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Journal articles on the topic 'Contemporary US war cinema'
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1
Rio, Elena Del. "Samuel Fuller's Schizo-violent Cinema and the Affective Politics of War." Deleuze Studies 6, no. 3 (August 2012): 438–63. http://dx.doi.org/10.3366/dls.2012.0073.
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This essay begins by considering Samuel Fuller's 1963 film Shock Corridor as a model of schizo-violence – a disorganised violence that eludes the Oedipal, moralising binary of action and reaction, and instead opens up the violent action to multiple becomings outside Oedipal and nationalistic framings. Through the de-Oedipalisation of the violent events punctuating American history, Shock Corridor performs a schizoanalytic model of desire capable of giving free rein to the force of traumatic affections. The latter part of the discussion situates Fuller's film and the contemporary US military machine as diametrically opposed in their approaches to what we might call ‘the affective politics of war’. Several contemporary scenarios revolving around both actual war violence and Kathryn Bigelow's film The Hurt Locker (2008) serve to show how the schizophrenising operations of the brain itself constitute the greatest obstacle in the military's efforts to contain or repress the traumatic affections generated by violence and war.
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Sharpe, Mani. "Gender and the politics of decolonization in early 1960s French cinema." Journal of European Studies 49, no. 2 (May 2, 2019): 163–83. http://dx.doi.org/10.1177/0047244119837478.
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In a recent monograph, Todd Shepard has implored us to examine the ways in ‘which the Algerian War modified the form and the content of debates surrounding contemporary sexuality in France’, from the nationalist revolution spearheaded by the FLN in Algeria, to the sexual paradigm shift of May ’68 (2017: 21). An important injunction, undoubtedly. But also an injunction that, as I will show, could also be inverted to examine how, in the world of cinema, the radicalization of identity politics catalysed by decolonization found itself similarly distorted by a tendency among male directors to imagine the war through the lens of their own androcentric preoccupations, fantasies and anxieties: anxieties that, in the case of Jacques Rivette’s Paris nous appartient (1961), Louis Malle’s Le Feu Follet (1963), and Jacques Dupont’s Les Distractions (1960), ricochet erratically between masochistic and misogynistic tales of impotence and carnal retribution; anxieties that subtly twist the dynamics of the decolonial debate into strange shapes, places and meanings.
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Murillo, Mayté. "Imaginarios de la violencia en el cine mexicano contemporáneo. El caso de Miss Bala, de Gerardo Naranjo." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 185–219. http://dx.doi.org/10.5195/ct/2017.261.
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The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.
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Masirevic, Ljubomir. "Media and postmodern reality." Sociologija 52, no. 2 (2010): 127–40. http://dx.doi.org/10.2298/soc1002127m.
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The paper tackles the ideas of key postmodern theoreticians on the role of the media in contemporary societies. The aim is to show that according to postmodern theory the media have become the leading factor in contemporary social processes marked by the loss of sense of historical continuity in everyday human experience. Postmodern theoreticians claim that, since the media system, which has come to wholly encompass reality at the turn of this century, is unable to reclaim the past, human existence has found itself in the ceaseless schizophrenic present. Simulations of events that once were and come back to us today like a string of anachronistic media notions about the past, bring us into the state of historical amnesia. The media, and cinema above all, are the main catalyst of this process, as well as of what postmodernists call the new superficiality and shallowness of social life. Postmodern reality is characterized by a simulation of history which didn't happen; today people are exposed to pseudo-experience emerging from constant exposure to the simulacrum of historical events. In place of conclusion, Baudrillard's interpretation of the Gulf War as a virtual media event is offered.
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Zepke, Stephen. "‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art." Performance Philosophy 3, no. 3 (December 21, 2017): 751. http://dx.doi.org/10.21476/pp.2017.33145.
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Deleuze and Guattari’s rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of ‘post-conceptual’ artistic practices. Equally awkward is Deleuze’s ontological and political dislike of photography, which produces a ‘snapshot’ or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new ‘electronic image’, which like Conceptual art turns the plane of composition into a ‘flatbed’ plane or ‘screen’ that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of ‘thought’, and its position as the ‘immanent outside’ of art’s post-conceptual trajectory.
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Västrik, Riho. "Constructing National Identity in Soviet Estonian Documentary Cinema: A Case Study of the Documentary Ruhnu (1965) by Andres Sööt." Baltic Screen Media Review 3, no. 1 (November 1, 2015): 4–29. http://dx.doi.org/10.1515/bsmr-2015-0021.
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Abstract This article aims to find out how Soviet Estonian documentaries constructed the national discourse in the 1960s, by focusing on the case of the 10-minute documentary Ruhnu (1965) by Andres Sööt. Ruhnu was the first Soviet Estonian documentary released after World War II that romanticised Estonian nationalism. In order to narrate the national ideals considered undesirable by the official ideology, the Soviet Estonian filmmakers often chose to portray characters embedded in the national consciousness as archetypal heroes from pre-Soviet times and the landscapes associated with them. In the desire for past times, national heroes and idealised landscapes were constructed and naturalised in a contemporary context. The article raises the question - what kind of heroes, landscapes and activities were used to construct the national identity and which elements of film language were used? The research method used, critical discourse analysis, allows us to analyse the archetypes created in the documentary and the archetypal landscapes used as a framework for the narrative.
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Heed, Tom, and Alexander Kubyshkin. "Armageddon: Comparative Images of the Nuclear Conflict Between the United States and the Soviet Union in American Cinema." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 5 (October 2019): 250–58. http://dx.doi.org/10.15688/jvolsu4.2019.5.18.
