To see the other types of publications on this topic, follow the link: Persona (film).
Journal articles on the topic 'Persona (film)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Persona (film).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Nevin, Barry. "Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)." Nottingham French Studies 59, no. 1 (March 2020): 97–116. http://dx.doi.org/10.3366/nfs.2020.0274.
Full textAbstract:
This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustration of his authorial signature, looking towards the complex portrayals of women which feature in his most famous French films of the 1930s. Key to this analysis is how Feyder mobilizes mirrors to confront spectators with their own collusion in the construction of Greta Garbo's star persona in her films and portraits, and to open broader debates regarding the intersection between authorship and star personae.
2
Marshall, David, Glenn D'Cruz, and Sharyn Mcdonald. "“Un Geste Suffit”? Unpacking the Inconvenient Truths about Al Gore’s Celebrity Activism." Persona Studies 4, no. 2 (November 5, 2018): 62–82. http://dx.doi.org/10.21153/psj2018vol4no2art757.
Full textAbstract:
The present work interrogates Al Gore’s persona as a climate change activist with reference to a process we describe with the neologism “personafication”: the act of constructing/presenting a public persona in order to cultivate impressions that enable public figures to consolidate authoritative reputations. The formation of such a commanding persona requires the circulation of three forms of symbolic capital: cultural, celebrity, and reputational capital as well as the performance of overtly theatrical strategies calculated to establish an empathetic relationship between performer and audience. In 2006, former Vice President Al Gore released the award-winning documentary, An Inconvenient Truth. This film subsequently functioned as a catalyst for various forms of climate change activism. This paper unpacks the contradictory ideological and cultural work performed by the film with reference to what we describe as un geste suffit; that is, those gestures that merely perform individual agency in order to connect the formulation of personal ethical identity to communal forms of political activism like environmentalism. Through a close reading of the presentation of Gore’s persona in the film itself, and research which tracks the reception and political efficacy of the film, the paper contributes to the growing body of scholarship on the politics of environmental/scientific communication. Finally, we locate our reading of Gore’s film within a contemporary context by making reference to the way An Inconvenient Truth is both resistant to and complicit with the environmental policies of the Trump administration.
3
Viser, Victor. "Pawns in Their Game: Bob Dylan’s Celebrity Persona in Dont Look Back." Hors dossier 27, no. 1 (September 25, 2017): 121–44. http://dx.doi.org/10.7202/1041111ar.
Full textAbstract:
Documentary film craft in the mid-twentieth century, like many other arts at the time, evolved aesthetically around the notions of “truthfulness” and “honesty” in the depiction of their subjects. Simultaneous with these artistic innovations was the ascendency of a commercial popular culture industry that often appropriated aesthetic ideals of authenticity to construct celebrity narratives. This article examines the constructed celebrity persona of Bob Dylan in D.A. Pennebaker’s American cinéma vérité production Dont Look Back. Utilizing a critical theory approach based on the philosophy and political economy of celebrity aura, it addresses questions of directorial subjectivity, celebrity self-consciousness and the contemporaneous subject/audience interface within a larger discussion of the intentionality of celebrity construction as part and parcel of films and other media dedicated to documenting the rise of pop superstars. While Dont Look Back attempts to reify Dylan as a rebellious voice speaking the social concerns of his audience, the film also testifies to the commodification of such stars by a 1960s corporate media machinery whose ultimate intentions were not necessarily so public-spirited.
4
Garvey, Adrian. "‘Steely Velvet’: The Voice of James Mason." Journal of British Cinema and Television 12, no. 1 (January 2015): 83–100. http://dx.doi.org/10.3366/jbctv.2015.0244.
Full textAbstract:
This article argues that, although the subject of film sound is a developing field of interest in film studies, the voice, despite its centrality to issues of performance and stardom, remains an under-examined subject within the discipline. It considers some existing work on the topic and proposed methodologies for the analysis of voice and performance. The work of James Mason is used as a case study, offering an overview of his career and a discussion of the changes in his star persona and performance style as he moved from star to character actor. Consideration is given to the ways in which Mason's distinctive voice became the defining aspect of his star persona and a subject for impersonation. Critical responses to his vocal style throughout his career are examined and sequences from three Mason films, The Pumpkin Eater (1964), Fanny by Gaslight (1944) and The Upturned Glass (1947) are analysed in order to explore Mason's use of voice and gesture in detail.
5
Barzegar, Ebrahim. "Mulholland Drive: An Intertextual Reading." CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 62–78. http://dx.doi.org/10.5195/cinej.2014.114.
Full textAbstract:
This article examines David Lynch’s Mulholland Drive from Kristeva’s concept of intertextuality. To achieve this aim, this study provides a close reading of the selected film so as to trace and illustrate the polyphonic network of references, citations, quotations and intertexts of Mulholland Drive to the significant already-made films such as Sunset Boulevard, The Wizard of Oz, and Persona.
6
Fahrunisa, Nida, and Asep Purwo Yudi Utomo. "DEIKSIS PERSONA DALAM FILM DUA GARIS BIRU KARYA GINA S. NOER PRODUKSI STARVISION DAN WAHANA KREATOR." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 21, no. 2 (July 31, 2020): 103. http://dx.doi.org/10.19184/semiotika.v21i2.19763.
Full textAbstract:
Person deixis can be found in various speeches, both located in everyday speech and dialogue between characters in a film, including Dua Garis Biru. This study aims to classify and analyze the kinds of person deixis and their functions in the movie Dua Garis Biru. This study used descriptive qualitative method. The data analysis in this study used a pragmatic approach. They are collecting data using the observation method with note-taking techniques. The results showed that the types of personal deixis used in the film Dua Garis Biru are single and plural form. They are singular and plural first person deixis, singular and plural second-person deixis, and third single and plural third person deixis. Each type of person deixis has a different function according to its context and reference. The singular first-person deixis is saya, aku (English: I/me),gue and gua (English:I/me in informal style),-ku (English: my). The first person deixis in the plural is kita and kami (English: we/us). The single second person deixis used in the film Dua Garis Biru is kamu (English: you), -mu (English: your), loe and lu (English: you), while the second person plural deixis is kalian (English: you). The third person deixis consists of singular third-person deixis, namely he/her or his/her, and the plural third-person deixis, namely they/their/them and everybody. The use of deixis is influenced by familiarity, age, social status, and speech situation.
