Pub Date : 2023-03-20DOI: 10.1080/17400309.2023.2176156
Bettina Henzler
ABSTRACT This paper establishes the motif of ‘child spectators’ within the self-reflexive tradition of modern European cinema since the 1940s and within discourses on the affinity of childhood and cinema, dating back to the beginning of the twentieth century. Through a close reading of The spirit of the beehive (Víctor Erice, 1973) and Jacquot de Nantes (Agnès Varda, 1991) that deals with the impact of the cinema experience on a child’s life, I analyze how this motif stages spectatorship, cinephilia, and filmmaking. First, I show how these films reflect on the impact of film experience and the process of film education as based on the existential being described by phenomenology. Second, I argue that this motif implies specific aesthetic strategies that are often linked to childhood and cinema. The child spectator calls for the understanding of childhood as a film aesthetical category and invites us to engage in a distinctive form of spectatorship. If the children in these films represent and address the phenomenological dimension of film experience, they also invite us, third, to reconsider aspects rarely addressed by phenomenology, especially the integration of imagination and materiality in film experience, and the interdependence of film experience and education.
摘要:本文在20世纪40年代以来现代欧洲电影的自我反思传统以及20世纪初关于儿童与电影的亲和力的话语中建立了“儿童观众”的母题。通过仔细阅读《蜂巢的精神》(Víctor Erice, 1973)和《雅克·德·南特》(Jacquot de Nantes, agn·瓦尔达，1991)，探讨了电影体验对儿童生活的影响，我分析了这一主题是如何影响观众、电影癖和电影制作的。首先，我以现象学描述的存在存在为基础，展示了这些电影如何反映电影经验的影响和电影教育的过程。其次，我认为这个主题暗示了特定的美学策略，通常与童年和电影有关。儿童观众要求理解童年作为一个电影美学范畴，并邀请我们参与一种独特的观看形式。如果这些电影中的孩子代表和解决了电影经验的现象学维度，他们也邀请我们重新考虑现象学很少涉及的方面，特别是电影经验中想象力和物质性的融合，以及电影经验与教育的相互依存关系。
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Pub Date : 2023-03-07DOI: 10.1080/17400309.2023.2174764
Laura Rascaroli
ABSTRACT Oculocentric perspectives are often dominant in descriptions of the city essay film. Whether flâneurial, observational, lyrical or visionary, the gaze is often placed at the centre of the filmic perception of the city, which is itself conceived of as a sight, image, or palimpsest. In this article, I reflect on the centrality of noise to modernity, and of capitalism to urban sound. In doing so, I pursue a dual goal: to foreground a sound-based understanding of the city through the essay film; and to ask how sound can help us understand the city essay film as a critique at once of the metropolis’ entanglement with capitalism and of the cinema’s historical contribution to the creation of the city as spectacle. A workable definition of the city essay film as an object of theory is attained via an engagement with urban and sound studies, and the discussion of sound design and sound discourse in Many Undulating Things (2019), a geopolitical essay by Bo Wang and Pan Lu about Hong Kong.
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Pub Date : 2023-02-07DOI: 10.1080/17400309.2023.2170667
Dominic Lash
ABSTRACT This article explores the work of the critic V.F. Perkins in the light of the concept of description, and vice versa. It argues that a range of distinct senses of description come together in Perkins’s work, and uses that work to assist in the construction of some proposals about the function and value of description in films and film criticism. Perkins had, it is argued, a particular interest in films that explore what might be referred to as ‘failures of redescription’, including Max Ophüls’s Letter from an Unknown Woman and Elia Kazan’s America, America. His writings on these films are explored with a view to demonstrating the ways in which the descriptive practices Perkins used in his writing can bring out rich and fascinating connections between criticism as an ethical practice with affinities to moral philosophy (via a concern with appropriate act descriptions) and the descriptions that are traced by films themselves.
