Pub Date : 2022-10-20DOI: 10.1080/17400309.2022.2132072
Mario Slugan
ABSTRACT Fiction film remains the privileged focus of text-oriented film studies despite the growing interest in other film forms. Fiction as a concept also organizes the field’s key taxonomy – fiction v. nonfiction – yet little work has been devoted to the notion of fiction itself. The work that does exist is either textualist or spectator centred. The article argues that this leads to significant issues. First, categorization of numerous films diverges significantly from the ordinary understanding of the fiction/nonfiction divide. Second, such categorization may lead to both misunderstanding of audience experience and ethical problems alike. Third, theoretical commitments revolving around indexicality although partially applicable to documentary cannot shed light on fiction contrary to numerous attempts to do so. Fourth, one of discipline’s key assumptions – fiction films change real-life beliefs – demands a theory of the relationship between fiction and belief that is currently absent in film studies. Closer scrutiny of the notion of fiction, the article argues, is necessary to dispel these issues. Specifically, the article advocates for 1) non-textualist accounts of fiction and 2) a theory of the relationship of fiction to imagination and belief.
{"title":"Fiction as a challenge to text-oriented film studies","authors":"Mario Slugan","doi":"10.1080/17400309.2022.2132072","DOIUrl":"https://doi.org/10.1080/17400309.2022.2132072","url":null,"abstract":"ABSTRACT Fiction film remains the privileged focus of text-oriented film studies despite the growing interest in other film forms. Fiction as a concept also organizes the field’s key taxonomy – fiction v. nonfiction – yet little work has been devoted to the notion of fiction itself. The work that does exist is either textualist or spectator centred. The article argues that this leads to significant issues. First, categorization of numerous films diverges significantly from the ordinary understanding of the fiction/nonfiction divide. Second, such categorization may lead to both misunderstanding of audience experience and ethical problems alike. Third, theoretical commitments revolving around indexicality although partially applicable to documentary cannot shed light on fiction contrary to numerous attempts to do so. Fourth, one of discipline’s key assumptions – fiction films change real-life beliefs – demands a theory of the relationship between fiction and belief that is currently absent in film studies. Closer scrutiny of the notion of fiction, the article argues, is necessary to dispel these issues. Specifically, the article advocates for 1) non-textualist accounts of fiction and 2) a theory of the relationship of fiction to imagination and belief.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"427 - 450"},"PeriodicalIF":0.8,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48724944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17400309.2022.2138388
R. Watson
{"title":"Documentary’s expanded fields: new media and the twenty-first-century documentary","authors":"R. Watson","doi":"10.1080/17400309.2022.2138388","DOIUrl":"https://doi.org/10.1080/17400309.2022.2138388","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"595 - 598"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45132296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17400309.2022.2135928
Arya Rani
{"title":"The new female antihero: the disruptive women of twenty-first-century US television","authors":"Arya Rani","doi":"10.1080/17400309.2022.2135928","DOIUrl":"https://doi.org/10.1080/17400309.2022.2135928","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"592 - 595"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46250368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17400309.2022.2138393
C. Rocha
ABSTRACT Financed by a British-Irish-Canadian co-production, Brooklyn (John Crowley 2015) deals with twentieth-century Irish diaspora, particularly the mass emigration of unmarried Irish women in the 1950s. While Irish immigration to the United States has been ongoing since the eighteenth century, until a few decades ago the perspective of Irish women was missing in Irish and Irish-American literature and film. In the 1880–1920 period, the Bridgets, Irish-born maids, were stereotypical characters in film. In recent decades, there has been a renewed interest in filling the gap regarding the experience of Irish female immigrants, often represented as deceased mothers. Drawing upon psychoanalytical film theory and the work of cultural studies scholars who have paid special attention to the representation of Irish immigrants, this essay analyzes Brooklyn’s gendered representation of younger Irish female immigrants to the United States and the tension between nationalism and transnationalism posed by migration. This gendered depiction provides a new perspective on Irish immigration to America.
