Search Results for landscape

.... This article focuses on one of the most commercially successful Hollywood films of 1946, John M. Stahl's Leave Her to Heaven, arguing that the film's spectacular Technicolor landscapes function as a melodramatic device for mediating ambivalence about the social role of women at that time. In this film, scenes...

...Jacinda S. Tran Abstract As the most documented war, “Vietnam” established visualizing infrastructures of search and destroy — the imperative to look in order to gather information and thereby inflict violence. This article considers Hanoi‐based artist Nguyễn Trinh Thi's short film Landscape Series...

... the danchi landscape as something that regiments and confines human life and conceals illicit activities despite its pretensions to rationalization. In contrast, the Nikkatsu productions depict a critique of managed life that includes both sexes and implicates the built environment through dependence...

...Alison Wielgus This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows...

... and alternating between documentary-like scenarios and quiet, evocative cinematic pauses on the natural world, After Life contrasts a bucolic landscape with the spectacle of film production. Moreover, After Life privileges the transformative potential of a benevolent gaze (subjectively held by its female...

... reconstruction of the genre and its vintage mise-en-scène evokes both sexploitation cinema as well as the commodified landscape of the late 1960s and early 1970s, embodying itself as a time capsule constructed in retrospect. Viva , in its indulgence in the material artifacts, conventions, and “dated” precepts...

... argues that Ma's videos explore the Chinese diaspora as a space where desire and estrangement from landscape are articulated in narrative form. Since queer sexuality problematizes nationalistic identification, queer diasporic narratives express a profound ambivalence toward space. Feng concludes...

... to join this conversation and realign it slightly according to a certain technical and social landscape that one might call “viral,” “contagious,” “parasitical,” or, even more broadly, “systemic.” More specifically, I wish to continue Chow's investigation into the self-referential nature of cultural...

... (Duma). Consequently, Germanika has become visible as an auteur who operates simultaneously between several historical, conceptual, and industrial formations: as a female director in a still male-dominated post-Soviet cinema industry, as an independent director in a production landscape defined by large...

..., the live amateur eyewitness, and first-person conventions of “coming to voice.” Story takes up Rangan’s question, “What do immediations do ?” in relation to the tropes of the prison documentary genre, which she attempts to move past in her film The Prison in Twelve Landscapes (US, 2016). Story argues...

... as an auteur and coalesce into a new paradigm for representing female figures who might otherwise lose representability in both mainstream cinema (dominated by market forces) and alternative cinema. For one, she intervenes in a monolithic representational landscape of first-world, white, middle-class...

... in Avec Sonia Wieder-Atherton (2002) and À l’Est avec Sonia Wieder-Atherton (2009). In the latter, the landscapes Chantal traversed to film D’Est become a music-scape through Mitteleuropa . With CHANTAL? , Sonia performs in conversation with Chantal in Saute ma ville ( Blow Up My Town , Belgium, 1968...

... singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. 27. Vedrès, “Le cinéma...

... attempted to represent and stabilize since the medium's foundations in the mid-twentieth century. In resisting stable, positive identity categories in a story of sexual violence, Coel's I May Destroy You presents an aberration and an important intervention in a televisual landscape that often relies...