Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1972924
Jee-Hae Jung
Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine’s urban experiences, this essay discusses the ways in which the film valorizes “surface culture” as opposed to moral “depth.”
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Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1871876
Michelle Ann Abate
Abstract This essay gives much-needed critical attention to the 1980s sitcom, The Facts of Life. While the show was a spinoff to the series Diff’rent Strokes, I make a case that its true creative and cultural debt is to a far different source: Louisa May Alcott’s 1868 novel, Little Women.
摘要本文对20世纪80年代的情景喜剧《生活的真相》给予了批判性的关注。虽然这部剧是《不同的笔触》系列的衍生剧，但我认为，它真正的创意和文化债务来自一个截然不同的来源:路易莎·梅·奥尔科特(Louisa May Alcott) 1868年的小说《小女人》(Little Women)。
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Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1971926
H. Humann
Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th
{"title":"WOMEN MAKE HORROR: FILMMAKING, FEMINISM, GENRE. Edited by Alison Peirse. Rutgers UP, 2020. 270 pp. $29.95 paper.","authors":"H. Humann","doi":"10.1080/01956051.2021.1971926","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971926","url":null,"abstract":"Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"15 1","pages":"235 - 236"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79491771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1875974
D. McLean
Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium.
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Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1881036
Monica E. Wolfe
ABSTRACT: Ari Aster’s 2019 postmodern horror film Midsommar reflects current cultural preoccupations with globalization and American empire building in the twenty-first century United States. Mapping the film’s ideological attributes (including femininity/masculinity, academic knowledge/folk knowledge, and capitalism/communism—the strict binaries of which set false expectations for all other binaries to hold) onto its physical locations makes clear two prominent ideological spaces: the perverse urban and the idealized pastoral, which appear not only in Midsommar but in many horror films to which this chart can be applied. The horror of the film is driven by the objectified Other’s resistance to the imperial power’s desire to dominate physical place and own ideological space, but is complicated by a suggestion that, in this unique case, the Other is also a nationalist, right-wing power, and the tension between home and foreign reflects that of a new Cold War. The boundaries between spaces and places are disrupted, and our very inquiry into the structure of space is called into question.
{"title":"Mapping Imperialist Movement in Postmodern Horror Film Midsommar","authors":"Monica E. Wolfe","doi":"10.1080/01956051.2021.1881036","DOIUrl":"https://doi.org/10.1080/01956051.2021.1881036","url":null,"abstract":"ABSTRACT: Ari Aster’s 2019 postmodern horror film Midsommar reflects current cultural preoccupations with globalization and American empire building in the twenty-first century United States. Mapping the film’s ideological attributes (including femininity/masculinity, academic knowledge/folk knowledge, and capitalism/communism—the strict binaries of which set false expectations for all other binaries to hold) onto its physical locations makes clear two prominent ideological spaces: the perverse urban and the idealized pastoral, which appear not only in Midsommar but in many horror films to which this chart can be applied. The horror of the film is driven by the objectified Other’s resistance to the imperial power’s desire to dominate physical place and own ideological space, but is complicated by a suggestion that, in this unique case, the Other is also a nationalist, right-wing power, and the tension between home and foreign reflects that of a new Cold War. The boundaries between spaces and places are disrupted, and our very inquiry into the structure of space is called into question.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"36 1","pages":"210 - 222"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76488784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1987828
Paul N. Reinsch
