Pub Date : 2018-10-17DOI: 10.13110/framework.59.1.0032
Scott Macdonald
Lyric poetry has ancient roots. Aristotle distinguished the lyrical as one of the three broad categories of poetry (along with the dramatic and the epic). Over the centuries, many have attempted precise defi nitions of the lyric/lyrical, but most would agree with the classic understanding of the lyric as “a brief subjective poem strongly marked by imagination, melody, and emotion, and creating for the reader a single, unifi ed impression.” Most defi nitions also specify that the lyric poem is an openly subjective expression of the poet. P. Adams Sitney was perhaps the fi rst fi lm scholar to understand that while the commercial motion picture is generally dramatic and/or epic, cinema has its own lyric tradition, epitomized by the fi lms of Stan Brakhage and Bruce Baillie. Sitney’s defi nition of the cinematic lyric:
{"title":"Lyrical Television","authors":"Scott Macdonald","doi":"10.13110/framework.59.1.0032","DOIUrl":"https://doi.org/10.13110/framework.59.1.0032","url":null,"abstract":"Lyric poetry has ancient roots. Aristotle distinguished the lyrical as one of the three broad categories of poetry (along with the dramatic and the epic). Over the centuries, many have attempted precise defi nitions of the lyric/lyrical, but most would agree with the classic understanding of the lyric as “a brief subjective poem strongly marked by imagination, melody, and emotion, and creating for the reader a single, unifi ed impression.” Most defi nitions also specify that the lyric poem is an openly subjective expression of the poet. P. Adams Sitney was perhaps the fi rst fi lm scholar to understand that while the commercial motion picture is generally dramatic and/or epic, cinema has its own lyric tradition, epitomized by the fi lms of Stan Brakhage and Bruce Baillie. Sitney’s defi nition of the cinematic lyric:","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77298694","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 : 2018-10-01DOI: 10.13110/FRAMEWORK.59.2.0152
Bette Gordon
{"title":"Film Stills from My Work: Looking at Women and Men","authors":"Bette Gordon","doi":"10.13110/FRAMEWORK.59.2.0152","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.2.0152","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87675834","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 : 2018-10-01DOI: 10.13110/FRAMEWORK.59.2.0122
Robert R. Roth
{"title":"Alchemy and the Magick in the Media","authors":"Robert R. Roth","doi":"10.13110/FRAMEWORK.59.2.0122","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.2.0122","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81803775","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 : 2018-09-01DOI: 10.13110/FRAMEWORK.59.2.0135
M. Serra
{"title":"The Films of MM Serra: Art(core) and the Explicit Body","authors":"M. Serra","doi":"10.13110/FRAMEWORK.59.2.0135","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.2.0135","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73155251","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}
The term ‘obsolescence’ has in recent years re-entered the vocabulary of the art world, memory studies and new media historians. In the process, it has significantly changed its meaning and enlarged its semantic and evaluative range, even signifying something like heroic resistance to relentless new-ness or superficial novelty, even becoming the badge of honour for all that is no longer useful (for capitalism, for appropriation, for instrumental objectification). Anyone engaged with ‘found footage’ films, with home movies or our analogue cinematic legacy knows that the strategic use of obsolescence lies in the fact that it is a term that inevitably associates with both capitalism and technology. Hence obsolescence is of special interest in the context of contemporary cinema, since it provides a counterweight – the materiality of memory, and the methodology of media archaeology – to the immateriality and virtuality of the digital. But the obsolescence of celluloid also gives us a kind of ‘fossil record’ of what has become of the filmic ‘medium’ when we see it in the broader context of the ‘geological’ time of media, and as part of the ‘archival’ turn that memory studies have taken in the 21st century.
