abstract: In his Westerns The Return of Frank James (1940), Western Union (1941), and Rancho Notorious (1952), director Fritz Lang interrogated Western genre tropes. By examining the theatricality of Westerns, the presentation of Native Americans in Westerns, and the frames used by Western storytellers, Lang questioned the nature of Hollywood Westerns. Later filmmakers, particularly Sergio Leone and Clint Eastwood, have shown their debt to Lang's films by alluding to them in their own films.
{"title":"The Western through a Monocle: Fritz Lang's Examination of Western Mythology","authors":"Justin J. Roberts","doi":"10.1353/cj.2023.a910939","DOIUrl":"https://doi.org/10.1353/cj.2023.a910939","url":null,"abstract":"abstract: In his Westerns The Return of Frank James (1940), Western Union (1941), and Rancho Notorious (1952), director Fritz Lang interrogated Western genre tropes. By examining the theatricality of Westerns, the presentation of Native Americans in Westerns, and the frames used by Western storytellers, Lang questioned the nature of Hollywood Westerns. Later filmmakers, particularly Sergio Leone and Clint Eastwood, have shown their debt to Lang's films by alluding to them in their own films.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738293","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}
Reviewed by: Sirens of Modernity: World Cinema via Bombay by Samhita Sunya Rakesh Sengupta (bio) Sirens of Modernity: World Cinema via Bombay by Samhita Sunya University of California Press. 2022. 270 pages. $34.95 paper; also available in open access e-book. The globality of Hindi cinema is often an anecdotal entry point into alternative internationalisms. When Indians based in cosmopolitan spaces of the Global North strike up a conversation with fellow emigrants from Africa, Central Asia, Eastern Europe, or the Middle East, the discussion is likely to revolve around their mutual fondness for Hindi cinema, its stars, and its songs. Oral and anecdotal histories of Hindi cinema's popularity in non-Anglophone parts of the world abound in such multicultural encounters in the West. Nonetheless, these auto-ethnographic accounts rarely inform the theoretical basis for research in film studies where the influence of Holly-wood, European arthouse, and international festival cinema largely continues to obscure other transnational flows and fandoms. Samhita Sunya's recent book, Sirens of Modernity: World Cinema via Bombay, addresses this lacuna, one sustained by archival challenges as well as scholarly disdain for Hindi cinema's formal, capital, and libidinal excesses.1 Understandably, Sunya's book returns to some of the foundational concepts and theories of film studies to reorient our understanding of how ideas of world cinema, cinephilia, gender, excess, and circulation might operate and interrelate outside of a bipolar world order. At the very outset, Sunya deploys an eccentric Hindi song called "Akira Kurosawa" to tease out broader [End Page 190] questions about Hindi cinema's contemporaneity with postwar art cinema in the 1960s while also inquiring into its political accountability as a mass cultural form.2 The transnational and the regional are mutually constitutive vectors operating in the backdrop of Cold War–era worldmaking as well as secessionist movements in postcolonial India. Sunya also discusses the traffic of ideas across the Bombay and Madras film industries in that decade, which anticipates the rest of the book's investment in the underexplored traffic of personnel, capital, and technology across these regional industries. In chapter 1, Sunya opens the discussion of world cinema through "problems and possibilities of distribution in translation," with a critical emphasis on how the category of world cinema excluded commercial Indian films despite their extensive circulation in "not only the Indian Ocean regions of East Africa, the Persian Gulf, and Southeast Asia but also Fiji, the Caribbean, Central Asia, West Asia, North Africa, Eastern Europe, and East Asia."3 The constricted geography of world cinema, Sunya argues, was a result of "auteur-derived nationality and unity" as well as "racialized, (neo)colonial hierarchies" of spectatorship.4 The idealization of film spectators as literate and cosmopolitan was adopted in reformist state di
