Pub Date : 2023-11-05DOI: 10.1080/17400309.2023.2275368
Haohan Meng
Click to increase image sizeClick to decrease image size AcknowledgmentsThe author would like to express sincere gratitude to Prof. Jinhua Sun for her invaluable support and professional guidance throughout the process of writing and revising this book review.
{"title":"Screen media and the construction of nostalgia in post-socialist China <b>Screen media and the construction of nostalgia in post-socialist China</b> , by Zhun Gu, Singapore, Palgrave Macmillan, 2023, 240 pp., $119.99 (hardcover), ISBN: 9789811974939","authors":"Haohan Meng","doi":"10.1080/17400309.2023.2275368","DOIUrl":"https://doi.org/10.1080/17400309.2023.2275368","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgmentsThe author would like to express sincere gratitude to Prof. Jinhua Sun for her invaluable support and professional guidance throughout the process of writing and revising this book review.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"50 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135726666","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 : 2023-11-02DOI: 10.1080/17400309.2023.2275367
Madison Barnes-Nelson
Published in New Review of Film and Television Studies (Ahead of Print, 2023)
发表于《新影视研究评论》（2023年出版）
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Pub Date : 2023-10-19DOI: 10.1080/17400309.2023.2262150
Sina Movaghati
The peculiar romance portrayed in Phantom Thread (2017) has been subjected to much criticism. While Paul Thomas Anderson’s film patently narrates a love story, the nature of its romance may appear ...
{"title":"Bluebeard meets Ivy: the botany of love in Paul Thomas Anderson’s Phantom Thread","authors":"Sina Movaghati","doi":"10.1080/17400309.2023.2262150","DOIUrl":"https://doi.org/10.1080/17400309.2023.2262150","url":null,"abstract":"The peculiar romance portrayed in Phantom Thread (2017) has been subjected to much criticism. While Paul Thomas Anderson’s film patently narrates a love story, the nature of its romance may appear ...","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"9 12","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435280","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 : 2023-10-12DOI: 10.1080/17400309.2023.2246349
Bonnie Tilland, Beth Tsai
This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director’s aesthetic and signatures. Not on...
{"title":"Of fleas and Parasite: unpacking class and space in Bong Joon-ho’s Barking Dogs Never Bite","authors":"Bonnie Tilland, Beth Tsai","doi":"10.1080/17400309.2023.2246349","DOIUrl":"https://doi.org/10.1080/17400309.2023.2246349","url":null,"abstract":"This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director’s aesthetic and signatures. Not on...","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"9 10","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435282","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 : 2023-09-26DOI: 10.1080/17400309.2023.2252306
Jade de Cock de Rameyen
This article engages with differences of experiences generated by transmedia migration of filmic content in artist-filmmaker Albert Serra’s two-channel installation Personalien and feature film Lib...
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Pub Date : 2023-09-20DOI: 10.1080/17400309.2023.2257819
Elizabeth Walters
In 1999, The Sopranos (HBO, 1999–2007) was the first-ever nominee from premium or basic cable in the Primetime Emmys’ Outstanding Drama Series category, a slate annually dominated by broadcast dram...
{"title":"“Throwing shows against the wall and hoping for the best”: NBC, quality, and the Emmy race for Outstanding Drama Series in the 2010s","authors":"Elizabeth Walters","doi":"10.1080/17400309.2023.2257819","DOIUrl":"https://doi.org/10.1080/17400309.2023.2257819","url":null,"abstract":"In 1999, The Sopranos (HBO, 1999–2007) was the first-ever nominee from premium or basic cable in the Primetime Emmys’ Outstanding Drama Series category, a slate annually dominated by broadcast dram...","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"8 5","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435299","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 : 2023-08-30DOI: 10.1080/17400309.2023.2246348
Ryan Engley
ABSTRACT In recent years, television has undergone an artistic and critical reevaluation. This essay aims to add to the study of television aesthetics by examining a form particular to American television: the bottle episode. The bottle episode first arose as a solution to the budgeting ‘bottlenecks’ experienced by U.S. television series in the 1950s and 60s. I find that this form presents a logic of the limit, establishing a formal, narrative, and existential aesthetic that is unique to television. Far from simply being cheap TV, a close study of the bottle episode shows that what began as a financially necessary production format works through the dialectical method of thought that unfurls in G.W.F. Hegel’s Phenomenology of Spirit. I turn to NBC’s Community (2009–15), a series replete with bottle episodes, to show that by pushing through bottled confinement, the new and transformative take place. Ultimately, I argue that bottle episodes show how dynamic collectivity forms through isolation.