{"title":"Trapped in Amber: The New Materialities of Memory","authors":"T. Elsaesser","doi":"10.26881/PAN.2018.19.10","DOIUrl":"https://doi.org/10.26881/PAN.2018.19.10","url":null,"abstract":"The term ‘obsolescence’ has in recent years re-entered the vocabulary of the art world, memory studies and new media historians. In the process, it has significantly changed its meaning and enlarged its semantic and evaluative range, even signifying something like heroic resistance to relentless new-ness or superficial novelty, even becoming the badge of honour for all that is no longer useful (for capitalism, for appropriation, for instrumental objectification). Anyone engaged with ‘found footage’ films, with home movies or our analogue cinematic legacy knows that the strategic use of obsolescence lies in the fact that it is a term that inevitably associates with both capitalism and technology. Hence obsolescence is of special interest in the context of contemporary cinema, since it provides a counterweight – the materiality of memory, and the methodology of media archaeology – to the immateriality and virtuality of the digital. But the obsolescence of celluloid also gives us a kind of ‘fossil record’ of what has become of the filmic ‘medium’ when we see it in the broader context of the ‘geological’ time of media, and as part of the ‘archival’ turn that memory studies have taken in the 21st century.","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90441787","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 : 2018-04-01DOI: 10.13110/FRAMEWORK.59.1.0086
Susan M. Potter, M. Perez
{"title":"Melodramatic Ends: Winter Sleep (Kiş Uykusu)","authors":"Susan M. Potter, M. Perez","doi":"10.13110/FRAMEWORK.59.1.0086","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.1.0086","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78906057","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 : 2018-04-01DOI: 10.13110/FRAMEWORK.59.1.0047
Ben Olin
In a snapshot taken in 1971, the New York School poets Ted Berrigan and John Ashbery pose on the sidewalk in front of the St. Regis Hotel; Berrigan—who stands slightly closer to the camera—raises his palm toward the lens, playfully blotting out half of Ashbery’s face. As the critic Reva Wolf has noted, the staginess of the shot and the poets’ amused expressions, implies a deliberate visual reference to Berrigan’s textual appropriations of Ashbery’s work:
这张照片拍摄于1971年，纽约学派诗人泰德·贝里根(Ted Berrigan)和约翰·阿什伯里(John Ashbery)在瑞吉酒店(St. Regis Hotel)前的人行道上摆姿势;贝里根站得离摄像机更近一些，他向镜头举起手掌，开玩笑地遮住了阿什贝里的半边脸。正如评论家雷瓦·沃尔夫(Reva Wolf)所指出的，镜头的停滞和诗人的搞笑表情，暗示着贝里根对阿什伯里作品的文本挪用是一种故意的视觉参照:
{"title":"Reframing the New York School: Public Access Poetry and the Screening of Poetic Coterie","authors":"Ben Olin","doi":"10.13110/FRAMEWORK.59.1.0047","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.1.0047","url":null,"abstract":"In a snapshot taken in 1971, the New York School poets Ted Berrigan and John Ashbery pose on the sidewalk in front of the St. Regis Hotel; Berrigan—who stands slightly closer to the camera—raises his palm toward the lens, playfully blotting out half of Ashbery’s face. As the critic Reva Wolf has noted, the staginess of the shot and the poets’ amused expressions, implies a deliberate visual reference to Berrigan’s textual appropriations of Ashbery’s work:","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73970384","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 : 2018-04-01DOI: 10.13110/FRAMEWORK.59.1.0007
Lauren Boumaroun
{"title":"Costume Designer/Everything: Hybridized Identities in Animation Production","authors":"Lauren Boumaroun","doi":"10.13110/FRAMEWORK.59.1.0007","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.59.1.0007","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72717774","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 : 2017-06-01DOI: 10.13110/FRAMEWORK.58.1-2.0173
Meheli Sen
{"title":"The Mirror of Desire: Queerness, Fan, and the Riddles of Paheli","authors":"Meheli Sen","doi":"10.13110/FRAMEWORK.58.1-2.0173","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.58.1-2.0173","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79372754","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 : 2017-06-01DOI: 10.13110/FRAMEWORK.58.1-2.0052
Brian R. Jacobson
{"title":"Toward a History of French Ecocinema: Nature in Dimitri Kirsanoff’s Modernity","authors":"Brian R. Jacobson","doi":"10.13110/FRAMEWORK.58.1-2.0052","DOIUrl":"https://doi.org/10.13110/FRAMEWORK.58.1-2.0052","url":null,"abstract":"","PeriodicalId":43199,"journal":{"name":"Framework-The Journal of Cinema and Media","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89549381","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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