《现代性的警笛:通过孟买的世界电影》，作者:Samhita Sunya Rakesh Sengupta(传记)。《现代性的警笛:通过孟买的世界电影》，作者:Samhita Sunya加州大学出版社，2022。270页。34.95美元纸;也可在开放获取电子书。印度电影的全球化往往是进入另类国际主义的一个轶事切入点。当居住在全球北方大都会空间的印度人与来自非洲、中亚、东欧或中东的移民同伴交谈时，讨论可能围绕着他们对印度电影、印度明星和印度歌曲的共同喜爱。关于印度电影在世界非英语国家流行的口述和轶事历史，在西方的这种多元文化遭遇中比比皆是。尽管如此，这些自我民族志的描述很少为电影研究提供理论基础，因为好莱坞、欧洲艺术电影和国际电影节的影响在很大程度上继续掩盖着其他跨国流动和狂热。Samhita Sunya的新书《现代性的警笛:从孟买看世界电影》(Sirens of Modernity: World Cinema via Bombay)解决了这一空白，这一空白是由档案挑战以及学者对印度电影的形式、资本和性欲过度的蔑视所维持的可以理解的是，苏亚的书回归了电影研究的一些基本概念和理论，以重新定位我们对世界电影、电影癖、性别、过剩和循环等概念如何在两极世界秩序之外运作和相互联系的理解。从一开始，Sunya就使用了一首古怪的印地语歌曲《黑泽明》(Akira Kurosawa)，以梳理出有关印度电影与20世纪60年代战后艺术电影的当代性的更广泛的问题，同时也探讨了它作为一种大众文化形式的政治责任在冷战时期的世界格局以及后殖民时期印度的分离主义运动的背景下，跨国和地区是相互构成的载体。苏亚还讨论了那十年中孟买和马德拉斯电影产业之间的思想交流，这预示着本书的其余部分将投资于这些地区产业之间未被充分探索的人员、资本和技术交流。在第一章中，Sunya通过“翻译发行的问题和可能性”开启了对世界电影的讨论，并批判性地强调了世界电影的范畴是如何排除商业印度电影的，尽管它们不仅在东非、波斯湾和东南亚的印度洋地区广泛流通，而且在斐济、加勒比海、中亚、西亚、北非、东欧和东亚。苏亚认为，世界电影的狭窄地理是“导演衍生的民族性和统一性”以及观众“种族化的(新)殖民等级”的结果将电影观众理想化为有文化的、世界主义的观点也被改良主义国家的“电影欣赏”话语所采纳此外，Sunya发掘了1963年印度电影出口公司(IMPEC)成立的有趣历史，该公司旨在将海外发行国有化，并以国家形象规范商业电影的流通电影歌曲被指责为印度电影中最无法出口的元素，但恰恰相反，Sunya展示了它如何成为海外观众最喜爱的电影组成部分。作者通过对印度电影文本的细致研究，为这种文明话语提供了急需的纠正，印度电影文本没有作者或民族的统一。她还为“心甘情愿被引诱的观众”辩护，他们的“电影互惠”创造了一种对商业电影观众更具代理性的理解第二章对孟买电影歌曲中关于“爱之城”的主题进行了历史分析，这些歌曲的反种姓乌托邦起源源于15世纪的卡比尔和18世纪的布勒·沙阿等圣神秘主义者的民歌和诗歌。作者对印地语电影歌词的百科全书式知识和对其文本谱系的仔细关注表明，孟买电影中prem nagar的抒情比喻如何揭示了一种独特的乌托邦主义-à-vis，它的后殖民可能性和资本主义过度，有助于“参与性电影参与所带来的进步的另一种形式”。“爱如影迷”的概念，尽管看起来很朴素，却试图探索……
{"title":"Sirens of Modernity: World Cinema via Bombay by Samhita Sunya (review)","authors":"","doi":"10.1353/cj.2023.a910945","DOIUrl":"https://doi.org/10.1353/cj.2023.a910945","url":null,"abstract":"Reviewed by: Sirens of Modernity: World Cinema via Bombay by Samhita Sunya Rakesh Sengupta (bio) Sirens of Modernity: World Cinema via Bombay by Samhita Sunya University of California Press. 2022. 270 pages. $34.95 paper; also available in open access e-book. The globality of Hindi cinema is often an anecdotal entry point into alternative internationalisms. When Indians based in cosmopolitan spaces of the Global North strike up a conversation with fellow emigrants from Africa, Central Asia, Eastern Europe, or the Middle East, the discussion is likely to revolve around their mutual fondness for Hindi cinema, its stars, and its songs. Oral and anecdotal histories of Hindi cinema's popularity in non-Anglophone parts of the world abound in such multicultural encounters in the West. Nonetheless, these auto-ethnographic accounts rarely inform the theoretical basis for research in film studies where the influence of Holly-wood, European arthouse, and international festival cinema largely continues to obscure other transnational flows and fandoms. Samhita Sunya's recent book, Sirens of Modernity: World Cinema via Bombay, addresses this lacuna, one sustained by archival challenges as well as scholarly disdain for Hindi cinema's formal, capital, and libidinal excesses.1 Understandably, Sunya's book returns to some of the foundational concepts and theories of film studies to reorient our understanding of how ideas of world cinema, cinephilia, gender, excess, and circulation might operate and interrelate outside of a bipolar world order. At the very outset, Sunya deploys an eccentric Hindi song called \"Akira Kurosawa\" to tease out broader [End Page 190] questions about Hindi cinema's contemporaneity with postwar art cinema in the 1960s while also inquiring into its political accountability as a mass cultural form.2 The transnational and the regional are mutually constitutive vectors operating in the backdrop of Cold War–era worldmaking as well as secessionist movements in postcolonial India. Sunya also discusses the traffic of ideas across the Bombay and Madras film industries in that decade, which anticipates the rest of the book's investment in the underexplored traffic of personnel, capital, and technology across these regional industries. In chapter 1, Sunya opens the discussion of world cinema through \"problems and possibilities of distribution in translation,\" with a critical emphasis on how the category of world cinema excluded commercial Indian films despite their extensive circulation in \"not only the Indian Ocean regions of East Africa, the Persian Gulf, and Southeast Asia but also Fiji, the Caribbean, Central Asia, West Asia, North Africa, Eastern Europe, and East Asia.\"3 The constricted geography of world cinema, Sunya argues, was a result of \"auteur-derived nationality and unity\" as well as \"racialized, (neo)colonial hierarchies\" of spectatorship.4 The idealization of film spectators as literate and cosmopolitan was adopted in reformist state di","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738294","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}
abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, "The Great Migration," reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.