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Introduction. Film offers a valuable mirror to reflect on how we assess our present and past. The Cold War was one of the most troubled periods in history. Two huge, wealthy, energetic, and creative societies competed in all areas. During those decades of electric change and development they faced each other with weapons of ever increasing lethality. The film industry in both countries looked at how the nuclear exchange would impact in both lands. Over the decades as the weaponry changed, as the patterns of leadership changed, as the economy of the world evolved, both nations’ film industry painted different images of what Armageddon could look like. If we compare comparable films, across similar decades, what do we learn of that era and those people? Methods and Materials. The methods used in the article are comparative, analytical and functional systematic ones. The materials used are the following: 1) five films of both cultures from different decades; 2) secondary accounts of contemporary events; 3) secondary reviews of the selected films, and 4) secondary accounts of parallel incidents. Analysis. With the complex weapons of the Cold War era we certainly need to worry about the technological imperative and the potential role of accident and unintended consequences. However, we are blessed that the doom day scenario has not yet erupted. We are most fortunate that the dire warning of many US filmmakers have not been realized. Indeed with the coming advent of AI technology and 5G communications, we may have more to fear than ever before. Results. After fifty some years of the Cold War, films continue to project the worst fears of people. As we review these films across the several decades we see constancy, the films again and again distrust technology.
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Aitken, S. C., and L. E. Zonn. "Weir(d) Sex: Representation of Gender-Environment Relations in Peter Weir's Picnic at Hanging Rock and Gallipoli." Environment and Planning D: Society and Space 11, no. 2 (April 1993): 191–212. http://dx.doi.org/10.1068/d110191.
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Soft images of pubescent women scaling the dizzy heights of a massive phallic rock in turn-of-the-century rural Victoria, and young men matching physical prowess in the indomitable Western Australian desert as World War I rages in Europe, provide foci for two of Peter Weir's most successful early films, Picnic at Hanging Rock (1975) and Gallipoli (1981). In both these films the physical landscape is simultaneously integrated with and contrasted to the passions of young men and women. The result is an aesthetic that takes the viewer beyond the immediate narrative to a place where masculinity and femininity find expression. In this paper, transactional and psychoanalytic perspectives are used to interrogate the gender images which are portrayed in both these movies, linking them to some concepts which find currency in ecofeminism. The concern is with the individual struggle between the powerful, complex, and yet less-than-rational forces that are integral to the nature of our individual beings and the rational nature of prevailing societal values that supposedly provide us with guidance. A dynamic theory of contemporary film is implicit in our discussion of “images in motion over time through space with sequence”. These elements—along with an overlay of shape, size, scale, color, sound, and light—arc the cues that provide meaning for Weir's portrayal of wo/man-in-environmcnt relations. Suggested in this paper is a broader narrative which speaks to a postmodern sexual order and its representations in social theory and contemporary cinema. Crucial questions are raised regarding the ways that cultural identity is grounded in class and gender.
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Monteiro, Alexandrina, and Valéria Aroeira Garcia. "Em defesa de uma desordem pedagógica: a institucionalização da infância no cinema e no cotidiano escolar." EDUCAÇÃO E FILOSOFIA 34, no. 70 (January 18, 2021): 133–54. http://dx.doi.org/10.14393/revedfil.v34n70a2020-51974.
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Em defesa de uma desordem pedagógica: a institucionalização da infância no cinema e no cotidiano escolar
Resumo: Nos livros imagem-movimento e imagem-tempo, Deleuze analisou o cinema a partir de múltiplas variações possíveis, mas privilegia a perspectiva de um pensamento no qual a articulação de imagens e signos está ligada à expressão de significado ou de uma ideia. Nessa perspectiva, o fluxo de expressão de significados entre o encontro de nossas experiências com os filmes A Guerra dos Botões e As Pequenas Flores Vermelhas, nos levou a problematizar a institucionalização da infância a partir das seguintes perguntas: O que é isso institucionalizado mundo? nós ajudamos a construir? Como se pode ser criança nessa lógica contemporânea que estrutura e institucionaliza, de maneira comercial, a rotina escolar? A hipótese que pretendemos defender é que o atual processo de institucionalização incorporado nos princípios neoliberais tende a reforçar as características narcísicas e individualistas. Diante disso, defendemos a busca de formas de resistência a esse processo que hoje chamamos de (des) ordem pedagógica.
Palavras-Chave: Neoliberalismo. Institucionalização da infância. Cinema.
In defense of a pedagogical disorder: the institutionalization of childhood in cinema and school daily life
Abstract: In the books image-motion and image-time, Deleuze analyzes cinema from multiple possible variations, but he privileges the perspective of a thought in which the articulation of images and signs is connected with the expression of meaning, or an idea. In this perspective, that is, in the flow of expression of meanings that the encounter of our experiences with the films The War of the Buttons and The Little Red Flowers led us to problematize the institutionalization of childhood from the following questions: What is this institutionalized world? do we help build? How can one be a child in this contemporary logic that structures and institutionalizes, in a commercial manner, the school routine? The hypothesis we intend to defend is that the current process of institutionalization embedded in neoliberal principles tends to reinforce narcissistic and individualistic characteristics. Given this, we defend the search for forms of resistance to this process that today we call pedagogical (dis) order.
Keywords: Neoliberalism. Institutionalization of childhood. Cinema.
