JOURNAL OF FILM AND VIDEO最新文献

英文中文

Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes 在18部翻拍电影中美国化斯堪的纳维亚超级失败者

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.03

Mads Larsen

引用次数: 1

Building a Timeline for LGBTQ+ Global Cinemas (1910-2019): Movie Production Trends from a Collaborative Internet Cinema Database 为LGBTQ+全球影院构建时间表（1910-2019）：来自互联网协同影院数据库的电影制作趋势

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.04

Manuel Hernández-Pérez, J. Sánchez-Soriano

©2023 by the board of trustees of the university of illinois tHe lgBtQ+ (lesbian, gay, bisexual, transgender, queer, and other sexual identities and orientations) community has struggled to achieve social acceptance, political representation, and recognition of their civil rights. Their demands respond to exclusions and oppressions suffered historically. Even today, this struggle continues in many countries. Equal rights to marriage and adoption have not yet been recognized in all societies, and in some countries, sexual diversity is even punishable by death. Audiovisual media, particularly cinema, has the ability not only to function as a device for the production and creation of reality, but also to act as a reflection of reality and social changes (Gross; Williams), such as when recognizing sexual diversity. Media has a key role as a socializer, comparable to the role held by institutions such as school or family (Rosengren 6). Cinema, as the most influential medium of the twentieth century, has reflected the struggles of the LGBTQ+ community, mirroring a significant period in the history of humanity regarding the advancement of civil and political rights. This has taken place through different channels. The first channel consists of commercial and mainstream movies that typically have come out of Hollywood and the United States. As one of the main cinema “super producers,” Hollywood industry has shaped the market, ruling over the box office and influencing the content of movies. However, in the last few decades, content also has reflected transnationalization as a way of appealing to different cultural markets and reflecting the diversity of global audiences (Crane 378). A second venue for reflection of these changes has been the independent cinema circuits, though they have been aimed, traditionally, at a rather minority audience. While both of these production models—the so-called mainstream and indie films—participate in the representation of characters and themes of the LGBTQ+ community, these have been decoded in different and often opposite ways. Independent cinema, including documentary and avant-garde cinema, has been conceptualized in part as a response to the “dominant mode of American (heterosexist) filmmaking” and, therefore, identified with the “queer” (Benshoff and Griffin, Queer Images: A History 11). On the other hand, for other authors, the parameters defining queer cinema are diverse and fluid, beyond binary classifications. Queerness is here understood as a component that can be presented through different types of cinemas, manifesting different forms of queer representation and participation/identification among filmmakers (Schoonover and Galt 15). Dr. mAnuel HernÁnDeZ-pÉreZ is a lecturer in digital media and director of digital media and extended reality at the University of Salford in Manchester, UK. His research focuses on media studies and digital narratives. Dr. JuAn JosÉ sÁnCHeZ-soriAno is a lecturer in communication

lgBtQ+(女同性恋、男同性恋、双性恋、变性人、酷儿和其他性身份和性取向)社区一直在努力实现社会接受、政治代表和对其公民权利的承认。他们的要求是对历史上遭受的排斥和压迫的回应。即使在今天，这一斗争仍在许多国家继续。婚姻和收养的平等权利尚未在所有社会得到承认，在一些国家，性多样性甚至被判处死刑。视听媒体，特别是电影，不仅可以作为生产和创造现实的工具，而且可以作为现实和社会变化的反映(Gross;威廉姆斯)，例如在认识性别多样性时。与学校或家庭等机构所扮演的角色相比，媒体在社交方面发挥着关键作用(Rosengren 6)。电影作为20世纪最具影响力的媒体，反映了LGBTQ+社区的斗争，反映了人类历史上关于公民权利和政治权利进步的重要时期。这是通过不同渠道进行的。第一个频道包括商业电影和主流电影，这些电影通常来自好莱坞和美国。作为主要的电影“超级制片人”之一，好莱坞工业已经塑造了市场，统治了票房，影响了电影的内容。然而，在过去的几十年里，作为吸引不同文化市场和反映全球受众多样性的一种方式，内容也反映了跨国化(Crane 378)。反映这些变化的第二个场所是独立电影院，尽管它们的目标是，传统上，相当少数的观众。虽然这两种制作模式——所谓的主流电影和独立电影——都参与了LGBTQ+社区的角色和主题的呈现，但它们被以不同的、往往相反的方式解码。独立电影，包括纪录片和先锋电影，在一定程度上被概念化为对“美国(异性恋)电影制作的主导模式”的回应，因此，被认为是“酷儿”(Benshoff和Griffin, queer Images: a History 11)。另一方面，对于其他作者来说，定义酷儿电影的参数是多样化和流动的，超越了二元分类。酷儿在这里被理解为可以通过不同类型的电影院呈现的一个组成部分，在电影制作人中表现出不同形式的酷儿表现和参与/认同(Schoonover和Galt 15)。mAnuel博士HernÁnDeZ-pÉreZ是英国曼彻斯特索尔福德大学数字媒体讲师和数字媒体与扩展现实主任。他的研究重点是媒体研究和数字叙事。JuAn博士JosÉ sÁnCHeZ-soriAno是西班牙马德里雷胡安卡洛斯大学传播学讲师。他的研究兴趣与LGBTIQ+研究领域有关。构建LGBTQ+全球影院的时间表(1910-2019):来自协作互联网影院数据库的电影制作趋势

