{"title":"An Uncertain Future: The 74th Berlin Film Festival","authors":"Gerd Gemünden","doi":"10.3998/fc.5698","DOIUrl":"https://doi.org/10.3998/fc.5698","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140745790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the literary elements of the French reality TV show Koh-Lanta. Drawing on the theory of reality TV, it demonstrates that this literary dimension facilitates the incorporation of neo-imperial elements. Koh-Lanta inscribes itself in the diversity of the intertext of the island fantasy, keeping the myth of Robinson up to date.
{"title":"Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta","authors":"Marie Bellec","doi":"10.3998/fc.5695","DOIUrl":"https://doi.org/10.3998/fc.5695","url":null,"abstract":"This article examines the literary elements of the French reality TV show Koh-Lanta. Drawing on the theory of reality TV, it demonstrates that this literary dimension facilitates the incorporation of neo-imperial elements. Koh-Lanta inscribes itself in the diversity of the intertext of the island fantasy, keeping the myth of Robinson up to date.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140742768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Inglourious Basterds (2009) stands out as an example to the unusual storytelling techniques which have been used by Quentin Tarantino in recent years. It can be classified as Historiographic Metafiction with a postmodern perspective. The film's narrative bends the historical narratives and social traumas ingrained in cultural memories. This study has shown that Tarantino's films are not just a pastiche where the director collaged the concepts, events, and motifs selected from the cinematic history. Instead, Tarantino's films challenge audience's cultural memory, knowledge of history, and ways of seeing them. I think they are metafictions that first reveal the conventional methods of remembering before developing an alternative to these kinds of narratives. In this metafiction, memory is more than just a burden of the past, but rather a tool used to reshape the present.
{"title":"Transforming Cultural Memory: Inglorius Basterds (2009)","authors":"Baran Tekay","doi":"10.3998/fc.5696","DOIUrl":"https://doi.org/10.3998/fc.5696","url":null,"abstract":"Inglourious Basterds (2009) stands out as an example to the unusual storytelling techniques which have been used by Quentin Tarantino in recent years. It can be classified as Historiographic Metafiction with a postmodern perspective. The film's narrative bends the historical narratives and social traumas ingrained in cultural memories. This study has shown that Tarantino's films are not just a pastiche where the director collaged the concepts, events, and motifs selected from the cinematic history. Instead, Tarantino's films challenge audience's cultural memory, knowledge of history, and ways of seeing them. I think they are metafictions that first reveal the conventional methods of remembering before developing an alternative to these kinds of narratives. In this metafiction, memory is more than just a burden of the past, but rather a tool used to reshape the present.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay argues that F.W. Murnau’s Faust (1926) advances a philosophy of film as a medium for “technological images”—images that are technologically constructed special effects such as double exposure and substitution splice. By portraying Mephistopheles as a conjurer, the film explores cinema’s place in the history of visual and technological magic.
{"title":"“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust","authors":"Amanda Shubert","doi":"10.3998/fc.5693","DOIUrl":"https://doi.org/10.3998/fc.5693","url":null,"abstract":"This essay argues that F.W. Murnau’s Faust (1926) advances a philosophy of film as a medium for “technological images”—images that are technologically constructed special effects such as double exposure and substitution splice. By portraying Mephistopheles as a conjurer, the film explores cinema’s place in the history of visual and technological magic.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140744499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores director Warwick Thornton’s activistic use of filmic emotions in the features Samson and Delilah (2009) and Sweet Country (2017). Thornton’s films portray coloniser-colonised relations at two moments in Australian history, and that affective history-telling is motivated toward a more deliberative case for a future of self-determined cultural autonomy. I analyse emotive resources that cross between both films, including periods of silence and landscape aesthetics that depict subjective experience of country. I also address the place of empathy in Thornton’s character studies as foundational to later political reasoning. Thornton’s films call attention to the positionality of different audience members, challenging the spectator to interrogate foundational emotional responses, conflicts between their emotional responses, and subsequent prompts to think through the politics of those experiences. These provocations are united into an explicitly argumentative appeal for Indigenous cultural autonomy.
