as their particular brand of sequencer-driven synthesiser music was deemed a particularly suitable accompaniment for films in a period when electronic music was coming to the fore culturally. Of course, Wendy Carlos had already produced a film soundtrack composed entirely on a Moog modular synthesiser for Stanley Kubrick’s A Clockwork Orange (1971), which blended original compositions alongside adaptations of classical pieces by Beethoven, Rossini and Elgar. Famously, Carlos had recorded arguably the first truly pioneering electronic album in 1968 with Switched-On Bach, which raised the profile of Moog synthesisers to such an extent that musicians such as Kraftwerk, the aforementioned Tangerine Dream and Jean-Michel Jarre would go on to popularise them and other brands of synthesiser with seminal albums such as Autobahn, Rubycon and Oxygène respectively in the mid 1970s. These albums would in turn inspire the likes of David Bowie, Gary Numan, Orchestral Manoeuvres in the Dark, The Human League and Depeche Mode in the late 1970s with the result that the synthesiser has become a staple instrument for musicians ever since. Whether we agree with Froese or not about the necessity for a film score to have a life of its own beyond the realm of film, there is little doubt that myriad classic films would have had much less impact without the composers’ contribution to the mix. It is no surprise, therefore, that the names of so many directors are inseparable from the composers who scored their films. Think of Alfred Hitchcock and Bernard Herrmann (North by Northwest; Psycho; Vertigo), Sergio Leone and Ennio Morricone (A Fistful of Dollars; The Good, the Bad and the Ugly; Once Upon a Time in the West), George Lucas or Steven Spielberg and John Williams (Jaws; Star Wars; Raiders of the Lost Ark; Schindler’s List), and more recently Christoper Nolan and Hans Zimmer (The Dark Night; Inception; Interstellar). However, it is Zimmer’s recent work with Denis Villeneuve, which has brought him particular acclaim, winning the Oscar for Best Original Score for Dune (2021) at the 2022 ceremony, now forever overshadowed by Will Smith’s unfortunate confrontation with Chris Rock. In many ways, though, it is Villeneuve and Zimmer’s previous collaboration on Blade Runner 2049 (2017) that is especially interesting, inasmuch as both were responding respectively to the partnership between Ridley Scott and Vangelis on an iconic film with arguably one of the most influential origin
1986年,在接受《洛杉矶时报》采访时,德国电子乐队Tangerine Dream为Ridley Scott的《传奇》配乐,该乐队的创始成员、已故的Edgar Froese表示,“很多配乐都很无聊,因为它们只是配合画面。我认为你也应该能够把它记录下来”(Smith 1986)。当时,《橘子梦》已经分别与威廉·弗里德金(William Friedkin)和迈克尔·曼(Michael Mann)等合作了《巫师》(1977)和《小偷》(1981),因为在电子音乐在文化上崭露头角的时期,他们独特的定序器驱动的合成器音乐被认为是特别适合电影的伴奏。当然,温迪·卡洛斯(Wendy Carlos)已经为斯坦利·库布里克(Stanley Kubrick)的《发条橙》(a Clockwork Orange)(1971年)制作了一部完全用穆格模块化合成器创作的电影配乐,该片融合了原创作品和贝多芬、罗西尼和埃尔加的经典作品改编作品。著名的是,卡洛斯在1968年与Switched On Bach录制了可以说是第一张真正具有开创性的电子专辑,这张专辑将穆格合成器的知名度提升到了这样的程度,以至于Kraftwerk、前面提到的Tangerine Dream和Jean-Michel Jarre等音乐家将继续用开创性的专辑推广穆格合成器和其他品牌的合成器,Rubycon和Oxygène分别在20世纪70年代中期。这些专辑反过来又激励了20世纪70年代末的大卫·鲍伊、加里·努曼、《黑暗中的管弦乐队》、《人类联盟》和《Depeche Mode》等乐队,因此合成器从此成为音乐家的主要乐器。无论我们是否同意Froese的观点,即电影配乐必须在电影领域之外有自己的生命,毫无疑问,如果没有作曲家的贡献,无数经典电影的影响会小得多。因此,毫不奇怪,这么多导演的名字与为他们的电影配乐的作曲家密不可分。想想阿尔弗雷德·希区柯克(Alfred Hitchcock)和伯纳德·赫尔曼(Bernard Herrmann,最近克里斯托弗·诺兰和汉斯·齐默(《黑夜》、《盗梦空间》、《星际穿越》)。然而,正是齐默最近与丹尼斯·维伦纽夫的合作给他带来了特别的赞誉,他在2022年的颁奖典礼上凭借《沙丘》(2021)获得了奥斯卡最佳原创配乐奖,而现在威尔·史密斯与克里斯·洛克的不幸对决永远让他黯然失色。然而,在很多方面,维伦纽夫和齐默之前在《银翼杀手2049》(2017)中的合作尤其有趣,因为他们都分别回应了雷德利·斯科特和万杰利斯在一部标志性电影中的合作,这部电影可以说是有史以来最具影响力的原创配乐之一,即《银翼战士》(1982)。多年来,原声音乐一直没有商业化,而《2022年欧洲电影管弦乐研究》,第19卷,第2期,93–95https://doi.org/10.1080/17411548.2022.2074958
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引用次数: 0
An international study of film museums 电影博物馆的国际研究
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-04 DOI: 10.1080/17411548.2022.2073774
D. Iordanova
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引用次数: 0
Women in Iberian filmic culture: a feminist approach to the cinemas of Portugal and Spain 伊比利亚电影文化中的女性:对葡萄牙和西班牙电影的女权主义研究
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-04 DOI: 10.1080/17411548.2022.2073770
Agata Lulkowska
Donovan and Fairport Convention’ (136); a quotation that This Is England ‘seemingly portrays the East Midlands with a coast’ (143) provides revelation unlikely to surprise Lincolnshire folk. Trivially – nevertheless irritatingly – a hare is called a rabbit (191). The brief conclusion states Forrest ‘has consciously avoided discussion of the institutional and production contexts’ (195) – notwithstanding the Traditions in World Cinema rubric (ix). As British cinema mutates, his ongoing project positions him well to track developments and, crucially, their meanings and causes. New Realism, which could have been clearer in half the words, or have explored in depth and scope within the same limitations, indicates what Forrest could do but frustratingly has not achieved.
