Pub Date : 2021-09-24DOI: 10.1080/17411548.2021.1978769
Birger Langkjær
ABSTRACT Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner’s overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters’ psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.
{"title":"Musical marionettes: sound and music in Lars von Trier’s Europe trilogy","authors":"Birger Langkjær","doi":"10.1080/17411548.2021.1978769","DOIUrl":"https://doi.org/10.1080/17411548.2021.1978769","url":null,"abstract":"ABSTRACT Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner’s overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters’ psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"82 - 96"},"PeriodicalIF":0.2,"publicationDate":"2021-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46020249","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 : 2021-09-02DOI: 10.1080/17411548.2021.1957624
Agata Frymus, Luca Antoniazzi, Laurence Carr
This collection is the result of a 2018 conference that was held at the University of Leeds and funded by White Rose College of the Arts & Humanities (WRoCAH). As organizers, we were brought together by our broad interest in silent film and film heritage, more generally. Yet, it was clear to us that our respective work drew on vastly different approaches to the subjects. While Luca Antoniazzi (2018, 2020) deals with policy issues of digital preservation and curatorship, Agata Frymus’s (2020, 2021) primary research focus is on silent film audiences and stardom. Laurence Carr was, at the time, completing a PhD thesis on the visual representations of sound in Weimar cinema. Intrigued by the differences in our ways of thinking, and our subsequent methods, we became interested in the idea of crosspollination – and the potential overlaps – between these distinctive approaches and lines of enquiry. Therefore, we envisioned an event that would provide a space for dialogue between archivists and media scholars, who often work in isolation. Broadly speaking, the conference aimed to bridge the gap between various types of expertise that essentially exist on the same subject, across various sub-fields and institutions. The conference also aimed to explore how different disciplines viewed key debates on digital technology, curatorship, access and the visibility of silent cinema and archival collections in the public sphere.
{"title":"Introductory essay: silent film historiography, digital technology and the archive","authors":"Agata Frymus, Luca Antoniazzi, Laurence Carr","doi":"10.1080/17411548.2021.1957624","DOIUrl":"https://doi.org/10.1080/17411548.2021.1957624","url":null,"abstract":"This collection is the result of a 2018 conference that was held at the University of Leeds and funded by White Rose College of the Arts & Humanities (WRoCAH). As organizers, we were brought together by our broad interest in silent film and film heritage, more generally. Yet, it was clear to us that our respective work drew on vastly different approaches to the subjects. While Luca Antoniazzi (2018, 2020) deals with policy issues of digital preservation and curatorship, Agata Frymus’s (2020, 2021) primary research focus is on silent film audiences and stardom. Laurence Carr was, at the time, completing a PhD thesis on the visual representations of sound in Weimar cinema. Intrigued by the differences in our ways of thinking, and our subsequent methods, we became interested in the idea of crosspollination – and the potential overlaps – between these distinctive approaches and lines of enquiry. Therefore, we envisioned an event that would provide a space for dialogue between archivists and media scholars, who often work in isolation. Broadly speaking, the conference aimed to bridge the gap between various types of expertise that essentially exist on the same subject, across various sub-fields and institutions. The conference also aimed to explore how different disciplines viewed key debates on digital technology, curatorship, access and the visibility of silent cinema and archival collections in the public sphere.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"189 - 194"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44617306","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 : 2021-09-02DOI: 10.1080/17411548.2021.1928824
Laurence Carr
ABSTRACT Since the release of Giorgio Moroder’s restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent films. Some scholars credit new musical scores with introducing younger generations to silent cinema. However, other critics argue that new scores make silent films less authentic. F.W. Murnau’s Nosferatu: A Symphony of Horror was initially released with an orchestral score by Hans Erdmann. This original score is still regularly used to accompany Murnau’s film when it is screened today and is contained on the Eureka Video home media releases of Nosferatu that feature the 2013 F.W. Murnau Stiftung restoration of the film. In 1997, composer James Bernard created a new score to accompany Photoplay Productions’ remaster of Enno Patalas’ 1995 Nosferatu restoration, which has since been paired with the BFI DVD and Blu-Ray releases of Nosferatu. This article examines the effects that Erdmann’s and Bernard’s musical accompaniments have on implied sound in Murnau’s film in the two aforementioned editions of Nosferatu. In particular, I focus on how audible and inaudible sound can affect the audience’s reception of, and creative engagement with, Nosferatu.