{"title":"THE STREAMING OF HILL HOUSE: ESSAYS ON THE HAUNTING NETFLIX ADAPTATION Ed. Kevin J. Wetmore, Jr. Jefferson: Mcfarland & Company, 2020. 282 pp. $39.95 paper.","authors":"Paul N. Reinsch","doi":"10.1080/01956051.2021.1987828","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987828","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"37 1","pages":"233 - 234"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84051402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1987834
Alissa Burger
As part of this project, essays within Women Make Horror: Filmmaking, Feminism, Genre explore a range of texts including narrative and experimental cinema, as well as short, anthology, and feature filmmaking. The essays included present case studies of North American as well as international filmmakers, films, and festivals. While the collection’s eighteen (in total) chapters include a range of topics—and veer into quite different scholarly directions—a recurring concern seen in a number of the essays has to do with the relationship between gender and genre. This focus can be clearly observed in several of the chapters that address American films. For example, in “Stephanie Rothman and Vampiric Film Histories,” Alicia Kozma addresses the intersection of gender and labor in the entertainment industries through an insightful case study of director Stephanie Rothman. Similarly, in “Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare,” Tosha R. Taylor examines the relationship between gender and genre while uncovering how film director Rachel Talalay hones a style and creates strong female characters that defy expectations as well as break barriers. This concern is addressed as well by Laura Mee in “Murders and Adaptations: Gender in American Psycho.” There, Mee discusses Bret Easton Ellis’s controversial 1991 novel and its (equally) controversial film adaptation by exploring the involvement by female filmmakers in bringing the work to the big screen. While it is true that many of the chapters that concern international films and filmmakers tackle a range of disparate topics, noteworthy essays in this collection effectively address the crucial relationship between gender and genre in non-US based films, as well (while also covering other important issues related to international cinema, such as those related to industry norms and reception history). For instance, in her worthwhile and nuanced essay, “The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship,” Martha Shearer considers the relationship between authorship, gender, and genre in the 1977 Italian supernatural horror film. Molly Kim’s thought-provoking essay, “Women-Made Horror in Korean Cinema,” also shines a light on the relationship between gender and genre, while she reexamines the history of Korean horror cinema. In both cases, the authors raise interesting questions about the assumptions traditionally associated with women filmmakers working in the field of horror cinema—and they thus both also participate in an important and ongoing discussion about these stillrelevant issues. As essays such as these demonstrate, Women Make Horror succeeds in highlighting the underexplored role women have played in creating horror films. Thus, by bringing these essays together, Peirse creates an important dialogue about horror films and their cultural relevance. In this sense, the collection fulfills its objective, which is to transform traditional views about
作为这个项目的一部分，《女性制造恐怖:电影制作、女权主义、类型》中的文章探讨了一系列的文本，包括叙事和实验电影，以及短片、选集和故事片。这些文章包括北美和国际电影人、电影和电影节的当前案例研究。虽然这本合集的十八章(总共)包含了一系列的主题，并转向了完全不同的学术方向，但在许多文章中反复出现的一个问题与性别和体裁之间的关系有关。这种关注可以在论述美国电影的几个章节中清楚地观察到。例如，在《斯蒂芬妮·罗斯曼和吸血鬼电影史》一书中，艾丽西亚·科兹玛通过对斯蒂芬妮·罗斯曼导演的深刻案例研究，探讨了娱乐行业中性别和劳动的交集。同样，在《弗雷迪之死:最后的噩梦》中，托莎·r·泰勒(Tosha R. Taylor)检视了性别和类型之间的关系，同时揭示了电影导演雷切尔·塔拉雷(Rachel Talalay)如何锤砺一种风格，创造出超越预期、打破障碍的坚强女性角色。劳拉·梅在《谋杀与改编:美国精神病人中的性别》一书中也提到了这个问题。在书中，梅探讨了布雷特·伊斯顿·埃利斯1991年备受争议的小说及其(同样)备受争议的改编电影，探讨了女性电影人在将作品搬上大银幕时的参与。虽然这本书的许多章节确实涉及国际电影和电影人，涉及了一系列不同的主题，但这本书中值得注意的文章也有效地解决了非美国电影中性别和类型之间的关键关系(同时也涵盖了与国际电影相关的其他重要问题，例如与行业规范和接受历史相关的问题)。例如，玛莎·希勒在她那篇颇有价值且细致入时的文章《门后的秘密:达里娅·尼科罗迪和苏斯皮里亚的多重作者》中，探讨了1977年意大利超自然恐怖电影中作者、性别和类型之间的关系。莫利•金的文章《韩国电影中的女性制造的恐怖》引人深思，在重新审视韩国恐怖电影史的同时，也揭示了性别与类型之间的关系。在这两个案例中，作者都提出了一些有趣的问题，这些问题是关于传统上与在恐怖电影领域工作的女性电影人有关的假设——因此，他们也都参与了关于这些仍然相关的问题的重要和持续的讨论。正如这些文章所展示的那样，《女人制造恐怖》成功地突出了女性在创作恐怖电影中所扮演的未被充分发掘的角色。因此，通过将这些文章汇集在一起，皮尔斯创造了一个关于恐怖电影及其文化相关性的重要对话。从这个意义上说，这个系列实现了它的目标，即改变对女性电影人和恐怖电影类型的传统看法。通过揭示女性参与恐怖电影的复杂历史，并跨越国家和学术界限探索恐怖的女权主义主题，皮尔斯的编辑集《女性制造恐怖:电影制作，女权主义，类型》促使我们重新评估女性在恐怖电影创作中所扮演的角色。从这个意义上说，这个合集被证明是对电影研究和性别研究领域的一个有价值的补充，因此，在这些学科工作的任何人都应该感兴趣。