En defensa de un trastorno pedagógico: la institucionalización de la infancia en el cine y la vida cotidiana escolar
Resumen: En los libros imagen-movimiento e imagen-tiempo, Deleuze analiza el cine a partir de múltiples posibles variaciones, pero privilegia la perspectiva de un pensamiento en el que la articulación de imágenes y signos está conectada con la expresión de significado, o una idea. En esta perspectiva, es decir, en el flujo de expresión de significados que el encuentro de nuestras experiencias con las películas La guerra de los botones y Las pequeñas flores rojas nos llevó a problematizar la institucionalización de la infancia a partir de las siguientes preguntas: ¿Qué es este mundo institucionalizado? ¿Ayudamos a construir? ¿Cómo se puede ser un niño en esta lógica contemporánea que estructura e institucionaliza, de manera comercial, la rutina escolar? La hipótesis que pretendemos defender es que el proceso actual de institucionalización incrustado en los principios neoliberales tiende a reforzar las características narcisistas e individualistas. Ante esto, defendemos la búsqueda de formas de resistencia a este proceso que hoy llamamos trastorno pedagógico.
Palabras clave: Neoliberalismo. Institucionalización de la infância. Cine.
Data de registro: 11/12/2019
Data de aceite: 18/11/2020
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Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 1 (February 28, 2020): 119–23. http://dx.doi.org/10.1017/s0017383519000317.
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Chris Davies’ Blockbusters and the Ancient World is the latest addition to a growing body of scholarly literature on cinematic receptions of antiquity. The author takes as his focus the swathe of ancient world epics produced since the 9/11 terrorist attacks in 2001, ranging from movies set in the ancient Greek world (including the 2004 films Troy and Alexander, and, from 2007, 300) to the Roman occupation of Britain – as seen in King Arthur (2004), The Last Legion (2007), Centurion (2010), and The Eagle (2011) – as well as those which concentrate on aspects of Christianity (Agora, of 2009, set in Alexandria in the early fifth century ce, as contrasted with the 2004 biblical epic The Passion of the Christ). Structured around a series of case studies of these individual films, the book undoubtedly adds a set of valuable contributions to the scholarly literature on each piece; its real strength lies, however, in the way in which the author draws comparisons between these case studies while simultaneously situating the movies within their wider historical, political, and cultural contexts. Davies’ introduction alone – with a broad overview of the development of cinematic depictions of antiquity from the birth of cinema to contemporary productions, along with definitions of key terms – provides an excellent starting point for those new to thinking about ancient world films, and a comprehensive filmography of works referenced is a useful research tool. There is much here too, however, which will be of value to those seeking more in-depth discussion. Detailed analysis of the films themselves – with attention to staging, casting, and characterization – is accompanied by discussion of critical responses and evidence from published interviews with directors and producers. The author is careful to point out that artistic products often resist straightforward interpretation, and that multiple readings of each film are possible (for example, the critical reception of a movie may infer a different relationship to contemporary politics than the stated intentions of its creative team). He also explores the development and fluidity of genres, and the ways in which several of these films hybridize more than one genre (for example, traces of the western are strongly evident in the Roman Britain epics; and The Passion of the Christ carries striking elements of the horror genre). What results is a sensitive exploration of the films’ relationship to US politics, in the particular context of the ‘War on Terror’ and the US-led invasions of Iraq and Afghanistan, which examines ways in which the films ‘have inspired allegorical and metaphorical readings in which the past has been used to contextualise, warn or parallel the present’ (209).
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Hockenhull, Stella. "Sublime Landscapes in Contemporary British Cinema: The War Zone." International Journal of the Humanities: Annual Review 7, no. 10 (2009): 67–78. http://dx.doi.org/10.18848/1447-9508/cgp/v07i10/42748.
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Tsachi, Adam. "Trauma Processing in Israel’s Contemporary Documentary Cinema." Iyunim, Multidisciplinary Studies in Israeli and Modern Jewish Society 34 (December 1, 2020): 36–60. http://dx.doi.org/10.51854/bguy-34a102.
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This article investigates a new phenomenon in contemporary Israeli documentary cinema: the processing of war trauma. For the first time since the onset of the Second Intifada, films whose heroes suffer from PTSD are dealing with the processing of past experience. Using case studies, the article analyzes films directed by PTSD victims, which deal with the processing of war trauma, including among others One Battle Too Many (Joel Sharon, 2013) and Closed Story (Micha Livne, 2015). The films’ heroes are seeking to free themselves from the amnesia that is concealing the traumatic events deep within their memory. They manage to locate the repressed memory and then weave the traumatic story anew. The films propose various cinematic strategies for processing trauma, strategies that are meant to demarcate both the subjective traumatic past and the objective safe present and to place a defined aesthetic border between them. The films are analyzed by means of close reading of the cinematic aesthetic and the discussion of trauma in the Humanities. The interweaving of unrealistic and realistic symbolization practices dismantles the classic form of documentary cinema and facilitates an encounter between the viewer and the overwhelming nature of trauma.
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Cenka, Tvirmantas. "Contemporary South Korean War Cinema as a Possible Cultural Memory Medium." S/N Korean Humanities 3, no. 1 (March 15, 2017): 93–121. http://dx.doi.org/10.17783/ihu.2017.3.1.93.
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Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (October 2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.
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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expression shifts from film to film, or from one period of time to another. Gilles Deleuze articulated such a shift in his two works on cinema, Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Namely, he points to the breaking of the link between action and reaction that marks a shift from pre-World War II cinema to the postwar filmmaking environment. To update Deleuze's project on political cinema, this article posits another qualitative shift in political cinema stemming from the emergence of neoliberal economic policies and the growth of networked information systems from the 1990s to the present. This shift compromises earlier models of political cinema and results in a modern political cinema based on the fragmentation of political publics and the formation of new political exigencies. Two films set in Algeria will be used to document this shift in political modes, in a move towards the modern political cinema: Battle of Algiers and Outside the Law (Hors-la-loi, Rachid Bouchareb, 2010 ).
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Trinder, Stephen. "Questions of Space in Contemporary Hollywood Cinema." Open Cultural Studies 4, no. 1 (February 20, 2020): 1–11. http://dx.doi.org/10.1515/culture-2020-0001.