{"title":"The audience as creative contributor: examining the effects of implied sound and music in two versions of Nosferatu: A Symphony of Horror (1922)","authors":"Laurence Carr","doi":"10.1080/17411548.2021.1928824","DOIUrl":"https://doi.org/10.1080/17411548.2021.1928824","url":null,"abstract":"ABSTRACT Since the release of Giorgio Moroder’s restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent films. Some scholars credit new musical scores with introducing younger generations to silent cinema. However, other critics argue that new scores make silent films less authentic. F.W. Murnau’s Nosferatu: A Symphony of Horror was initially released with an orchestral score by Hans Erdmann. This original score is still regularly used to accompany Murnau’s film when it is screened today and is contained on the Eureka Video home media releases of Nosferatu that feature the 2013 F.W. Murnau Stiftung restoration of the film. In 1997, composer James Bernard created a new score to accompany Photoplay Productions’ remaster of Enno Patalas’ 1995 Nosferatu restoration, which has since been paired with the BFI DVD and Blu-Ray releases of Nosferatu. This article examines the effects that Erdmann’s and Bernard’s musical accompaniments have on implied sound in Murnau’s film in the two aforementioned editions of Nosferatu. In particular, I focus on how audible and inaudible sound can affect the audience’s reception of, and creative engagement with, Nosferatu.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"222 - 234"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1928824","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47523221","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 : 2021-09-02DOI: 10.1080/17411548.2021.1921930
Luca Antoniazzi, S. Popple, Ruxandra Lupu
ABSTRACT The digital optimism of the past decade has been reflected in many policy documents related to cultural heritage in which digital technology is portrayed as a great opportunity to bring cultural heritage to a much wider audience. This potential has been contested as widening access has proved much more complex than some at first thought. Despite that, in this paper we argue that curators of national silent film collections can realistically get inspired by grassroots participatory projects. We consider two digital projects: silent feature films in the British context; and silent home movies in Italy. The first study considers the BFI Player as part of the broader BFI digital strategy. We examine the development of institutional practices to digitally publish silent films, the role of the archive and curators, and the new public experiences of silent cinema. The second study is a grassroots project that looks at the role of digitisation in the re-use of digitised footage from Sicilian home movie collections. The study explores digital forms of organisation and access to this material and how they encourage creative reuse. We extrapolate some best practices that curators and policy makers might find useful and could follow nationally and locally.
{"title":"Neither sublimes nor catastrophes: digital affordances in silent film heritage and suggestions from home movies collections","authors":"Luca Antoniazzi, S. Popple, Ruxandra Lupu","doi":"10.1080/17411548.2021.1921930","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921930","url":null,"abstract":"ABSTRACT The digital optimism of the past decade has been reflected in many policy documents related to cultural heritage in which digital technology is portrayed as a great opportunity to bring cultural heritage to a much wider audience. This potential has been contested as widening access has proved much more complex than some at first thought. Despite that, in this paper we argue that curators of national silent film collections can realistically get inspired by grassroots participatory projects. We consider two digital projects: silent feature films in the British context; and silent home movies in Italy. The first study considers the BFI Player as part of the broader BFI digital strategy. We examine the development of institutional practices to digitally publish silent films, the role of the archive and curators, and the new public experiences of silent cinema. The second study is a grassroots project that looks at the role of digitisation in the re-use of digitised footage from Sicilian home movie collections. The study explores digital forms of organisation and access to this material and how they encourage creative reuse. We extrapolate some best practices that curators and policy makers might find useful and could follow nationally and locally.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"195 - 211"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43209238","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 : 2021-08-06DOI: 10.1080/17411548.2021.1939593
Katharina Bonzel
ABSTRACT In Christian Petzold’s 2012 film Barbara, a film about a disgraced East German doctor who has been demoted to work in a provincial hospital, borders and boundaries abound. While moral, ethical, and personal boundaries are frequently crossed in the film, the German-German border remains somewhat of a mystery. It is a border that cannot be spoken of, rendering not only the characters mute, but also any visual representation impossible. Using the understated realism of the Berlin School of filmmaking, this paper argues, the film visualizes instead an ambivalent approach to the German notion of ‘Heimat’: rather than being the homely, safe haven it is usually depicted as, Barbara’s country of birth becomes ‘unheimlich’ – uncanny, a place of invasion, surveillance and confinement. And yet, in the end, Barbara chooses to stay there, giving up her place in an escape plan to a pregnant teen patient instead. The film thus throws up more questions than it answers, most crucially about the human capacity to live within even the most personal constraints.
