The Shape of Motion: Cinema and the Aesthetics of Movement , a first book by is a unique and engaging foray into some of cinema’s forms. By studying six different forms of motion, the presents a method for critically engaging with the in Signifi-cantly, we could call an alternative phenomenology of cinematographic movement, a way to examine an of cinema so fundamental that it rarely sustained theoretical attention.” of prioritizes trac-ing links between recognizable regardless of their for the most part, their within narrative
{"title":"The Shape of Motion: Cinema and the Aesthetics of Movement by Jordan Schonig (review)","authors":"Philippe Bédard","doi":"10.1353/cj.2022.0075","DOIUrl":"https://doi.org/10.1353/cj.2022.0075","url":null,"abstract":"The Shape of Motion: Cinema and the Aesthetics of Movement , a first book by is a unique and engaging foray into some of cinema’s forms. By studying six different forms of motion, the presents a method for critically engaging with the in Signifi-cantly, we could call an alternative phenomenology of cinematographic movement, a way to examine an of cinema so fundamental that it rarely sustained theoretical attention.” of prioritizes trac-ing links between recognizable regardless of their for the most part, their within narrative","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":"74270765","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 past two decades have seen an exponential rise in academics studying myriad aspects of film festivals. Indeed, at least among scholars writing on the subject, film festival studies is now considered to be a legitimate academic discipline.1 Inherently interdisciplinary, film festival scholars employ a range of theoretical and methodological tools such as network theory, film analysis, discourse analysis, history of institutions, national cinema, logics of film distribution, and gatekeeping in order to study the film festival phenomenon.2 A notable strand of this scholarship addresses LGBTQ film festivals, a specific niche at the intersection of art, identity, and activism. Antoine Damiens’s LGBTQ Film Festivals: Curating Queerness is a timely book that attempts to intervene in this burgeoning scholarship by looking at some of the key assumptions that guide larger film festival studies based on his reflexive inquiry within LGBTQ film festival research.3 Damiens embarks on this ambitious journey on the back of two theoretical concepts: critical festival studies and film festival as a method. Critical festival studies, according to Damiens, is an “analysis of the methodolog-
{"title":"LGBTQ Film Festivals: Curating Queerness by Antoine Damiens (review)","authors":"Siddharth Chadha","doi":"10.1353/cj.2022.0056","DOIUrl":"https://doi.org/10.1353/cj.2022.0056","url":null,"abstract":"The past two decades have seen an exponential rise in academics studying myriad aspects of film festivals. Indeed, at least among scholars writing on the subject, film festival studies is now considered to be a legitimate academic discipline.1 Inherently interdisciplinary, film festival scholars employ a range of theoretical and methodological tools such as network theory, film analysis, discourse analysis, history of institutions, national cinema, logics of film distribution, and gatekeeping in order to study the film festival phenomenon.2 A notable strand of this scholarship addresses LGBTQ film festivals, a specific niche at the intersection of art, identity, and activism. Antoine Damiens’s LGBTQ Film Festivals: Curating Queerness is a timely book that attempts to intervene in this burgeoning scholarship by looking at some of the key assumptions that guide larger film festival studies based on his reflexive inquiry within LGBTQ film festival research.3 Damiens embarks on this ambitious journey on the back of two theoretical concepts: critical festival studies and film festival as a method. Critical festival studies, according to Damiens, is an “analysis of the methodolog-","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":"75000602","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":"Introduction: Film Programmers Speak","authors":"T. S. Francis","doi":"10.1353/cj.2022.0067","DOIUrl":"https://doi.org/10.1353/cj.2022.0067","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":"77437228","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":"Filmgoing's Often Unseen Labor","authors":"Jon Dieringer","doi":"10.1353/cj.2022.0073","DOIUrl":"https://doi.org/10.1353/cj.2022.0073","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":"78369423","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":"Ecstatic Rest and the Black Gaze in a Time of Loss","authors":"Melissa Lyde","doi":"10.1353/cj.2022.0068","DOIUrl":"https://doi.org/10.1353/cj.2022.0068","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":"73369227","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}
influence of location shooting on the ethics and aesthetics of a film has been of interest to film scholars since at least André Bazin’s work on cinematic realism. Less studied, however, is how films may affect the locations where they are shot. This mutual relationship is at the core of Elena Past’s Italian Ecocinema: Beyond the Human , a well- researched and beautifully written study that draws on interviews, published works, and close readings of specific scenes.