摘要:本文认为，《昭昭天命》的象征力量和物质力量根植于《生活》杂志纪实摄影的规范中，尤其是存在于已有的拍摄脚本中。1947年，一篇关于印度分治的摄影文章《大迁徙》(the Great Migration)对视觉再现和叙事固定性进行了分析，揭示了美国殖民主义的隐喻是如何投射到南亚痛苦的难民身上的。让拍摄对象制定脚本-图像相关性的规范是一种注重收入的殖民行为;它将一系列种族差异——南亚人、美国黑人和美洲原住民——吸收到战后美国霸权的幻想中。
{"title":"Manifest Documentary","authors":"Rijuta Mehta","doi":"10.1353/cj.2023.a910938","DOIUrl":"https://doi.org/10.1353/cj.2023.a910938","url":null,"abstract":"abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, \"The Great Migration,\" reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738298","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}
Spotlight:Gender and Feminisms Caucus Rebecca Harrison (bio) and Morgan Bimm (bio) We write this article during a period of crisis for people marginalized by gender around the world. Women and their allies in Iran face state-sanctioned violence in protests that respond to the killing of Mahsa Amini by morality police.1 In Afghanistan, the Taliban has banned women and girls from accessing high school and university education.2 Last year, scores of Indigenous women activists, including Sandra Liliana Peña Chocué, were murdered by political opponents in South and Central America.3 The Supreme Court of the United States has overturned the federal right to access medical abortion. In the UK, police officers commit gender-based violence with impunity, refugees are denied safe passage, and a quarter of women live in poverty.4 The fierce backlash against the #MeToo movement—#WoYeShi in China, #ArewaMeToo in Nigeria—has been felt around the globe. [End Page 1] Moreover, as scholars and practitioners of media, it's impossible for us to ignore the intersectional oppressions that erase women's voices in the industries that we study, the texts that we analyze, and the places that we work. Shabana, a journalism student in Afghanistan, described how her "heart was shattered" on being denied a career as a newscaster.5 India Willoughby has spoken about the threats she faces as the UK's first publicly trans newscaster.6 Heads of department in India's film industry are 90 percent male.7 Only 24 percent of creatives in major roles in Hollywood are women.8 Of the 22,000 professors in UK universities, only forty-one are Black women; 68 percent of researchers are on fixed-term contracts.9 These are the outcomes of divisive and cruel systems. These are not conditions in which solidarity is meant to thrive between people of different gender, race, ethnicity, sexuality, class, disability, age, immigration status, language, or culture. Yet across our scholarly and industry networks, solidarity persists. Within the Society for Cinema and Media Studies (SCMS), many of us have found a home in the Gender and Feminisms Caucus (formerly the Women's Caucus), which fosters community and encourages us to enact care. As one of the first SCMS caucuses, it has played a significant role in supporting members marginalized by gender. At a critical moment in our collective fight for a more just world, we reflect on the caucus's past achievements and look to its future. the women's caucus: building a foundation The caucus was originally founded in 1994 "to promote parity for women's intellectual and practical work in film, TV, and video."10 Over the years, the Women's Caucus made many achievements. Co-chairs set up an innovative mentorship program that provided graduate students and early career faculty with opportunities to learn from more experienced colleagues. It was (as far as we can tell) the first caucus to offer an annual graduate student writing prize, established in 2015 by Shell
{"title":"Spotlight: Gender and Feminisms Caucus","authors":"Rebecca Harrison, Morgan Bimm","doi":"10.1353/cj.2023.a910935","DOIUrl":"https://doi.org/10.1353/cj.2023.a910935","url":null,"abstract":"Spotlight:Gender and Feminisms Caucus Rebecca Harrison (bio) and Morgan Bimm (bio) We write this article during a period of crisis for people marginalized by gender around the world. Women and their allies in Iran face state-sanctioned violence in protests that respond to the killing of Mahsa Amini by morality police.1 In Afghanistan, the Taliban has banned women and girls from accessing high school and university education.2 Last year, scores of Indigenous women activists, including Sandra Liliana Peña Chocué, were murdered by political opponents in South and Central America.3 The Supreme Court of the United States has overturned the federal right to access medical abortion. In the UK, police officers commit gender-based violence with impunity, refugees are denied safe passage, and a quarter of women live in poverty.4 The fierce backlash against the #MeToo movement—#WoYeShi in China, #ArewaMeToo in Nigeria—has been felt around the globe. [End Page 1] Moreover, as scholars and practitioners of media, it's impossible for us to ignore the intersectional oppressions that erase women's voices in the industries that we study, the texts that we analyze, and the places that we work. Shabana, a journalism student in Afghanistan, described how her \"heart was shattered\" on being denied a career as a newscaster.5 India Willoughby has spoken about the threats she faces as the UK's first publicly trans newscaster.6 Heads of department in India's film industry are 90 percent male.7 Only 24 percent of creatives in major roles in Hollywood are women.8 Of the 22,000 professors in UK universities, only forty-one are Black women; 68 percent of researchers are on fixed-term contracts.9 These are the outcomes of divisive and cruel systems. These are not conditions in which solidarity is meant to thrive between people of different gender, race, ethnicity, sexuality, class, disability, age, immigration status, language, or culture. Yet across our scholarly and industry networks, solidarity persists. Within the Society for Cinema and Media Studies (SCMS), many of us have found a home in the Gender and Feminisms Caucus (formerly the Women's Caucus), which fosters community and encourages us to enact care. As one of the first SCMS caucuses, it has played a significant role in supporting members marginalized by gender. At a critical moment in our collective fight for a more just world, we reflect on the caucus's past achievements and look to its future. the women's caucus: building a foundation The caucus was originally founded in 1994 \"to promote parity for women's intellectual and practical work in film, TV, and video.\"10 Over the years, the Women's Caucus made many achievements. Co-chairs set up an innovative mentorship program that provided graduate students and early career faculty with opportunities to learn from more experienced colleagues. It was (as far as we can tell) the first caucus to offer an annual graduate student writing prize, established in 2015 by Shell","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738286","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}
abstract: This essay focuses on Mexican extras in silent era Hollywood. Rather than attempting to write an authoritative history of their work, I use accounts of Mexican extra work to explore how silent era Hollywood's production practices made race. Mexican extras, I explain, were perceived as another amenity offered by the industry's new home in Southern California, important for producing certain types of narratives but materially and discursively relegated to the margins of the industry. Their presence, on-screen and in the trade press, however, was central to the production of racial difference in on-screen narratives and in social life.