本文探讨了导演沃里克-桑顿（Warwick Thornton）在《萨姆森与大利拉》（Samson and Delilah，2009 年）和《甜蜜国度》（Sweet Country，2017 年）中对电影情感的积极运用。桑顿的电影描绘了澳大利亚历史上两个时期殖民者与被殖民者之间的关系，这种情感化的历史叙事是为了更深思熟虑地论证自决文化自治的未来。我分析了这两部电影中相互交叉的情感资源，包括沉默期和描绘乡村主观体验的景观美学。我还探讨了桑顿人物研究中的移情作用，它是日后政治推理的基础。桑顿的电影呼吁人们关注不同观众的立场，挑战观众对基本情感反应、情感反应之间的冲突以及随后对这些体验的政治思考的质疑。这些挑战汇聚成一个明确的论点，呼吁土著文化自治。
{"title":"Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia","authors":"Wyatt Moss-Wellington","doi":"10.3998/fc.5692","DOIUrl":"https://doi.org/10.3998/fc.5692","url":null,"abstract":"This article explores director Warwick Thornton’s activistic use of filmic emotions in the features Samson and Delilah (2009) and Sweet Country (2017). Thornton’s films portray coloniser-colonised relations at two moments in Australian history, and that affective history-telling is motivated toward a more deliberative case for a future of self-determined cultural autonomy. I analyse emotive resources that cross between both films, including periods of silence and landscape aesthetics that depict subjective experience of country. I also address the place of empathy in Thornton’s character studies as foundational to later political reasoning. Thornton’s films call attention to the positionality of different audience members, challenging the spectator to interrogate foundational emotional responses, conflicts between their emotional responses, and subsequent prompts to think through the politics of those experiences. These provocations are united into an explicitly argumentative appeal for Indigenous cultural autonomy.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140745845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the tense atmosphere that preceded the May 1981 Italian referendums on abortion, Umberto Lenzi’s Nightmare City is released. Included in several ‘Best Zombie Movies’ lists, Nightmare City is important for at least two reasons; first, because it inaugurates a significant and eventually successful variation on the zombie image: the fast zombie; second, as a commentary on the most salient social debate of the late 1970s and early 1980s – the one on the self-determination of Italian women. The aesthetic and the metaphorical levels of Lenzi’s film are strictly connected and the infected people running around drinking the blood of others are the embodiment of a reactionary response to the ongoing social transformation. Nightmare City joins the Italian political dispute of the late 1970s by openly opposing the women’s freedom of choice and by channeling and amplifying the most conservative side of that quasi-eschatological battle.
{"title":"Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)","authors":"Alberto Iozzia","doi":"10.3998/fc.5694","DOIUrl":"https://doi.org/10.3998/fc.5694","url":null,"abstract":"In the tense atmosphere that preceded the May 1981 Italian referendums on abortion, Umberto Lenzi’s Nightmare City is released. Included in several ‘Best Zombie Movies’ lists, Nightmare City is important for at least two reasons; first, because it inaugurates a significant and eventually successful variation on the zombie image: the fast zombie; second, as a commentary on the most salient social debate of the late 1970s and early 1980s – the one on the self-determination of Italian women. The aesthetic and the metaphorical levels of Lenzi’s film are strictly connected and the infected people running around drinking the blood of others are the embodiment of a reactionary response to the ongoing social transformation. Nightmare City joins the Italian political dispute of the late 1970s by openly opposing the women’s freedom of choice and by channeling and amplifying the most conservative side of that quasi-eschatological battle.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140741515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article performs a close reading of Dario Argento’s Deep Red (1975) together with a speculative reading of how the film seems to address its spectator and what that spectator might think about the film. It argues that Argento’s murder mystery invests in the contemporary association between homosexuality and crime to concentrate suspicion in the character of Carlo, who is innocent. The film also exploits the disassociation of old age from crime to divert attention from the character of Martha, who is guilty. The double revelation of Carlo’s innocence and Martha’s guilt effects a sudden foregrounding of the spectator’s own flawed process. Deep Red does not simply unmask the murderer—it unmasks the spectator.1
{"title":"The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)","authors":"Jim Carter","doi":"10.3998/fc.5697","DOIUrl":"https://doi.org/10.3998/fc.5697","url":null,"abstract":"This article performs a close reading of Dario Argento’s Deep Red (1975) together with a speculative reading of how the film seems to address its spectator and what that spectator might think about the film. It argues that Argento’s murder mystery invests in the contemporary association between homosexuality and crime to concentrate suspicion in the character of Carlo, who is innocent. The film also exploits the disassociation of old age from crime to divert attention from the character of Martha, who is guilty. The double revelation of Carlo’s innocence and Martha’s guilt effects a sudden foregrounding of the spectator’s own flawed process. Deep Red does not simply unmask the murderer—it unmasks the spectator.1","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140742826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A United Korea (Or, the Great Divide): Crash Landing on You","authors":"Doyle Greene","doi":"10.3998/fc.5175","DOIUrl":"https://doi.org/10.3998/fc.5175","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139223308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry","authors":"Sheri Chinen Biesen","doi":"10.3998/fc.5174","DOIUrl":"https://doi.org/10.3998/fc.5174","url":null,"abstract":"","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139218424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marie Menken (1909-1970) was one of the most influential and beloved filmmakers of the American avant-garde, a liberatory inspiration for several subsequent generations of artists. Her films were characterized by wildly kinetic handheld camerawork, which have largely been understood through the lens of those she inspired. This essay analyzes Menken’s films in terms more specific to her, focusing on her broadly inclusive, often structuring celebration of motion in all its forms.
{"title":"The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies","authors":"Adam Charles Hart","doi":"10.3998/fc.4731","DOIUrl":"https://doi.org/10.3998/fc.4731","url":null,"abstract":"Marie Menken (1909-1970) was one of the most influential and beloved filmmakers of the American avant-garde, a liberatory inspiration for several subsequent generations of artists. Her films were characterized by wildly kinetic handheld camerawork, which have largely been understood through the lens of those she inspired. This essay analyzes Menken’s films in terms more specific to her, focusing on her broadly inclusive, often structuring celebration of motion in all its forms.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135814099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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