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引用次数: 0

"Beauty and the Beast": Romance, Reform, and Mystery in the Films of Lon Chaney “美女与野兽”：龙电影中的浪漫、改革与神秘

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2023-04-01 DOI: 10.5406/19346018.75.1.02

Shane Brown, M. Jancovich

©2023 by the board of trustees of the university of illinois lon CHAney WAs A pHenomenon of the silent cinema, and according to exhibitors, he was the most popular male star of 1928 and 1929 (Studlar 202). He was born in 1883 and began a theatrical career in his late teens, working with touring vaudeville acts for about ten years before moving into film. During 1912 and 1913, his first film work was uncredited bit parts for various studios, but he then worked under contract for Universal until around 1917, after which Chaney again worked for various studios and made a name for himself in strong supporting roles, such as in The Scarlet Car (1917) and Riddle Gawne (1918). His break came in 1919, when he played “The Frog” in The Miracle Man, the same year that he also made The Wicked Darling for Universal, which was his first feature-length collaboration with director Tod Browning, with whom he would work ten times over the following decade, particularly during the period 1925–30, when Chaney would work exclusively for Metro-Goldwyn-Mayer. By the time he signed his contract with MGM, Chaney was already a huge star, known for his mastery of makeup and disguise, a skill that he used to great effect throughout the 1920s and that earned him the nickname “the Man with a Thousand Faces.” When sound was being introduced during the late 1920s, Chaney initially resisted the transition, and by the time he made his first sound film, a remake of his 1925 film The Unholy Three, he had been diagnosed with cancer and passed away one month after the film’s release. Following his death, the industry was eager to find a replacement, and the horror stars who emerged after 1930 were usually judged in relation to him. For example, in 1933 alone, it was suggested that Lon Chaney’s “historical mantle . . . has apparently descended on Mr Karloff’s shoulders” (Mannock 30), while Claude Rains was declared to be “the new Lon Chaney” (“New Lon Chaney?” 5). However, although Chaney is acknowledged to be a key figure in the history of horror in particular and of cinema more generally, it is still the case that, as Gaylyn Studlar observed over twenty-five years ago, beyond The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925), “the numerous other films from his seventeen-year movie career are almost totally neglected by contemporary scholars” (Studlar 204; for notable exceptions see Skal and Worland).1 Studlar’s study of Chaney is therefore an important intervention, and it brilliantly explores the “failed and freakish” masculinities that he performed (210), masculinities that drew upon sHAne BroWn received his PhD at the University of East Anglia in 2014 and is the author of Queer Sexualities in Early Film: Cinema and Male–Male Intimacy and numerous other books and articles on horror, silent cinema, Elvis Presley, and Bobby Darin. He also writes young adult fiction. mArK JAnCoviCH is a professor of film and television studies at the University of East Anglia, UK