{"title":"Atmosphere: Mexican Extras and the Production of Race in Silent Hollywood","authors":"Laura Isabel Serna","doi":"10.1353/cj.2023.a910940","DOIUrl":"https://doi.org/10.1353/cj.2023.a910940","url":null,"abstract":"abstract: This essay focuses on Mexican extras in silent era Hollywood. Rather than attempting to write an authoritative history of their work, I use accounts of Mexican extra work to explore how silent era Hollywood's production practices made race. Mexican extras, I explain, were perceived as another amenity offered by the industry's new home in Southern California, important for producing certain types of narratives but materially and discursively relegated to the margins of the industry. Their presence, on-screen and in the trade press, however, was central to the production of racial difference in on-screen narratives and in social life.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738287","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}
abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of "excessive reading" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of "straight time." I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction's utility in imagining queer utopian temporalities through the practice of "reading too much into" extant narrative media texts.
{"title":"\"Reading Too Much into It\": Affective Excess, Extrapolative Reading, and Queer Temporalities in MCU Fanfiction","authors":"Maghan Molloy Jackson","doi":"10.1353/cj.2023.a910958","DOIUrl":"https://doi.org/10.1353/cj.2023.a910958","url":null,"abstract":"abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of \"excessive reading\" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of \"straight time.\" I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction's utility in imagining queer utopian temporalities through the practice of \"reading too much into\" extant narrative media texts.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738290","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}
abstract: This article examines Hsia Moon and her momentous transition from a celebrated movie star emblematic of the Hong Kong leftist cinema in the 1950s and 1960s to a prescient and resourceful producer who returned to the film circle and founded Bluebird Movie Enterprises to produce three important pieces in 1982 to 1984: Touben nvhai ( Boat People , Ann Hui), Zigu yingxiong chu shaonian ( Little Heroes , Mou Dunfu), and Sishui liunian ( Homecoming , Yim Ho). Through a close analysis of the film texts and production background alongside an original research of the historical documents and interviews with the filmmaker, I argue that Hsia Moon's Bluebird productions, ephemeral but highly influential, serve as conjuncture films at the crossroads of the post–Cold War and Sino-British negotiation era.
{"title":"Homecoming, Border-Crossing, and Conjuncture Film: Hsia Moon, Hong Kong New Wave, and the Bluebird Trilogy, 1982–1984","authors":"Ying Xiao","doi":"10.1353/cj.2023.a910942","DOIUrl":"https://doi.org/10.1353/cj.2023.a910942","url":null,"abstract":"abstract: This article examines Hsia Moon and her momentous transition from a celebrated movie star emblematic of the Hong Kong leftist cinema in the 1950s and 1960s to a prescient and resourceful producer who returned to the film circle and founded Bluebird Movie Enterprises to produce three important pieces in 1982 to 1984: Touben nvhai ( Boat People , Ann Hui), Zigu yingxiong chu shaonian ( Little Heroes , Mou Dunfu), and Sishui liunian ( Homecoming , Yim Ho). Through a close analysis of the film texts and production background alongside an original research of the historical documents and interviews with the filmmaker, I argue that Hsia Moon's Bluebird productions, ephemeral but highly influential, serve as conjuncture films at the crossroads of the post–Cold War and Sino-British negotiation era.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738288","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}
Reviewed by: Underground: The Secret Life of Videocassettes in Iran by Blake Atwood Hatim El-Hibri (bio) Underground: The Secret Life of Videocassettes in Iran by Blake Atwood The MIT Press. 2021. 264 pages. $35.00 paper; also available in e-book. Underground: The Secret Life of Videocassettes in Iran examines how videocassettes wound their way through everyday life in Iran, making a profound impact on the media landscape. The book shows how the official ban on the medium, enacted in 1983 during the Iran-Iraq War (1980–1988) and unevenly enforced until it was lifted in 1994, led to the flourishing of informal video distribution. Author Blake Atwood presents a compelling account of the lived textures of video's clandestine-yet-ubiquitous presence through oral history—interviews with former video dealers, filmmakers, former government employees, and people from many walks of life who fondly remember video's heyday. Underground expands current debates in the study of media distribution, infrastructure studies, and the material culture