{"title":"V.F. Perkins and the redescription of films","authors":"Dominic Lash","doi":"10.1080/17400309.2023.2170667","DOIUrl":"https://doi.org/10.1080/17400309.2023.2170667","url":null,"abstract":"ABSTRACT This article explores the work of the critic V.F. Perkins in the light of the concept of description, and vice versa. It argues that a range of distinct senses of description come together in Perkins’s work, and uses that work to assist in the construction of some proposals about the function and value of description in films and film criticism. Perkins had, it is argued, a particular interest in films that explore what might be referred to as ‘failures of redescription’, including Max Ophüls’s Letter from an Unknown Woman and Elia Kazan’s America, America. His writings on these films are explored with a view to demonstrating the ways in which the descriptive practices Perkins used in his writing can bring out rich and fascinating connections between criticism as an ethical practice with affinities to moral philosophy (via a concern with appropriate act descriptions) and the descriptions that are traced by films themselves.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"479 - 504"},"PeriodicalIF":0.8,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49075404","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 : 2023-01-02DOI: 10.1080/17400309.2022.2102402
Anna Ladinig
ABSTRACT Mountains play dominant and strategic roles in Kyrgyz cinema. They serve as an important mediator in the constructed antagonism between ‘national’ and ‘socialist’ evoked by media representations and, further, in the conventional associations between ‘nature’ and ‘national’, on the one hand, and ‘progress’ and ‘Soviet’, on the other. This article explores how mountainscapes constitute and interweave ‘Sovietness’ and ‘Kyrgyzness’ with reference to the 1966 film The Sky of Our Childhood (Nebo nashego detstva, 1966), directed by Tolomush Okeyev. The mountainscape serves not as a mere backdrop to the narrative but expresses ambiguities as a result of its transformative power.
{"title":"Ambiguous images of Soviet-Kyrgyz mountainscapes in The Sky of Our Childhood (1966)","authors":"Anna Ladinig","doi":"10.1080/17400309.2022.2102402","DOIUrl":"https://doi.org/10.1080/17400309.2022.2102402","url":null,"abstract":"ABSTRACT Mountains play dominant and strategic roles in Kyrgyz cinema. They serve as an important mediator in the constructed antagonism between ‘national’ and ‘socialist’ evoked by media representations and, further, in the conventional associations between ‘nature’ and ‘national’, on the one hand, and ‘progress’ and ‘Soviet’, on the other. This article explores how mountainscapes constitute and interweave ‘Sovietness’ and ‘Kyrgyzness’ with reference to the 1966 film The Sky of Our Childhood (Nebo nashego detstva, 1966), directed by Tolomush Okeyev. The mountainscape serves not as a mere backdrop to the narrative but expresses ambiguities as a result of its transformative power.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"75 - 95"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43843310","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 : 2023-01-02DOI: 10.1080/17400309.2022.2164457
R. Farrell
{"title":"Landscape and the moving image","authors":"R. Farrell","doi":"10.1080/17400309.2022.2164457","DOIUrl":"https://doi.org/10.1080/17400309.2022.2164457","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"120 - 124"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60389293","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 : 2023-01-02DOI: 10.1080/17400309.2022.2102405
Eva Müller
ABSTRACT This essay introduces the descent as a critical vantage point that broadens the mountain film genre and reconsiders modernist debates with an eye towards cinema’s socio-ecological substance. I analyze three films—Philipp Stölzl’s Nordwand (2008), Nils Gaup’s Ofelaš (1987), and Jeff Orlowski’s Chasing Ice (2012)—for how they highlight social connectivity and environmental sustainability in their accounts of national tragedy, Indigenous legend, and eco-catastrophe. Central to this inquiry are the multiperspectival and self-reflective qualities of cinema and the ways in which its immersive qualities dovetail into cinematic world-building and global decolonization. By bringing media ecology together with postcolonial scholarship on alpinist control and film historical reflections on descent, I argue that cinematic cultures of descent reveal the hidden stakes of alpinism and challenge established ideas of the perception of self and Other in modern mountaineering. This, in turn, prompts fresh registers of thinking mountains and mountaineering in ways that invite cultural renegotiations of gender roles, power, and individualism among mountaineers. Ultimately, it highlights the special role film plays in facilitating a change of perspective, thus affecting behavior in the human and non-human world.
