Eleni Palis, Brian R. Jacobson, J. Cazenave, Matthew Connolly, K. Knowles, Lucas Hilderbrand, Hector Amaya, Elena Gorfinkel, Jennifer Malkowski, S. Gopal, Hunter Hargraves, Kristen J. Warner, Lisa Henderson, T. Waugh, B. Rich, R. Powell, A. Villarejo, A. Koivunen, J. Stacey, M. Petty, Patricia White, L. Bayman, Victor Fan, R. Dyer
Abstract:This article considers Spike Lee and his film Do the Right Thing (1989) as a conduit in expanding and reformulating the postmodern auteur. Examining Lee's intervention into cinematic authorship pushes against foreclosed categories that have stunted critical understandings of both Lee and auteurism. By taking seriously the film's allegorical staging of both the auteur on-screen and the struggle for autonomy and inclusion in an ambivalent industry, Lee refigures a pragmatic authorial presence attuned to the blindspots of Hollywood production and canon. Finally, attending to Lee's woefully understudied practice of revisionary pastiche ultimately destabilizes rather than reifies the exclusionary film canon, opening new potential avenues for cinematic authorship.
{"title":"The Economics and Politics of Auteurism: Spike Lee and Do The Right Thing","authors":"Eleni Palis, Brian R. Jacobson, J. Cazenave, Matthew Connolly, K. Knowles, Lucas Hilderbrand, Hector Amaya, Elena Gorfinkel, Jennifer Malkowski, S. Gopal, Hunter Hargraves, Kristen J. Warner, Lisa Henderson, T. Waugh, B. Rich, R. Powell, A. Villarejo, A. Koivunen, J. Stacey, M. Petty, Patricia White, L. Bayman, Victor Fan, R. Dyer","doi":"10.1353/CJ.2018.0000","DOIUrl":"https://doi.org/10.1353/CJ.2018.0000","url":null,"abstract":"Abstract:This article considers Spike Lee and his film Do the Right Thing (1989) as a conduit in expanding and reformulating the postmodern auteur. Examining Lee's intervention into cinematic authorship pushes against foreclosed categories that have stunted critical understandings of both Lee and auteurism. By taking seriously the film's allegorical staging of both the auteur on-screen and the struggle for autonomy and inclusion in an ambivalent industry, Lee refigures a pragmatic authorial presence attuned to the blindspots of Hollywood production and canon. Finally, attending to Lee's woefully understudied practice of revisionary pastiche ultimately destabilizes rather than reifies the exclusionary film canon, opening new potential avenues for cinematic authorship.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"34 1","pages":"- 1 - 112 - 113 - 116 - 117 - 121 - 121 - 125 - 126 - 131 - 131 - 136 - 137 - 142 - 143 - 147 - 147"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73347804","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":"Feminism and the Big Picture: Conversations","authors":"S. Gopal","doi":"10.1353/CJ.2018.0009","DOIUrl":"https://doi.org/10.1353/CJ.2018.0009","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"42 1","pages":"131 - 136"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73559069","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 takes as its starting point five collaborative experimental films by choreographer Chris Haring and filmmaker Mara Mattuschka. Transposing live stage performances into self-contained cinematic worlds, these works represent compelling examples of intermedial exchange. The article draws on intermedial discourse, performance theory, dance film, and theories of space, body, and voice to illustrate how the films self-consciously stage their own process of transformation through an emphasis on the physical, sensual, and metaphorical spaces between.