of media by analyzing how this technological format negotiated, circumvented, and repurposed state policy and the affordances of the medium. Beyond the novelty of its topic—this is the first scholarly monograph on the subject in English—the book's methodological approach and conceptual framing also result in an original contribution to the literature on Iranian and Middle Eastern media. The book takes the reader into Iran's underground network through five chapters that examine a facet of its operation. Rather than a chronological ordering, the first four chapters examine a different dimension of the long decade of 1983 to 1994 (when the ban was officially in place). While each [End Page 181] chapter reflects on the contemporary moment, the final chapter is more fully focused on how this period continues to inform the present. This structure allows for in-depth consideration of how state regulations (including the lead up to the 1983 ban) impacted existing media institutions and the nascent video industry (chapter 1), the material and human working of the distribution network (chapter 2), the labor and aspirations of video dealers (chapter 3), and the effect of evolving relations between public and private spaces on home viewing and the place of the VCR and videocassettes in mediating the relationship between them (chapter 4). This is followed by a sustained examination of how the memory of the underground manifests in the cultural afterlife of videocassettes in the 2010s and is directly thematized in contemporary culture (chapter 5). These chapters are bracketed by a teachable introduction and a coda, which ruminates on the role that a non-Iranian researcher can play in entering into a dialogue with people whose lives were and continue to be directly impacted by the videocassette ban. Underground's contribution rests in its weaving together of more than forty interviews with archival sources and extensive fieldwork, s
{"title":"Underground: The Secret Life of Videocassettes in Iran by Blake Atwood (review)","authors":"","doi":"10.1353/cj.2023.a910959","DOIUrl":"https://doi.org/10.1353/cj.2023.a910959","url":null,"abstract":"Reviewed by: Underground: The Secret Life of Videocassettes in Iran by Blake Atwood Hatim El-Hibri (bio) Underground: The Secret Life of Videocassettes in Iran by Blake Atwood The MIT Press. 2021. 264 pages. $35.00 paper; also available in e-book. Underground: The Secret Life of Videocassettes in Iran examines how videocassettes wound their way through everyday life in Iran, making a profound impact on the media landscape. The book shows how the official ban on the medium, enacted in 1983 during the Iran-Iraq War (1980–1988) and unevenly enforced until it was lifted in 1994, led to the flourishing of informal video distribution. Author Blake Atwood presents a compelling account of the lived textures of video's clandestine-yet-ubiquitous presence through oral history—interviews with former video dealers, filmmakers, former government employees, and people from many walks of life who fondly remember video's heyday. Underground expands current debates in the study of media distribution, infrastructure studies, and the material culture of media by analyzing how this technological format negotiated, circumvented, and repurposed state policy and the affordances of the medium. Beyond the novelty of its topic—this is the first scholarly monograph on the subject in English—the book's methodological approach and conceptual framing also result in an original contribution to the literature on Iranian and Middle Eastern media. The book takes the reader into Iran's underground network through five chapters that examine a facet of its operation. Rather than a chronological ordering, the first four chapters examine a different dimension of the long decade of 1983 to 1994 (when the ban was officially in place). While each [End Page 181] chapter reflects on the contemporary moment, the final chapter is more fully focused on how this period continues to inform the present. This structure allows for in-depth consideration of how state regulations (including the lead up to the 1983 ban) impacted existing media institutions and the nascent video industry (chapter 1), the material and human working of the distribution network (chapter 2), the labor and aspirations of video dealers (chapter 3), and the effect of evolving relations between public and private spaces on home viewing and the place of the VCR and videocassettes in mediating the relationship between them (chapter 4). This is followed by a sustained examination of how the memory of the underground manifests in the cultural afterlife of videocassettes in the 2010s and is directly thematized in contemporary culture (chapter 5). These chapters are bracketed by a teachable introduction and a coda, which ruminates on the role that a non-Iranian researcher can play in entering into a dialogue with people whose lives were and continue to be directly impacted by the videocassette ban. Underground's contribution rests in its weaving together of more than forty interviews with archival sources and extensive fieldwork, s","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738295","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}