©2023由伊利诺伊大学董事会决定，查尼是无声电影的先驱，据参展商称，他是1928年和1929年最受欢迎的男明星（Studlar 202）。他出生于1883年，在十几岁的时候就开始了他的戏剧生涯，在进入电影界之前，他在巡回杂耍表演中工作了大约十年。在1912年和1913年期间，他的第一部电影作品是为各个工作室制作的未剪辑的小角色，但随后他与环球影业签订了合同，直到1917年左右，之后钱尼再次为各个工作室工作，并在强有力的配角中成名，如《猩红车》（1917）和《Riddle Gawne》（1918）。1919年，他在《奇迹人》中饰演“青蛙”，同年，他还为环球影业制作了《邪恶的宠儿》，这是他与导演托德·布朗宁的第一次长篇合作，在接下来的十年里，他将与导演合作十次，特别是在1925年至30年期间，当时钱尼将专门为麦德龙·戈德温·梅尔工作。当钱尼与米高梅签约时，他已经是一位巨星，以擅长化妆和伪装而闻名，这项技能在整个20世纪20年代都发挥了巨大作用，并为他赢得了“千面人”的绰号，翻拍自他1925年的电影《邪恶三人组》，他被诊断出患有癌症，在电影上映一个月后去世。在他去世后，业界急于寻找替代者，1930年后出现的恐怖明星通常被认为与他有关。例如，仅在1933年，就有人认为Lon Chaney的“历史衣钵……显然已经落在了Karloff先生的肩上”（Mannock 30），而Claude Rains则被宣布为“新的Lon Chany”（“新的Long Chaney？”5）。然而，尽管钱尼被公认为是恐怖史和电影史上的关键人物，但正如盖琳·斯塔德拉25年前所观察到的那样，除了《圣母院的驼背》（1923年）和《歌剧魅影》（1925年）之外，“他十七年电影生涯中的许多其他电影几乎完全被当代学者忽视了”（Studlar 204；对于明显的例外，请参见Skal和Worland）。1因此，Studlar对Chaney的研究是一个重要的干预，它出色地探索了他所表现的“失败和怪异”的男子气概（210），利用sHAne BroWn的男性气质于2014年在东安格利亚大学获得博士学位，著有《早期电影中的酷儿性取向：电影与男性——男性亲密关系》以及其他许多关于恐怖、无声电影、猫王和鲍比·达林的书和文章。他还写青少年小说。mArK JAnCoviCH是英国东安格利亚大学的电影和电视研究教授。他著有许多书籍和文章，也是《范围：电影研究在线杂志》的创始人。他目前担任布鲁姆斯伯里系列丛书《电影流派》的系列编辑（与查尔斯·阿克兰一起），以及《恐怖研究》杂志的总编辑。“美女与野兽”：龙电影中的浪漫、改革与神秘

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引用次数: 0

Acting and Race in Night of the Living Dead (1968) 《活死人之夜》(1968)中的表演与种族

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.01

Katherine Kinney

引用次数: 0

An Ecological Context That Scars: Reflections on Three Nature Documentaries of 2020 伤痕累累的生态背景:对2020年三部自然纪录片的反思

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.05

D. Pittaway

引用次数: 0

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful 1939年美国和苏联奇幻电影:《绿野仙踪》和《美丽的瓦西里萨》

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.04

Deborah Allison

引用次数: 0

Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia 来自西方的定时炸弹：社会主义晚期捷克斯洛伐克的视频、广告业和消费文化

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.03

Lucie Česálková

引用次数: 0

More Human Than Human: The Exile in Blade Runner 《银翼杀手》中的流放者:比人类更像人类

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-12-01 DOI: 10.5406/19346018.74.3.4.02

Trevor F. Anthony

引用次数: 0

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004) 在伊达尔戈骑着东西方的神话、怀旧和跨越一般边界

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-04-01 DOI: 10.5406/19346018.74.1.2.05

Sylvie Magerstädt

in recent years, several scholarly works (e.g., Broughton; Johnson et al.; Mitchell) have revisited one of the oldest genres in film history—the Western—to examine its lasting appeal and its ability to reinvent itself through hybridization with other genres. However, when genre hybridization is considered, research often focuses on so-called weird hybrids1 (see Green; Johnson et al.) or “darker” varieties such as noir and crime fiction crossovers (e.g., Mitchell or Monticone). Joe Johnston’s Hidalgo (2004) is unusual in this context, and its ambiguous reception at the time of its release highlights some of the problems that arise when genre conventions are taken too much at face value. A closer analysis of the film, therefore, might demonstrate the value of looking beyond obvious genre tropes toward wider cinematic trends. While Hidalgo was largely dismissed by critics reading it as a Western, I will argue that the film is better understood as part of the revival of spectacular epic cinema at the turn of the millennium, appearing alongside a number of epic films that explored, broadly speaking, a clash of cultures through mythic-historic narratives.2 As such, the film adds another dimension to current debates about the Western, as Hidalgo’s nostalgic-ironic reframing of traditional Western tropes together with elements of the epic and the adventure film offers a contemporary mash-up of myths that reflects the global audiences at which it is aimed. As Johnson et al. note, “one of the distinctive features of the western” is perhaps that it can “form unexpected combinations with other genres,” creating odd resonances between those genres (2). Through its playful engagement with the Western, Hidalgo not only offers a novel hybrid and an entertaining spectacle; its self-conscious play with generic conventions also can help us to critically assess the Western’s most iconic features. Hidalgo portrays the journey of rundown Western rider Frank T. Hopkins (Viggo Mortensen) and his mustang Hidalgo, who participate in a spectacular race across the Arabian Desert. Yet it is also a journey of self-discovery that highlights contemporary concerns about identity, ethnicity, and class as it reshapes traditional Western patterns. As noted previously, I suggest that Hidalgo is better understood in the context of several blockbuster epics that appeared in the same period and explored the conflict between Western and non-Western ideals. For example, Ridley Scott’s Alexander (dir. 2004) featured, among other things, the eastward conquest of the ancient Macedonian king, while Wolfgang Petersen’s Troy (2004) showed the conflict between the nation-states of Greece and the Eastern people of Troy. The 2004 version of King Arthur (dir. Antoine Fuqua) reframes the Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)