{"title":"Brooklyn: gendered Irish migration to the United States","authors":"C. Rocha","doi":"10.1080/17400309.2022.2138393","DOIUrl":"https://doi.org/10.1080/17400309.2022.2138393","url":null,"abstract":"ABSTRACT Financed by a British-Irish-Canadian co-production, Brooklyn (John Crowley 2015) deals with twentieth-century Irish diaspora, particularly the mass emigration of unmarried Irish women in the 1950s. While Irish immigration to the United States has been ongoing since the eighteenth century, until a few decades ago the perspective of Irish women was missing in Irish and Irish-American literature and film. In the 1880–1920 period, the Bridgets, Irish-born maids, were stereotypical characters in film. In recent decades, there has been a renewed interest in filling the gap regarding the experience of Irish female immigrants, often represented as deceased mothers. Drawing upon psychoanalytical film theory and the work of cultural studies scholars who have paid special attention to the representation of Irish immigrants, this essay analyzes Brooklyn’s gendered representation of younger Irish female immigrants to the United States and the tension between nationalism and transnationalism posed by migration. This gendered depiction provides a new perspective on Irish immigration to America.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"489 - 505"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47017434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17400309.2022.2133920
Olivia Stowell
ABSTRACT This article explores the intersections of racial identity performance, culinary style, and neoliberal logics within reality cooking television. By close reading the performance and evaluation of Top Chef: New York contestant Carla Hall, this article argues that reality cooking competitions depend on a grammar of stereotype in order to transform contestants into characters, and the contestants both acquiesce to and resist these preconceived notions, sometimes simultaneously. Neoliberal logics of personhood both constrain contestants within their ‘characters’/‘brands’ and also allow chefs to agentially and reflexively self-construct particular personas out of their own culinary ethos. Relatedly, food operates as a multivalent racialized signifier of identity, in which the contestants racialize the food and the food racializes the contestants. As Carla Hall’s performance in Top Chef: New York demonstrates, reality cooking competitions place demands on their contestants to ‘appropriately’ perform their identities, and contestants are evaluated by both the judges and the viewers on how they navigate these performances. This article contends that in its reliance on racial stereotype and conflations between labor, identity, and being, Top Chef propagates neoliberal and multicultural/postracial logics, demanding that its contestants of color perform their individualized, racialized identities in ways that the program deems ‘authentic’ and ‘appropriate’.
{"title":"“It’s Top Chef, not a personality contest”: grammars of stereotype, neoliberal logics of personhood, and the performance of the racialized self in Top Chef: New York","authors":"Olivia Stowell","doi":"10.1080/17400309.2022.2133920","DOIUrl":"https://doi.org/10.1080/17400309.2022.2133920","url":null,"abstract":"ABSTRACT This article explores the intersections of racial identity performance, culinary style, and neoliberal logics within reality cooking television. By close reading the performance and evaluation of Top Chef: New York contestant Carla Hall, this article argues that reality cooking competitions depend on a grammar of stereotype in order to transform contestants into characters, and the contestants both acquiesce to and resist these preconceived notions, sometimes simultaneously. Neoliberal logics of personhood both constrain contestants within their ‘characters’/‘brands’ and also allow chefs to agentially and reflexively self-construct particular personas out of their own culinary ethos. Relatedly, food operates as a multivalent racialized signifier of identity, in which the contestants racialize the food and the food racializes the contestants. As Carla Hall’s performance in Top Chef: New York demonstrates, reality cooking competitions place demands on their contestants to ‘appropriately’ perform their identities, and contestants are evaluated by both the judges and the viewers on how they navigate these performances. This article contends that in its reliance on racial stereotype and conflations between labor, identity, and being, Top Chef propagates neoliberal and multicultural/postracial logics, demanding that its contestants of color perform their individualized, racialized identities in ways that the program deems ‘authentic’ and ‘appropriate’.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"569 - 587"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42802400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17400309.2022.2138055
Stephanie Brown
{"title":"That’s not funny: how the right makes comedy work for them","authors":"Stephanie Brown","doi":"10.1080/17400309.2022.2138055","DOIUrl":"https://doi.org/10.1080/17400309.2022.2138055","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"588 - 591"},"PeriodicalIF":0.8,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42020074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-26DOI: 10.1080/17400309.2022.2122652
T. van Hemert, E. Ellison
ABSTRACT In Australia, the most visible film festivals are clustered around urban centres, yet there is a flourishing network of film festivals outside of major cities. In the state of Queensland, the festivals in regional and rural areas provide crucial visibility for the industry, local community and emerging filmmakers. Following the growth in film festival scholarship, and research on global digital distribution, the impetus for this research was to examine why so many film festivals continue to operate in Queensland. Using a broader mapping project as context, this article examines how the specificity of place shapes the identity of two case study festivals, their audience, and connection to community. The research identifies three key concerns: the distinctions between regional and metropolitan festivals; the duality of these festivals as both inward and outward facing events; and the challenges of viability that face the future of Queensland’s festival sector. In 2020, the COVID-19 global pandemic caused further disruption to the national and international screen industries. While this upheaval continues to affect the screen industry, it is important to understand the role that film festivals already play in cultivating and sustaining local audiences and communities, and consider strategies to support their ongoing viability.