Reviewed by: Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey, and: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Ethan Tussey (bio) Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey University of California Press. 2021. 282 pages. $85.00 hardcover; $29.95 paper; also available in e-book. Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Polity Press. 2022. 224 pages. $64.95 hardcover; $22.95 paper; also available in e-book. The schadenfreude that accompanied the news of Netflix missing its quarterly subscriber projections in the spring of 2022 represented an unusually boisterous public reaction to a stockholder meeting.1 For many observers, this served as a landmark moment in the streaming wars (the nickname for the perceived competition between subscription streaming platforms), a sign that [End Page 194] Netflix's meteoric rise could decelerate. It has been a decade since Netflix disrupted the status quo in the media industries by transitioning its video-rental company into a streaming media platform. In that time, anxious industry onlookers and internet utopians have wondered what the new normal would mean. Fueled by financial speculation, subscriber growth had been the metric of success for Netflix, but the drop in stock valuation shifted Netflix's focus to revenue and the launching of an advertising-supported tier.2 Netflix promised to revolutionize the entertainment industry, but subscription tiers and advertising breaks feel eerily familiar to those of us who remember a time before streaming. Has Netflix really changed the media industries? Answering that question are two new books on the streaming company that can help us assess the effects of the first decade of the streaming era. The more recent of the two, Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand, comes from one of the key voices on the subject, Amanda Lotz. Throughout her career, Lotz has demonstrated a keen ability to make the murky waters of streaming clearer by providing terminology, schemas, and resources for analyzing digital disruption, the global proliferation of services, and the historic antecedents for these platforms.3 Her latest work strives to correct several assumptions including two opposing points of view: that everything or nothing has fundamentally changed in the streaming era. Instead, Lotz convincingly contends that streaming media platforms, and Netflix especially, have distinct characteristics that must be considered when cataloging continuity and change. These distinctions become clear when one stops applying what Lotz calls the "hegemony of linear norms" to evaluations of Netflix.4 These norms have been carried over from the broadcast television era, such as the belief that the goal of programming is to gain the largest audience/ratings, that programming
由:Netflix推荐:算法，电影选择，和口味的历史由马蒂亚斯·弗雷，和:Netflix和流媒体视频:业务订阅资助的视频点播由阿曼达·d·洛茨伊森·塔西(传记)Netflix推荐:算法，电影选择，和口味的历史由马蒂亚斯·弗雷加州大学出版社。2021。282页。85.00美元的精装书;29.95美元纸;也有电子书版本。Netflix和流媒体视频:订户资助的视频点播业务，Amanda D. Lotz著，Polity出版社，2022。224页。64.95美元的精装书;22.95美元纸;也有电子书版本。2022年春季，Netflix未能实现季度订户预测，随之而来的幸灾乐祸代表了公众对股东大会的异常热烈的反应对于许多观察人士来说，这是流媒体战争(流媒体是订阅流媒体平台之间的竞争的昵称)的一个里程碑式的时刻，这标志着Netflix的迅速崛起可能会减速。十年前，Netflix将其视频租赁公司转型为流媒体平台，打破了媒体行业的现状。在此期间，焦虑的行业旁观者和互联网乌托邦主义者一直想知道新常态意味着什么。在金融投机的推动下，用户增长一直是Netflix成功的衡量标准，但股票估值的下跌使Netflix的重点转向了收入和推出广告支持的二级市场Netflix曾承诺要彻底改变娱乐行业，但对于我们这些还记得流媒体出现之前的时代的人来说，订阅等级和广告中断却出奇地熟悉。Netflix真的改变了媒体行业吗?回答这个问题的是两本关于流媒体公司的新书，它们可以帮助我们评估流媒体时代头十年的影响。最近出版的《Netflix和流媒体视频:用户资助的视频点播业务》一书出自该领域的关键人物之一阿曼达•洛茨之手。在她的职业生涯中，Lotz展示了一种敏锐的能力，通过提供术语、模式和资源来分析数字颠覆、服务的全球扩散以及这些平台的历史先例，使流媒体的浑浊之水变得更加清晰她的最新作品试图纠正几个假设，包括两种相反的观点:在流媒体时代，一切都发生了根本性的变化。相反，洛茨令人信服地认为，流媒体平台，尤其是Netflix，在对连续性和变化进行分类时，必须考虑到其独特的特征。当人们不再将洛茨所说的“线性规范的霸权”应用于netflix的评价时，这些区别就变得清晰起来。4这些规范是从广播电视时代延续下来的，比如认为节目的目标是获得最大的观众/收视率，节目应该促进定期的观看，媒体公司正试图引导观众收看公司有经济利益的特别喜欢的节目。这些规范的持续存在，让人们无法理解Netflix是与传统电视和电影行业并驾齐驱的服务。作为这些规范的替代方案，Lotz提供了一个由地理区域、图书馆特殊性、图书馆所有权和给定服务的公司所有权定义的分类法，当应用时，它揭示了这些平台制定其订阅主张的方式通过考虑这些因素，Lotz展示了订阅平台是如何设计来创造内容，以促进无数理想的存在状态，如多任务观看或舒适观看，这与线性电视有相似之处，但在数字平台上很有前景，并成为可靠的体验产品，确保用户流失率保持在低水平。洛茨认为，当我们关注流媒体订阅服务时，我们关注的是那些看似熟悉但运作方式独特的娱乐产品。洛茨的工作与马蒂亚斯·弗雷的新书《Netflix推荐:算法、电影选择和品味的历史》非常吻合。乍一看，弗雷关于“数字时代的连续性可能比变化更多”的说法似乎与洛茨所反对的那种二元预测相一致，但弗雷并没有被“……
