{"title":"The Persistence of the Sad Young Man","authors":"R. Powell","doi":"10.1353/CJ.2018.0016","DOIUrl":"https://doi.org/10.1353/CJ.2018.0016","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"26 1","pages":"158 - 161"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78495668","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 investigates the archival status of the earth as a medium and metaphor for the writing of the Cambodian disaster as depicted in Rithy Panh's autobiographical account of the Khmer Rouge regime, The Missing Picture (2013). Drawing on transnational film theory and the geological turn in media studies, it confronts Western and non-Western conceptions of trauma to ultimately demonstrate how the film's handcarved clay figurines embody both the materiality of mourning in Cambodia and the environmental implications of Pol Pot's failed agrarian utopia.
{"title":"Earth as Archive: Reframing Memory and Mourning in The Missing Picture","authors":"J. Cazenave","doi":"10.1353/CJ.2018.0002","DOIUrl":"https://doi.org/10.1353/CJ.2018.0002","url":null,"abstract":"Abstract:This article investigates the archival status of the earth as a medium and metaphor for the writing of the Cambodian disaster as depicted in Rithy Panh's autobiographical account of the Khmer Rouge regime, The Missing Picture (2013). Drawing on transnational film theory and the geological turn in media studies, it confronts Western and non-Western conceptions of trauma to ultimately demonstrate how the film's handcarved clay figurines embody both the materiality of mourning in Cambodia and the environmental implications of Pol Pot's failed agrarian utopia.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"39 1","pages":"44 - 65"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83859440","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}
I am humbled by the company in which I find myself in this tribute dossier, not to mention by its subject. But it offers the perfect context to convey the unique combination of the scholarly and the sociable that characterizes Richard Dyer’s contribution to the field. “Friends of Richard,” like “Friends of Dorothy,” is an imagined, everexpanding community. In Critical Visions, the film theory anthology I coedited with Timothy Corrigan and Meta Mazaj, Richard Dyer is the best-represented author, with three selections: from White, from Stars, and his 1976 classic, “Entertainment and Utopia”––much of which I know by heart: “To call attention to the gap between what is and what could be, is, ideologically speaking, playing with fire.” None of these was dispensable. Indeed, many other papers, essays, and book excerpts by Dyer were candidates for inclusion in that anthology for their centrality to the field and their promise of relevance for future generations learning film “theory.ˮ As important as their standing in intellectual history, however, is their affective power. I have very personal relationships with Dyer’s texts: with my Xerox of “Lana: Four Films of Lana Turner” from Movie, acquired long ago through interlibrary loan; with the stamp inside the front cover of Gays in Film from Cinemabilia, New York’s legendary, long-shuttered secondhand cinema bookstore; with the broken spine of Now You See It, after years of teaching from it; with prose that seems to express my secret self. And these cherished artifacts have pictures: I traced the image from the cover of Gays in Film to publicize a screening of Olivia ( Jacqueline Audry, 1951) for the feminist film society I ran in college, and smiled that he’d chosen that image of Sal Mineo for the cover of The Matter of Images. It was Dyer’s work that linked scholarship to affective life for me as a young queer feminist scholar; the privilege of his friendship keeps this alive for me today. My feminist film theory bona fides go back to
