Reviewed by: Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood by Vanessa Díaz Perry B. Johnson (bio) Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood by Vanessa Díaz Duke University Press. 2020. 328 pages. $107.95 hardcover; $28.95 paper; also available in e-book. Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood focuses its critical lens on the evolution of celebrity news and the precarity endured by the media laborers who bring it to audiences around the world. At its core, this book is an interrogation of the unequal power dynamics that situate celebrity media laborers within journalistic and sociocultural hierarchies marked by exploitative conditions and pervasive sexism, racism, and xenophobia. It is an important historical account of the formation and formalization of celebrity media, one that brings much-needed attention to the consequential ways in which celebrities and celebrity media have infiltrated cultural discourses and institutions far beyond the bounds of entertainment. Coupling personal experience with extensive ethnographic research, author Vanessa Díaz provides readers with firsthand knowledge of the inner workings of celebrity media and demonstrates an acute grasp of the editorial and economic forces that craft American celebrity culture. Accounts from paparazzi, photographers, freelance/staff reporters, bloggers, interns, editors, publicists, and celebrities expand upon Díaz's experience as a woman of color within these spaces to provide an ambitious assessment of the disposability and disenfranchisement of minoritized celebrity media laborers. [End Page 185] Díaz considers the tensions that emerge from the formal and informal economies in which celebrity "information gatherers" work, interrogating the challenges faced by those differently positioned within the segregated and stratified hierarchies of entertainment media, especially in Hollywood.1 Hollywood, for Díaz, is a fabrication—an idea that has become a consumable product. It is a universal symbol for celebrity and a manufactured celebrity protagonist itself in narratives of global stardom. She thus re-theorizes Hollywood as the "Hollywood Industrial Complex": "the political economy made up of the totality of Hollywood's many subindustries and its laborers … [and] celebrity-focused media of all kinds."2 Celebrity is not only at the center of this complex; it is "its driving force."3 Each of Manufacturing Celebrity's three parts offers a rigorous examination of the co-constitutive forces that fuel and are fueled by the demand for 24/7 celebrity news. The major individuals, institutions, and outlets that supply global audiences with non-stop content about celebrities are considered in detail, among them People, Us Weekly, Life & Style, Touch, Entertainment Tonight, E! News, OK!, Star, and TMZ. Part 1 is dedicated to the paparazzi, its labor, and its laborers. Díaz explores the evolution and the
{"title":"Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood by Vanessa Díaz (review)","authors":"","doi":"10.1353/cj.2023.a910944","DOIUrl":"https://doi.org/10.1353/cj.2023.a910944","url":null,"abstract":"Reviewed by: Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood by Vanessa Díaz Perry B. Johnson (bio) Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood by Vanessa Díaz Duke University Press. 2020. 328 pages. $107.95 hardcover; $28.95 paper; also available in e-book. Manufacturing Celebrity: Latino Paparazzi and Women Reporters in Hollywood focuses its critical lens on the evolution of celebrity news and the precarity endured by the media laborers who bring it to audiences around the world. At its core, this book is an interrogation of the unequal power dynamics that situate celebrity media laborers within journalistic and sociocultural hierarchies marked by exploitative conditions and pervasive sexism, racism, and xenophobia. It is an important historical account of the formation and formalization of celebrity media, one that brings much-needed attention to the consequential ways in which celebrities and celebrity media have infiltrated cultural discourses and institutions far beyond the bounds of entertainment. Coupling personal experience with extensive ethnographic research, author Vanessa Díaz provides readers with firsthand knowledge of the inner workings of celebrity media and demonstrates an acute grasp of the editorial and economic forces that craft American celebrity culture. Accounts from paparazzi, photographers, freelance/staff reporters, bloggers, interns, editors, publicists, and celebrities expand upon Díaz's experience as a woman of color within these spaces to provide an ambitious assessment of the disposability and disenfranchisement of minoritized celebrity media laborers. [End Page 185] Díaz considers the tensions that emerge from the formal and informal economies in which celebrity \"information gatherers\" work, interrogating the challenges faced by those differently positioned within the segregated and stratified hierarchies of entertainment media, especially in Hollywood.1 Hollywood, for Díaz, is a fabrication—an idea that has become a consumable product. It is a universal symbol for celebrity and a manufactured celebrity protagonist itself in narratives of global stardom. She thus re-theorizes Hollywood as the \"Hollywood Industrial Complex\": \"the political economy made up of the totality of Hollywood's many subindustries and its laborers … [and] celebrity-focused media of all kinds.\"2 Celebrity is not only at the center of this complex; it is \"its driving force.