Rafael de Luna Freire, Filipe Gama, Tiago Bravo Pinheiro de Freitas Quintes
This essay explores the diverse modes of exhibition of 16mm in post– World War II Brazil, when projectors and prints in this gauge gained widespread use. In this way, our case study reflects a different chronology for the rising popularity of 16mm technology than that of the United States and some European countries. Here we argue that the impact of 16mm was felt in postwar Brazil in both theatrical and non- theatrical circuits, stimulating the proliferation of film clubs in major cities but also the opening of commercial 16mm movie theaters around the country. It is true
{"title":"The Expansion of 16mm in Film Distribution and Exhibition in Postwar Brazil","authors":"Rafael de Luna Freire, Filipe Gama, Tiago Bravo Pinheiro de Freitas Quintes","doi":"10.1353/cj.2023.0011","DOIUrl":"https://doi.org/10.1353/cj.2023.0011","url":null,"abstract":"This essay explores the diverse modes of exhibition of 16mm in post– World War II Brazil, when projectors and prints in this gauge gained widespread use. In this way, our case study reflects a different chronology for the rising popularity of 16mm technology than that of the United States and some European countries. Here we argue that the impact of 16mm was felt in postwar Brazil in both theatrical and non- theatrical circuits, stimulating the proliferation of film clubs in major cities but also the opening of commercial 16mm movie theaters around the country. It is true","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85771862","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 Alhambra theater opened in New York City in 1905, on the corner of 126th Street and Seventh Avenue, initially as a vaudeville theater catering to white audiences. This article examines the changing racial politics of the theater, which took place as a response to the increasing presence of Black residents in the area. It uses Black weeklies to reconstruct its attitude toward African American patrons, as the Alhambra progressed from a whites-only theater to a buzzing center of Black sociability. In concentrating on a specific cinematic venue, the article provides an insight into Black entertainment in the urban North before the 1930s.
{"title":"Black Moviegoing in Harlem: The Case of the Alhambra Theater, 1905–1931","authors":"Agata Frymus","doi":"10.1353/cj.2023.0005","DOIUrl":"https://doi.org/10.1353/cj.2023.0005","url":null,"abstract":"ABSTRACT:The Alhambra theater opened in New York City in 1905, on the corner of 126th Street and Seventh Avenue, initially as a vaudeville theater catering to white audiences. This article examines the changing racial politics of the theater, which took place as a response to the increasing presence of Black residents in the area. It uses Black weeklies to reconstruct its attitude toward African American patrons, as the Alhambra progressed from a whites-only theater to a buzzing center of Black sociability. In concentrating on a specific cinematic venue, the article provides an insight into Black entertainment in the urban North before the 1930s.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90060928","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}
In Cinema Off Screen: Moviegoing in Socialist China, Chenshu Zhou places two ontological questions at the center of its historical investigation of film exhibition and moviegoing in the People’s Republic of China (PRC) from 1949 to 1992. First, quoting Brian Larkin, she asks if the cinema has “a stable ontology that simply reproduces itself in different contexts over time and across space.”1 Second, she asks, “what does it mean for our understanding of cinema if we stop treating the ‘alternative’ as a mere ‘alternative’?”2 Engaging in a dialogue with works of such scholars as Charlotte Brunsdon, Christian FerenczFlatz, Julian Hanich, and Laura Wilson, Zhou’s investigation poses a convincing and productive challenge to the habitual critical standpoint that overgeneralizes Western cinema’s practice of directing audiences’ attention to films alone as the basis of a universal definition of cinema. Based on her empirical study of screening practices and moviegoing experiences, Zhou instead views cinema as “a system of interfaces.”3 In this system, viewers are active agents interacting with not only films but also such extrafilmic interfaces as “surfaces (screen, seats, etc.), atmospheres, bodies (the projectionist’s, other viewers’, and their own), objects, landscapes, and weather in a
{"title":"Cinema Off Screen: Moviegoing in Socialist China by Chenshu Zhou (review)","authors":"Zhuoyi Wang","doi":"10.1353/cj.2023.0020","DOIUrl":"https://doi.org/10.1353/cj.2023.0020","url":null,"abstract":"In Cinema Off Screen: Moviegoing in Socialist China, Chenshu Zhou places two ontological questions at the center of its historical investigation of film exhibition and moviegoing in the People’s Republic of China (PRC) from 1949 to 1992. First, quoting Brian Larkin, she asks if the cinema has “a stable ontology that simply reproduces itself in different contexts over time and across space.”1 Second, she asks, “what does it mean for our understanding of cinema if we stop treating the ‘alternative’ as a mere ‘alternative’?”2 Engaging in a dialogue with works of such scholars as Charlotte Brunsdon, Christian FerenczFlatz, Julian Hanich, and Laura Wilson, Zhou’s investigation poses a convincing and productive challenge to the habitual critical standpoint that overgeneralizes Western cinema’s practice of directing audiences’ attention to films alone as the basis of a universal definition of cinema. Based on her empirical study of screening practices and moviegoing experiences, Zhou instead views cinema as “a system of interfaces.”3 In this system, viewers are active agents interacting with not only films but also such extrafilmic interfaces as “surfaces (screen, seats, etc.), atmospheres, bodies (the projectionist’s, other viewers’, and their own), objects, landscapes, and weather in a","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84252314","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 ongoing First Nations and otherwise Indigenous apocalypse in Canada and abroad, the colonial footprint continues to remain firmly stamped on cultures and peoples relegated to the socio-political margins. One recent response occurs in Jeff Barnaby’s Rhymes for Young Ghouls (2013) and in his follow-up Blood Quantum (2019). Following a combination of Indigenous theoretical analyses combined with traditional cultural studies, this article demonstrates how these films simultaneously expose the horrific crimes of colonialism in a relatively recent contemporary setting while ironically using the cinematic conventions of horror and apocalypse to critique a stultifying patriarchal ideology both from within and surrounding the Indigenous community.