{"title":"Cinematic cultures of descent: the other sides of the mountaineering story","authors":"Eva Müller","doi":"10.1080/17400309.2022.2102405","DOIUrl":"https://doi.org/10.1080/17400309.2022.2102405","url":null,"abstract":"ABSTRACT This essay introduces the descent as a critical vantage point that broadens the mountain film genre and reconsiders modernist debates with an eye towards cinema’s socio-ecological substance. I analyze three films—Philipp Stölzl’s Nordwand (2008), Nils Gaup’s Ofelaš (1987), and Jeff Orlowski’s Chasing Ice (2012)—for how they highlight social connectivity and environmental sustainability in their accounts of national tragedy, Indigenous legend, and eco-catastrophe. Central to this inquiry are the multiperspectival and self-reflective qualities of cinema and the ways in which its immersive qualities dovetail into cinematic world-building and global decolonization. By bringing media ecology together with postcolonial scholarship on alpinist control and film historical reflections on descent, I argue that cinematic cultures of descent reveal the hidden stakes of alpinism and challenge established ideas of the perception of self and Other in modern mountaineering. This, in turn, prompts fresh registers of thinking mountains and mountaineering in ways that invite cultural renegotiations of gender roles, power, and individualism among mountaineers. Ultimately, it highlights the special role film plays in facilitating a change of perspective, thus affecting behavior in the human and non-human world.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"96 - 115"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44605679","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 : 2023-01-02DOI: 10.1080/17400309.2022.2102403
S. Cubitt
ABSTRACT The International Geological Congress has yet formally to adopt the Anthropocene. It is still, to that extent, an imagined epoch. The term ‘Anthropocene’ refers us to the deep time of geological epochs, but alternate terms for what we can expect to experience have a more specifically anthropological focus: the Capitalocene, Chthulucene and Misanthropocene. Only Entropocene breaks with the humanistic tradition. Comparing Tsui Hark’s 2014 The Taking of Tiger Mountain (Zhiqu weihu shan), the second adaptation of Qu Bo’s adventure novel of the People’s Liberation Army, with the 1970 film of the Peking Opera version directed by Xie Tieli, demonstrates the stakes in imaginations of mountains separated by 45 years. This paper argues that the later film evolves from the failure of the Cultural Revolution’s imagination to encompass the landscape of its setting. The increased incoherence of the later film derives from its increased engagement in technical mediations, which in turn enable a complex interaction between utopian Revolution and dystopian Anthropocene imaginaries.
{"title":"Imagining Taking Tiger Mountain (by strategy): two landscapes of the Anthropocene, 1970 and 2014","authors":"S. Cubitt","doi":"10.1080/17400309.2022.2102403","DOIUrl":"https://doi.org/10.1080/17400309.2022.2102403","url":null,"abstract":"ABSTRACT The International Geological Congress has yet formally to adopt the Anthropocene. It is still, to that extent, an imagined epoch. The term ‘Anthropocene’ refers us to the deep time of geological epochs, but alternate terms for what we can expect to experience have a more specifically anthropological focus: the Capitalocene, Chthulucene and Misanthropocene. Only Entropocene breaks with the humanistic tradition. Comparing Tsui Hark’s 2014 The Taking of Tiger Mountain (Zhiqu weihu shan), the second adaptation of Qu Bo’s adventure novel of the People’s Liberation Army, with the 1970 film of the Peking Opera version directed by Xie Tieli, demonstrates the stakes in imaginations of mountains separated by 45 years. This paper argues that the later film evolves from the failure of the Cultural Revolution’s imagination to encompass the landscape of its setting. The increased incoherence of the later film derives from its increased engagement in technical mediations, which in turn enable a complex interaction between utopian Revolution and dystopian Anthropocene imaginaries.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"38 - 52"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44897966","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 : 2023-01-02DOI: 10.1080/17400309.2023.2167468
Kajsa Philippa Niehusen
{"title":"Anti-Heimat cinema: the Jewish invention of the German landscape","authors":"Kajsa Philippa Niehusen","doi":"10.1080/17400309.2023.2167468","DOIUrl":"https://doi.org/10.1080/17400309.2023.2167468","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"116 - 120"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43112714","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 : 2023-01-02DOI: 10.1080/17400309.2023.2165375
J. Winn
with most matters they may deem under-examined or neglected within it. In other words, her entry shows there is still much to be studied and debated in terms of how artists have figured (and continue to aesthetically figure) landscape. Lastly, since Elwes openly acknowledges the benefits of experiencing artwork in person, this book should provide all types of readers with a useful companion for navigating environmentally themed experimental art local to them. Accordingly, I envision Elwes’ book for both academic and non-academic contexts. In my current university setting, it could be a great teaching aid for units on topics like environmental art and experimental film. Selections also could be included in environmental media production courses to introduce students to the rich alternatives for creating media on environmental issues outside of a typical documentary or narrative frame. For instance, this past summer, my advisor was involved in a nine-week environmental media production and documentary studies program called the ‘Coastal Media Project’. While planning her syllabus, she mentioned looking forward to introducing students to environmentally themed films other than conventional nature and wildlife documentaries. Given these remarks, I am confident the program would have welcomed Elwes’ insights had they been available during its run. And if it gets greenlit for future sessions, I’ll recommend the book with enthusiasm to the faculty, filmmakers, and students involved.