7
Dimas, Anisa, and Yazid Rivai. "Analisis Deiksis dalam Film “Yowis Ben 2” Karya Bayu Skak dan Fajar Nugros: Sebuah Kajian Pragmatik (An Analysis of Deixis in “Yowis Ben 2” Film Bayu Skak and Fajar Nugros: a Pragmatics Study)." JALABAHASA 16, no. 2 (November 30, 2020): 132. http://dx.doi.org/10.36567/jalabahasa.v16i2.587.
Full textAbstract:
Film “Yowis Ben 2” merupakan salah satu film komedi Indonesia yang memasukkan unsur bahasa daerah di dalam percakapannya. Hal tersebut menjadi nilai lebih untuk meninggikan bahasa daerah di lingkungan masyarakat. Penelitian ini berbentuk penelitian deskriptif kualitatif dengan pendekatan pragmatik, yaitu analisis deiksis. Tujuan penelitian ini adalah mendeskripsikan bentuk-bentuk deiksis dalam film “Yowis Ben 2” karya Bayu Skak dan Fajar Nugros. Sumber data penelitian ini adalah percakapan yang terdapat di dalam film tersebut. Berdasarkan penelitian, film “Yowis Ben 2” memuat bahasa daerah yang merujuk pada suatu kegiatan yang sedang dibicarakan serta memiliki hubungan dengan dimensi ruang dan waktu pada saat dituturkan oleh pembicara atau yang diajak bicara. Deiksis berfungsi untuk memperjelas isi ujaran dalam film “Yowis Ben 2” karya Bayu Skak dan Fajar Nugros. Hasil penelitian menunjukkan adanya ujaran deiksis persona, waktu, tempat, sosial, dan wacana. “Yowis Ben 2” is an Indonesian comedy movie that includes elements of local language in the conversation. This elements of local language becomes more value to elevate regional languages in the community environment. This research is in the form of a descriptive qualitative research with a pragmatic approach, namely deixis analysis. The purpose of this study is to describe deixis in the movie “Yowis Ben 2” by Fajar Nugros and Bayu Skak. The data source of this research is the conversations contained in the movie. Based on research, the “Yowis Ben 2” movie contains local languages that refer to an activity being discussed and has a relationship with the dimensions of space and time when spoken by the speaker or the person being spoken to. Deixis functions to clarify the contents in utterances that contain persona, time, place, discourse, and social.
8
Viahapsari, Evi, and Aseptiana Parmawati. "ANALYSIS THE TYPE OF DEIXIS IN THE MAIN CHARACTER ON THE MOVIE I LEAVE MY HEART IN LEBANON." PROJECT (Professional Journal of English Education) 3, no. 3 (May 23, 2020): 388. http://dx.doi.org/10.22460/project.v3i3.p388-394.
Full textAbstract:
This study aimed to describe the type of deixis on the main character in the film titled I Leave My Heart in Lebanon. This research is descriptive qualitative research.The data of this research was collected by analysis of the use of language spoken by the main character in the film I Leave My Heart in Lebanon, with the stages: 1) Organizing the data by collects of all the data in the movie that contains of deixis. 2) Categorizing the data into the types based on levinson theory who classified deixis into deixis persona, spatial, temporal, discourse, and social. 3) Analyzing the data which containing five types of deixis. 4) Present the sample of the data that related to the study, the researcher will present the result of the research some of each category. All of the sources taken on the Film I Leave My Heart in Lebanon. Based on data analysis, the researcher found 125 data that indicates the type of deixis. including personal, temporal, spatial, social, and discourse deixis. The deixis in this film are dominated by personal deixis with 102 data.
9
Wahl, Alexander. "The global metastereotyping of Hollywood ‘dudes’." Pragmatics and Society 1, no. 2 (November 17, 2010): 209–33. http://dx.doi.org/10.1075/ps.1.2.02wah.
Full textAbstract:
This study investigates the phenomenon of metastereotyping — that is, the linguistic parody of stereotypic mediatized personas. The analysis draws on data from the 2008 reality television program Big Brother Africa 3, in which contestants ironically perform the lead characters from a 1989 Hollywood teen comedy film who exemplify a highly mediatized California male slacker youth stereotype, the ‘dude’ persona. By examining the linguistic and embodied features deployed by the reality show contestants in their stylization of the film characters, the article shows how metastereotyping involves forms both from within the original representation and beyond. The use by these African contestants of features with such varied semiotic trajectories reveals their globalized ideologies about California and American youth styles as well as their understanding of the film characters’ positions within these styles.
10
Prayogi, Icuk. "PERGESERAN PEMAKAIAN PRONOMINA PERSONA DALAM BAHASA INDONESIA “GAUL”." Ranah: Jurnal Kajian Bahasa 2, no. 2 (December 1, 2013): 38. http://dx.doi.org/10.26499/rnh.v2i2.234.
Full textAbstract:
Berbicara ragam gaul bahasa Indonesia sekarang ini pastilah pikiran tertuju pada “bahasa” Alay. Jauh sebelum itu, sebenarnya ragam gaul telah ada. Hanya, Alay yang sekarang muncul adalah perubahan dari ragam gaul pada zaman dulu. Karena beberapa hal, bentuk dan aturan pemakaian ragam ini dimungkinkan berubah. Pemakaian pronomina persona juga dimungkinkan mengalami atau pergeseran (shift). Pronomina persona kau atau saya, misalnya, akan sungguh terasa janggal bila diucapkan remaja zaman sekarang dalam konteks percakapan normal dengan remaja lain di Jakarta. Oleh karena itu, makalah sederhana ini membahas tentang pronomina persona apa saja yang mengalami pergeseran serta bagaimana pergeseran pemakaian pronomina persona dalam bahasa Indonesia “gaul”. Dengan metode kualitatif dan data dari berbagai sumber (terutama film), diharapkan menghasilkan gambaran yang cukup tentang pergeseran ini serta mengapa hal ini sampai terjadi.
11
Nieland, Justus. "Killing Time: Charlie Chaplin and the Comic Passion of Monsieur Verdoux." Modernist Cultures 2, no. 2 (October 2006): 189–208. http://dx.doi.org/10.3366/e2041102209000276.
Full textAbstract:
Justus Nieland (Michigan State University) offers a reading of the domestication and death of Chaplin's silent persona in his 1947 sound comedy, “Monsieur Verdoux”, and its consequent refashioning of comic feeling. In the film, the Tramp, modernity's most public person, is killed by satire, polished smooth and supplanted by an inhuman character - both a dandy and a serial killer of women. Nieland offers a reading of the transition between the silent, universal Tramp and noisy and particular Verdoux.
12
Floyd, Jacob. "Negotiating Publicity and Persona: The Work of Native Actors in Studio Hollywood." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 119–35. http://dx.doi.org/10.17953/aicrj.42.3.floyd.