近年来，一些学术著作（如Broughton；Johnson等人；Mitchell）重新审视了电影史上最古老的类型之一——西部片，以考察其持久的吸引力以及通过与其他类型的混合来重塑自己的能力。然而，当考虑类型杂交时，研究通常集中在所谓的怪异杂交1（见Green；Johnson等人）或“黑暗”品种，如黑色和犯罪小说的杂交（如Mitchell或Monticone）。乔·约翰斯顿（Joe Johnston）的《伊达尔戈》（Hidalgo）（2004年）在这种情况下是不寻常的，它在上映时受到的模糊接待突显了当流派惯例过于注重表面价值时会出现的一些问题。因此，对这部电影进行更深入的分析，可能会证明超越明显的类型比喻，转向更广泛的电影趋势的价值。虽然《伊达尔戈》在很大程度上被评论家们视为西部片而不予理会，但我认为，这部电影更容易被理解为千禧年之交壮观史诗电影复兴的一部分，与许多史诗电影一起出现，从广义上讲，这些电影通过神话般的历史叙事探索了文化冲突。2因此，这部电影为当前关于西方的争论增加了另一个维度，因为伊达尔戈对传统西方比喻的怀旧讽刺性重构，以及史诗和冒险电影的元素，提供了一个当代神话的混合体，反映了它所针对的全球观众。正如Johnson等人所指出的，“西方的一个显著特征”可能是它可以“与其他流派形成意想不到的组合”，在这些流派之间产生奇怪的共鸣（2）。通过与西方的有趣接触，伊达尔戈不仅提供了一个新颖的混合体和一个有趣的奇观；它对一般惯例的自觉处理也可以帮助我们批判性地评估西方最具标志性的特征。《伊达尔戈》讲述了破败的西部骑手弗兰克·T·霍普金斯（维戈·莫滕森饰）和他的野马伊达尔戈的旅程，他们参加了一场穿越阿拉伯沙漠的壮观比赛。然而，这也是一次自我发现之旅，在重塑传统西方模式的同时，凸显了当代人对身份、种族和阶级的担忧。如前所述，我认为伊达尔戈在同一时期出现的几部轰动史诗中得到了更好的理解，这些史诗探讨了西方和非西方理想之间的冲突。例如，雷德利·斯科特（Ridley Scott）的《亚历山大》（Alexander）（目录，2004年）展示了古代马其顿国王的东征，而沃尔夫冈·彼得森（Wolfgang Petersen）的《特洛伊》（Troy）（2004年）则展示了希腊民族国家与特洛伊东部人民之间的冲突。2004年版的《亚瑟王》（导演Antoine Fuqua）重新定义了伊达尔戈的东方神话——西方神话、怀旧和跨越一般界限（2004）