我为自己在这个献礼档案中所处的公司感到谦卑，更不用说它的主题了。但它提供了完美的背景来传达理查德·戴尔对该领域贡献的独特的学术和社交结合。《理查德的朋友》和《多萝西的朋友》一样，是一个想象中的、不断扩大的社区。在我与蒂莫西·科里根(Timothy Corrigan)和梅塔·马扎伊(Meta Mazaj)合编的电影理论选集《批判视野》(Critical Visions)中，理查德·代尔(Richard Dyer)是最具代表性的作者，他有三篇选集:《怀特》(White)、《群星》(Stars)，以及他1976年的经典作品《娱乐与乌托邦》(Entertainment and Utopia)——其中大部分我都熟记于心:“从意识形态上讲，唤起人们对现实与可能之间差距的关注，是在玩火。”这些都不是可有可无的。事实上，戴尔的许多其他论文、论文和书籍节选都因其在该领域的中心地位和对未来几代人学习电影“理论”的相关性的承诺而成为该选集的候选人。然而，与他们在思想史上的地位同样重要的是他们的情感力量。我与戴尔的文本有着非常私人的关系:我的“拉娜:拉娜·特纳的四部电影”的影印，是很久以前通过馆际互借获得的;这张邮票印在纽约著名的二手电影书店Cinemabilia的《电影中的同性恋》(Gays in Film)的封面上;经过多年的教学，《惊天魔盗团》的主干断了;用散文似乎表达了我的秘密自我。这些珍贵的文物都有图片:我从《电影中的同性恋》的封面上找到了这张照片，为我在大学里管理的女权主义电影协会宣传《奥利维亚》(Olivia，杰奎琳·奥黛丽，1951年)的放映，我笑着说，他选择了萨尔·米内奥的这张照片作为《图像的问题》的封面。戴尔的作品将我这个年轻的酷儿女权主义学者的学术与情感生活联系起来;他的友情让我至今仍对他念念不忘。我的女权主义电影理论可以追溯到
{"title":"I Know Where I'm Going!","authors":"Patricia White","doi":"10.1353/CJ.2018.0021","DOIUrl":"https://doi.org/10.1353/CJ.2018.0021","url":null,"abstract":"I am humbled by the company in which I find myself in this tribute dossier, not to mention by its subject. But it offers the perfect context to convey the unique combination of the scholarly and the sociable that characterizes Richard Dyer’s contribution to the field. “Friends of Richard,” like “Friends of Dorothy,” is an imagined, everexpanding community. In Critical Visions, the film theory anthology I coedited with Timothy Corrigan and Meta Mazaj, Richard Dyer is the best-represented author, with three selections: from White, from Stars, and his 1976 classic, “Entertainment and Utopia”––much of which I know by heart: “To call attention to the gap between what is and what could be, is, ideologically speaking, playing with fire.” None of these was dispensable. Indeed, many other papers, essays, and book excerpts by Dyer were candidates for inclusion in that anthology for their centrality to the field and their promise of relevance for future generations learning film “theory.ˮ As important as their standing in intellectual history, however, is their affective power. I have very personal relationships with Dyer’s texts: with my Xerox of “Lana: Four Films of Lana Turner” from Movie, acquired long ago through interlibrary loan; with the stamp inside the front cover of Gays in Film from Cinemabilia, New York’s legendary, long-shuttered secondhand cinema bookstore; with the broken spine of Now You See It, after years of teaching from it; with prose that seems to express my secret self. And these cherished artifacts have pictures: I traced the image from the cover of Gays in Film to publicize a screening of Olivia ( Jacqueline Audry, 1951) for the feminist film society I ran in college, and smiled that he’d chosen that image of Sal Mineo for the cover of The Matter of Images. It was Dyer’s work that linked scholarship to affective life for me as a young queer feminist scholar; the privilege of his friendship keeps this alive for me today. My feminist film theory bona fides go back to","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"11 1","pages":"172 - 174"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73187615","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":"The Urgency and Affects of Media Studies","authors":"Hunter Hargraves","doi":"10.1353/CJ.2018.0010","DOIUrl":"https://doi.org/10.1353/CJ.2018.0010","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"20 1","pages":"137 - 142"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77163397","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":"Just Another Fan of Yours","authors":"M. Petty","doi":"10.1353/CJ.2018.0020","DOIUrl":"https://doi.org/10.1353/CJ.2018.0020","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"138 1","pages":"169 - 171"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90904128","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":"Against Expertise: The Current Case for Breadth over Depth","authors":"Jennifer A. Malkowski","doi":"10.1353/CJ.2018.0008","DOIUrl":"https://doi.org/10.1353/CJ.2018.0008","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"283 1","pages":"126 - 131"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77933780","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":"The Sustainability of Film and Media Studies","authors":"Kristen J. Warner","doi":"10.1353/cj.2018.0011","DOIUrl":"https://doi.org/10.1353/cj.2018.0011","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"30 1","pages":"143 - 147"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81858481","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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