Full textAbstract:
The majority of scholarship regarding Native Americans and film has focused on the images of Native Americans as constructed by non-Native filmmakers, but how might we better understand the careers of Native people working as actors in studio Hollywood? I propose studying film publicity material to find traces of the labor and negotiations performed by Native actors as they constructed and maintained their personas. Examining both the construction of studio publicity and analyzing the content of publicity regarding Chief Many Treaties (Blackfeet actor William Hazlett), Chief Yowlachie (Yakama actor Daniel Simmons), Chief Big Tree (Seneca actor Isaac Johnny John); and Chief Rolling Cloud (Muscogee [Creek] actor Charles Brunner), I reveal how publicity material can contextualize actors' experiences and suggest ways that these Native performers used their personas to critique and influence their presences onscreen.
13
Girelli, Elisabetta. "“Our Bravest and Most Beautiful Soldier”: Pola Negri, Wartime and the Gendering of Anxiety in Hotel Imperial." Film-Philosophy 23, no. 2 (June 2019): 159–76. http://dx.doi.org/10.3366/film.2019.0107.
Full textAbstract:
This article focuses on Pola Negri, one of the most iconic stars of the silent era, and concentrates on her performance and image in the Hollywood film Hotel Imperial (Mauritz Stiller, 1927). Assessing Negri's character within the wartime context of the plot, her screen presence and narrative function are analysed in relation to wartime anxiety, gender roles, and the role of the home front. Specifically, this article argues that Negri's exceptional display of anxiety, in contrast to the acting of her male co-protagonists, can be fruitfully understood as a distinctly “female”, empowering quality, aiding her role of main agent in the film. In the light of selected texts by Sigmund Freud, Charles Bachelard, and Lindsey Stonebridge, this article offers a close reading of Negri's performance, showing that Negri productively unblocks and mobilises the inherent anxiety of the film's time and place. Positioned in traditionally female locations, the home front and the domestic space, Negri acts upon the former by controlling the latter, enabling not only her own rescue, but also that of her menfolk: her soldier lover and, indirectly, the whole Austro-Hungarian army. This discussion is linked to the dramatic shift in Negri's image in Hotel Imperial, a shift which has traditionally been criticised as a weakening of her persona; this article instead argues that, far from being “tamed” by the shedding of her vamp connotations, Negri emerges as the film's strongest presence, gaining agency and power while explicitly rejecting patriarchal constructions of female sex-appeal.
14
Gerhardt (Hrsg.), Volker, and Renate Reschke (Hrsg.). "Nietzsche im Film. Projektionen und Götzendämmerungen." Nietzscheforschung 16, no. 1 (January 2009): 1–404. http://dx.doi.org/10.1524/nifo.2009.0000.
Full textAbstract:
ZusammenfassungNietzsche im Film ist ein Thema, das noch immer zu den Desiderata der Nietzsche-Forschung zu rechnen ist. Zwar haben sich, vorrangig im Kontext von Kunstausstellungen, in denen der Philosoph zum Darstellungsobjekt gemacht worden ist, auch Stimmen gemeldet, die sich für Nietzsche als Filmfigur interessierten, aber das gesamte Panorama der Filmlandschaften unter der Optik von Person und Werk Nietzsches, seinen Gestaltungsideen und philosophischen Inhalten zu besichtigen, steht noch immer aus. Vorliegender Band kann diese Lücke nicht schließen, will aber mit seinen Beiträgen im Nietzscheschen Sinne ‘Fingerzeige’ geben, die Leerstellen mit Interpretationsangeboten zu besetzen, die weiterer Forschungsarbeit Anregung sein wollen. Die Beiträge richten daher ihr Augenmerk sowohl auf Spiel- und Dokumentarfilme, in denen der Philosoph in persona zum Thema wird, ebenso aber auf solche Filmarbeiten, in denen seine Welt- und Menschenvorstellungen aufgenommen und verarbeitet werden (vom frühen deutschen Film bis Hollywood, von Filmklassikern bis zu neuen Filmemachern). Zudem geht es um denkerisch experimentelle Überlegungen, Nietzsches Art des Denkens in die Nähe filmischen Denkens zu rücken — um in beiden der Projektionsarbeit, der produktiven Verbindung von Fiktion und Realität, Medienabhängigkeit und Bild- resp. Sprachmächtigkeit nachzugehen. Bis zur Zertrümmerung von Götzen, die vorher produziert und angebetet worden waren. Unter anderem vom Medium Film selbst, von dem sie dann entzaubert werden.
15
Snider, Clifton. "Queer Persona and the Gay Gaze in Brokeback Mountain: Story and Film." Psychological Perspectives 51, no. 1 (June 2, 2008): 54–69. http://dx.doi.org/10.1080/00332920802031888.
Full text
16
Shilina-Conte, Tanya. "Silence as Elective Mutism in Minor Cinema." Film-Philosophy 25, no. 2 (June 2021): 130–50. http://dx.doi.org/10.3366/film.2021.0165.
Full textAbstract:
This article advances mutism as a creative mode and conceptual tool to treat silence in cinema. Whereas mutism can be a productive concept for the study of auditory and visual absence in a broader theoretical framework, my focus here is on the silence of film characters. Drawing on correspondences between the critical and the clinical in Gilles Deleuze’s writing, I argue that adopting mutism as a tool of film-philosophy permits us to supersede traditional film analysis and examine silence not as an interpretive condition at the level of the plot but as a critical-clinical mode of experimentation related to the symptomatology of life. After presenting a brief clinical history of “elective” and “selective” mutism, I then draw on the suppressed understanding of “elective mutism”. I demonstrate that “elective mutism”, which might appear to be a negative and powerless disorder in its clinical presentation, transforms itself into an affirmative and empowering (dis)order that inspires creative experimentation in cinema. In postwar films with mute protagonists, such as Ingmar Bergman’s Persona (1960), “elective mutism” engenders a negative mode of existence in its symptomatology, which can be analysed according to the tenets of Theodor W. Adorno’s philosophy of negativity. By contrast, Deleuze’s philosophy of affirmativity and the concept of minor cinema allow for a renewed positive examination of “elective mutism” in more recent films with silent characters, such as Elia Suleiman’s Palestinian quartet (1996; 2002; 2009; 2019). Approaching minor cinema as both a cinema of experimentation and minoritarian cinema, I contend that in films made by minorities mutism becomes more pronouncedly “elective” in an affirmative sense. As a mode of protest and resistance, “elective mutism” is not only a rejection of the present status quo but also an expression of futurity. Finally, I maintain that the concept of “elective mutism” can relate to and stimulate the discussion of many contemporary sociopolitical phenomena.