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引用次数: 0

Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative 两栖魔幻现实主义？水的形状作为电影创伤叙事

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO

Pub Date : 2022-04-01 DOI: 10.5406/19346018.74.1.2.04

G. Finney

©2022 by the board of trustees of the university of illinois guillermo del toro is one of the leading directors of our time. His most renowned film to date is The Shape of Water (2017), which won Oscars for Best Picture, Best Director, Best Production Design, and Best Original Score. I would like to explore the reasons for the film’s success by first assessing the suitability of a term that has been used in connection with its style—magic or magical realism—and then homing in on the film’s central character, Elisa Esposito (Sally Hawkins), a mute cleaning woman in the fictional Occam Aerospace Research Center in Baltimore in 1962. Because Elisa Esposito moves from a position of silent victimization to one of agency, her development can be illuminated through an analogy to Bertha Pappenheim, the first patient of psychoanalysis. Better known by her clinical case name in Freud and Josef Breuer’s Studies on Hysteria (1895), Anna O., Pappenheim was treated by Breuer for hysteria but later became an activist for women’s rights. I will use her transformation from hysteric to activist as a lens through which to view Elisa Esposito’s evolution from underdog to savior. For those not familiar with The Shape of Water, I will give a brief summary. The film is a contemporary rendering of the story of Beauty and the Beast and was inspired by Creature from the Black Lagoon (1954), which del Toro first saw as a child. Elisa Esposito falls in love with a magical amphibious creature (Doug Jones) who has been captured for use in the space race against the Russians; the secret government laboratory in the Occam Center intends to employ the creature (referred to by those in the laboratory as “the asset”) to determine conditions that can be withstood during space flight. But Elisa is thwarted by a government agent in the laboratory, Richard Strickland (Michael Shannon), who wishes to vivisect the creature rather than test on it alive. Elisa elicits support from her gay neighbor Giles (Richard Jenkins), a commercial illustrator, and her black coworker Zelda (Octavia Spencer), who help her rescue the creature from the laboratory and take it to her apartment, where Elisa and the creature experience a period of amorous happiness. Matters are complicated by the fact that the Russians are also interested in the creature. A Soviet secret agent, Dimitri Mosenkov (Michael Stuhlbarg), has infiltrated the laboratory as a marine biologist named Dr. Robert Hoffstetler, and resisting the orders he receives to kill the creature and Strickland’s plans to vivisect him, he instead helps Elisa save the creature. In the end Strickland shoots Elisa and the creature, but the creature is magically restored and slashes Strickland’s throat. The creature plunges with Elisa into the canal, embracing her as she comes back to life and as the scars on her neck are transformed into gills. In contrast to Creature from the Black Lagoon, in which the amphibious monster is killed after he abducts a fema

©2022伊利诺伊大学董事会吉列尔莫·德尔托罗是我们这个时代的主要董事之一。迄今为止，他最著名的电影是《水的形状》（2017），该片获得了奥斯卡最佳影片、最佳导演、最佳制作设计和最佳原创配乐奖。我想探索这部电影成功的原因，首先评估一个与它的风格相关的术语的适用性——魔法或魔幻现实主义——然后关注电影的中心人物Elisa Esposito（Sally Hawkins饰），她是1962年巴尔的摩虚构的奥卡姆航空航天研究中心的一名清洁静音的女性。由于Elisa Esposito从一个沉默的受害者地位转变为代理地位，她的发展可以通过与精神分析的第一位患者Bertha Pappenheim的类比来说明。帕彭海姆在弗洛伊德和约瑟夫·布鲁尔的《歇斯底里研究》（1895年）中的临床病例名称更为人所知，她曾因歇斯底里接受布鲁尔的治疗，但后来成为女权活动家。我将用她从歇斯底里到活动家的转变作为一个镜头，来看待Elisa Esposito从失败者到救世主的演变。对于那些不熟悉《水的形状》的人，我将做一个简短的总结。这部电影是对《美女与野兽》故事的当代演绎，灵感来自德尔·托罗小时候第一次看到的《黑湖生物》（1954年）。Elisa Esposito爱上了一只神奇的两栖生物（Doug Jones饰），它被捕获用于与俄罗斯人的太空竞赛；奥卡姆中心的秘密政府实验室打算利用这种生物（实验室中的人称之为“资产”）来确定太空飞行中可以承受的条件。但Elisa被实验室的政府特工Richard Strickland（Michael Shannon饰）挫败了，他希望对这种生物进行活体解剖，而不是活体测试。Elisa得到了她的同性恋邻居Giles（Richard Jenkins饰）和她的黑人同事Zelda（Octavia Spencer饰。俄罗斯人也对这种生物感兴趣，这使事情变得复杂起来。苏联特工Dimitri Mosenkov（Michael Stuhlbarg饰）以一位名叫Robert Hoffstetler博士的海洋生物学家的身份潜入实验室，他拒绝了他接到的杀死这种生物的命令和斯特里克兰将其活体解剖的计划，而是帮助Elisa救下了这种生物。最后斯特里克兰射杀了伊莉萨和这个生物，但这个生物神奇地恢复了生命，并割断了斯特里克兰的喉咙。这只生物和Elisa一起跳入运河，在她复活时拥抱她，脖子上的伤疤变成了鳃。与《黑泻湖生物》形成对比的是，在这部电影中，两栖怪物在绑架了两栖魔幻现实主义探险队的一名女性成员后被杀死？水的形状作为电影创伤叙事

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