{"title":"Film, Performance, and the Spaces Between: The Collaborative Works of Mara Mattuschka and Chris Haring","authors":"K. Knowles","doi":"10.1353/CJ.2018.0004","DOIUrl":"https://doi.org/10.1353/CJ.2018.0004","url":null,"abstract":"Abstract:This article takes as its starting point five collaborative experimental films by choreographer Chris Haring and filmmaker Mara Mattuschka. Transposing live stage performances into self-contained cinematic worlds, these works represent compelling examples of intermedial exchange. The article draws on intermedial discourse, performance theory, dance film, and theories of space, body, and voice to illustrate how the films self-consciously stage their own process of transformation through an emphasis on the physical, sensual, and metaphorical spaces between.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"200 1","pages":"112 - 89"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76236251","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":"Forever Stardust: David Bowie across the Universe by Will Brooker (review)","authors":"S. Redmond","doi":"10.1353/CJ.2018.0045","DOIUrl":"https://doi.org/10.1353/CJ.2018.0045","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"164 4 1","pages":"193 - 196"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86687784","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}
This essay investigates cinema's engagement with the neo-Malthusian movement to control global overpopulation in the long 1960s. It examines the contested production and reception of Z.P.G.: Zero Population Growth (Michael Campus, 1972) and Soylent Green (Richard Fleischer, 1973) to shed new light on the nexus of science, activism and the media. It argues that the history of the movement, usually reconstructed as an elite scientific and political discourse, cannot be fully understood without also taking into account mass-market entertainment.
{"title":"Malthus at the Movies: Science, Cinema, and Activism around <i>Z.P.G.</i> and <i>Soylent Green</i>.","authors":"Jesse Olszynko-Gryn, Patrick Ellis","doi":"10.1353/cj.2018.0070","DOIUrl":"10.1353/cj.2018.0070","url":null,"abstract":"<p><p>This essay investigates cinema's engagement with the neo-Malthusian movement to control global overpopulation in the long 1960s. It examines the contested production and reception of <i>Z.P.G.: Zero Population Growth</i> (Michael Campus, 1972) and <i>Soylent Green</i> (Richard Fleischer, 1973) to shed new light on the nexus of science, activism and the media. It argues that the history of the movement, usually reconstructed as an elite scientific and political discourse, cannot be fully understood without also taking into account mass-market entertainment.</p>","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"58 1","pages":"47-69"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6193534/pdf/emss-76484.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"36604117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
C. Howell, Matthew Flisfeder, C. Burnham, S. Collins, Hollis Griffin, Marissa J. Moorman, Elissa H. Nelson, T. Shary, L. Stein, M. Kearney, A. Mccracken, Andrew Scahill, Valerie Wee, Faye Woods, S. Ross, Maureen Rogers, Alexander Cho, L. Giggey, C. Perkins
Abstract:The American Music Show, an Atlanta cable public access television show that ran from 1981 to 2005, is not only a forgotten piece of production history but also a fertile case study. This article—situated in both local Atlanta and national cable access contexts in which the show began—uses the tools of production studies to construct a microhistory of local cable access, analyzing the hopes, ideals, ethos, and actual production practices that surrounded the show. The producers of The American Music Show reflect on their work in the initial years of the show as creatively avant-garde but ultimately limited within the commercial structures of television. It is that tension that has enabled them to claim part of the show's symbolic capital.
{"title":"Symbolic Capital and the Production Discourse of The American Music Show: A Microhistory of Atlanta Cable Access","authors":"C. Howell, Matthew Flisfeder, C. Burnham, S. Collins, Hollis Griffin, Marissa J. Moorman, Elissa H. Nelson, T. Shary, L. Stein, M. Kearney, A. Mccracken, Andrew Scahill, Valerie Wee, Faye Woods, S. Ross, Maureen Rogers, Alexander Cho, L. Giggey, C. Perkins","doi":"10.1353/CJ.2017.0053","DOIUrl":"https://doi.org/10.1353/CJ.2017.0053","url":null,"abstract":"Abstract:The American Music Show, an Atlanta cable public access television show that ran from 1981 to 2005, is not only a forgotten piece of production history but also a fertile case study. This article—situated in both local Atlanta and national cable access contexts in which the show began—uses the tools of production studies to construct a microhistory of local cable access, analyzing the hopes, ideals, ethos, and actual production practices that surrounded the show. The producers of The American Music Show reflect on their work in the initial years of the show as creatively avant-garde but ultimately limited within the commercial structures of television. It is that tension that has enabled them to claim part of the show's symbolic capital.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"2 1","pages":"1 - 116 - 117 - 118 - 119 - 124 - 125 - 132 - 133 - 139 - 140 - 146 - 146 - 150 - 151 - 161 - 162 -"},"PeriodicalIF":0.0,"publicationDate":"2017-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74555341","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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