17
Raghav, Radhika. "Between nationalism and consumerism: Devika Rani’s star persona in Indian visual culture." Film, Fashion & Consumption 9, no. 2 (October 1, 2020): 157–75. http://dx.doi.org/10.1386/ffc_00017_1.
Full textAbstract:
The career of 1930s film star Devika Rani (1908–94), often described as ‘the first lady of Indian cinema’, both confirms and challenges the received view that the nationalists’ rewritings of traditional femininity constituted the most significant force in the formation of the continent’s New Woman. Rani’s star persona demonstrates how both modernity and consumer culture, while subjected to nationalist ideology, exercised a degree of influence over the tastes and lifestyles of women living in urban centres such as Bombay and Delhi. As a member of the prominent Tagore family, which included a Nobel Prize-winning poet, and of the kulin caste, Rani enjoyed a privileged status that allowed her to embody a self-defining individual who was specifically ‘feminine and modern’ while also ‘Indian’. Drawing on the wealth of photographic material that this actress left behind, this article teases out the complexities of her trajectory as an emblematic icon of twentieth-century Indian femininity. In particular her use of costuming in her starring roles, in films such as Karma, Achhut Kanya and Nirmala, illustrates how she promoted new modes of autonomy and agency for the female subject.
18
DUNCAN, SOPHIE. "JUDI DENCH AND SHAKESPEAREAN PERSONAS IN THE TWENTY FIRST CENTURY." Persona Studies 5, no. 2 (February 7, 2020): 23–37. http://dx.doi.org/10.21153/psj2019vol5no2art913.
Full textAbstract:
Dame Judi Dench’s twenty-first-century theatrical career has defied the expectation that her performance as the Countess in the Royal Shakespeare Company’s 2003 All’s Well That Ends Well would signal the culmination and conclusion of her stage acting career. This article draws on scholarship on the use of retrospection and persona-building to redirect attention from Dench’s conspicuously ‘late’ success in film to map how Dench has led, collaborated in and resisted public constructions of her persona. Shakespeare has been consistently key to this process. While enlisting persona-building strategies inherited from her Shakespearean forebears, Dench has resisted the overt appointment of any kind of Shakespearean ‘successor’ and thus the continuation of Shakespeare performance genealogies. Simultaneously, her role choices have contributed to her persona’s accrued significance as an avatar of moral virtue and authenticity – augmented by her association with the ‘national poet’, Shakespeare, as England’s most prestigious playwright. The article also examines Dench’s persona specifically as an ageing actress, and her significance for discourses of aspirational ageing, ageism, and national investments in the ageing female performer as a public persona.
19
Borelli, Caterina. "The House He Built." Mnemosyne, no. 10 (October 15, 2018): 14. http://dx.doi.org/10.14428/mnemosyne.v0i10.14123.
Full textAbstract:
Quanto del senso di sé è intriso nello spazio e negli oggetti di cui ci circondiamo ? È possibile fare la biografia di una persona attraverso lo spazio dove vive e gli oggetti che possiede ? Queste due domande sono alla base del documentario The House He Built, la biografia di mio padre, il giornalista 93enne Sergio Borelli. Il film ha luogo interamente nella sua casa, piena degli oggetti, immagini e dei più di 50,000 libri che ha accumulato in una vita da viaggiatore. Ciascuna di queste cose è intimamente legata a lui e diventa un detonatore che gli permette di accedere ai ricordi e alla narrazione del se’. In questo contributo seguo le ragioni dietro al documentario, dall’idea iniziale di biografia al suo sviluppo in un’osservazione della relazione sensoriale che si crea tra persona, spazio e oggetti e alla relazione tra memoria, spazio e tempo. (Il film è ancora in lavorazione).
20
Raghav, Radhika. "Power, privilege and paradox: Understanding Ranveer Singh’s sartorial fame and the (un)making of the new millennial masculinity in contemporary Indian society." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 177–98. http://dx.doi.org/10.1386/csmf_00024_1.
Full textAbstract:
Bollywood film star Ranveer Singh’s fashion choices are often defined as eccentric, outlandish and even androgynous, in particular, his much-talked-about public appearances in bright floral pantsuits, or kohl-lined eyes and man-skirts are discussed in popular media as subverting gender norms and challenging gender binaries. Commenting on the shift in representation of contemporary Bollywood’s male protagonist, film scholars have argued that Singh embodies ‘metrosexual masculinity’ in neoliberal India and that his on- and off-screen persona involves deliberate scripting of a ‘feminist’ and ‘less patriarchally structured masculinity’. Testing the extent of the assertions mentioned above, I examine Singh’s media persona as a site of cultural production and a form of social reproduction. I use a feminist theoretical framework, and gender studies debates to critique Singh’s negotiations with gender and sexuality in his media images across – film, advertisement and social media. I argue that the millennial star as a fashion icon is not only far from offering a progressive model of millennial masculinity, but is also working towards normalizing Hindu gender ideologies that have long sanctioned power to men and subjugated women in Indian society. Focusing on the role played by the corporatized androcentric media industry, I argue that ‘feminist’ posturing of the star appropriates and suppresses other forms of marginal identities. Singh’s media persona thus works to maintain the status quo as far as gender, class and caste identities are concerned, and becomes a vehicle of the nationalist ideology under the present right-wing leader, Narendra Modi.
21
Rademacher, Virginia Newhall. "Trump and the Resurgence of American Noir." Persona Studies 2, no. 2 (December 7, 2016): 90–103. http://dx.doi.org/10.21153/ps2016vol2no2art617.
Full textAbstract:
This essay examines the political persona of Donald Trump as mediated by the imagery of hardboiled detective fiction and film noir. By evoking and distorting noir’s challenge to the status quo, its suspicion of systems of power and questioning of dominant norms, Trump has fashioned his political persona in ways that deliberately revise the popular conception of the hardboiled hero as brash-talking rebel at the margins of a corrupt system. Reading Trump’s persona through the mediating function of noir exposes how Trump’s rhetoric plays on, and benefits from, a theme of citizen estrangement while simultaneously reinforcing political expediency and self-interested power. Moreover, it is not only Trump who uses noir imagery provocatively to shape his political image. The media have also participated in crafting images of Trump as either entertaining disruptor or more darkly destabilising. As responses to crises of capitalism, corruption, and social fracture, noir narratives provide critical ways of investigating periods of disequilibrium and their resurfacing in the present. Analysing the production, expression, and reception of Trump’s political persona through the historical and discursive structures of noir underscores the salience of the study of persona to reveal underlying fissures in current American politics and society.
