Pub Date : 2022-05-03DOI: 10.1080/17411548.2022.2064154
Ying-shan Chen
ABSTRACT When addressing the concept of desire, it is similar to inspecting the experience for which cinemas usually offer because there is a type of language as a default affirming the viewer can be involved into the process of transformation of understanding. In the cinema La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour, such a defaulted language is complex, covering the cinema techniques, its realism style, and the controversial topic related to gender and sexuality. It is certainly to arouse the critiques upon its deployment of the protagonist’s desire, which brutally shows the intimate scene related to sexuality. On the one hand, it looks like apparently joining in the torrent of sexualising the female identity. On the other hand, it is undeniable to perceive there is an affect the cinema arouses to maintain a caring sentiment for the protagonist whose cinematic identity is not only restricted to the female. Moreover, such an affect is retroactive for rethinking the viewer’s ‘desire’ toward this cinema. This article argues that the complexity of such an affect reflects ‘The Lack’ in social discourse, which is beyond the definition of sexuality and gender but toward the concept of desire as the being.
{"title":"Desire as the being in La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour","authors":"Ying-shan Chen","doi":"10.1080/17411548.2022.2064154","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064154","url":null,"abstract":"ABSTRACT When addressing the concept of desire, it is similar to inspecting the experience for which cinemas usually offer because there is a type of language as a default affirming the viewer can be involved into the process of transformation of understanding. In the cinema La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour, such a defaulted language is complex, covering the cinema techniques, its realism style, and the controversial topic related to gender and sexuality. It is certainly to arouse the critiques upon its deployment of the protagonist’s desire, which brutally shows the intimate scene related to sexuality. On the one hand, it looks like apparently joining in the torrent of sexualising the female identity. On the other hand, it is undeniable to perceive there is an affect the cinema arouses to maintain a caring sentiment for the protagonist whose cinematic identity is not only restricted to the female. Moreover, such an affect is retroactive for rethinking the viewer’s ‘desire’ toward this cinema. This article argues that the complexity of such an affect reflects ‘The Lack’ in social discourse, which is beyond the definition of sexuality and gender but toward the concept of desire as the being.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43897370","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 : 2022-05-03DOI: 10.1080/17411548.2022.2073169
Ecem Yıldırım
{"title":"Post-Unification Turkish German cinema: work, globalisation and politics beyond representation","authors":"Ecem Yıldırım","doi":"10.1080/17411548.2022.2073169","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073169","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"209 - 211"},"PeriodicalIF":0.2,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42847382","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 : 2022-04-26DOI: 10.1080/17411548.2022.2064156
Szidonia Haragos
ABSTRACT
The article highlights the cinematic portrayal of a woman’s exceptional affective agency against the backdrop of historical trauma, more specifically, of the Holocaust in Hungary, in Hungarian director Istvan Szabo’s The Door (Az ajto 2012) based on Hungarian writer Magda Szabo’s eponymous novel The Door (Az ajto 1987). Through a juxtaposition of the cinematic and the literary text, the article discusses central protagonist Emerenc Szeredas’s affective transaction to save the life of a little Jewish girl in Nazi-occupied Budapest. Emerenc’s ‘affective bargain’ through which she sustains the ‘cruel optimism’ (Lauren Berlant) of love and compassion pits her gendered capital against devalued Jewish life. The film conveys the costs of such an affective transaction and Emerenc’s ultimate failure to achieve ‘the good life’ (Sara Ahmed) of societal expectations. What transpires in The Door at the convergence of cinematic discourse and literary text is female agency constrained within the severely limited terrain of patriarchal economy. In terms of Istvan Szabo’s cinematography, The Door instantiates yet another engagement with the Holocaust as Szabo’s lifelong preoccupation, and it stands for a significant intervention into the current post-Holocaust memory discourse in Hungary.
{"title":"Women’s affective transactions and the memory of Hungarian (historical) affairs: Istvan Szabo’s The Door (2012)","authors":"Szidonia Haragos","doi":"10.1080/17411548.2022.2064156","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064156","url":null,"abstract":"<p><b>ABSTRACT</b></p><p>The article highlights the cinematic portrayal of a woman’s exceptional affective agency against the backdrop of historical trauma, more specifically, of the Holocaust in Hungary, in Hungarian director Istvan Szabo’s <i>The Door</i> (<i>Az ajto</i> 2012) based on Hungarian writer Magda Szabo’s eponymous novel <i>The Door (Az ajto</i> 1987). Through a juxtaposition of the cinematic and the literary text, the article discusses central protagonist Emerenc Szeredas’s affective transaction to save the life of a little Jewish girl in Nazi-occupied Budapest. Emerenc’s ‘affective bargain’ through which she sustains the ‘cruel optimism’ (Lauren Berlant) of love and compassion pits her gendered capital against devalued Jewish life. The film conveys the costs of such an affective transaction and Emerenc’s ultimate failure to achieve ‘the good life’ (Sara Ahmed) of societal expectations. What transpires in <i>The Door</i> at the convergence of cinematic discourse and literary text is female agency constrained within the severely limited terrain of patriarchal economy. In terms of Istvan Szabo’s cinematography, <i>The Door</i> instantiates yet another engagement with the Holocaust as Szabo’s lifelong preoccupation, and it stands for a significant intervention into the current post-Holocaust memory discourse in Hungary.</p>","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"138 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138516709","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 : 2022-04-22DOI: 10.1080/17411548.2022.2064157
Melis Öneren Özbek
{"title":"Seeking another justice in Fatih Akın’s “The Edge of Heaven” (2004) and “In the Fade” (2017)","authors":"Melis Öneren Özbek","doi":"10.1080/17411548.2022.2064157","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064157","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48501290","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 : 2022-04-22DOI: 10.1080/17411548.2022.2064155
J. Solves, Sebastián Sánchez-Castillo, Begoña Siles
{"title":"Step right up and take a whiff! Does incorporating scents in film projection increase viewer enjoyment?","authors":"J. Solves, Sebastián Sánchez-Castillo, Begoña Siles","doi":"10.1080/17411548.2022.2064155","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064155","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48684922","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 : 2022-04-18DOI: 10.1080/17411548.2022.2064160
J. Rasmi
ABSTRACT This article presents the experience of the Lussas Documentary Film Festival from a historical point of view, following the genealogy of one of the most important events devoted to the non-fiction cinema in Europe and describing the ethical and political challenges behind such adventures. The aim, here, is to study and interpret the key role played by this festival in channelling institutional and public attention to documentary filmmaking in France over the last fifty years. The essay will also highlight the attempt to construct in Lussas an ecosystem based on the association between a minor, non-theatrical cinematic field and a marginal geographic area while putting into practice the principles of autonomous organization by documentary workers themselves.
