{"title":"On Building Black Film Archive, a Digital Archive that Responds to a Movement","authors":"Maya S. Cade","doi":"10.1353/cj.2022.0069","DOIUrl":"https://doi.org/10.1353/cj.2022.0069","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83378998","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 the connections between narrative circularity, cosmetic surgery, and the circular nature of the cosmetic gaze in South Korean auteur Kim Ki-duk's film Sigan (Time, 2006). I argue that the cosmetic gaze, which allows the human body to act as both subject and object to the self, also mirrors the looping circularity of Kim's film. By formally and narratively (con)fusing the film's male and female protagonists, Sigan enacts the interconnectedness of male and female, subject and object, and, consequently, self and other while offering a critique of how Korean subjects have literally embodied the burdens of the male-identified, Eurocentric gaze.
{"title":"Seeing in Circles: Narrative Circularity, the Cosmetic Gaze, and the Fusion of Self and Other in Kim Ki-duk's Sigan","authors":"S. Kim","doi":"10.1353/cj.2022.0064","DOIUrl":"https://doi.org/10.1353/cj.2022.0064","url":null,"abstract":"abstract:This article examines the connections between narrative circularity, cosmetic surgery, and the circular nature of the cosmetic gaze in South Korean auteur Kim Ki-duk's film Sigan (Time, 2006). I argue that the cosmetic gaze, which allows the human body to act as both subject and object to the self, also mirrors the looping circularity of Kim's film. By formally and narratively (con)fusing the film's male and female protagonists, Sigan enacts the interconnectedness of male and female, subject and object, and, consequently, self and other while offering a critique of how Korean subjects have literally embodied the burdens of the male-identified, Eurocentric gaze.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90481131","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}
The image on the cover of Melody Jue’s book Wild Blue Media: Thinking through Seawater intimates many of the book’s themes: views from inside the ocean that put media scholarship in the cool bluegreen light of the underwater, representations of sensory immersion and intimacy that demonstrate the value of learning from unfamiliar realms, and milieuspecific planetary understandings enabled by scuba diving and the “cognitive estrangement” it engenders.1 Jue’s exciting book advances ecological ethics by exploring oceans as environments for thinking beyond the conventions and habits of human experience on land. It argues that by experiencing the buoyancy of oceans, the limitations of humancentered perspectives, acculturated by gravity on land, are critically challenged. An interest in attuning to planetary entanglements is identified early on when Jue evokes Jacques Cousteau’s curiosity as a diver for his “flesh feeling what the fish scales know.”2 But the book is also about rethinking media theory through an embodied perspective in the fluidity of ocean water. Consequently, the first three chapters are divided into “interface,” “inscription,” and “database,” media concepts that become defamiliarized when submerged in the materiality of the pressure, fluidity, and salinity of oceans, while the fourth chapter on “underwater museums”
Melody Jue的书《Wild Blue Media: Thinking through海水》的封面图片与书中的许多主题密切相关:从海洋内部的视角将媒体学术置于水下凉爽的蓝绿色光线中，感官沉浸和亲密的表现表明了从陌生领域学习的价值，以及通过水肺潜水实现的特定行星理解及其产生的“认知隔阂”性别这本令人兴奋的书通过探索海洋作为超越人类在陆地经验的惯例和习惯的思考环境，推进了生态伦理。它认为，通过体验海洋的浮力，被陆地重力同化的以人为中心的观点的局限性受到了严峻的挑战。一开始，当雅克·库斯托(Jacques Cousteau)作为一名潜水员对“鱼鳞所知的肉体感觉”感到好奇时，他就发现了对行星纠缠的兴趣。但这本书也通过海水流动性的体现视角重新思考了媒体理论。因此，前三章分为“界面”、“铭文”和“数据库”，当淹没在海洋的压力、流动性和盐度的物质性中时，媒体概念变得陌生，而第四章则是关于“水下博物馆”。
{"title":"Wild Blue Media: Thinking through Seawater by Melody Jue (review)","authors":"A. Elias","doi":"10.1353/cj.2022.0076","DOIUrl":"https://doi.org/10.1353/cj.2022.0076","url":null,"abstract":"The image on the cover of Melody Jue’s book Wild Blue Media: Thinking through Seawater intimates many of the book’s themes: views from inside the ocean that put media scholarship in the cool bluegreen light of the underwater, representations of sensory immersion and intimacy that demonstrate the value of learning from unfamiliar realms, and milieuspecific planetary understandings enabled by scuba diving and the “cognitive estrangement” it engenders.1 Jue’s exciting book advances ecological ethics by exploring oceans as environments for thinking beyond the conventions and habits of human experience on land. It argues that by experiencing the buoyancy of oceans, the limitations of humancentered perspectives, acculturated by gravity on land, are critically challenged. An interest in attuning to planetary entanglements is identified early on when Jue evokes Jacques Cousteau’s curiosity as a diver for his “flesh feeling what the fish scales know.”2 But the book is also about rethinking media theory through an embodied perspective in the fluidity of ocean water. Consequently, the first three chapters are divided into “interface,” “inscription,” and “database,” media concepts that become defamiliarized when submerged in the materiality of the pressure, fluidity, and salinity of oceans, while the fourth chapter on “underwater museums”","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83854894","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}