{"title":"The Uncanny Heimat: longing for home in Barbara (Petzold, 2012)","authors":"Katharina Bonzel","doi":"10.1080/17411548.2021.1939593","DOIUrl":"https://doi.org/10.1080/17411548.2021.1939593","url":null,"abstract":"ABSTRACT In Christian Petzold’s 2012 film Barbara, a film about a disgraced East German doctor who has been demoted to work in a provincial hospital, borders and boundaries abound. While moral, ethical, and personal boundaries are frequently crossed in the film, the German-German border remains somewhat of a mystery. It is a border that cannot be spoken of, rendering not only the characters mute, but also any visual representation impossible. Using the understated realism of the Berlin School of filmmaking, this paper argues, the film visualizes instead an ambivalent approach to the German notion of ‘Heimat’: rather than being the homely, safe haven it is usually depicted as, Barbara’s country of birth becomes ‘unheimlich’ – uncanny, a place of invasion, surveillance and confinement. And yet, in the end, Barbara chooses to stay there, giving up her place in an escape plan to a pregnant teen patient instead. The film thus throws up more questions than it answers, most crucially about the human capacity to live within even the most personal constraints.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"47 - 57"},"PeriodicalIF":0.2,"publicationDate":"2021-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1939593","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46247792","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 : 2021-07-11DOI: 10.1080/17411548.2021.1930974
V. Baptist, J. Noordegraaf, Thunnis van Oort
ABSTRACT In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic and demographic profile of their surroundings, and film programming. Driven by the centrality of space as one of the defining traits of new cinema history, we operationalise this inquiry through a data-driven toolkit of interconnected scalable approaches, in order to establish a multilayered contextualisation of Amsterdam’s early cinema landscape. We analyse Amsterdam’s historical cinema market both on the meso level of the city’s overall surroundings and on the micro level of two neighbouring film venues within a specific urban district. By switching between different levels of scale to analyse the cinemas’ programming profiles, we highlight the venues’ positioning within the socio-spatial structure of the city and their neighbourhood community in particular. In the future, the multifaceted analytical exploration enabled by our digital toolkit can be further enhanced by an increased availability of more fine-grained archival and contextual data.
{"title":"A digital toolkit to detect cinema audiences of the silent era: scalable perspectives on film exhibition and consumption in Amsterdam neighbourhoods (1907-1928)","authors":"V. Baptist, J. Noordegraaf, Thunnis van Oort","doi":"10.1080/17411548.2021.1930974","DOIUrl":"https://doi.org/10.1080/17411548.2021.1930974","url":null,"abstract":"ABSTRACT In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic and demographic profile of their surroundings, and film programming. Driven by the centrality of space as one of the defining traits of new cinema history, we operationalise this inquiry through a data-driven toolkit of interconnected scalable approaches, in order to establish a multilayered contextualisation of Amsterdam’s early cinema landscape. We analyse Amsterdam’s historical cinema market both on the meso level of the city’s overall surroundings and on the micro level of two neighbouring film venues within a specific urban district. By switching between different levels of scale to analyse the cinemas’ programming profiles, we highlight the venues’ positioning within the socio-spatial structure of the city and their neighbourhood community in particular. In the future, the multifaceted analytical exploration enabled by our digital toolkit can be further enhanced by an increased availability of more fine-grained archival and contextual data.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"252 - 273"},"PeriodicalIF":0.2,"publicationDate":"2021-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1930974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439153","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 : 2021-05-19DOI: 10.1080/17411548.2021.1921931
S. Angeli, Chiara Quaranta
ABSTRACT This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quilléveré), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Brüggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.