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AbstractSpatial fixing was an integral part of maintaining imperial power structures throughout the colonial period, and like other discourses, it later found itself reproduced in cinema. As such, the physical and mental use of space has become key to the dissemination of ideological messages in many films. Confronting this tendency, this study applies theories of postcolonialism to selected examples of contemporary Hollywood film to examine how far it reconstructs traditional binaries of space. This investigation finds that despite attempts to disseminate more culturally sensitive and globally-minded portrayals of the Other, space remains particularly problematic. It also remains vital to storytelling narratives of race, gender, class and society in consideration of the film cases analysed in this study. While Fanonian notions of space continue to permeate cinema—with Total Recall and Avatar in particular drawing upon stereotypical motifs, it is possible to observe developments upon these discourses. Elysium and District 9 exemplify this, with each feature employing space to address increased questioning of US cultural superiority since the failed Iraq and Afghanistan invasions and the 2008 global economic crash.
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Turan, Müge. "You Don't Own This War: Arab Women's Cinema Showcase." Film Quarterly 73, no. 2 (2019): 87–92. http://dx.doi.org/10.1525/fq.2019.73.2.87.
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With only nine films, “Here and Now: Contemporary Arab Women Filmmakers,” a film series exhibited in August 2019 at Toronto's TIFF Bell Lightbox, is inevitably limited in the variety of style, form, and storytelling it can convey. However, by highlighting both the diversity and intersectionality of identities, the films presented are linked by a compelling thematic thread: they all investigate how cinema represents Arab women with a focus on the body, its materiality, and the power relations that determine it. Although each film reflected its local political and socio-economic context, collectively these films by Arab women utilized the body as a mediated object with the potential to destabilize, disrupt, and transform.
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Finlay, Christopher J. "Bastards, brothers, and unjust warriors: Enmity and ethics in Just War Cinema." Review of International Studies 43, no. 1 (September 13, 2016): 73–94. http://dx.doi.org/10.1017/s0260210516000255.
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AbstractHow do members of the general public come to regard some uses of violence as legitimate and others as illegitimate? And how do they learn to use widely recognised normative principles in doing so such as those encapsulated in the laws of war and debated by just war theorists? This article argues that popular cinema is likely to be a major source of influence especially through a subgenre that I call ‘Just War Cinema’. Since the 1950s, many films have addressed the moral drama at the centre of contemporary Just War Theory through the figure of the enemy in the Second World War, offering often explicit and sophisticated treatments of the relationship between thejus ad bellumand thejus in bellothat anticipate or echo the arguments of philosophers. But whereas Cold War-era films may have supported Just War Theory’s ambitions to shape public understanding, a strongly revisionary tendency in Just War Cinema since the late 1990s is just as likely to thwart them. The potential of Just War Cinema to vitiate efforts to shape wider attitudes is a matter that both moral philosophers and those concerned with disseminating the law of war ought to pay close attention to.
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Aveyard, Karina. "What the Country Tells Us: The Place of the ‘Rural’ in Contemporary Studies of Cinema." Media International Australia 139, no. 1 (May 2011): 124–32. http://dx.doi.org/10.1177/1329878x1113900116.
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Cinemas have an important place in the social and cultural life of many Australian rural towns. They are valued as spaces around which residents of isolated communities can gather and interact, and have a role in mediating concepts of identity and in promoting positive emotional attachment to place. Rural cinema histories suggest these aspects of non-metropolitan movie-going have been significant since the very early days of this screen format. This article examines the role of geography in shaping the circumstances and meaning of cinema-going in contemporary rural Australia. It also explores the connections between modern and historical film attendance practices, which hitherto have been obscured by scholarly neglect of the rural. These interrelationships suggest a basis for rethinking the ways in which cinema audiences are categorised and studied.
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Asciuto, Nicoletta. "Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema." Space and Culture 23, no. 4 (February 24, 2019): 394–408. http://dx.doi.org/10.1177/1206331219830324.
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This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Monicelli’s I soliti ignoti ( Big Deal on Madonna Street, 1958) and Michelangelo Antonioni’s L’avventura ( The Adventure, 1960), through Una giornata particolare ( A Special Day, 1977) and La terrazza ( The Terrace, 1980) by Ettore Scola, to Paolo Sorrentino’s very contemporary La grande bellezza ( The Great Beauty, 2013), a film clearly indebted to the aesthetics of its ground-breaking predecessors.
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Harrow, Kenneth W. "Manthia Diawara’s Waves and the Problem of the “Authentic”." African Studies Review 58, no. 3 (November 23, 2015): 13–30. http://dx.doi.org/10.1017/asr.2015.74.
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Abstract:This article begins by tracking how the delineation of “New Cinema” in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary “new waves” of cinema.
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Kępiński, Marcin. "American war movies. David Ayer’s Fury as mythologisation of war and soldiers." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 21–36. http://dx.doi.org/10.18778/0208-600x.73.02.
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Both pop culture and modern Hollywood cinema are mainly intended for entertainment. American war films are not free from this vice. A researcher of culture should shun attempts to find hidden symbols, myths and flashes of meanings from distant traditional culture in such films. Contemporary popular mythologies do not represent the same mythical pattern that Eliade wrote about. Popular culture consists of ideas on various topics, borrowings, quotations and fragments of meanings, all patched together. In my view, however, Fury goes beyond pop culture and entertainment. After all, there is also good American war cinema and films that are not mindless borrowings or calques of carelessly patchworked pieces of pop culture. One can look at them and find certain cultural tropes and motifs known to specialists in humanities, such as an initiation journey, the symbolic language of eternal myths or archetypal figures of cultural heroes, all in a version transformed by popular culture, of course. The aim of my article is therefore to analyse David Ayer’s film from the perspective of a culture researcher who seeks cultural tropes and sources of the war hero myth in this cinematic work.