{"title":"Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey, and: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz (review)","authors":"","doi":"10.1353/cj.2023.a910946","DOIUrl":"https://doi.org/10.1353/cj.2023.a910946","url":null,"abstract":"Reviewed by: Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey, and: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Ethan Tussey (bio) Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey University of California Press. 2021. 282 pages. $85.00 hardcover; $29.95 paper; also available in e-book. Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Polity Press. 2022. 224 pages. $64.95 hardcover; $22.95 paper; also available in e-book. The schadenfreude that accompanied the news of Netflix missing its quarterly subscriber projections in the spring of 2022 represented an unusually boisterous public reaction to a stockholder meeting.1 For many observers, this served as a landmark moment in the streaming wars (the nickname for the perceived competition between subscription streaming platforms), a sign that [End Page 194] Netflix's meteoric rise could decelerate. It has been a decade since Netflix disrupted the status quo in the media industries by transitioning its video-rental company into a streaming media platform. In that time, anxious industry onlookers and internet utopians have wondered what the new normal would mean. Fueled by financial speculation, subscriber growth had been the metric of success for Netflix, but the drop in stock valuation shifted Netflix's focus to revenue and the launching of an advertising-supported tier.2 Netflix promised to revolutionize the entertainment industry, but subscription tiers and advertising breaks feel eerily familiar to those of us who remember a time before streaming. Has Netflix really changed the media industries? Answering that question are two new books on the streaming company that can help us assess the effects of the first decade of the streaming era. The more recent of the two, Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand, comes from one of the key voices on the subject, Amanda Lotz. Throughout her career, Lotz has demonstrated a keen ability to make the murky waters of streaming clearer by providing terminology, schemas, and resources for analyzing digital disruption, the global proliferation of services, and the historic antecedents for these platforms.3 Her latest work strives to correct several assumptions including two opposing points of view: that everything or nothing has fundamentally changed in the streaming era. Instead, Lotz convincingly contends that streaming media platforms, and Netflix especially, have distinct characteristics that must be considered when cataloging continuity and change. These distinctions become clear when one stops applying what Lotz calls the \"hegemony of linear norms\" to evaluations of Netflix.4 These norms have been carried over from the broadcast television era, such as the belief that the goal of programming is to gain the largest audience/ratings, that programming ","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738291","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}
Spotlight:Marisa Hicks-Alcaraz Angela J. Aguayo Click for larger view View full resolution [End Page 5] Marisa Hicks-Alcaraz is a distinguished post-doctoral research associate at the University of Illinois, Urbana-Champaign. As a transdisciplinary scholar, she brings together digital race and ethnic studies, media arts practice and curation, liberationist political thought, US Latin American and Caribbean diasporic studies, intersectional feminism, and grassroots archival praxis. Her research aims to decenter Western ways of knowing and challenges extractivist and neoliberal practices by adopting a relational framework for publicly engaged scholarship. Her most recent projects focus on partnerships that support the remixing of personal archives to reclaim our stories and the recovery of independent filmmaking created by US-based Latinas in the Latina Film Recovery Project. Marisa received her PhD in Cultural Studies from Claremont Graduate University and MA in Cinema Studies from New York University. Interview by Angela J. Aguayo, an associate professor in the Department of Media and Cinema Studies at the University of Illinois, Urbana-Champaign. Angela J. Aguayo: Your current research is an innovative program of scholarship and community archiving focused on digital preservation and challenging the assumptions of its capitalist-colonial worldview. This scholarship involves an engaged practice of collaborating with communities on digital preservation of undocumented histories, foregrounding the stories and archives of underrepresented and misrepresented people. In using this framework, how do we avoid replicating the power dynamics we aim to dismantle? Marisa Hicks-Alcaraz: To do this, we need to keep looking critically at our own interventions. It's important to recognize that in navigating and negotiating dominant knowledge systems, we may inevitably reproduce the very parts of colonialism and capitalism that we have already identified as violent and in need of change. A part of this process is acknowledging the significant power differentials between ourselves and community partners and surrendering our power to work effectively and ethically. To me, this means showing humility and vulnerability. It means being conscious of my actions, owning up to my mistakes, and making plans to prevent future mistakes. And it means committing to nourishing the kinds of skills that involve consistent and repeated actions of respect, trust, and honest communication to form meaningful and flourishing relationships. This may not necessarily be a solution, but it can be a step forward. Aguayo: Your writing has appeared in the International Journal of Information, Diversity, & Inclusion; Feminist Media Histories; Interdisciplinary Digital Engagement in Arts & Humanities; and Reviews in Digital Humanities. The research questions you propose in these projects are essential to media and cinema studies: How does a critical analysis of power provide an understanding