{"title":"Italian Ecocinema: Beyond the Human by Elena Past (review)","authors":"Sabrina Negri","doi":"10.1353/cj.2022.0058","DOIUrl":"https://doi.org/10.1353/cj.2022.0058","url":null,"abstract":"influence of location shooting on the ethics and aesthetics of a film has been of interest to film scholars since at least André Bazin’s work on cinematic realism. Less studied, however, is how films may affect the locations where they are shot. This mutual relationship is at the core of Elena Past’s Italian Ecocinema: Beyond the Human , a well- researched and beautifully written study that draws on interviews, published works, and close readings of specific scenes.","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":"80724062","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 BBC's long history of producing programming designed for and accessible to deaf audiences. Although efforts to speak with deaf and hard of hearing communities have been ongoing, the broadcaster's track record of producing inclusive, culturally accessible content has been inconsistent, sometimes creating innovative content such as Vision On (BBC1, 1964–1976) and See Hear (BBC1/BBC2, 1981–) and sometimes providing little or no content for deaf audiences. The BBC has often been thwarted by its own limitations as a public service broadcaster and a hearing-run organization, at times leaving it with only traces of creative minority media.
{"title":"To Educate and Inform: A History of Television for Deaf Audiences on the BBC","authors":"Ilana R. Emmett","doi":"10.1353/cj.2022.0063","DOIUrl":"https://doi.org/10.1353/cj.2022.0063","url":null,"abstract":"abstract:This article examines the BBC's long history of producing programming designed for and accessible to deaf audiences. Although efforts to speak with deaf and hard of hearing communities have been ongoing, the broadcaster's track record of producing inclusive, culturally accessible content has been inconsistent, sometimes creating innovative content such as Vision On (BBC1, 1964–1976) and See Hear (BBC1/BBC2, 1981–) and sometimes providing little or no content for deaf audiences. The BBC has often been thwarted by its own limitations as a public service broadcaster and a hearing-run organization, at times leaving it with only traces of creative minority media.","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":"87406204","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:Chronique d'un été (Chronicle of a Summer, Edgar Morin and Jean Rouch, 1961) fails to make a clear statement concerning the controversial Franco-Algerian War (1954–1962) and its associated torture, terrorism, and draft. This article explores the reasons for Chronique d'un été's ambivalence before unearthing Algérie, année zéro (Algeria, year zero, 1962), a virtually unknown documentary filmed two months after the war by an activist couple featured in Chronique d'un été, Marceline Loridan and Jean-Pierre Sergent. Using Jacques Derrida's term différance, I argue that the films overlap, contradict, and parallel each other to reveal the French Left's evolving relationship with Algeria.
{"title":"A Prism of Censorship and Ambivalence: Chronique d'un été and Algérie, année zéro","authors":"Nicole Beth Wallenbrock","doi":"10.1353/cj.2022.0066","DOIUrl":"https://doi.org/10.1353/cj.2022.0066","url":null,"abstract":"abstract:Chronique d'un été (Chronicle of a Summer, Edgar Morin and Jean Rouch, 1961) fails to make a clear statement concerning the controversial Franco-Algerian War (1954–1962) and its associated torture, terrorism, and draft. This article explores the reasons for Chronique d'un été's ambivalence before unearthing Algérie, année zéro (Algeria, year zero, 1962), a virtually unknown documentary filmed two months after the war by an activist couple featured in Chronique d'un été, Marceline Loridan and Jean-Pierre Sergent. Using Jacques Derrida's term différance, I argue that the films overlap, contradict, and parallel each other to reveal the French Left's evolving relationship with Algeria.","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":"88993619","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: Elizabeth Patton","authors":"Elizabeth Patton, Treaandrea M. Russworm","doi":"10.1353/cj.2022.0060","DOIUrl":"https://doi.org/10.1353/cj.2022.0060","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":"89860916","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}
Tien-Tien Jong, Siddharth Chadha, Zizi Li, Sabrina Negri, Mel Stanfill, R. Garner, Elizabeth Patton, Treaandrea M. Russworm, Diana W. Anselmo, Eliot Bessette, Ilana R. Emmett, S. Kim, Dimitrios S. Latsis, N. Wallenbrock, T. Francis, Melissa Lyde, Maya S. Cade, Brett Kashmere, Livia Bloom Ingram, Daniella Shreir, Jon Dieringer, Heitor Augusto, Philippe Bédard, A. Elias
After he is ostracized by the kids at school and shushed by his busy father, the titular boy wonder of United Production of America’s (UPA) Gerald McBoingBoing (Robert Cannon, 1950) walks up a frighteningly pendulous staircase— depicted for us as a flat, sawlike path receding sharply into the top left frame. How can viewers explain what it is that we are seeing in this moment, when the stairs never change in perspective as Gerald advances upward, even during a simulated camera trackin? How can we better describe the sensations of movement in animated films that are ostensibly created frame by frame, thus defying our perceptual habits for watching movies and making sense of the movements we see onscreen? And what political possibilities open for us once we begin to think about animated motion beyond the isolated actions of cartoon characters and focus instead on the figures and forces that animate the image? Ryan Pierson tackles these issues in his new book on figural and abstract animation, a farranging analytical work that blends philosophical aesthetics with animation history. In doing so, Figure and Force in Animation Aesthetics generates new frameworks for studying historical receptions of modernism, cinematic motion, and the possibilities for talking about and viewing animated films. Methodologically, Figure and Force in Animation Aesthetics draws from and expands upon the contributions to animation studies previously made by Donald Crafton, Vivian Sobchack, Dan Bashara, and Tom Gunning.