\"3 Each of Manufacturing Celebrity's three parts offers a rigorous examination of the co-constitutive forces that fuel and are fueled by the demand for 24/7 celebrity news. The major individuals, institutions, and outlets that supply global audiences with non-stop content about celebrities are considered in detail, among them People, Us Weekly, Life & Style, Touch, Entertainment Tonight, E! News, OK!, Star, and TMZ. Part 1 is dedicated to the paparazzi, its labor, and its laborers. Díaz explores the evolution and the ","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":"135738299","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: In the early 1970s, women who worked at the corporate headquarters of NBC, ABC, and CBS formed groups meant to correct gender inequalities in their workplaces. What began as informal measures taken by a small number of women soon expanded into organized, large-scale reform efforts. Once formalized, the women's groups shaped company policies, formed alliances among workers, and liaised between women employees and company executives for the betterment of women workers. With a focus on the most successful of the groups—the Women's Advisory Council at CBS—this article illustrates how feminist concerns found voice in a corporate media culture, demonstrates the value of a women workers' collective, and re-evaluates the tactics and players of media reform in the age of women's liberation.
{"title":"\"Feminist Borers from Within\": The CBS Women's Advisory Council and Media Workplace Reform in the 1970s","authors":"Jennifer S. Clark","doi":"10.1353/cj.2023.a910937","DOIUrl":"https://doi.org/10.1353/cj.2023.a910937","url":null,"abstract":"abstract: In the early 1970s, women who worked at the corporate headquarters of NBC, ABC, and CBS formed groups meant to correct gender inequalities in their workplaces. What began as informal measures taken by a small number of women soon expanded into organized, large-scale reform efforts. Once formalized, the women's groups shaped company policies, formed alliances among workers, and liaised between women employees and company executives for the betterment of women workers. With a focus on the most successful of the groups—the Women's Advisory Council at CBS—this article illustrates how feminist concerns found voice in a corporate media culture, demonstrates the value of a women workers' collective, and re-evaluates the tactics and players of media reform in the age of women's liberation.","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":"135738285","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: Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists by Wazhmah Osman Bahareh Badiei (bio) Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists by Wazhmah Osman University of Illinois Press. 2020. 288 pages. $110.00 hardcover; $28.00 paper; also available in e-book. In the last few decades, anti-imperialist approaches to Middle East, North Africa, and South Asia (MENASA) studies have primarily been concerned with the launch of the global war on terror; the targeting of Afghan women as the more recent objects of the saviorhood industrial complex; and how women's plight has contributed to the entanglement of feminism, Orientalism, and global imperialism. Wazhmah Osman's essential book, Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists, however, sets out to address the underexplored question of how Afghans themselves make sense of their lives, futures, and the media in the aftermath of years of violence and conflict. Osman generatively intervenes in critical media studies through an exploration of the mechanisms and dynamics of cultural production in a geopolitical context changed by war and violence. Her book presents a nuanced and multilayered analysis of the various actors involved in shaping the television landscape in Afghanistan. From foreign media conglomerates and warlords to feminist activists and religious conservatives, the book examines how each group has used television as a tool to [End Page 176] promote their respective agendas. Thus, by shifting her focus to television as the most dominant, widely accessed, and popular media form in Afghanistan, Osman aims "to redirect the global dialogue about Afghanistan to local Afghans themselves."1 Inspired by Lila Abu-Lughod's book Dramas of Nationhood: The Politics of Television in Egypt, Osman's thoroughly researched book draws on ethnographic observations, more than one hundred interviews, and archival analysis.2 Building on this multidimensional methodology, Osman offers compelling insights on local and transnational television in Afghanistan, its emergence within the complex and multilayered discourses of imperialism and nationalism, the political economy of its production, and its controversial reception in the country. She acknowledges her positionality and fluid social location as a researcher who leans on both American- and Afghanness, uses her family ties, and reflects on her mixed ethnic makeup—crucial aspects of her feminist anti-imperialist ethnographic lens. Osman's book places televisual exposures at the center of imperialist militarism, globalization, and the Afghan nation-building project. In doing so, it examines how televisual productions constitute and frame dialogues around gender, sexuality, democracy, ethnic identity, religion, and human rights while also analyzing how these framings are received, negotiated, and contested by the large