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Wilson, Emma. "Days of Glory / Flanders: Emma Wilson on Two Prize-winning, Politically Ambitious French War Films." Film Quarterly 61, no. 1 (2007): 16–22. http://dx.doi.org/10.1525/fq.2007.61.1.16.
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ABSTRACT Though the two films seem rather different——Bruno Dumont's Flanders dealing with an imaginary contemporary war, Rachid Bouchareb's Days of Glory concerned with forgotten incidents in World War II——the argument of this essay is that they share a sense, somewhat unusual among recent French filmmakers, of the political power of cinema.
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Sukovata, Viktoriya. "The Stalinist Past in Contemporary Russian TV Serials: Reconfigurations of Memory." Journal of Nationalism, Memory & Language Politics 15, no. 1 (July 1, 2021): 69–86. http://dx.doi.org/10.2478/jnmlp-2021-0008.
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Abstract The two main issues that continue to be in the focus of hot public discussions in Russian society are the Great Patriotic War (the German–Soviet war of 1941–1945, as part of World War II) and the tragedy of Stalinism. While the Great Patriotic War was widely reflected in Soviet literature and cinema, the Stalinist issue was seldom represented in Soviet art. In the 1980s and 1990s, there was a period when Soviet and post-Soviet art contributed much to the debates on the Soviet past, and several significant anti-Stalinist films and literary works were created. Since the early 2000s, the cultural situation in Russian society has changed and nostalgia of the Soviet past has spread in the mass consciousness. The purpose of this research is to analyze how the Stalinist past is reconstructed in public memory in contemporary cinema narratives. We arrive at the conclusion that since the 2000s, public interest has drifted from images of war heroism to ordinary people’ lives under Stalin; the contemporary public interest is not the war heroes and famous victims of repressions, but the everydayness of ordinary Soviet citizens who tried to build their private lives, careers, friendships, and family relations under the conditions of pressure from the authorities, spreading fear in the society, shortage of goods, and loss of loved ones. We concentrate on several representative Russian TV serials, such as “Liquidation” (2007), “Maryina Roscha” (2012), and “Leningrad, 46” (2014–2015), because all of them are devoted to the first year of the Soviet peaceful life in different Soviet cities, such as Odessa, Moscow, and Leningrad.
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Barker, Michele. "A Cinema of Movement." Screen Bodies 2, no. 2 (December 1, 2017): 45–63. http://dx.doi.org/10.3167/screen.2017.020204.
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In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.
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WILLMETTS, SIMON. "Quiet Americans: The CIA and Early Cold War Hollywood Cinema." Journal of American Studies 47, no. 1 (July 4, 2012): 127–47. http://dx.doi.org/10.1017/s0021875812000060.
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This article examines the relationship between the Central Intelligence Agency and the Hollywood film industry from 1947 to 1959. Surprisingly, the CIA was almost entirely absent from American cinema screens during this period, and their public profile in other popular media, including television and the press, was virtually nonexistent. This conspicuous lacuna of publicity coincided with what some scholars have termed the “Golden Age” of US covert action – an era of increasing CIA intervention in Italy, Iran and Guatemala, to name only the most prominent examples. How was it that the CIA managed to maintain such a low public profile and in the process evade popular scrutiny and questions of accountability during such an active period of its history? Utilizing extensive archival research in film production files and the records of the CIA themselves, this article suggests that Hollywood filmmakers adhered to the CIA's policy of blanket secrecy for three interrelated reasons. First, it suggests that the predominance of the so-called “semidocumentary” approach to the cinematic representation of US intelligence agencies during this period encouraged filmmakers to seek government endorsement and liaison in order to establish the authenticity of their portrayals. Thus the CIA's refusal to cooperate with Hollywood during this period thwarted a number of attempts by filmmakers to bring an authentic semidocumentary vision of their activities to the silver screen. Second, up until the liberalization of American defamation law in the mid-1960s, Hollywood studio legal departments advised producers to avoid unendorsed representations of US government departments and officials through fear of legal reprisal. Finally, this article suggests that the film-industry censor – the Production Code Administration – was instrumental in reinforcing Hollywood's reliance upon government endorsement and cooperation. This latter point is exemplified by Joseph Mankiewicz's controversial adaptation of Graham Greene's The Quiet American. Overturning existing scholarship, which argues that CIA officer Edward Lansdale played a decisive role in transforming the screenplay of Greene's novel, this article suggests that Mankiewicz's alterations were made primarily to appease the Production Code Administration.
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Bishop, Elizabeth. "Politics of Cinema in Hashemite Iraq." Oriente Moderno 93, no. 1 (2013): 101–26. http://dx.doi.org/10.1163/22138617-12340004.
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Abstract Hashemite Iraq was better integrated into the global cinema that other Arab countries. Baghdad audiences loved film noir, and the US succeeded in displacing the UK as a source of newsreels, as well. During the Cold War’s first decade, Hollywood continued to pump inexpensive productions and aged celluloid through Iraq, including films made under US government contracts. Local viewers responded thoughtfully to such films, engaging themes such as responsibility and guilt. Against this general background, specific allegations that testing of weapons delivery systems for germ warfare continued after the end of the Korean War, are assessed in the light that public health authorities reported a series of outbreaks of meningitis among audiences in Baghdad cinemas.
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Mishchenko, I. Е. "Representation of the Sociocultural Institute of the Army and the Serviceman in Contemporary Russian and American Cinema: an Experience of Comparative Analysis." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 1 (2021): 135–44. http://dx.doi.org/10.15826/izv1.2021.27.1.015.