{"title":"Who Gets to Call It Black? Practicing Decentering the United States in Film Programming","authors":"Heitor Augusto","doi":"10.1353/cj.2022.0074","DOIUrl":"https://doi.org/10.1353/cj.2022.0074","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73017207","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}
The Bay Area– based independent filmmaker Toney W. Merritt has been creating work for over fifty years. His unique corpus of personal films and videos draws upon and subverts numerous experimental, narrative, and documentary strategies and techniques. Like the work of acclaimed African American visual artist David Hammons, who rose to prominence in Los Angeles and New York in the 1970s and 1980s, Merritt’s work shares some of the same allegorical and selfreferential aspects and obscure humor and is distinguished by an unusual combination of playfulness, opacity, and formal concision. As a graduate student at the San Francisco Art Institute (SFAI) in the late 1970s, Merritt was part of a thriving subculture of personal cinema and radical individualism. Like many of his teachers and peers of the time, such as James Broughton, Mike Henderson, George Kuchar, Robert Nelson, Dean Snider, Babeth M. VanLoo, Marian Wallace, and Al Wong, Merritt made art firmly rooted in a San Franciscan bohemian tradition and style.1 Iconoclastic, performative, and disarmingly funny, Merritt’s films belong to a broader repudiation of the aesthetic seriousness that dominated experimental cinema culture in the 1970s.
{"title":"Effecting Repair: A Canyon Cinema Report on the \"Rediscovery\" of Toney W. Merritt","authors":"Brett Kashmere","doi":"10.1353/cj.2022.0070","DOIUrl":"https://doi.org/10.1353/cj.2022.0070","url":null,"abstract":"The Bay Area– based independent filmmaker Toney W. Merritt has been creating work for over fifty years. His unique corpus of personal films and videos draws upon and subverts numerous experimental, narrative, and documentary strategies and techniques. Like the work of acclaimed African American visual artist David Hammons, who rose to prominence in Los Angeles and New York in the 1970s and 1980s, Merritt’s work shares some of the same allegorical and selfreferential aspects and obscure humor and is distinguished by an unusual combination of playfulness, opacity, and formal concision. As a graduate student at the San Francisco Art Institute (SFAI) in the late 1970s, Merritt was part of a thriving subculture of personal cinema and radical individualism. Like many of his teachers and peers of the time, such as James Broughton, Mike Henderson, George Kuchar, Robert Nelson, Dean Snider, Babeth M. VanLoo, Marian Wallace, and Al Wong, Merritt made art firmly rooted in a San Franciscan bohemian tradition and style.1 Iconoclastic, performative, and disarmingly funny, Merritt’s films belong to a broader repudiation of the aesthetic seriousness that dominated experimental cinema culture in the 1970s.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78136049","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}
{"title":"Righting and Re-writing the Historical Record: Re-releasing the Films of Madeline Anderson","authors":"Livia Bloom Ingram","doi":"10.1353/cj.2022.0071","DOIUrl":"https://doi.org/10.1353/cj.2022.0071","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86206557","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}
Lori Kido Lopez’s second book, Micro Media Industries: Hmong American Media Innovation in the Diaspora, draws on her multiyear fieldwork from 2012 to 2018 with Hmong American communities in Wisconsin (Appleton, Green Bay, and Milwaukee), California (Fresno), and Minnesota (Minneapolis– St. Paul) to provide an account of Hmong media industries. The Hmong diaspora is constituted in relation to a nonsovereign homeland that is not bounded by a specific nationstate, for Hmong remain an ethnic minority in countries of origin such as Laos, Thailand, Vietnam, and China.1 Hmong Americans face vastly different challenges than diasporic populations originating from and identifying with a nationstate with a strong popular media presence. Lacking a home country of their own limits the scale, power, and available resources of Hmong media. Despite all these difficulties, Hmong Americans have found ways to build and maintain a vibrant media landscape composed almost exclusively of micro media industries and smallscale legacy and new media productions ranging from newspapers to podcasts, from radio shows to social media influencing.