{"title":"SEE! HEAR! CUT! KILL! EXPERIENCING FRIDAY THE 13TH By Wickham Clayton. Jackson: U Mississippi P, 2020. 238 pp. $30.00 paper.","authors":"Alissa Burger","doi":"10.1080/01956051.2021.1987834","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987834","url":null,"abstract":"As part of this project, essays within Women Make Horror: Filmmaking, Feminism, Genre explore a range of texts including narrative and experimental cinema, as well as short, anthology, and feature filmmaking. The essays included present case studies of North American as well as international filmmakers, films, and festivals. While the collection’s eighteen (in total) chapters include a range of topics—and veer into quite different scholarly directions—a recurring concern seen in a number of the essays has to do with the relationship between gender and genre. This focus can be clearly observed in several of the chapters that address American films. For example, in “Stephanie Rothman and Vampiric Film Histories,” Alicia Kozma addresses the intersection of gender and labor in the entertainment industries through an insightful case study of director Stephanie Rothman. Similarly, in “Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare,” Tosha R. Taylor examines the relationship between gender and genre while uncovering how film director Rachel Talalay hones a style and creates strong female characters that defy expectations as well as break barriers. This concern is addressed as well by Laura Mee in “Murders and Adaptations: Gender in American Psycho.” There, Mee discusses Bret Easton Ellis’s controversial 1991 novel and its (equally) controversial film adaptation by exploring the involvement by female filmmakers in bringing the work to the big screen. While it is true that many of the chapters that concern international films and filmmakers tackle a range of disparate topics, noteworthy essays in this collection effectively address the crucial relationship between gender and genre in non-US based films, as well (while also covering other important issues related to international cinema, such as those related to industry norms and reception history). For instance, in her worthwhile and nuanced essay, “The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship,” Martha Shearer considers the relationship between authorship, gender, and genre in the 1977 Italian supernatural horror film. Molly Kim’s thought-provoking essay, “Women-Made Horror in Korean Cinema,” also shines a light on the relationship between gender and genre, while she reexamines the history of Korean horror cinema. In both cases, the authors raise interesting questions about the assumptions traditionally associated with women filmmakers working in the field of horror cinema—and they thus both also participate in an important and ongoing discussion about these stillrelevant issues. As essays such as these demonstrate, Women Make Horror succeeds in highlighting the underexplored role women have played in creating horror films. Thus, by bringing these essays together, Peirse creates an important dialogue about horror films and their cultural relevance. In this sense, the collection fulfills its objective, which is to transform traditional views about","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"236 - 237"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90811790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01956051.2021.1957337
G. Frame
Abstract The article explores the politics of the vigilante geriaction film, with specific focus on the remake of Death Wish (Eli Roth, 2018). In its construction of a nation under mortal threat from within and without, the subgenre is uncritical in its reinforcement of Trumpian rhetoric regarding the marginalization, precarity, and obsolescence of the older white male. Typical of the contemporary vigilante film, through its visual style, representation of masculinity, and aging star (Bruce Willis), Death Wish attempts to resuscitate a form of authoritarian heroism considered outmoded in the contemporary cultural landscape.