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The article discusses the issue of cultural aspects of national security in its relation to the context of contemporary art. The author examines Russian and American military cinematography of the 2010s. It is revealed that typical features of the representation of images of the army, the soldiers and the war in general in two different national cinematographic schools. The connection between the features of war cinema and the specifics of historical fate and the circumstances of current foreign policy is marked out. In conclusion, the author identifies some of the risks and threats to national cultural security associated with the broadcast into the Russian cultural space of the point of view expressed in American war cinema.
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BEUGNET, MARTINE. "Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This article is part of a larger research project published in 2007 by Edinburgh University Press as a monograph entitled Cinema and Sensation: French Film and the Art of Transgression." Paragraph 31, no. 2 (July 2008): 173–88. http://dx.doi.org/10.3366/e0264833408000187.
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One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world.
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Andrzej Dębski, Andrzej Dębski. "Kina na Dolnym Śląsku: rekonesans historyczny." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 129–45. http://dx.doi.org/10.14746/i.2019.35.07.
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The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.
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Sellier, Geneviève. "André Bazin, Film Critic for Le Parisien libéré (1944–1958): An Enlightened Defender of French Cinema." Paragraph 36, no. 1 (March 2013): 118–32. http://dx.doi.org/10.3366/para.2013.0081.
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This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day (plot summary and evaluation of actors' performances) to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war France. Four, Bazin remains blind to the misogynistic dimension of post-war French cinema, with its tendency to culpabilize women for the national disgrace of the Occupation. Ultimately, Bazin's newspaper reviewing represents a more socially aware vision of cinema than that promoted by more specialized cinema journals, yet his criticism remains caught within the gender ideology of his time.
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Dickinson, K. "Palestinian Cinema: Landscape, Trauma, and Memory * Lebanese Cinema: Imagining the Civil War and Beyond * Insights into Syrian Cinema: Essays and Conversations with Contemporary Filmmakers." Screen 50, no. 3 (September 1, 2009): 351–54. http://dx.doi.org/10.1093/screen/hjp022.
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Beumers, Birgit. "Myth-making and Myth-taking: Lost Ideals and the War in Contemporary Russian Cinema." Canadian Slavonic Papers 42, no. 1-2 (March 2000): 171–89. http://dx.doi.org/10.1080/00085006.2000.11092244.
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Giza, Barbara. "Polskie, czyli jakie? Kino polskie w oczach odbiorcy brytyjskiego (na wybranych przykładach z lat 2008-2018)." Panoptikum, no. 21 (December 18, 2019): 118–36. http://dx.doi.org/10.26881/pan.2019.21.07.
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The article aims to show how contemporary Polish cinema has been received in “Sight&Sound” magazine post 2004, after Poland joined the EU. The author attempts to answer the following questions: has the British audience changed their perception of Polish cinema? Have the traits associated with the Polish Film School – the horrible experience of war, love of freedom, Polish romanticism focused on the individual, the truth (of the social kind, and free from constraining patterns), distinctive form, allusiveness and attachment to national symbols – been transformed in any way, and whether this has been reflected in articles published in “Sight&Sound”.
The conclusion seems clear: there is little difference in how British audiences perceive contemporary Polish cinema, as they still heavily associate it with the subject matter and the directors of the Polish Film School (Wajda, Kawalerowicz).
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Deng, MaoHui. "Singapore as non-place: National cinema through the lens of temporal heterogeneity." Asian Cinema 31, no. 1 (April 1, 2020): 37–53. http://dx.doi.org/10.1386/ac_00012_1.
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This article suggests that Singapore and Singapore cinema serve as a good site to return to debates surrounding the national. First, I investigate the disconnect between the present and the past in contemporary Singapore and argue that contemporary Singapore cinema is microcosmic of the nation’s uncomfortable relationship with the past. Drawing from Marc Augé’s work in order to understand this temporal disconnect, I propose to think of the nation as a non-place, where the nation is thought of as a liminal entity. Ultimately, I call for a reconsideration of Singapore cinema through the lens of temporal heterogeneity, suggesting that the notion of the nation as a non-place allows us to not only understand the evolving present of the nation(al) but also cinema’s role in helping access the past.
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Carroll, Noël. "Béla Balázs: The Face of Cinema." October 148 (May 2014): 53–62. http://dx.doi.org/10.1162/octo_a_00174.
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Herbert Bauer, known to the world as Béla Balázs (1894–1949), led the sort of life about which contemporary intellectuals might fantasize. He knew everyone and he did everything. Born in Hungary, he included György Lukács, Karl Mannheim, Arnold Hauser, Béla Bartók, and Zoltán Kodály in his circle, among others. He knew the filmmakers Alexander Korda and Michael Curtiz before their names were Anglicized. He studied with Georg Simmel and met Max Weber. As time went on, he came, so it seems, to know virtually every major European intellectual—Stefan Zweig, Robert Musil, Walter Benjamin, Sergei Eisenstein, Erwin Piscator, and on and on. He lived in the midst of a universe of conversation that dazzles us as we look back enviously upon it.
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Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.
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Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.
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Jakubowska, Małgorzata. "From Point of View to Mindgame Films – Between Subjective Techniques and Strategies." Panoptikum, no. 22 (December 17, 2019): 104–27. http://dx.doi.org/10.26881/pan.2019.22.03.
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The starting point for this paper is the statement that subjectivisation (subjective narrative) – is one of the key elements in a film medium. However, when its definition is narrowed down, it neither reflects the character of changes in the scope of the opposition between objective-subjective nor its resonance with the notions of individuality, personality or the community.