{"title":"Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists by Wazhmah Osman (review)","authors":"","doi":"10.1353/cj.2023.a910943","DOIUrl":"https://doi.org/10.1353/cj.2023.a910943","url":null,"abstract":"Reviewed by: Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists by Wazhmah Osman Bahareh Badiei (bio) Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists by Wazhmah Osman University of Illinois Press. 2020. 288 pages. $110.00 hardcover; $28.00 paper; also available in e-book. In the last few decades, anti-imperialist approaches to Middle East, North Africa, and South Asia (MENASA) studies have primarily been concerned with the launch of the global war on terror; the targeting of Afghan women as the more recent objects of the saviorhood industrial complex; and how women's plight has contributed to the entanglement of feminism, Orientalism, and global imperialism. Wazhmah Osman's essential book, Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists, however, sets out to address the underexplored question of how Afghans themselves make sense of their lives, futures, and the media in the aftermath of years of violence and conflict. Osman generatively intervenes in critical media studies through an exploration of the mechanisms and dynamics of cultural production in a geopolitical context changed by war and violence. Her book presents a nuanced and multilayered analysis of the various actors involved in shaping the television landscape in Afghanistan. From foreign media conglomerates and warlords to feminist activists and religious conservatives, the book examines how each group has used television as a tool to [End Page 176] promote their respective agendas. Thus, by shifting her focus to television as the most dominant, widely accessed, and popular media form in Afghanistan, Osman aims \"to redirect the global dialogue about Afghanistan to local Afghans themselves.\"1 Inspired by Lila Abu-Lughod's book Dramas of Nationhood: The Politics of Television in Egypt, Osman's thoroughly researched book draws on ethnographic observations, more than one hundred interviews, and archival analysis.2 Building on this multidimensional methodology, Osman offers compelling insights on local and transnational television in Afghanistan, its emergence within the complex and multilayered discourses of imperialism and nationalism, the political economy of its production, and its controversial reception in the country. She acknowledges her positionality and fluid social location as a researcher who leans on both American- and Afghanness, uses her family ties, and reflects on her mixed ethnic makeup—crucial aspects of her feminist anti-imperialist ethnographic lens. Osman's book places televisual exposures at the center of imperialist militarism, globalization, and the Afghan nation-building project. In doing so, it examines how televisual productions constitute and frame dialogues around gender, sexuality, democracy, ethnic identity, religion, and human rights while also analyzing how these framings are received, negotiated, and contested by the large","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":"135738292","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 Zhao Liang's stylistic approach to representing the intersections between Inner Mongolia's landscapes and migrant workers in his unconventional documentary Beixi moshuo ( Behemoth , 2015). It argues that the blending of artificiality with realism and the juxtaposition of the wounded land and wounded human bodies are the ways in which Zhao calls on viewers to explore an affective, contemplative, and biocentric understanding of ecology. In an artistic manner, Behemoth powerfully exposes the surreal magnitude of China's environmental ruin, the environmental injustices state policies have caused for marginalized regions and populations, and the absurdity of China's post-socialist development.
{"title":"Wounded Bodies: Grim Beauty and Environmental Injustice in Zhao Liang's Behemoth","authors":"Yanjie Wang","doi":"10.1353/cj.2023.a910941","DOIUrl":"https://doi.org/10.1353/cj.2023.a910941","url":null,"abstract":"abstract: This article examines Zhao Liang's stylistic approach to representing the intersections between Inner Mongolia's landscapes and migrant workers in his unconventional documentary Beixi moshuo ( Behemoth , 2015). It argues that the blending of artificiality with realism and the juxtaposition of the wounded land and wounded human bodies are the ways in which Zhao calls on viewers to explore an affective, contemplative, and biocentric understanding of ecology. In an artistic manner, Behemoth powerfully exposes the surreal magnitude of China's environmental ruin, the environmental injustices state policies have caused for marginalized regions and populations, and the absurdity of China's post-socialist development.","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":"135738297","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:During the civil rights era, Georgia’s Cooperative Agricultural Extension Service produced local nontheatrical films that imagined the state as rural, masculine, and white. Omitting segregation from direct view, these productions emphasized white men demonstrating respectable masculinity on rural land at a time when many southerners normalized Jim Crow as common sense for southern families and communities. These images still resonate in Georgia’s divided political climate, particularly in the 2018 campaign of Governor Brian Kemp. The racial implications of the extension service’s gendered vision of Georgia become clear in Kemp’s ads, which appeal to similar rural images to mask racist policies and voter suppression.