在被学校里的孩子们排斥，被忙碌的父亲嘘了一声之后，美国联合制作公司(UPA)的杰拉尔德·麦克博宁·博宁(罗伯特·坎农，1950年)，这个名义上的男孩奇迹走上了一个可怕的摇摆楼梯——在我们看来，这是一条平坦的、锯齿状的小路，急剧地延伸到左上方的画面中。观众如何解释我们在这一刻所看到的是什么，当楼梯从未改变视角时，杰拉德向上推进，即使在模拟摄像机跟踪中?我们怎样才能更好地描述动画电影中的运动感觉呢?这些动画电影表面上是一帧一帧地创造出来的，从而违背了我们看电影的感知习惯，并理解了我们在屏幕上看到的运动?一旦我们开始思考动画运动，超越卡通人物的孤立动作，转而关注使图像动画化的人物和力量，我们将面临什么样的政治可能性?瑞安·皮尔森在他的关于形象和抽象动画的新书中解决了这些问题，这是一本将哲学美学与动画历史相结合的广泛分析工作。在此过程中，动画美学中的人物与力量为研究现代主义，电影运动的历史接受以及谈论和观看动画电影的可能性提供了新的框架。在方法上，动画美学中的人物和力量借鉴并扩展了Donald Crafton, Vivian Sobchack, Dan Bashara和Tom Gunning先前对动画研究的贡献。
{"title":"Figure and Force in Animation Aesthetics by Ryan Pierson (review)","authors":"Tien-Tien Jong, Siddharth Chadha, Zizi Li, Sabrina Negri, Mel Stanfill, R. Garner, Elizabeth Patton, Treaandrea M. Russworm, Diana W. Anselmo, Eliot Bessette, Ilana R. Emmett, S. Kim, Dimitrios S. Latsis, N. Wallenbrock, T. Francis, Melissa Lyde, Maya S. Cade, Brett Kashmere, Livia Bloom Ingram, Daniella Shreir, Jon Dieringer, Heitor Augusto, Philippe Bédard, A. Elias","doi":"10.1353/cj.2022.0055","DOIUrl":"https://doi.org/10.1353/cj.2022.0055","url":null,"abstract":"After he is ostracized by the kids at school and shushed by his busy father, the titular boy wonder of United Production of America’s (UPA) Gerald McBoingBoing (Robert Cannon, 1950) walks up a frighteningly pendulous staircase— depicted for us as a flat, sawlike path receding sharply into the top left frame. How can viewers explain what it is that we are seeing in this moment, when the stairs never change in perspective as Gerald advances upward, even during a simulated camera trackin? How can we better describe the sensations of movement in animated films that are ostensibly created frame by frame, thus defying our perceptual habits for watching movies and making sense of the movements we see onscreen? And what political possibilities open for us once we begin to think about animated motion beyond the isolated actions of cartoon characters and focus instead on the figures and forces that animate the image? Ryan Pierson tackles these issues in his new book on figural and abstract animation, a farranging analytical work that blends philosophical aesthetics with animation history. In doing so, Figure and Force in Animation Aesthetics generates new frameworks for studying historical receptions of modernism, cinematic motion, and the possibilities for talking about and viewing animated films. Methodologically, Figure and Force in Animation Aesthetics draws from and expands upon the contributions to animation studies previously made by Donald Crafton, Vivian Sobchack, Dan Bashara, and Tom Gunning.","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":"76074139","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：