{"title":"Micro Media Industries: Hmong American Media Innovation in the Diaspora by Lori Kido Lopez (review)","authors":"Zizi Li","doi":"10.1353/cj.2022.0057","DOIUrl":"https://doi.org/10.1353/cj.2022.0057","url":null,"abstract":"Lori Kido Lopez’s second book, Micro Media Industries: Hmong American Media Innovation in the Diaspora, draws on her multiyear fieldwork from 2012 to 2018 with Hmong American communities in Wisconsin (Appleton, Green Bay, and Milwaukee), California (Fresno), and Minnesota (Minneapolis– St. Paul) to provide an account of Hmong media industries. The Hmong diaspora is constituted in relation to a nonsovereign homeland that is not bounded by a specific nationstate, for Hmong remain an ethnic minority in countries of origin such as Laos, Thailand, Vietnam, and China.1 Hmong Americans face vastly different challenges than diasporic populations originating from and identifying with a nationstate with a strong popular media presence. Lacking a home country of their own limits the scale, power, and available resources of Hmong media. Despite all these difficulties, Hmong Americans have found ways to build and maintain a vibrant media landscape composed almost exclusively of micro media industries and smallscale legacy and new media productions ranging from newspapers to podcasts, from radio shows to social media influencing.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75227544","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:The Texas Chain Saw Massacre (Tobe Hooper, 1974) forcefully demonstrates an unusual technique for conveying characters' emotions, which I call emotional point of view (POV). This is a means of depicting emotions enmeshed with elements of film form, such as cinematography or mise-en-scène. Reading for emotional POV allows us to witness the distortive effect of characters' emotions on their perception. I examine three episodes of emotional POV in The Texas Chain Saw Massacre: those of fear, horror, and anger.
{"title":"Emotional Point of View in The Texas Chain Saw Massacre","authors":"Eliot Bessette","doi":"10.1353/cj.2022.0062","DOIUrl":"https://doi.org/10.1353/cj.2022.0062","url":null,"abstract":"abstract:The Texas Chain Saw Massacre (Tobe Hooper, 1974) forcefully demonstrates an unusual technique for conveying characters' emotions, which I call emotional point of view (POV). This is a means of depicting emotions enmeshed with elements of film form, such as cinematography or mise-en-scène. Reading for emotional POV allows us to witness the distortive effect of characters' emotions on their perception. I examine three episodes of emotional POV in The Texas Chain Saw Massacre: those of fear, horror, and anger.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84915314","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:The early Hollywood star system provided templates for young women to negotiate struggles with heteronormative femininity and attendant notions of sacrifice, romance, and recovery. Focusing on the movie scrapbook and diary of one white, rural, working young woman, I recover an unknown history of US female reception wherein one heartbroken spectator harnessed film ephemera of movie star divorces, deaths, and diseases to articulate formative queer feelings of difference, dissidence, and defiance.
{"title":"Picture Pain: Anti-Heteronormative Female Fandom in Early Hollywood","authors":"Diana W. Anselmo","doi":"10.1353/cj.2022.0061","DOIUrl":"https://doi.org/10.1353/cj.2022.0061","url":null,"abstract":"abstract:The early Hollywood star system provided templates for young women to negotiate struggles with heteronormative femininity and attendant notions of sacrifice, romance, and recovery. Focusing on the movie scrapbook and diary of one white, rural, working young woman, I recover an unknown history of US female reception wherein one heartbroken spectator harnessed film ephemera of movie star divorces, deaths, and diseases to articulate formative queer feelings of difference, dissidence, and defiance.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77496593","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}
{"title":"Spotlight: Fan and Audience Studies Scholarly Interest Group","authors":"Mel Stanfill, R. Garner","doi":"10.1353/cj.2022.0059","DOIUrl":"https://doi.org/10.1353/cj.2022.0059","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77867410","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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