22
Tőke, Lilla. "The Outsider Within: Béla Tarr and Hungarian National Cinema." Hungarian Cultural Studies 9 (October 11, 2016): 90–100. http://dx.doi.org/10.5195/ahea.2016.259.
Full textAbstract:
Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satan’s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007). A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarr’s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.
23
Mayne, Laura. "A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry." Journal of British Cinema and Television 18, no. 1 (January 2021): 34–49. http://dx.doi.org/10.3366/jbctv.2021.0554.
Full textAbstract:
Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.
24
Steenberg, Lindsay. "Bruce Lee as gladiator: Celebrity, vernacular stoicism and cinema." Global Media and China 4, no. 3 (September 2019): 348–61. http://dx.doi.org/10.1177/2059436419874625.
Full textAbstract:
This article situates Bruce Lee’s films and star persona in the context of wider patterns in global genre cinema of the 1960s and 1970s. I argue for a connection between the Western reception of Lee’s films and those of the mid-century Italian sword and sandal films, beginning with the Colosseum fight between Bruce Lee and Chuck Norris that concludes Way of the Dragon (1972). From the dojo fights of Fist of Fury (1972), through the tournament structure in Enter the Dragon (1973), to his statistically led re-animation in the EA Sports UFC 3 (2018) videogame, Bruce Lee can be usefully considered as a gladiator. Bruce Lee, as fighter, performer and star persona, contributes to the enduring gladiatorial archetype that is an embedded feature in the Western visual imaginary. Furthermore, I argue that the gladiator archetype itself shifted because of Lee’s onscreen roles and the discourse that surrounds his star persona. In order to map these shifts and patterns of confluence, I chart three main points of impact that Lee has had on the gladiatorial archetype using his Western-facing roles on film and television, namely the television series Longstreet (1971–1972) and Enter the Dragon (1973). First, I consider the inclusion of martial arts and, second, the opening up of the field of representation to different models of masculinity, including a leaner body type and a non-White – in this case, ethnically Chinese – gladiator. The third point is the emphasis on a popular, or vernacular, stoicism. Ultimately, I elucidate the relationship between the gladiator, Bruce Lee, and philosophy, arguing that Lee embodies a vernacular stoicism that has become one of the defining features of the post-millennial gladiator and notions of heroic masculinity in popular culture more widely.
25
Rahayu, Anisa Dwi, and Maria Mintowati. "BENTUK DAN FUNGSI DEIKSIS SOSIAL DALAM FILM《不能说的秘密》KARYA 周杰伦 （JAY CHOU）." Jurnal Cakrawala Mandarin 2, no. 2 (February 16, 2019): 17. http://dx.doi.org/10.36279/apsmi.v2i2.63.
Full textAbstract:
Abstrak Penelitian “Bentuk dan Fungsi Deiksis Sosial dalam Film 《不能说的秘密》Bù néng shuō de mìmì karya Jay Chou” mengkaji penggunaan deiksis persona dalam sebuah film. Deiksis menjadi salah satu konten penting dari penelitian pragmatik, karena deiksis mengacu pada kata-kata yang mewakili informasi yang merupakan refleksi dari hubungan struktural antara wacana dan konteks. Teori yang digunakan dalam penelitian ini adalah teori yang dikemukakan oleh Levinson mengenai bentuk deiksis sosial dan teori yang dikemukakan oleh Cahyono mengnai fungsi deiksis sosial. Pendekatan dan jenis penelitian yang digunakan dalam penelitian ini adalah deskriptif kualitatif. Hasil dari penelitian ini ditemukannya penggunaan bentuk deiksis relational dan bentuk deiksis sosial mutlak. Masing-masing berbeda-beda, bergantung pada konteks masing-masing kalimat.Kata kunci: Deiksis, Film, Konteks Research "The Form and Function of Social Deixis in Film 《不能 说 的 秘密》 Bù néng shuō de mìmì by Jay Chou" examines the use of person deixis in a film. Deixis is one of the important content of pragmatic research, because deixis refers to words that represent information that are a reflection of the structural relationship between discourse and context. The theory used in this research is the theory put forward by Levinson regarding the form of social deixis and the theory put forward by Cahyono regarding the function of social deixis. The approach and type of research used in this study is qualitative descriptive. The results of this study found the use of relational deixis and absolute forms of social deixis. Each is different, depending on the context of each sentence.Keywords: Deixis, Film, Context
26
Seo in sook. "The Study on Persona of Film Actor, Song, Gang-Ho -Focusing on the Masculinity." Journal of Drama ll, no. 56 (October 2018): 149–84. http://dx.doi.org/10.15716/dr.2018..56.149.
Full text
27
Kelly, Gillian. "The origins of the film star system: Persona, publicity and economics in early cinema." Historical Journal of Film, Radio and Television 40, no. 4 (June 5, 2020): 908–10. http://dx.doi.org/10.1080/01439685.2020.1773084.
Full text
28
Kennedy, Amanda, Stacey M. Baxter, and Jasmina Ilicic. "Celebrity versus film persona endorsements: Examining the effect of celebrity transgressions on consumer judgments." Psychology & Marketing 36, no. 2 (September 27, 2018): 102–12. http://dx.doi.org/10.1002/mar.21161.
Full text
29
Casale, Marta N. R. "La imagen faltante, de Rithy Panh, testigo y cineasta. El genocidio en primera persona." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 77 (September 17, 2019): 119–31. http://dx.doi.org/10.18682/cdc.vi77.1014.
Full textAbstract:
Desde hace más de una década el director camboyano viene abordando el tema del genocidio en su país durante la Kampuchea Democrática (1975-1979) en distintos films documentales, siempre con el ánimo de registrar las atrocidades del régimen. En todas las realizaciones anteriores a La imagen faltante (2013), film en el que haremos foco en esta ponencia, tal abordaje se efectúa tomando distancia frente a los acontecimientos relatados, acontecimientos de los que, sin embargo, el director Rithy Panh formó parte directamente, ya que él y su familia estuvieron en campos de trabajo forzado, siendo él el único sobreviviente.