{"title":"The landscapes of western movies: a history of filming on location, 1900–1970","authors":"J. Winn","doi":"10.1080/17400309.2023.2165375","DOIUrl":"https://doi.org/10.1080/17400309.2023.2165375","url":null,"abstract":"with most matters they may deem under-examined or neglected within it. In other words, her entry shows there is still much to be studied and debated in terms of how artists have figured (and continue to aesthetically figure) landscape. Lastly, since Elwes openly acknowledges the benefits of experiencing artwork in person, this book should provide all types of readers with a useful companion for navigating environmentally themed experimental art local to them. Accordingly, I envision Elwes’ book for both academic and non-academic contexts. In my current university setting, it could be a great teaching aid for units on topics like environmental art and experimental film. Selections also could be included in environmental media production courses to introduce students to the rich alternatives for creating media on environmental issues outside of a typical documentary or narrative frame. For instance, this past summer, my advisor was involved in a nine-week environmental media production and documentary studies program called the ‘Coastal Media Project’. While planning her syllabus, she mentioned looking forward to introducing students to environmentally themed films other than conventional nature and wildlife documentaries. Given these remarks, I am confident the program would have welcomed Elwes’ insights had they been available during its run. And if it gets greenlit for future sessions, I’ll recommend the book with enthusiasm to the faculty, filmmakers, and students involved.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"124 - 127"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42901663","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 : 2023-01-02DOI: 10.1080/17400309.2022.2102401
J. Peterson
ABSTRACT In the 1920s and ‘30s, the U.S. federal government produced many educational films about national parks and national forests. These films were widely shown in nontheatrical venues such as schools, as well as in commercial movie theaters as shorts before the main feature film. Neglected for decades, these films are of interest now, in the age of global warming, for the way they represent ideas about nature and conservation from a century ago. Significantly, as much as these films depict natural scenery, they also focus on cars, roads, and roadbuilding. This essay focuses on three government films depicting mountains in the interwar years, the first era of roadbuilding in the national parks and forests. These films reveal the state’s role in promoting fossil capitalism and settler colonialism, constructing what was then a new and contradictory idea of ‘wilderness’ in modernity.
{"title":"Highroads and skyroads: mountain roadbuilding in U.S. government films of the 1920s and ‘30s","authors":"J. Peterson","doi":"10.1080/17400309.2022.2102401","DOIUrl":"https://doi.org/10.1080/17400309.2022.2102401","url":null,"abstract":"ABSTRACT In the 1920s and ‘30s, the U.S. federal government produced many educational films about national parks and national forests. These films were widely shown in nontheatrical venues such as schools, as well as in commercial movie theaters as shorts before the main feature film. Neglected for decades, these films are of interest now, in the age of global warming, for the way they represent ideas about nature and conservation from a century ago. Significantly, as much as these films depict natural scenery, they also focus on cars, roads, and roadbuilding. This essay focuses on three government films depicting mountains in the interwar years, the first era of roadbuilding in the national parks and forests. These films reveal the state’s role in promoting fossil capitalism and settler colonialism, constructing what was then a new and contradictory idea of ‘wilderness’ in modernity.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"19 - 37"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49197593","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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