{"title":"The limitation of the bottle episode: Hegel in Community","authors":"Ryan Engley","doi":"10.1080/17400309.2023.2246348","DOIUrl":"https://doi.org/10.1080/17400309.2023.2246348","url":null,"abstract":"ABSTRACT In recent years, television has undergone an artistic and critical reevaluation. This essay aims to add to the study of television aesthetics by examining a form particular to American television: the bottle episode. The bottle episode first arose as a solution to the budgeting ‘bottlenecks’ experienced by U.S. television series in the 1950s and 60s. I find that this form presents a logic of the limit, establishing a formal, narrative, and existential aesthetic that is unique to television. Far from simply being cheap TV, a close study of the bottle episode shows that what began as a financially necessary production format works through the dialectical method of thought that unfurls in G.W.F. Hegel’s Phenomenology of Spirit. I turn to NBC’s Community (2009–15), a series replete with bottle episodes, to show that by pushing through bottled confinement, the new and transformative take place. Ultimately, I argue that bottle episodes show how dynamic collectivity forms through isolation.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47704127","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 : 2023-08-24DOI: 10.1080/17400309.2023.2246350
Kyle Barrowman
ABSTRACT In recent years, Stanley Cavell has become one of the canonical reference points for film scholars. In particular, his work on ‘comedies of remarriage’ has become one of the most fertile arenas of contemporary scholarship in film studies. However, Cavell’s work on remarriage comedy has rarely been subjected to criticism. For the most part, scholars interested in Cavell’s work on remarriage comedy have either sought to elaborate on his readings of the seven principal films which for him make up the core of the genre, or they have sought to expand the genre by incorporating additional classical or contemporary Hollywood romantic comedies. In this article, I reconsider Cavell’s canonical work on the subject, and critique and provide alternatives to what are to my mind the most pressing problems in Cavell’s conception of remarriage comedy, problems which fall into three broad categories: theoretical problems, historical problems, and critical problems. In so doing, I hope to provide better theoretical models, broader historical understanding, and more nuanced criticism vis-à-vis the genre of remarriage comedy in and beyond classical Hollywood cinema.
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Pub Date : 2023-08-24DOI: 10.1080/17400309.2023.2246351
James Douglas
ABSTRACT Australia’s George Miller, director of the Mad Max films and others, has an international reputation as a singular creative force. But this reputation overlooks key facts about Miller’s career and working methods, including his co-founding and stewardship of the production company Kennedy Miller (now Kennedy Miller Mitchell), which organized production along collaborative and collective lines. In this article, I undertake an organizational analysis of Kennedy Miller from 1981 to 1991, the period that led Australian film scholars to describe the firm as akin to a classical Hollywood studio operation. I argue that just as we recognize classical Hollywood studios as possessing a collective ‘genius’ that delimits individual claims to authorship, so should we understand Kennedy Miller in this period as possessing a corporate authorship over its film and television production. I locate this strong ‘house’ identity in the firm’s organizational structure, its distinctive culture of ‘comprehensivism’, its collaborative creative procedures, and in the discourses of publicity and critical reception that surrounded its output. I conclude by contending that this understanding of Kennedy Miller’s corporate authorship requires that we reframe our understanding of Miller’s practice to account for his role in this collaborative structure.
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Pub Date : 2023-08-18DOI: 10.1080/17400309.2023.2246353
Yi Sun
ABSTRACT This essay revisits a period (from the early 1980s to early 2000s) in the history of Hong Kong film through the perspective of ‘film bleu’ and traces a brief and roughly chronological history of Hong Kong film bleu. In the early stages of the development of the film bleu aesthetic in local cinema, red was nearly as prominent as blue, whereas the blue–red scheme has largely been replaced by a monochromatic blue tone in more recent ‘bluish’ films. This essay reveals how a blue–red color and lighting scheme gradually gave way to a blue-dominated one and how blue was developed as a generic and cinematic convention in Hong Kong crime films. It propounds that, in addition to efforts to develop idiosyncratic generic conventions, the film bleu aesthetic in post-Handover Hong Kong cinema reflects a detached attitude toward and even a disavowal of both contemporary and traditional Chinese cultures.
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