Como sucede con todos los films que intentan documentar el genocidio, el de Panh trae de nuevo a la palestra el tema de la posibilidad o imposibilidad (ética, material, psicológica) de dar cuenta de un fenómeno que arrasa con la dignidad humana y lleva la crueldad a límites extremos. ¿Es lícito convertir una masacre en “espectáculo”? ¿Es inevitable hacerlo cuando se quiere representarlo? ¿Qué pasa cuando el testimonio es en primera persona?, ¿es la subjetividad un obstáculo? El director camboyano elige utilizar figuras de arcilla en lugar de personas para reponer –en las imágenes existentes de lo sucedido– aquello que les falta: la tortura, la explotación, los asesinatos. Es el relato de un niño (tenía 13 años cuando fue arrancado de su casa y son sus recuerdos los que hilvanan la historia), pero también el de un cineasta, y por esta dualidad la reflexión sobre la imagen tendrá, además de profundidad teórica, una simpleza que la vuelve, a la vez, más cruda y más poética. Será cuestionamiento (a lo que pasó, pero también, al modo de representar/representarse), pero, sobre todo, será testimonio: repondrá aquello que quedó fuera de cuadro, tapado, escondido, tras la fanfarria revolucionaria.
30
Pellerin, Eric. "Bruce Lee as director and the star as author." Global Media and China 4, no. 3 (September 2019): 339–47. http://dx.doi.org/10.1177/2059436419873337.
Full textAbstract:
This article examines Bruce Lee’s films as a director as well as his influence on films in which he starred. Using Richard Dyer’s “star studies” framework in conjunction with Patrick McGilligan’s notion of the “actor as auteur,” this article analyzes Bruce Lee’s star persona and his authorial power and contends that a case can be made for Lee’s authorship even in films for which he did not serve as the director. Against the backdrop of Golden Harvest and the New Hollywood–modeled Hong Kong production context in which Lee worked, Lee’s fight scenes as a director are juxtaposed with his fight scenes as a star in the interest of identifying similarities and differences toward the goal of identifying greater similarities than critics and scholars have hitherto realized. Ultimately, this article proposes that so overpowering was Lee’s stardom that, whether as “merely” a star or as a “true” auteur, every Bruce Lee film bears his irrepressible signature.
31
Godfrey, Sarah. "‘I'm a casualty, but it's cool’: 1990s British Masculinities and Twenty Four Seven." Journal of British Cinema and Television 10, no. 4 (October 2013): 846–62. http://dx.doi.org/10.3366/jbctv.2013.0183.
Full textAbstract:
Released in 1997, Shane Meadows’ debut feature film, Twenty Four Seven, offers a striking evocation of contemporaneous debates about white, working-class male dispossession. Focusing on two generations of men living in a downtrodden community paralysed by economic decline, the film sets up a number of tropes, ideas and themes that become central to Meadows’ oeuvre. This article explores the conjoined questions of authorial authenticity and male subjugation with Twenty Four Seven and analyses the representations of white, working-class masculinity within the context of both Meadows’ own directorial persona and the wider socio-historical landscape of Britain during the latter part of the 1990s.
32
Patrick, Stephanie. "Life Is But a Story: Female pleasure and agency in Beyoncé’s autobiographical film." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 251–63. http://dx.doi.org/10.1386/jfs_00022_1.
Full textAbstract:
While the rise of new media has led to a blurring of stars’ public personae and private, intimate lives, the musician, in particular, has long been expected to share their private, authentic self through their music. This is certainly the case with superstar Beyoncé, whose 2016 solo album Lemonade was widely received as a revealing portrait of her marriage to hip hop mogul Jay-Z. Yet Beyoncé has long been playing with the public‐private divide as a key part of her star persona. Her decision to limit media interviews has allowed her to maintain unprecedented control of her star image; an image that is now corralled through the texts that she herself circulates via her music, videos and other media. One such notable, yet under-examined text is her 2013 autobiographical film Life Is But a Dream. Both the narrative and the production of the film serve to teach audiences how to read the rest of Beyoncé’s cultural work; as work that is fully controlled by her and intended for women. This pedagogical film disrupts common readings of her image and performances as being in the service of a male gaze, thus opening up new pleasures and potentials for female fans more broadly and Black female fans more specifically. Life Is But a Dream is thus a central, rather than a periphery text in Beyoncé’s star image, complementing and complicating the work she produces across other media formats.
33
Dillon, Alfredo. "Tamburrini por Caetano: del testimonio al film de terror." Ética y Cine Journal 9, no. 1 (March 12, 2019): 37. http://dx.doi.org/10.31056/2250.5415.v9.n1.23892.
Full textAbstract:
El propósito de este trabajo es analizar el proceso de transposición fílmica del testimonio de Claudio Tamburrini, Pase libre. La fuga de la Mansión Seré(2002), que dio lugar a la película Crónica de una fuga (2006), de Israel Adrián Caetano. El artículo aborda el problema del punto de vista en la adaptación de un testimonio en primera persona, así como la utilización del género de terror para dar cuenta de los campos de concentración de la última dictadura cívico militar (1976-1983). También se aborda la construcción de los personajes y los efectos de la suspensión del juicio moral dentro del centro clandestino de detención y tortura. Finalmente, se discuten los límites en la representación –literaria o audiovisual– del horror, frente a las posibilidades de la espectacularización y el sensacionalismo.
34
Pinto, Jovita dos Santos, Noémi Michel, Patricia Purtschert, Paola Bacchetta, and Vanessa Naef. "Baldwin’s Transatlantic Reverberations." James Baldwin Review 6, no. 1 (September 29, 2020): 176–98. http://dx.doi.org/10.7227/jbr.6.12.
Full textAbstract:
James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.
35
Koçak, Can. "The ‘non-speaking narrator’ as a methodological tool of analysis for various practices of discourse." Interactions: Studies in Communication & Culture 11, no. 1 (April 1, 2020): 15–24. http://dx.doi.org/10.1386/iscc_00002_1.
Full textAbstract:
This article proposes the ‘non-speaking narrator’ as a methodological tool of analysis and writing with reference to the film Persona, directed by Ingmar Bergman. Focusing on the dialectic between the two characters of the film, the article brings forward the idea that the narrative is relayed by the constant silence of one of the characters. Since the nature of that silence changes the extent of the lingual content, it leads the talking character into divulgence. The ‘non-speaking narrator’ thus brings forward silence as a way of being heard, suggesting a new perspective also to everyday life conventions in communication. This power of the non-speaking narrator as a methodological tool derived from practice has the potential to generate multiple interpretations and can be applied to various areas of communication studies.
36
Murdock-Hinrichs, Isa. "Adaptation, Appropriation, Translation." boundary 2 47, no. 3 (August 1, 2020): 133–63. http://dx.doi.org/10.1215/01903659-8524455.