{"title":"Subversive Horror, Patriarchal Poison, and Progressive Apocalypse in Jeff Barnaby’s Rhymes for Young Ghouls and Blood Quantum","authors":"D. Christopher","doi":"10.1353/cj.2023.0004","DOIUrl":"https://doi.org/10.1353/cj.2023.0004","url":null,"abstract":"ABSTRACT:In the ongoing First Nations and otherwise Indigenous apocalypse in Canada and abroad, the colonial footprint continues to remain firmly stamped on cultures and peoples relegated to the socio-political margins. One recent response occurs in Jeff Barnaby’s Rhymes for Young Ghouls (2013) and in his follow-up Blood Quantum (2019). Following a combination of Indigenous theoretical analyses combined with traditional cultural studies, this article demonstrates how these films simultaneously expose the horrific crimes of colonialism in a relatively recent contemporary setting while ironically using the cinematic conventions of horror and apocalypse to critique a stultifying patriarchal ideology both from within and surrounding the Indigenous community.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88961067","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 aesthetics of violence in two Category III–rated films: Weiduoliya yi hao (Dream Home, Pang Ho-cheung, 2010) and Chuji (Sara, Herman Yau, 2015). The author argues that Category III aesthetics, which balance excessive violence and its containment through strategies of genre-blending, analepsis, and narrative references to Hong Kong history, expose the intersection between official discourse and gendered subjects striving for upward mobility. Reading the protagonists in each film as victims and perpetrators of violence within Hong Kong’s neoliberal and subimperial economy allows the author to rehabilitate the cultural function of Category III films in post-handover Hong Kong.
{"title":"Category III Films in Post-Handover Hong Kong: Excessive Violence and Its Containment in Weiduoliya yi hao and Chuji","authors":"J. Chang","doi":"10.1353/cj.2023.0003","DOIUrl":"https://doi.org/10.1353/cj.2023.0003","url":null,"abstract":"ABSTRACT:This article examines the aesthetics of violence in two Category III–rated films: Weiduoliya yi hao (Dream Home, Pang Ho-cheung, 2010) and Chuji (Sara, Herman Yau, 2015). The author argues that Category III aesthetics, which balance excessive violence and its containment through strategies of genre-blending, analepsis, and narrative references to Hong Kong history, expose the intersection between official discourse and gendered subjects striving for upward mobility. Reading the protagonists in each film as victims and perpetrators of violence within Hong Kong’s neoliberal and subimperial economy allows the author to rehabilitate the cultural function of Category III films in post-handover Hong Kong.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87854918","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}
Lindsay McIntyre is an awardwinning analog experimental filmmaker of Inuit and Scottish heritage who has made over forty short films in the last twenty years. She has contributed a body of knowledge to the practice of silver gelatin emulsion for motion picture film. In this essay, I explore how her analog filmmaking practice indigenizes handmade cinema as she breaks settler colonial silences to recuperate her Inuit matrilineal family history through film. Making her own film stock is an act of creative sovereignty and a way to reclaim 16mm film from the apparatus of the film industry while exerting control over the means of production. This is an especially powerful and salient reclamation given the long history of misrepresentation and extractive practices of the dominant film industry with regard to Indigenous stories and knowledge. There is a rich materiality to her films as her highcontrast 16mm film stock shows textures and marks of her own hand while also bearing the traces of the environmental conditions under which the film footage was shot including on her traditional territory in Qamani’tuaq (Baker Lake), Nunavut. I argue that McIntyre’s inventive celluloidbased