{"title":"A Rural Georgia for White Men, Like Brian Kemp: The Midcentury Films and Nontheatrical Legacy of Georgia Agricultural Extension","authors":"L. Pilcher","doi":"10.1353/cj.2022.a899238","DOIUrl":"https://doi.org/10.1353/cj.2022.a899238","url":null,"abstract":"ABSTRACT:During the civil rights era, Georgia’s Cooperative Agricultural Extension Service produced local nontheatrical films that imagined the state as rural, masculine, and white. Omitting segregation from direct view, these productions emphasized white men demonstrating respectable masculinity on rural land at a time when many southerners normalized Jim Crow as common sense for southern families and communities. These images still resonate in Georgia’s divided political climate, particularly in the 2018 campaign of Governor Brian Kemp. The racial implications of the extension service’s gendered vision of Georgia become clear in Kemp’s ads, which appeal to similar rural images to mask racist policies and voter suppression.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90343894","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:At least since Friedrich Kittler declared fiber-optic cable the “end of media,” there has been an idea in cinema and media studies that as all media become digital, the concept of medium specificity makes less and less sense. Meanwhile, many wonder if our field is coherent, as media scholars turn their attention to such objects as dust, cities, and whales. I argue that digital convergence makes medium specificity more rather than less vital, though in a reformed formulation. While our far-flung objects cannot cohere our discipline, a use of medium specificity as a diachronic, scale-flexible, relational, perspectival operation can.
{"title":"A Diachronic, Scale-Flexible, Relational, Perspectival Operation: In Defense of (Always-Reforming) Medium Specificity","authors":"Jordan Sjol","doi":"10.1353/cj.2022.a899239","DOIUrl":"https://doi.org/10.1353/cj.2022.a899239","url":null,"abstract":"ABSTRACT:At least since Friedrich Kittler declared fiber-optic cable the “end of media,” there has been an idea in cinema and media studies that as all media become digital, the concept of medium specificity makes less and less sense. Meanwhile, many wonder if our field is coherent, as media scholars turn their attention to such objects as dust, cities, and whales. I argue that digital convergence makes medium specificity more rather than less vital, though in a reformed formulation. While our far-flung objects cannot cohere our discipline, a use of medium specificity as a diachronic, scale-flexible, relational, perspectival operation can.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89570737","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:Using The Joy of Painting with Bob Ross (PBS, 1983–1994) as a case study, this article analyzes three vectors of elevated escapism—categorization as comfort TV, nostalgia for public media, and an art pedagogy drawing on medieval and picturesque traditions. These three vectors, which are applicable to the program and the discourse surrounding it in the late 2010s and were heightened in 2020, exemplify the discursive category of comfort TV in the 2020s, amplified by American television critics and journalists in such a way that further normalizes class-based tastes in the era of streaming television.
{"title":"Happy Trees in a Black Box: Elevated Escapism as Comfort Television in The Joy of Painting with Bob Ross","authors":"C. Howell, J. Howell","doi":"10.1353/cj.2022.a899237","DOIUrl":"https://doi.org/10.1353/cj.2022.a899237","url":null,"abstract":"ABSTRACT:Using The Joy of Painting with Bob Ross (PBS, 1983–1994) as a case study, this article analyzes three vectors of elevated escapism—categorization as comfort TV, nostalgia for public media, and an art pedagogy drawing on medieval and picturesque traditions. These three vectors, which are applicable to the program and the discourse surrounding it in the late 2010s and were heightened in 2020, exemplify the discursive category of comfort TV in the 2020s, amplified by American television critics and journalists in such a way that further normalizes class-based tastes in the era of streaming television.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72447155","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 mobilizes the motif of digital reincarnation to examine the regenerating bodies and the multiple lives of the mummy in The Mummy franchise. I read the body of the mummy as a cyborg hybrid because it features enhanced powers of rejuvenation that are indicative of malleable, porous, and networked bodies of our digital era. This updated version of a computer-generated mummy infuses digital aesthetics and logic into the mummy complex of cinema. Assembled in the virtual production pipeline of global Hollywood, this contemporary mummy is a heterogeneous amalgam of media forms: organic flesh, synthetic prosthetics, and digital bytes.