Full textAbstract:
The essay analyzes Grant Gee’s and Stan Neumann’s transformations of W. G. Sebald’s The Rings of Saturn and Austerlitz into the cinematic medium. In reproducing Sebald’s methods, both filmmakers undermine traditional filmmaking conventions. By translating and appropriating the stylistics of Sebald’s text, Gee’s work echoes polyvocality and renders the influences and psychological associations of Sebald’s text into externalized fragments that convey the interwoven processes of memory, perception, and spatialization. Neumann reproduces Austerlitz’s observations more faithfully but alters the sequencing of the textual events and incorporates different media into the film. Neumann’s invention of himself as a “character” further undermines the text’s claims to authenticity and, more broadly, the notion of a stable system of signifiers. This intervention of the persona of the translator-filmmaker emphasizes the agency of the translator. Both films are neither adaptations nor translations, but they appropriate elements of Sebald to trace the effects of his techniques.
37
Bell, Melanie. "‘Quality’, Cinema and the ‘Superior Woman’ Persona: understanding women’s film criticism in post‐war Britain (1945–59)." Women's History Review 19, no. 5 (November 2010): 703–19. http://dx.doi.org/10.1080/09612025.2010.509150.
Full text
38
Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours." New Theatre Quarterly 31, no. 2 (April 28, 2015): 116–28. http://dx.doi.org/10.1017/s0266464x15000238.
Full textAbstract:
Jessie Matthews’ post-war tours to Australia were part of a sequence of commercially successful imported productions then heralded as a great boom era in Australian theatre. However, Matthews’ waning popularity in Britain since the 1940s meant that she was no longer recognizable as the screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘evergreen Jessie’s’ succession of British film hits such as The Good Companions (1933) and Evergreen (1934). This article examines the critical and public reception of Matthews’ tours with a focus on the strategic management of her star persona, both on and off stage, including her public criticism of Australian theatre management and employment opportunities for Australian theatre performers. Martina Lipton is an Honorary Associate Lecturer at the University of Queensland and was recently the Research Fellow (Australia) on the Leverhulme Research Project ‘British-Australian Cultural Exchange: Live Performance 1880–1960’. Her publications include the chapter ‘Localism and British Modern Pantomime’ in A World of Popular Entertainments (Cambridge Scholars Publishing, 2012) and articles for Australasian Drama Studies, Contemporary Theatre Review, New Theatre Quarterly, and Popular Entertainment Studies.
39
Veliz, Mariano. "El documental autobiográfico. Intervenciones sobre el archivo familiar." Arkadin, no. 8 (August 17, 2019): e002. http://dx.doi.org/10.24215/2525085xe002.
Full textAbstract:
El artículo se propone explorar la imbricación del documental, la autobiografía y los archivos familiares formalizada en La sombra (Javier Olivera, 2015). La indagación de este film permitirá, por un lado, analizar la tendencia a la inscripción de la primera persona y la potencia del yo del realizador en el marco de este ensayo con tintes autobiográficos. Por otro lado, se intentará dar cuenta de las intervenciones realizadas sobre los archivos familiares con el objetivo de llevar adelante una reescritura de la historia y una transformación topográfica de los lazos familiares.
40
Hart, Kylo-Patrick R., and Metasebia Woldemariam. "Oprah Winfrey as Melodramatic Actress: Contributions of Winfrey's Feature-Film Performances to the Authenticity of Her Star Persona." Quarterly Review of Film and Video 25, no. 3 (April 16, 2008): 183–95. http://dx.doi.org/10.1080/10509200601091425.
Full text
41
Kaiser Moro, Andrea. "El cine o la vida: Narraciones del yo en "Mapa" (Siminiani, 2012)." ZER - Revista de Estudios de Comunicación 23, no. 44 (May 29, 2018): 175–91. http://dx.doi.org/10.1387/zer.19109.
Full textAbstract:
El presente artículo aborda el giro intimista que el cine documental ha experimentado en las últimas décadas en España. Se pretende identificar las estrategias estéticas y narrativas que caracterizan al documental en primera persona, así como sus dificultades de implementación en España debido al valor socio-histórico del género. Como caso de estudio se analiza la película Mapa (Siminiani, 2012) como práctica discursiva donde se encuentran, de manera indisociable, lo cinematográfico y la vida del autor. Mediante esto se pretende arrojar luz sobre la ambigüedad genérica del film, a caballo entre el road movie, el diario filmado y la autoficción.
42
Silverman, Jason M. "Pseudepigraphy, Anonymity, and Auteur Theory." Religion and the Arts 15, no. 4 (2011): 520–55. http://dx.doi.org/10.1163/156852911x580810.
Full textAbstract:
AbstractOne of the striking features of Second Temple Judaism is the appearance of the phenomenon of pseudepigraphy. Intertwined with this phenomenon are the questions of authorship, fidelity to tradition, and the creative formation of new works. This paper attempts to bring to bear the debates on the “Auteur” in Film Studies to the understanding of authorial persona and voice in the Jewish writings of the Persian and Hellenistic Period. By focusing on a broader set of issues centered on creative production, this paper hopes to find new ways of viewing the old problems inherent in redaction theory.
43
GUTHRIE, KATE. "Vera Lynn on Screen: Popular Music and the ‘People's War’." Twentieth-Century Music 14, no. 2 (June 2017): 245–70. http://dx.doi.org/10.1017/s1478572217000226.
Full textAbstract:
AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.
44
Wilkinson, Clare M. "Power dressing: The sari in Sujoy Ghosh’s Kahaani." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 251–63. http://dx.doi.org/10.1386/ffc_00023_1.
Full textAbstract:
The heroine of Kahaani, in taking on a powerful persona in the quintessentially female garment of the sari, represents a sharp contrast with conventional ways of dressing powerful women in western cinematic tradition. There is ample cultural and mythological precedent in India for coding action and violence as female, but Kahaani’s affinity with the contemporary superhero film emerges in an unexpected way in its treatment of costume, specifically the use of the sari as a distinct article of clothing that the heroine assumes only for the first time as she embarks upon the dispensation of justice. Demarcating an ordinary set of clothing from the ‘special’ sari mirrors the superhero division of the everyday person from the heroic one, only here the sari, which is a quotidian form of dress, performs as an exceptional one. The copious symbolic potential of the sari permits this move, while at the same time pointing to many of the tensions and contradictions of life that engage contemporary metropolitan audiences in India. The sari thus functions to help solidify the film’s complex positioning in twenty-first-century Hindi filmmaking.
45
Seguí, Isabel. "Beatriz Palacios: Ukamau’s Cornerstone (1974–2003)." Latin American Perspectives 48, no. 2 (March 2021): 77–92. http://dx.doi.org/10.1177/0094582x20988693.