I focus on a historical expansion of subjectivisation techniques, but there is much more. I would like to answer the question about the way in which these techniques fit into the differences between paradigms and modes of cinema. Firstly, I consider subjectivisation techniques in Pre-Classical Cinema, PreModernist Cinema and Classical Cinema. Secondly, I reveal how subjectivisation techniques develop into strategies and how certain figures are given less or more importance within narratives. In this context I research subjectivisation in Modernist Cinema. Thirdly, I draw attention to the relationship between subjectivisation techniques and strategies in contemporary Post-Classical Cinema (the cinema of attractions, interactive techniques). My final suggestion is that mind-game films (representing Postmodernist Cinema) are the domain of a subjectivisation strategy. I have no doubt that the conflict between faith in the objective and faith in the subjective present in cinema leads to the ultimate victory of subjectivity, while what is objective becomes inaccessible.
Mind-game films offer us an exercise in “productive pathologies”, they teach us non-linear thinking, by means of leaps, associations, and all while being distracted. They teach us to switch between schizophrenic regions where nothing is the way it appears to be.
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Barradas Jorge, Nuno. "Adaptation, Allegory and the Archive: Contextualising Epistolary Narratives in Contemporary Portuguese Cinema." Área Abierta 19, no. 3 (November 4, 2019): 419–38. http://dx.doi.org/10.5209/arab.65472.
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Epistolarity in cinema is commonly understood as a narrative device either fitting the so-called essay film, or resulting from filmic adaptation of literary works. A more nuanced understanding of the workings of this device is observed in films of disparate contemporary Portuguese filmmakers which adapt, rephrase and remediate letters. This article centres its attention on possible tendencies concerning epistolarity in this context, examining films that make use of the personal archive and epistolary voice, or that adapt letters to screen. It also examines filmic works that use the epistolary device to negotiate between emotional expression and historical materiality. Among others, this article discusses films such as Yama No Anata (Aya Koretzy, 2011), Correspondences (Rita Azevedo Gomes, 2016), Letters from War (Ivo M. Ferreira, 2016) and works directed by Pedro Costa and Miguel Gomes.
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Clapp, Jennifer. "Fighting Hunger: The Cold War and US Foreign Aid." Perspectives on Politics 11, no. 2 (May 21, 2013): 529–31. http://dx.doi.org/10.1017/s1537592713001126.
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History holds important insights for political scientists concerned with contemporary international development issues. Michael E. Latham and Nick Cullather's recent historical accounts of US foreign policy toward developing countries provide excellent examples of the significance of understanding the past in order to interpret the present. Both books highlight the ways in which strategic concerns of the US government during the Cold War shaped its international aid policies.
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Petrova, A. P. "Specificity of representation of the military past in the russian commorative and revisionist cinema of the XXI century." Concept: philosophy, religion, culture 4, no. 2 (July 31, 2020): 155–69. http://dx.doi.org/10.24833/2541-8831-2020-2-14-155-169.
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Based on theoretical studies of the phenomenon of cultural memory (M. Halbwax, F.R. Ankersmit, J. Zerubavel), the author analyzes the essence and mechanisms of commemoration in contemporary Russian military-themed cinema. The relevance of the study is due to the wide public interest in domestic military cinema, its social significance and the growing number of commemorative practices (which include cinematographic works) in honor of the anniversary dates of victory in the Great Patriotic War. The empirical base of the study is founded on the analysis of broad Russian film distribution and the domestic film festival industry 2000-2019.Working with the phenomenon of the past, military cinema inevitably creates its on-screen interpretation, which, as a result of wide circulation, becomes an act of memory policy aimed at the formation and maintenance of social identity. In this connection, the aim of the study is to identify the axiological component of Russian military cinema of the 21st century by analyzing the value programs of the movie heroes. Tracing the essence and logic of the formation of the Soviet political «myth of war» in cinema, the author comes to the conclusion that this paradigm of war record representation is still present on the screen, taking the form of commemorative cinema. The axiological opposition to this trend is the segment of revisionist cinema, which does not reproduce the Soviet myth, but reinterprets and problematizes the events of the military past. The analysis of revisionist films reveals new options for representing the traumatic military experience on the screen. Finally, conclusions are drawn about the axiological component of commemorative and revisionist cinema.
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Weiher-Sitkiewicz, Krystyna. "W poszukiwaniu głównego nurtu w polskim kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 56–68. http://dx.doi.org/10.26881/pan.2018.19.04.
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In this text, the author seeks what the main stream in contemporary domestic cinematography is. Following the definitions of mainstream by Mirosław Przylipiak from the text “The Notion of Mainstream Film in Contemporary Cinema”, the author distinguishes two ways of understanding this phenomenon in the context of Polish cinema. First of all, these productions are commercial, with a large budget, with stars in the cast, profit-oriented, aimed to appeal to a mass audience (e.g. copying global Hollywood formats and presenting it through Polish lenses); secondly, they are films propagating a dominant ideology. The designation of the Polish mainstream has specific goals: (1) to establish which direction Polish cinema is heading in, (2) to dissect it, (3) to note what makes Polish cinematography evolve and what it is that attracts more and more viewers.
In the summary, the author shows that what is most important in Polish Cinema is the dominant ideology that allows us to understand the phenomenon of its main stream. As a model example of the Polish mainstream, the film Gods by Lukas Palkowski is quoted.
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Prorokova, Tatiana. "US-American Intervention in Europe: Morality, Justice, and Freedom in World War II Cinema." Journal of Military Ethics 18, no. 2 (April 3, 2019): 96–109. http://dx.doi.org/10.1080/15027570.2019.1651978.
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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.
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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
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París Romia, Gemma. "Jeff Wall, Pintor de la Vida Posmoderna." Barcelona Investigación Arte Creación 4, no. 3 (October 2, 2016): 300. http://dx.doi.org/10.17583/brac.2016.1761.