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Pub Date : 2021-07-03DOI: 10.1080/01956051.2021.1957334
Rajinder Dudrah
Abstract Geri-action as a term within film studies describes a subgenre of action cinema in which, largely though not exclusively, men in their middle ages partake in narratives of action and spectacle, whilst simultaneously dealing with issues of aging bodies that participate in a move, or not as the case might be, towards some sort of an idea of retirement. This article explores how we might make the term work for us critically and discernibly in film, media, and cultural studies, especially in the non-Hollywood and global cinematic context. It uses the example of the Indian actor and star Amitabh Bachchan, aged 79, one of the country’s most iconic and longest serving entertainers in its cinema and related media industries. The case of Bachchan allows us to think about the notion of geri-action as not just a universal cinematic subcategory but one that we also have to make nuanced for local and global cultural contexts.
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Pub Date : 2021-07-03DOI: 10.1080/01956051.2021.1957332
Laura Crossley, Austin Fisher
TO SAY that Da 5 Bloods (Spike Lee, 2020) is self-conscious in its engagement with cinematic precedents would be an understatement. The Vietnam veterans at the heart of the narrative directly criticize Rambo: First Blood Part II (George P. Cosmatos, 1985) and Missing in Action (Joseph Zito, 1984) as manifestations of Hollywood “trying to go back and win the Vietnam War,” even as they themselves return to Ho Chi Minh City decades after the conflict on a quest to address unfinished business. The riverboat trip that takes them back into the jungle where they will confront their demons is accompanied by Richard Wagner’s “Ride of the Valkyries,” adding Apocalypse Now (Francis Ford Coppola, 1979) to a long list of overt film references. Even amongst such programmatically knowing intertextuality, one element of Da 5 Bloods stands out as jarringly nonnaturalistic. The numerous flashbacks to the war focus on the four main characters and their fallen comrade, Stormin’ Norman. For the purposes of narrative verisimilitude, all five men should be in their late teens or twenties, yet Paul, David, Otis, and Eddie remain in their sixties, still played by the actors who portray them in their present-day manifestations. No attempt is made to de-age these actors, either through makeup or digital manipulation, resulting in an incongruous spectacle that unavoidably draws our attention to the artifice of the filmmaking process. We might argue that the effect is to place the audience on a cognitive level with the four main characters, whose flashbacks we are witnessing as they look back on their youth through the prism of age and bitter experience. This reading is supported by the film’s official press Geriaction Cinema:
如果说《血爸5》(Spike Lee, 2020)在与电影先例的接触中有自我意识，那就太轻描淡写了。处于叙事中心的越战老兵直接批评《兰博:第一血2》(乔治·p·科斯马托斯，1985)和《行动中失踪》(约瑟夫·齐托，1984)是好莱坞“试图回到过去赢得越南战争”的表现，尽管他们自己在战争结束几十年后回到胡志明市，寻求解决未完成的事情。他们乘船回到丛林，在那里他们将面对恶魔，伴随着理查德·瓦格纳(Richard Wagner)的《女武神之旅》(Ride of The Valkyries)，《现代启示录》(Francis Ford Coppola, 1979)成为一长串公开引用的电影。即使是在这种程序化的互文性中，《Da 5 blood》的一个元素也显得异常不自然。战争的大量闪回集中在四个主角和他们倒下的战友暴风诺曼身上。为了叙事的真实性，这五个人都应该是十几岁或二十多岁的人，然而保罗、大卫、奥蒂斯和埃迪仍然是六十多岁的人，仍然由现在扮演他们的演员扮演。无论是通过化妆还是数字处理，都没有试图让这些演员衰老，结果是一种不协调的景象，不可避免地将我们的注意力吸引到电影制作过程的技巧上。我们可能会认为，这种效果是将观众置于与四位主角的认知层面上，当我们通过年龄和痛苦经历的棱镜回顾他们的青春时，我们目睹了他们的闪回。这一解读得到了电影官方媒体Geriaction Cinema的支持:
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