本文探讨了三部以宗教确认为中心的西欧电影中青春期女性身体的表现和肉体在天主教中的相关性。它们是:unpoison violent(爱如毒药，2010年，Katell quillver)， Corpo celeste(天体，2011年，Alice Rohrwacher)和Kreuzweg(十字架站，2014年，Dietrich brgemann)。三部电影中所描绘的确认圣礼成为青春期动态(即身体变化，性行为发展，家庭冲突)展开的轴心，为分析女性主体性与天主教调节角色之间的相互作用开辟了空间。我们将看到天主教在试图驯服女性身体时经常使用的微妙暴力，以及女性青少年在宗教权威背景下(重新)协商自己身份的方式。我们的论点是，在电影中，女主人公对确认的减法成为一种与天主教顺从的身体保持距离的方式，并重申她们个人的、具体化的主体性。为此，我们探讨天主教、女性和女性身体之间的复杂关系，探索天主教理想的、不变的身体和不断变化的、渴望的女性身体之间的二分法。
{"title":"Confirmations that were not meant to be: religion, violence and the female body in Un poison violent (2010), Corpo celeste (2011) and Kreuzweg (2014)","authors":"S. Angeli, Chiara Quaranta","doi":"10.1080/17411548.2021.1921931","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921931","url":null,"abstract":"ABSTRACT This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quilléveré), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Brüggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"20 - 35"},"PeriodicalIF":0.2,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921931","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44716881","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 : 2021-05-04DOI: 10.1080/17411548.2021.1921932
Tugce Kutlu
ABSTRACT This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.
{"title":"The rule of the weird: power relations in the films of Yorgos Lanthimos","authors":"Tugce Kutlu","doi":"10.1080/17411548.2021.1921932","DOIUrl":"https://doi.org/10.1080/17411548.2021.1921932","url":null,"abstract":"ABSTRACT This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"36 - 46"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1921932","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48465048","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 : 2021-05-04DOI: 10.1080/17411548.2021.1929364
Owen M. Evans, G. Harper
{"title":"Building back better for the ‘new normal’?","authors":"Owen M. Evans, G. Harper","doi":"10.1080/17411548.2021.1929364","DOIUrl":"https://doi.org/10.1080/17411548.2021.1929364","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"18 1","pages":"99 - 103"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2021.1929364","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45081208","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 : 2021-05-04DOI: 10.1080/17411548.2019.1686891
Marie Orton
ABSTRACT Italy’s status as Europe’s ‘unguarded door’ in terms of arriving migrants and refugees has both altered and intensified long-standing divisions – within Italy, as well as between Italy and the rest of Europe. This paper examines the cultural reverberations of the migration crisis in two films: Con il sole negli occhi (Sun in His Eyes, 2015), and Cose dell’altro mondo (Things from Another World, 2011). In different ways, both these films reveal Italy’s anxieties about cultural re-negotiation as it responds to the migration phenomenon, and to its own inferiority complex as Europe’s internal Other. At the same time, these films highlight how the influx of refugees and migrants into Europe has forced the European Union to examine its foundational aspirations of ‘unity in diversity’ and universal equality, because migration inherently poses the problem of inside v. outside. Reading these films against the ideals of inclusion and egalitarianism suggests that the Enlightenment idea of ‘united in diversity’ that informs the European cultural project is only ethical and egalitarian if it is universal, extending from Europeans to non-Europeans as well, and that it can succeed only if it is supported economically as well as rhetorically.
摘要意大利作为欧洲移民和难民“无人看守之门”的地位，改变并加剧了意大利内部以及意大利与欧洲其他地区之间长期存在的分歧。本文在两部电影中探讨了移民危机的文化反响：《Con il sole negli occhi》（《他眼中的太阳》，2015年）和《Cose dell’altro mondo》（《来自另一个世界的事物》，2011年）。这两部电影以不同的方式揭示了意大利在应对移民现象时对文化重新谈判的焦虑，以及其作为欧洲内部他者的自卑感。与此同时，这些电影强调了难民和移民涌入欧洲如何迫使欧盟审视其“多样性中的团结”和普遍平等的基本愿望，因为移民本质上构成了内部与外部的问题。阅读这些反对包容和平等主义理想的电影表明，启蒙运动的“在多样性中团结一致”理念是欧洲文化项目的基础，如果它是普遍的，从欧洲人延伸到非欧洲人，那么它只有在经济和修辞上得到支持，它才能成功。
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