{"title":"‘Punching above our weight’: industry visibility and community engagement in rural and regional film festivals","authors":"T. van Hemert, E. Ellison","doi":"10.1080/17400309.2022.2122652","DOIUrl":"https://doi.org/10.1080/17400309.2022.2122652","url":null,"abstract":"ABSTRACT In Australia, the most visible film festivals are clustered around urban centres, yet there is a flourishing network of film festivals outside of major cities. In the state of Queensland, the festivals in regional and rural areas provide crucial visibility for the industry, local community and emerging filmmakers. Following the growth in film festival scholarship, and research on global digital distribution, the impetus for this research was to examine why so many film festivals continue to operate in Queensland. Using a broader mapping project as context, this article examines how the specificity of place shapes the identity of two case study festivals, their audience, and connection to community. The research identifies three key concerns: the distinctions between regional and metropolitan festivals; the duality of these festivals as both inward and outward facing events; and the challenges of viability that face the future of Queensland’s festival sector. In 2020, the COVID-19 global pandemic caused further disruption to the national and international screen industries. While this upheaval continues to affect the screen industry, it is important to understand the role that film festivals already play in cultivating and sustaining local audiences and communities, and consider strategies to support their ongoing viability.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"522 - 545"},"PeriodicalIF":0.8,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43703258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-15DOI: 10.1080/17400309.2022.2121529
Daniel McFadden
ABSTRACT This paper examines the political effects of the representation of historical paintings in film. It contends that the inclusion of this ‘older’ form, painting, and of the world associated with its popularity brings a mythological past to bear on contemporary philosophical and political issues in a novel and complex manner. Using the formal qualities of film, like montage and close-up, film makers can reimage and reimagine the place and role of painted works within the contemporary worlds in which the films are set. The interruption of one world into the other, the painted past into the photoreal present or future, uncovers new continuities and makes the distant past a matter of concern for the problems of the present. Using the philosophy and theories of Jacques Rancière, Bonnie Honig, Robert Pippin, and Roland Barthes, this article examines the representation of painting in Andrei Tarkovsky’s Solaris (1972) and the collaborative film Germany in Autumn (1978).
{"title":"The political dimension of ekphrasis","authors":"Daniel McFadden","doi":"10.1080/17400309.2022.2121529","DOIUrl":"https://doi.org/10.1080/17400309.2022.2121529","url":null,"abstract":"ABSTRACT This paper examines the political effects of the representation of historical paintings in film. It contends that the inclusion of this ‘older’ form, painting, and of the world associated with its popularity brings a mythological past to bear on contemporary philosophical and political issues in a novel and complex manner. Using the formal qualities of film, like montage and close-up, film makers can reimage and reimagine the place and role of painted works within the contemporary worlds in which the films are set. The interruption of one world into the other, the painted past into the photoreal present or future, uncovers new continuities and makes the distant past a matter of concern for the problems of the present. Using the philosophy and theories of Jacques Rancière, Bonnie Honig, Robert Pippin, and Roland Barthes, this article examines the representation of painting in Andrei Tarkovsky’s Solaris (1972) and the collaborative film Germany in Autumn (1978).","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"506 - 521"},"PeriodicalIF":0.8,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44696394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-29DOI: 10.1080/17400309.2022.2113713
Tim Shao-Hung Teng
ABSTRACT This essay argues that by deploying the mind-game tropes of body swap and time travel, the Japanese animated film Your Name poses questions of time, memory, and mediation that must be considered in light of the 2011 national disaster. To take up these questions, I juxtapose three lines of interrogation that situate the film at varying timescales. The first analyzes the film’s use of myth to construct a unified timeline that ensures the continuation of national history. This national time, however, is warped into a cosmic scheme. Expounding on the trope of musubi or weaving, the second, mind-game inquiry thus philosophizes time beyond the national framework to better account for the protagonists’ task of historical rescue through radical experiments with fate and contingency. Inspired by the film’s portrayal of skies and clouds, the final inquiry foregrounds the naturalized environment of new media technologies that engages time and memory beyond and beneath the human perceptual frame. To conclude, I provide some critical notes that ask how an ecologically attuned mind-game paradigm anticipates alternative modes of social imagination.