{"title":"How to build an ecosystem for the non-fiction cinema? The history and politics of Lussas Documentary Film Festival","authors":"J. Rasmi","doi":"10.1080/17411548.2022.2064160","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064160","url":null,"abstract":"ABSTRACT This article presents the experience of the Lussas Documentary Film Festival from a historical point of view, following the genealogy of one of the most important events devoted to the non-fiction cinema in Europe and describing the ethical and political challenges behind such adventures. The aim, here, is to study and interpret the key role played by this festival in channelling institutional and public attention to documentary filmmaking in France over the last fifty years. The essay will also highlight the attempt to construct in Lussas an ecosystem based on the association between a minor, non-theatrical cinematic field and a marginal geographic area while putting into practice the principles of autonomous organization by documentary workers themselves.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"252 - 264"},"PeriodicalIF":0.2,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47137420","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 : 2022-04-17DOI: 10.1080/17411548.2022.2064159
Brian Michael Goss
{"title":"‘What’s your dream?’ The films of femme auteur Andrea Arnold","authors":"Brian Michael Goss","doi":"10.1080/17411548.2022.2064159","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064159","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44651649","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 : 2022-04-14DOI: 10.1080/17411548.2022.2064161
Olivia Landry
{"title":"Intimate recordings: mediated acts of touching in Future Lasts Forever and Giraffe","authors":"Olivia Landry","doi":"10.1080/17411548.2022.2064161","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064161","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46021441","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 : 2022-04-13DOI: 10.1080/17411548.2022.2064158
V. Barnett
{"title":"Playbird superstar: Mary Millington and Come Play With Me (1977) as a national box-office sensation","authors":"V. Barnett","doi":"10.1080/17411548.2022.2064158","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064158","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48810510","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 : 2022-02-15DOI: 10.1080/17411548.2021.1968165
Marianna Charitonidou
ABSTRACT The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New Migrant cinema enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini’s Roma città aperta and Vittorio De Sica’s Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini’s Roma città aperta, Luchino Visconti’s Bellissima and Pier Paolo Pasolini’s Mamma Roma.
摘要本文探讨了女性和移民在意大利新现实主义和新移民电影中的地位，认为新移民电影延续并改写了新现实主义的主要比喻和趋势。它打算明确一系列电影如何挑战关于性别、民族和文化身份的陈规定型观念。被仔细审查的数字包括borgatari、extromunitari、popolane和terrone。其主要目的是展示这些人物在意大利新现实主义和新移民电影中的电影表达如何促进对意大利的重塑和对性别的普遍理解。它还旨在解释为什么移民研究、城市研究和性别研究之间的交叉融合对于理解这种重塑是必不可少的。特别强调罗伯托·罗塞里尼（Roberto Rossellini）的《罗马城》（Roma cittàaperta）和维托里奥·德·西卡（Vittorio De Sica）的《Il tetto》对住房困境和罗马城市景观的特殊性的共同兴趣。这篇文章还揭示了意大利新现实主义和新移民电影的一些共同关注点，特别是在民族和性别叙事方面。Anna Magnani在Roberto Rossellini的《Roma cittàaperta》、Luchino Visconti的《Bellissima》和Pier Paolo Pasolini的《Mamma Roma》中的角色是反思的核心。
{"title":"Italian Neorealist and New Migrant films as dispositifs of alterity: How borgatari and popolane challenge the stereotypes of nationhood and womanhood?","authors":"Marianna Charitonidou","doi":"10.1080/17411548.2021.1968165","DOIUrl":"https://doi.org/10.1080/17411548.2021.1968165","url":null,"abstract":"ABSTRACT The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New Migrant cinema enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini’s Roma città aperta and Vittorio De Sica’s Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini’s Roma città aperta, Luchino Visconti’s Bellissima and Pier Paolo Pasolini’s Mamma Roma.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"58 - 81"},"PeriodicalIF":0.2,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45055549","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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