玛丽莎·希克斯-阿尔卡拉兹安吉拉·阿瓜约点击查看大图查看全分辨率[结束页5]玛丽莎·希克斯-阿尔卡拉兹是伊利诺伊大学厄巴纳-香槟分校的杰出博士后研究员。作为一名跨学科学者，她汇集了数字种族和民族研究，媒体艺术实践和策展，解放主义政治思想，美国拉丁美洲和加勒比流散研究，交叉女权主义和基层档案实践。她的研究旨在通过采用公共参与学术的关系框架来分散西方的认识方式并挑战采掘主义者和新自由主义实践。她最近的项目集中在合作伙伴关系上，支持个人档案的重新混合，以收回我们的故事，并在拉丁电影恢复项目中恢复由美国拉丁裔创造的独立电影制作。玛丽莎获得克莱蒙特研究生大学文化研究博士学位和纽约大学电影研究硕士学位。采访作者安吉拉·j·阿瓜约，伊利诺伊大学厄巴纳-香槟分校媒体与电影研究系副教授。安吉拉·j·阿瓜约:你目前的研究是一个创新的学术和社区档案项目，专注于数字保存，并挑战其资本主义殖民世界观的假设。该奖学金涉及与社区合作，以数字方式保存未记录的历史，突出未被充分代表和被歪曲的人的故事和档案。在使用这个框架时，我们如何避免复制我们想要拆除的权力动态?玛丽莎·希克斯-阿尔卡拉兹:要做到这一点，我们需要不断批判地审视我们自己的干预措施。重要的是要认识到，在主导知识体系的导航和谈判中，我们可能不可避免地再现殖民主义和资本主义的某些部分，这些部分我们已经认为是暴力的，需要改变。这个过程的一部分是承认我们和社区伙伴之间的巨大权力差异，并放弃我们有效和道德地工作的权力。对我来说，这意味着表现出谦卑和脆弱。它意味着意识到我的行为，承认我的错误，并制定计划以防止未来的错误。这意味着致力于培养各种技能，包括持续和重复的尊重、信任和诚实沟通的行为，以形成有意义和繁荣的关系。这可能不一定是一个解决方案，但它可以是向前迈出的一步。阿瓜约:你的文章发表在《国际信息、多样性和包容性杂志》上;女性主义媒体史;艺术与人文学科的跨学科数字参与和数字人文评论。你在这些项目中提出的研究问题对媒体和电影研究至关重要:对权力的批判性分析如何提供对资本主义殖民主义如何支撑占主导地位的数字保存系统的理解?档案工作者和研究人员将以关系为中心的框架应用于数字保存活动和方法的一些实际方法是什么?你能告诉我你在工作中发现了什么吗?希克斯-阿尔卡拉兹:质疑我们所参与的系统，是对我们社区中团结和尊重他人的承诺。我自己对社区环境中数字保存原则和实践的批判性分析揭示了根植于殖民和新自由主义制度的访问和所有权的潜在假设。以“后保管”模式为例。后保管主义被广泛理解为一种非提取的、互惠的方法，通过管理其档案材料的数字化副本，与创作者共享控制权，而无需获得它们的物理保管(所有权)。虽然后保管主义干预了保管的档案原则，但档案机构对社区记录的管理或管理可能会加剧不平等，因为创作者往往需要在没有持续同意、撤回权或经济补偿的情况下，对其记录的数字副本的使用、展示和分发授予永久控制权。诸如此类的机制，无论其意图如何，都会导致历史上被排斥的社区丧失权力和贬值。另外，以关系为中心的数字保存方法挑战了档案保管员/研究人员和社区之间的同质权力动态，并响应了对深刻责任感和与他人联系的日益紧迫的需求。以下协议取自我目前与ImaginX en Movimiento (IXeM)成员、平面设计师Aldo puicon一起开发的工具包。
{"title":"Spotlight: Marisa Hicks-Alcaraz","authors":"Angela J. Aguayo","doi":"10.1353/cj.2023.a910936","DOIUrl":"https://doi.org/10.1353/cj.2023.a910936","url":null,"abstract":"Spotlight:Marisa Hicks-Alcaraz Angela J. Aguayo Click for larger view View full resolution [End Page 5] Marisa Hicks-Alcaraz is a distinguished post-doctoral research associate at the University of Illinois, Urbana-Champaign. As a transdisciplinary scholar, she brings together digital race and ethnic studies, media arts practice and curation, liberationist political thought, US Latin American and Caribbean diasporic studies, intersectional feminism, and grassroots archival praxis. Her research aims to decenter Western ways of knowing and challenges extractivist and neoliberal practices by adopting a relational framework for publicly engaged scholarship. Her most recent projects focus on partnerships that support the remixing of personal archives to reclaim our stories and the recovery of independent filmmaking created by US-based Latinas in the Latina Film Recovery Project. Marisa received her PhD in Cultural Studies from Claremont Graduate University and MA in Cinema Studies from New York University. Interview by Angela J. Aguayo, an associate professor in the Department of Media and Cinema Studies at the University of Illinois, Urbana-Champaign. Angela J. Aguayo: Your current research is an innovative program of scholarship and community archiving focused on digital preservation and challenging the assumptions of its capitalist-colonial worldview. This scholarship involves an engaged practice of collaborating with communities on digital preservation of undocumented histories, foregrounding the stories and archives of underrepresented and misrepresented people. In using this framework, how do we avoid replicating the power dynamics we aim to dismantle? Marisa Hicks-Alcaraz: To do this, we need to keep looking critically at our own interventions. It's important to recognize that in navigating and negotiating dominant knowledge systems, we may inevitably reproduce the very parts of colonialism and capitalism that we have already identified as violent and in need of change. A part of this process is acknowledging the significant power differentials between ourselves and community partners and surrendering our power to work effectively and ethically. To me, this means showing humility and vulnerability. It means being conscious of my actions, owning up to my mistakes, and making plans to prevent future mistakes. And it means committing to nourishing the kinds of skills that involve consistent and repeated actions of respect, trust, and honest communication to form meaningful and flourishing relationships. This may not necessarily be a solution, but it can be a step forward. Aguayo: Your writing has appeared in the International Journal of Information, Diversity, & Inclusion; Feminist Media Histories; Interdisciplinary Digital Engagement in Arts & Humanities; and Reviews in Digital Humanities. The research questions you propose in these projects are essential to media and cinema studies: How does a critical analysis of power provide an understanding ","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738296","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：