Full textAbstract:
Beatriz Palacios’s instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios’s work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an authorial key) to construct the group’s history. Ignoring the contribution and importance of Palacios’s work and not accounting for her share in the authorship of the films made during the years they lived and worked together impedes a correct understanding of the complexity of the production context and the amplitude of the contribution of Ukamau to Latin American cinema. While her work as a producer is increasingly recognized, delving into her roles as a disseminator of political cinema in alternative circuits, evaluator of the impact of the movies on the popular classes, and documentary director completes the portrait of her all-encompassing life and career. En gran medida, el papel instrumental de Beatriz Palacios en el grupo Ukamau ha sido ignorado por la historiografía y la crítica cinematográficas. La persona autoral de su camarada y esposo, Jorge Sanjinés, ha eclipsado la obra e ideas de Palacios. Dicha eliminación se debe a las perspectivas elegidas para analizar Ukamau (enfoques y formalistas) y al uso casi exclusivo de la voz de Sanjinés (entrevistas, ensayos y películas interpretadas en clave autoral) para construir la historia del grupo. Ignorar la contribución e importancia del trabajo de Palacios, así como su participación en la autoría de las películas realizadas durante los años que vivieron y trabajaron juntos, impide una correcta contribución de Ukamau al cine latinoamericano. Mientras que su trabajo como productora es cada vez más reconocido, ahondar en su labor como divulgadora de cine político en circuitos alternativos, evaluadora del impacto de las películas en las clases populares y directora de documentales, completa debidamente retrato de su vida y carrera.
46
Lanza, Pablo. "documental y el noir: hibridación a través del cine de género ficcional." Dixit, no. 33 (December 10, 2020): 15–25. http://dx.doi.org/10.22235/d.v1i33.2374.
Full textAbstract:
Este artículo se propone trabajar sobre el problema de la hibridación en el cine documental. Habitualmente considerado un rasgo del cine contemporáneo, el objetivo es efectuar un repaso de corte diacrónico para revisar esta hipótesis; para ello se hará foco en el intercambio del género policial con el documental en dos momentos distintos de la filmografía argentina: la década del cincuenta, con el ciclo ficcional de policiales llamadas “semidocumentales”, y dos documentales contemporáneos que dialogan con el estilo del film noir. Para el análisis se repasan conceptos como híbrido y género, y se consideran las particularidades del estilo documental en ambos períodos, donde se puede observar el paso de un estilo impersonal a los relatos en primera persona.
47
Lanza, Pablo. "documental y el noir: hibridación a través del cine de género ficcional." Dixit, no. 33 (December 17, 2020): 15–25. http://dx.doi.org/10.22235/d33.2374.
Full textAbstract:
Este artículo se propone trabajar sobre el problema de la hibridación en el cine documental. Habitualmente considerado un rasgo del cine contemporáneo, el objetivo es efectuar un repaso de corte diacrónico para revisar esta hipótesis; para ello se hará foco en el intercambio del género policial con el documental en dos momentos distintos de la filmografía argentina: la década del cincuenta, con el ciclo ficcional de policiales llamadas “semidocumentales”, y dos documentales contemporáneos que dialogan con el estilo del film noir. Para el análisis se repasan conceptos como híbrido y género, y se consideran las particularidades del estilo documental en ambos períodos, donde se puede observar el paso de un estilo impersonal a los relatos en primera persona.
48
Pigeon, Geneviève. "Naissance et chute d’un sauveur." Studies in Religion/Sciences Religieuses 46, no. 1 (September 26, 2016): 2–17. http://dx.doi.org/10.1177/0008429816663888.
Full textAbstract:
Grizzly Man dresse le portrait de Timothy Treadwell. Passionné par les ours dont il partageait l’habitat, il a péri en 2003, dévoré par l’animal qu’il prétendait protéger. Le film se construit à partir de vidéos laissées par Treadwell qui n’hésitait pas à se mettre en scène pour construire son univers. Autofiction, idéalisation et mégalomanie teintent le discours de cet homme, discours que Herzog montre et respecte tout en invoquant les témoignages des spécialistes, parents, amis et collègues du défunt. En se posant comme un axis mundi, seul sauveur d’un monde en péril, Treadwell se construit au fil des ans une persona sacrée, figure centrale d’un paradis perdu que lui seul est à même de comprendre et d’ordonner.
49
Chambers, Ciara. "An advertiser's dream." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 69–88. http://dx.doi.org/10.33178/alpha.6.05.
Full textAbstract:
Mercedes Gleitze was a British endurance swimmer who garnered huge public interest in the 1920s and 1930s. Celebrated for her athletic endeavours and philanthropic work, she was one of the first sportswomen to endorse a range of products, and most famously became a “poster girl” for Rolex. At a time when Edward Bernays was developing the psychoanalytic theories of his uncle, Sigmund Freud, to expand the fields of advertising and public relations, the media became increasingly interested in celebrities and the products they promoted. This article will examine the way the media covered Gleitze’s attempts to break world records and how coverage of her in the press and newsreels expanded beyond her athletic prowess to delve into her personal life and financial affairs. It will also consider how Gleitze became a symbol of expanding consumerism and explore how the tensions between her “new woman” status and her commodified persona were framed in the cinema. The article will also offer a consideration of how newsreels, a resource that has been underutilised by film scholars and historians, can help to inflect debates about contemporary popular culture, shifting female identities and burgeoning consumerism.
50
Caddy, Davinia. "Parisian Cake Walks." 19th-Century Music 30, no. 3 (2007): 288–317. http://dx.doi.org/10.1525/ncm.2007.30.3.288.
Full textAbstract:
The popularity of the cake walk among Parisians in the early 1900s is usually attributed to the dance's assumed racial signification. Scholars have argued that the cake walk, owing to its African American origins, was welcomed by Parisians as iconic of a racial "other," a signifier of the primitive, uncultured, and grotesque. This article proposes an alternative reading, setting the standard scholarly line against other, more subtle impressions of the cake walk's cultural import. A consideration of popular response to the dance--on stage, on film, and in the circus arena--reveals Parisian tastes not only for distinct styles of gesture but for American chic, athleticism, and popular participation, as well as the world of the "other." These connotations invite us to consider afresh what is perhaps the most celebrated cake walk of the period, Debussy's "Golliwogg's cake walk" (1908), known particularly for its quotation of Wagner's Tristan. Debussy's piece, I argue, has a more complex significance than that of a mere canvas on which to poke fun at Wagner or a straightforward reference to a minstrel doll. By means of various cultural and aesthetic nuances, it suggests a persona shaped by buffoonery, slapstick, despondency, and irony: in short, a persona identified with that fetish of modernist art, the clown.