{"title":"Time, disaster, new media: Your Name as a mind-game film","authors":"Tim Shao-Hung Teng","doi":"10.1080/17400309.2022.2113713","DOIUrl":"https://doi.org/10.1080/17400309.2022.2113713","url":null,"abstract":"ABSTRACT This essay argues that by deploying the mind-game tropes of body swap and time travel, the Japanese animated film Your Name poses questions of time, memory, and mediation that must be considered in light of the 2011 national disaster. To take up these questions, I juxtapose three lines of interrogation that situate the film at varying timescales. The first analyzes the film’s use of myth to construct a unified timeline that ensures the continuation of national history. This national time, however, is warped into a cosmic scheme. Expounding on the trope of musubi or weaving, the second, mind-game inquiry thus philosophizes time beyond the national framework to better account for the protagonists’ task of historical rescue through radical experiments with fate and contingency. Inspired by the film’s portrayal of skies and clouds, the final inquiry foregrounds the naturalized environment of new media technologies that engages time and memory beyond and beneath the human perceptual frame. To conclude, I provide some critical notes that ask how an ecologically attuned mind-game paradigm anticipates alternative modes of social imagination.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"459 - 488"},"PeriodicalIF":0.8,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46654920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17400309.2022.2100193
Yi Lu
ABTRACT This paper seeks to illustrate how Chinese film director Feng Xiaogang constructs and delivers social commentaries in his New Year comedies The Dream Factory (1997) and Personal Tailor (2013). These two films are unique in terms of narrative strategy compared to his other New Year films. Both films turn on the premise of temporarily granting people’s wildest wishes, out of which arise multi-layered utopian and dystopian elements that I connect to Feng having made these two films shortly after his realist films were censored. Exploring these two films, I argue that Feng employs the carnivalesque as an alternative narrative strategy to perform subversive resistance, to counter monolithic and hegemonic discourses of Chinese modernity, and to expose social issues in the context of China’s tightening of censorship restrictions. A comparative study of these two films reveals their value as visual records of Chinese modernity over the course of a decade and as important facilitators or mediators of societal self-critique.
{"title":"Feng Xiaogang’s haunted utopia, Chinese modernity, and carnivalesque social critique in the era of Xi Jinping","authors":"Yi Lu","doi":"10.1080/17400309.2022.2100193","DOIUrl":"https://doi.org/10.1080/17400309.2022.2100193","url":null,"abstract":"ABTRACT This paper seeks to illustrate how Chinese film director Feng Xiaogang constructs and delivers social commentaries in his New Year comedies The Dream Factory (1997) and Personal Tailor (2013). These two films are unique in terms of narrative strategy compared to his other New Year films. Both films turn on the premise of temporarily granting people’s wildest wishes, out of which arise multi-layered utopian and dystopian elements that I connect to Feng having made these two films shortly after his realist films were censored. Exploring these two films, I argue that Feng employs the carnivalesque as an alternative narrative strategy to perform subversive resistance, to counter monolithic and hegemonic discourses of Chinese modernity, and to expose social issues in the context of China’s tightening of censorship restrictions. A comparative study of these two films reveals their value as visual records of Chinese modernity over the course of a decade and as important facilitators or mediators of societal self-critique.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"20 1","pages":"353 - 376"},"PeriodicalIF":0.8,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45179136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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