多诺万和费尔波特公约”(136页);引用《这就是英格兰》“似乎用海岸描绘了东米德兰兹”(143),这句话提供的启示不太可能让林肯郡的人感到惊讶。野兔被称为rabbit(兔子),这是微不足道的,但却令人恼火。简短的结论指出,福雷斯特“有意识地避免讨论制度和生产背景”(195)——尽管世界电影的传统标题(ix)。随着英国电影的变化,他正在进行的项目使他能够很好地跟踪发展,最重要的是,它们的意义和原因。新现实主义可以用一半的文字来表达,或者在同样的限制下进行深度和范围的探索,这表明福雷斯特可以做什么,但令人沮丧的是没有实现。
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引用次数: 0
The cinema of Paolo Sorrentino: commitment to style 保罗·索伦蒂诺的电影:对风格的承诺
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-04 DOI: 10.1080/17411548.2022.2073174
P. Sutton
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引用次数: 0
Cinema of crisis: film and contemporary Europe 危机电影:电影与当代欧洲
IF 0.2 0 FILM, RADIO, TELEVISION Pub Date : 2022-05-04 DOI: 10.1080/17411548.2022.2073771
Mariana Liz
Cinema of Crisis: Film and Contemporary Europe came out two years after the symposium upon which it was based, and which took place at the University of Leeds in 2018. By the time of the book’s release, then, the financial crisis that had most likely motivated this initiative, even if its effects were still being felt, had been overcome in most European countries – only for a very different crisis to hit Europe, as well as the rest of the world. Indeed, 2020 will certainly be remembered as one of the most difficult years in recent decades, with the pandemic caused by the Covid-19 virus having permanent implications for the globe’s political, social and cultural life. While it may seem irrelevant to read this collection of essays through the lens of Covid-19, since no one could foresee what was to come during the period of the book’s production, many of the issues raised by Cinema of Crisis are not only tied to, but have also been exacerbated by the pandemic. And this connection to the pandemic contributes to the volume’s ongoing relevance. A timely contribution to important debates arising in Europe and contemporary film about intersectional forms of marginality and discrimination, Austin and Koutsourakis nonetheless face a key challenge when writing about Europe, namely to present a comprehensive rather than a merely comparative approach. Although the volume’s case studies are clearly focused on different European countries, the European dimension is, however, not foregrounded by the editors – and the reader is not told how many pieces from or about which countries are included in the book, with many of the chapters addressing films and national contexts covered elsewhere in the volume. If the European dimension is not clearly addressed, the crisis also appears as too vague a signifier for the volume’s main title to emerge as particularly meaningful. The introduction collates a series of statements about the state of the world without telling the reader what the potential implications are of the facts described, or how contemporary European cinema can help us to rethink these topics beyond an illustrative character. A telling paragraph of the vagueness that characterises the introduction’s writing, could, until its very last words, be about any film style, period or grouping. As follows:
《危机电影:电影与当代欧洲》是在2018年利兹大学举办的研讨会两年后出版的。到这本书出版之时,最有可能推动这一倡议的金融危机——尽管其影响仍在显现——已在大多数欧洲国家被克服——只是另一场截然不同的危机袭击了欧洲和世界其他地区。事实上,2020年肯定会被铭记为近几十年来最困难的一年之一,2019冠状病毒病引起的大流行对全球政治、社会和文化生活产生了永久性影响。虽然从2019冠状病毒病的角度来阅读这本散文集似乎无关紧要,因为没有人能预见在这本书的创作期间会发生什么,但《危机电影》提出的许多问题不仅与疫情有关,而且还因疫情而加剧。这种与大流行病的联系有助于本卷的持续相关性。奥斯汀和库苏拉基斯及时地对欧洲和当代电影中关于边缘性和歧视的交叉形式的重要辩论做出了贡献,尽管如此,在写欧洲时,他们面临着一个关键的挑战,即呈现一个全面的而不仅仅是比较的方法。尽管这本书的案例研究显然集中在不同的欧洲国家,但欧洲的维度并没有被编辑们所重视——读者也没有被告知书中包含了多少来自哪个国家的作品,许多关于电影和国家背景的章节都在本书的其他地方。如果欧洲层面的问题没有得到明确的解决,那么这场危机也似乎是一个过于模糊的象征,以至于本书的主要标题显得特别有意义。引言整理了一系列关于世界状况的陈述,但没有告诉读者所描述的事实的潜在含义是什么,也没有告诉读者当代欧洲电影如何帮助我们超越说明性的角色来重新思考这些主题。在引言的最后几句话之前,它可以是关于任何电影风格、时期或群体的。如下:
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引用次数: 0
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Studies in European Cinema
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