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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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: 10.1080/17411548.2022.2031804
Aswin Prasanth
ABSTRACT Béla Tarr’s later films stand out as paradigms of spatial politics in European film culture. They visualize the experience of abject heterotopia through a series of spatial metaphors. This article is a spatial critique of Tarr’s later films Sátántangó, Werckmeister Harmonies and The Turin Horse. The critique is based on cultural heterotopology, a reformulation of Foucauldian heterotopology by Henri Lefebvre and Edward Soja. The horror of abjection, that seems to pervade the spatiality of these films, calls for alternative (re)ordering of the social space. Tarr presents a social space consistently characterized by desolation and poverty which contemporary Hungary has been reduced to.
{"title":"Filming abject Heterotopias: a spatial critique of Béla Tarr’s select later films","authors":"Aswin Prasanth","doi":"10.1080/17411548.2022.2031804","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031804","url":null,"abstract":"ABSTRACT Béla Tarr’s later films stand out as paradigms of spatial politics in European film culture. They visualize the experience of abject heterotopia through a series of spatial metaphors. This article is a spatial critique of Tarr’s later films Sátántangó, Werckmeister Harmonies and The Turin Horse. The critique is based on cultural heterotopology, a reformulation of Foucauldian heterotopology by Henri Lefebvre and Edward Soja. The horror of abjection, that seems to pervade the spatiality of these films, calls for alternative (re)ordering of the social space. Tarr presents a social space consistently characterized by desolation and poverty which contemporary Hungary has been reduced to.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46640272","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":null,"pages":null},"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}
Pub Date : 2022-02-07DOI: 10.1080/17411548.2022.2031805
K. Chapman
ABSTRACT This article focuses on therapeutic filmmaking and how it is used by analyzing selected works of Agnès Varda and Sophie Calle. I assert that these artists used this approach to assist them with processing grief after the deaths of their loved one by analyzing selected works from the genres of documentary, journal intime, and visual art. An overview of palliative care and palliative arts, and their relationship with therapeutic filmmaking is also included in this article.
{"title":"The Use of Therapeutic Film Making: Agnes Varda and Sophie Calle","authors":"K. Chapman","doi":"10.1080/17411548.2022.2031805","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031805","url":null,"abstract":"ABSTRACT This article focuses on therapeutic filmmaking and how it is used by analyzing selected works of Agnès Varda and Sophie Calle. I assert that these artists used this approach to assist them with processing grief after the deaths of their loved one by analyzing selected works from the genres of documentary, journal intime, and visual art. An overview of palliative care and palliative arts, and their relationship with therapeutic filmmaking is also included in this article.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46038138","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 : 2022-02-02DOI: 10.1080/17411548.2022.2031806
E. Mazierska
ABSTRACT This article examines four Eastern European musicals made during the period of postcommunism, but presenting life under state socialism, Czech Šakali leta (Big Beat, 1993), directed by Jan Hřebejk, Hungarian Made in Hungaria (2009), directed by Gergely Fonyó, and two Polish films, Córki dancingu (The Lure, 2015), directed by Agnieszka Smoczyńska and Zimna wojna (Cold War, 2018), directed by Paweł Pawlikowski, from the perspective of their attitude to both western and their own culture and popular music. The argument is that each film assesses this culture differently and this assessment can be seen as a reflection of the period when these films were made and which they depict, the aspect of Western culture they focus on, as well as the position of indigenous popular music in the communist period. An additional reason to put these films together is that they use the trope of somebody returning to his native country from the real or imaginary West. The piece draws on the history of Eastern Europe and its popular music and the concept of self-colonisation.
{"title":"From self-colonisation to conquest in Eastern European postcommunist musicals","authors":"E. Mazierska","doi":"10.1080/17411548.2022.2031806","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031806","url":null,"abstract":"ABSTRACT This article examines four Eastern European musicals made during the period of postcommunism, but presenting life under state socialism, Czech Šakali leta (Big Beat, 1993), directed by Jan Hřebejk, Hungarian Made in Hungaria (2009), directed by Gergely Fonyó, and two Polish films, Córki dancingu (The Lure, 2015), directed by Agnieszka Smoczyńska and Zimna wojna (Cold War, 2018), directed by Paweł Pawlikowski, from the perspective of their attitude to both western and their own culture and popular music. The argument is that each film assesses this culture differently and this assessment can be seen as a reflection of the period when these films were made and which they depict, the aspect of Western culture they focus on, as well as the position of indigenous popular music in the communist period. An additional reason to put these films together is that they use the trope of somebody returning to his native country from the real or imaginary West. The piece draws on the history of Eastern Europe and its popular music and the concept of self-colonisation.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42105079","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 : 2022-02-02DOI: 10.1080/17411548.2022.2027221
Ryan Calabretta-Sajder
ABSTRACT In Emanuel Crialese’s film Nuovomondo/Golden Door (2006), the seemingly independent British citizen, Lucy, migrates from Sicily to the United States alongside the Sicilian Mancuso family because Lucy must be betrothed to a man. This paper examines Lucy’s character and her agency and analyzes how she develops into a feminist figure. Beyond exploring her feminist qualities, this piece illustrates how she, in fact, controls the male gaze, which challenges Laura Mulvey and E. Ann Kaplan’s approach to gaze theory. Through her agency, she, the female character, leads Salvatore Mancuso and his family to the New World.
{"title":"Who’s looking as whom? Lucy/Luce: the ‘new’ woman in the ‘New’ World","authors":"Ryan Calabretta-Sajder","doi":"10.1080/17411548.2022.2027221","DOIUrl":"https://doi.org/10.1080/17411548.2022.2027221","url":null,"abstract":"ABSTRACT In Emanuel Crialese’s film Nuovomondo/Golden Door (2006), the seemingly independent British citizen, Lucy, migrates from Sicily to the United States alongside the Sicilian Mancuso family because Lucy must be betrothed to a man. This paper examines Lucy’s character and her agency and analyzes how she develops into a feminist figure. Beyond exploring her feminist qualities, this piece illustrates how she, in fact, controls the male gaze, which challenges Laura Mulvey and E. Ann Kaplan’s approach to gaze theory. Through her agency, she, the female character, leads Salvatore Mancuso and his family to the New World.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44124332","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 : 2022-01-24DOI: 10.1080/17411548.2022.2073768
Zsófia Orosz-Réti
{"title":"Post-crisis European cinema: white men in off-modern landscapes","authors":"Zsófia Orosz-Réti","doi":"10.1080/17411548.2022.2073768","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073768","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47861764","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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