{"title":"Digital Reincarnation: The Mediated Bodies and Multiple Lives of The Mummy","authors":"H. Chung","doi":"10.1353/cj.2022.a899235","DOIUrl":"https://doi.org/10.1353/cj.2022.a899235","url":null,"abstract":"ABSTRACT:This article mobilizes the motif of digital reincarnation to examine the regenerating bodies and the multiple lives of the mummy in The Mummy franchise. I read the body of the mummy as a cyborg hybrid because it features enhanced powers of rejuvenation that are indicative of malleable, porous, and networked bodies of our digital era. This updated version of a computer-generated mummy infuses digital aesthetics and logic into the mummy complex of cinema. Assembled in the virtual production pipeline of global Hollywood, this contemporary mummy is a heterogeneous amalgam of media forms: organic flesh, synthetic prosthetics, and digital bytes.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79989596","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 explores the rise and fall of the Hindi literary film, circa 1969–1995. I discuss three hybrid genres that emerged from collaborations between modern Hindi writers and Indian New Wave filmmakers: lighthearted, middlebrow comedies about urban life; an avant-garde cinema characterized by a mofussil modernism; and an activist cinema concurrent with the Indian human rights movement. The article concludes by identifying the factors that pushed Hindi literature and cinema apart in the 1990s, with changes in state policies, the growth of private television channels, and the provincialization of Hindi literary culture.
{"title":"Literature, Print Culture, and the Indian New Wave","authors":"Vikrant Dadawala","doi":"10.1353/cj.2022.a899236","DOIUrl":"https://doi.org/10.1353/cj.2022.a899236","url":null,"abstract":"ABSTRACT:This article explores the rise and fall of the Hindi literary film, circa 1969–1995. I discuss three hybrid genres that emerged from collaborations between modern Hindi writers and Indian New Wave filmmakers: lighthearted, middlebrow comedies about urban life; an avant-garde cinema characterized by a mofussil modernism; and an activist cinema concurrent with the Indian human rights movement. The article concludes by identifying the factors that pushed Hindi literature and cinema apart in the 1990s, with changes in state policies, the growth of private television channels, and the provincialization of Hindi literary culture.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86143017","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}
Inspired by Miriam Hansen’s concept of Vernacular Modernism, which elucidates how cinema as a mass cultural form can be modernist and refl ects upon its interrelation with mass culture, Golbarg Rekabtalaei and Kaveh Askari deploy the concept to investigate the socio-cultural history of Iranian cinematic modernity through their idiosyncratic approaches. Golbarg Rekabtalaei’s Iranian Cosmopolitanism: A Cinematic History narrates the “morphogenesis” of Iranian “cinematic modernity” in the social space and visual content that pre-revolutionary cinema off ered in the twentieth century.1 Her
{"title":"Iranian Cosmopolitanism: A Cinematic History by Golbarg Rekabtalaei, and: Relaying Cinema in Midcentury Iran: Material Cultures in Transit by Kaveh Askari (review)","authors":"Farzaneh Ebrahimzadeh Holasu","doi":"10.1353/cj.2023.a904640","DOIUrl":"https://doi.org/10.1353/cj.2023.a904640","url":null,"abstract":"Inspired by Miriam Hansen’s concept of Vernacular Modernism, which elucidates how cinema as a mass cultural form can be modernist and refl ects upon its interrelation with mass culture, Golbarg Rekabtalaei and Kaveh Askari deploy the concept to investigate the socio-cultural history of Iranian cinematic modernity through their idiosyncratic approaches. Golbarg Rekabtalaei’s Iranian Cosmopolitanism: A Cinematic History narrates the “morphogenesis” of Iranian “cinematic modernity” in the social space and visual content that pre-revolutionary cinema off ered in the twentieth century.1 Her","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82234367","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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