{"title":"The Studios after the Studios: Neoclassical Hollywood (1970–2010) by J. D. Connor (review)","authors":"Thomas Schatz","doi":"10.1353/CJ.2018.0062","DOIUrl":"https://doi.org/10.1353/CJ.2018.0062","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"24 1","pages":"153 - 157"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73913450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anarchy on and off the Air","authors":"J. K. Kauanui","doi":"10.1353/CJ.2018.0056","DOIUrl":"https://doi.org/10.1353/CJ.2018.0056","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"15 1","pages":"127 - 132"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76651673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the affective relationship between currency and human interiority in Im Sang-soo's films about wealth, The Housemaid (2010) and The Taste of Money (2012). Drawing on feminist critiques of Bourdieu's model of capital as well as emotional capital, it argues that these films give value to emotions and affects in convertible terms. In the process, they complicate questions of motherhood and matriarchal desire in Korean cinema, which were previously defined by familial notions of patriarchy, not in economic terms. By interiorizing the corporate chaebol structure in domestic settings, the films reimagine emotional capital as integrally related to other forms of capital.
{"title":"Chaebol Affect: Emotional Capital and the Interiority of Wealth in Im Sang-soo's The Housemaid and The Taste of Money","authors":"Y. Choe","doi":"10.1353/CJ.2018.0050","DOIUrl":"https://doi.org/10.1353/CJ.2018.0050","url":null,"abstract":"Abstract:This article examines the affective relationship between currency and human interiority in Im Sang-soo's films about wealth, The Housemaid (2010) and The Taste of Money (2012). Drawing on feminist critiques of Bourdieu's model of capital as well as emotional capital, it argues that these films give value to emotions and affects in convertible terms. In the process, they complicate questions of motherhood and matriarchal desire in Korean cinema, which were previously defined by familial notions of patriarchy, not in economic terms. By interiorizing the corporate chaebol structure in domestic settings, the films reimagine emotional capital as integrally related to other forms of capital.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"28 1","pages":"25 - 46"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89100508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Public Spectacles of Violence: Sensational Cinema and Journalism in Early Twentieth-Century Mexico and Brazil by Rielle Navitski (review)","authors":"Georgina Torello, L. Serna","doi":"10.1353/CJ.2018.0065","DOIUrl":"https://doi.org/10.1353/CJ.2018.0065","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"14 1","pages":"166 - 169"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89657543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article provides a history of low-budget optical printing in avant-garde cinema. Drawing on archival research to trace its path from its innovation in do-it-yourself amateur filmmaking circles to its diffusion in filmmaking cooperatives and universities, the article argues that optical printing represents an instance of a semiprofessional network of advanced amateurs, hobbyists, and artists repurposing a commercial technology for their own ends. In addition to shifting the avant-garde's investment in perceptual transformation from in-camera effects to post hoc manipulation of footage, optical printing became a cultural resource that avant-garde filmmakers could use to reimagine their relationship with their materials and mobilize in relation to their practice.
{"title":"A DIY Come-On: A History of Optical Printing in Avant-Garde Cinema","authors":"Jo Marie Powers","doi":"10.1353/CJ.2018.0052","DOIUrl":"https://doi.org/10.1353/CJ.2018.0052","url":null,"abstract":"Abstract:This article provides a history of low-budget optical printing in avant-garde cinema. Drawing on archival research to trace its path from its innovation in do-it-yourself amateur filmmaking circles to its diffusion in filmmaking cooperatives and universities, the article argues that optical printing represents an instance of a semiprofessional network of advanced amateurs, hobbyists, and artists repurposing a commercial technology for their own ends. In addition to shifting the avant-garde's investment in perceptual transformation from in-camera effects to post hoc manipulation of footage, optical printing became a cultural resource that avant-garde filmmakers could use to reimagine their relationship with their materials and mobilize in relation to their practice.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"258 1","pages":"71 - 95"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79142822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood's production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood's global production work was promoted during a time of industry transition.
{"title":"The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes","authors":"D. Steinhart","doi":"10.1353/CJ.2018.0053","DOIUrl":"https://doi.org/10.1353/CJ.2018.0053","url":null,"abstract":"Abstract:Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood's production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood's global production work was promoted during a time of industry transition.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"26 1","pages":"119 - 96"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91222341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article argues that Lon Chaney's and Tod Browning's films subvert what have become commonplace assumptions about the affective and ethical power of the close-up and instead stage opportunities for audience reflection on responses to disability. In particular, through films that feature nonnormative faces—especially Browning's Freaks (1932) and Chaney's Phantom of the Opera (1925)—these filmmakers pinpoint the problem of basing ethical treatment of the Other on affective identification.
{"title":"\"Feast Your Eyes, Glut Your Soul\": Lon Chaney, Tod Browning, Disfigurement, and the Limits of Redemptive Affects","authors":"Katherine Fusco","doi":"10.1353/CJ.2018.0051","DOIUrl":"https://doi.org/10.1353/CJ.2018.0051","url":null,"abstract":"Abstract:This article argues that Lon Chaney's and Tod Browning's films subvert what have become commonplace assumptions about the affective and ethical power of the close-up and instead stage opportunities for audience reflection on responses to disability. In particular, through films that feature nonnormative faces—especially Browning's Freaks (1932) and Chaney's Phantom of the Opera (1925)—these filmmakers pinpoint the problem of basing ethical treatment of the Other on affective identification.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"134 1","pages":"47 - 70"},"PeriodicalIF":0.0,"publicationDate":"2018-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84941928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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