{"title":"Lindsay McIntyre: Indigenous Handmade Cinema","authors":"Kristin L. Dowell","doi":"10.1353/cj.2023.0015","DOIUrl":"https://doi.org/10.1353/cj.2023.0015","url":null,"abstract":"Lindsay McIntyre is an awardwinning analog experimental filmmaker of Inuit and Scottish heritage who has made over forty short films in the last twenty years. She has contributed a body of knowledge to the practice of silver gelatin emulsion for motion picture film. In this essay, I explore how her analog filmmaking practice indigenizes handmade cinema as she breaks settler colonial silences to recuperate her Inuit matrilineal family history through film. Making her own film stock is an act of creative sovereignty and a way to reclaim 16mm film from the apparatus of the film industry while exerting control over the means of production. This is an especially powerful and salient reclamation given the long history of misrepresentation and extractive practices of the dominant film industry with regard to Indigenous stories and knowledge. There is a rich materiality to her films as her highcontrast 16mm film stock shows textures and marks of her own hand while also bearing the traces of the environmental conditions under which the film footage was shot including on her traditional territory in Qamani’tuaq (Baker Lake), Nunavut. I argue that McIntyre’s inventive celluloidbased","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89389779","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":"African Ecomedia: Network Forms, Planetary Politics by Cajetan Iheka (review)","authors":"Sheila Petty","doi":"10.1353/cj.2023.0019","DOIUrl":"https://doi.org/10.1353/cj.2023.0019","url":null,"abstract":"the way for","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73203658","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}
Isra Ali, Lauren Berliner, Stephanie Brown, Sarah Choi, T. Goldman, Nicky Hentrich, Regina Lee, Samantha N. Sheppard
{"title":"Spotlight: Critical Media Pedagogies Scholarly Interest Group","authors":"Isra Ali, Lauren Berliner, Stephanie Brown, Sarah Choi, T. Goldman, Nicky Hentrich, Regina Lee, Samantha N. Sheppard","doi":"10.1353/cj.2023.0000","DOIUrl":"https://doi.org/10.1353/cj.2023.0000","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75580243","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: Melissa Phruksachart","authors":"Treaandrea M. Russworm, Melissa Phruksachart","doi":"10.1353/cj.2023.0001","DOIUrl":"https://doi.org/10.1353/cj.2023.0001","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72649808","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}
Coauthored by film scholar Melissa Thackway and filmmaker JeanMarie Teno, Reel Resistance: The Cinema of JeanMarie Teno is almost a sequel to Thackway’s Africa Shoots Back: Alternative Perspectives in SubSaharan Francophone African Film (2003), which sees subSaharan Francophone African cinema as a countercinema responding to the West’s colonial portrayals of Africa.1 It exhibits Thackway’s personal “claim and embrace [of] the subjectivity and proximity of [her own] critical gaze and position” in the selection of content for analysis.2 The book focuses on the documentary genre and specifically on the work of Teno, an “unconventional free spirit,” as Thackway describes him.3 Inspired by the “father of African cinema,” Ousmane Sembène, Teno desired for his films to be “political in form and content . . . a tool for liberation.”4 He describes his “romanesque” approach to filmmaking as an essential “Other” method to deconstruct Western mainstream cinema’s colonial representations and “readymade narratives” of Africa.5 As a Camer-
{"title":"Reel Resistance: The Cinema of Jean-Marie Teno by Melissa Thackway and Jean-Marie Teno (review)","authors":"Yifen T. Beus","doi":"10.1353/cj.2023.0017","DOIUrl":"https://doi.org/10.1353/cj.2023.0017","url":null,"abstract":"Coauthored by film scholar Melissa Thackway and filmmaker JeanMarie Teno, Reel Resistance: The Cinema of JeanMarie Teno is almost a sequel to Thackway’s Africa Shoots Back: Alternative Perspectives in SubSaharan Francophone African Film (2003), which sees subSaharan Francophone African cinema as a countercinema responding to the West’s colonial portrayals of Africa.1 It exhibits Thackway’s personal “claim and embrace [of] the subjectivity and proximity of [her own] critical gaze and position” in the selection of content for analysis.2 The book focuses on the documentary genre and specifically on the work of Teno, an “unconventional free spirit,” as Thackway describes him.3 Inspired by the “father of African cinema,” Ousmane Sembène, Teno desired for his films to be “political in form and content . . . a tool for liberation.”4 He describes his “romanesque” approach to filmmaking as an essential “Other” method to deconstruct Western mainstream cinema’s colonial representations and “readymade narratives” of Africa.5 As a Camer-","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84048099","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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