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Through the work of Jeff Wall (Vancouver, 1946), we will see the rich relationships that the Canadian artist establish between photographic media and other art forms such as painting, theatre and cinema. Although Wall’s images are photographs, they are built from complex relations with Western pictorial tradition, with the gestures of theatrical act and with the construction of narrative cinema. These relationships with the various languages of art create mysterious images that tell us about our contemporary society, creating a space halfway between reality and fiction.
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Shaw, Tony, and Denise J. Youngblood. "Cold War Sport, Film, and Propaganda: A Comparative Analysis of the Superpowers." Journal of Cold War Studies 19, no. 1 (January 2017): 160–92. http://dx.doi.org/10.1162/jcws_a_00721.
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Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. and Soviet sports films adopted and pinpoints the political functions they performed. It considers what Cold War sports cinema can tell us about political culture in the United States and the Soviet Union after 1945 and about the complex battle for hearts and minds that was so important to the East-West conflict.
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Armendáriz-Hernández, Alejandra, and Irene González-López. "Roundtable: The Position of Women in Post-War Japanese Cinema (Kinema Junpō, 1961)." Film Studies 16, no. 1 (2017): 36–55. http://dx.doi.org/10.7227/fs.16.0004.
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In contrast to the canonical history of cinema and film theory, often dominated by academic texts and Western and/or male voices, this article presents a casual conversation held in 1961 between four of the most influential women in the post-war Japanese film industry: Kawakita Kashiko,,Yamamoto Kyōko, Tanaka Kinuyo and Takamine Hideko. As they openly discuss their gendered experience in production, promotion, distribution and criticism, their thoughts shed light on the wide range of opportunities available to women in filmmaking, but also on the professional constraints,and concerns which they felt came along with their gender. Their conversation reveals how they measured themselves and their national industry in relation to the West; at times unaware of their pioneer role in world cinema. This piece of self-reflexive criticism contributes to existing research on both womens filmmaking and the industry of Japanese cinema, and invites us to reconsider non-hegemonic film thinking practices and voices.
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Gill, Zack Whitman. "Rehearsing the War Away: Perpetual Warrior Training in Contemporary US Army Policy." TDR/The Drama Review 53, no. 3 (September 2009): 139–55. http://dx.doi.org/10.1162/dram.2009.53.3.139.
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The goal of military training is to match practice to combat. US Army documents on “Warrior Training” point out the increasingly simulacra-like quality of their staged drills. The intention is to make the training so real, so much a total “theatre immersion,” that when soldiers are in real battle they act as if they are still rehearsing, still playing.
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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (November 1, 2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.
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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. From this perspective, it appears that Imamura establishes a theorization of national cinema that is predicated not on film as a product, or ontological aspects of what films project, but rather on the phenomenology of the film-watching experience. In effect, the thesis thus defines Japanese cinema not as the total sum of films produced in Japan, or by Japanese filmmakers, but as a shared watching experience of films regardless of their country of origin. Measuring Imamura’s thesis against other theories of Japanese national cinema that were published around the same time, during World War II, the essay argues that his theorization is in fact flexible enough to withstand more recent critique leveled against the notion of national cinema, and even allows radical new ways of thinking about national cinema in the contemporary moment of a new media environment and increasing transnational cultural flows.
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Schwenkel, Christina. "Exhibiting War, Reconciling Pasts: Photographic Representation and Transnational Commemoration in Contemporary Vietnam." Journal of Vietnamese Studies 3, no. 1 (2008): 36–77. http://dx.doi.org/10.1525/vs.2008.3.1.36.
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In April 2000, an exhibit displaying the works of photojournalists killed in action in the Indochinese Wars between 1945 and 1975 opened in Hòò Chíí Minh City. Based on the exhibit and interviews with Vietnamese photographers, this article examines photojournalism on the revolutionary side of the war and its relationship to transnational practices of memory that have transpired in recent years since the normalization of US––Vietnam relations. While scholarly research has focused primarily on US cultural productions of the war, this article incorporates Vietnamese representations into the analysis to compare the distinct and often conflicting visual records of war that the exhibit photographs produced.
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Zakharov, Dmitry V. "The Transformation of the Jesse James’ Myth in Contemporary American Cinema." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 106–18. http://dx.doi.org/10.17816/vgik101106-118.
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American historiography puts forward a theory which looks upon the US history as consisting of a row of cycles. The pattern was detected by thinkers and historians like Ralph W. Emerson, Henry B. Adams, Arthur M. Schlesinger and others. A cycle includes two contradicting phases lasting approximately 15-20 years each. Their character and content are defined differently - by social interest/personal interest, liberalism/conservatism, democracy/capitalism. The common ground between all the oppositions is the vision of the cyclic regularity nature. During the social anxiety periods the energy breaks out, the nation stirs to action (Progressive Era (1890s-1910s), New Deal (30s), turbulent years (60s). When the social organism gets tired it demands a break to recover. The social rest time begins (Roaring Twenties, presidency of Dwight D. Eisenhower (1953-1961), Me Decade (80s)). The article takes as a premise that cinema reflects the rythmic variations - at the level of ideas, themes, types of characters, genres, plots, a visual style. The theory is tested by means of examination of the western - the oldest national American genre. The article analyses the western subgenre - films telling of legendary frontier outlaws, namely Jesse James regarded as American Robin Hood. The theory of cycles optics enables to track the transformation of James myth and his image. The main part of the article is devoted to the landmark film of the contemporary social anxiety phase The Assassination of Jesse James by the Coward Robert Ford (2007, dir. Andrew Dominik). A thorough review of the polyphonic text demostrates that whichever interpretation is prefered the intention of the authors to a radical reconsideration of the well known myth is obvious. Correlations and contrasts with the other Jesse James films reveal that the view on the criminal number one directly corresponds with the historical phase.