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Artykuły w czasopismach na temat „Invisibilité – Au cinéma”

Autor: Grafiati
Data publikacji: 23 listopada 2024
Data aktualizacji: 31 lipca 2025

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1

Kristensen, Stefan. "Vincent Berne, Identité et invisibilité du cinéma. Le vide constitutif de l’image dans Hélas pour moi de J.-L. Godard." 1895, no. 70 (June 1, 2013): 227–29. http://dx.doi.org/10.4000/1895.4718.

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Albera, François. "Godard, philosophe. Vincent Berne, Identité et invisibilité du cinéma. Le vide constitutif de l’image dans Hélas pour moi de J.-L. Godard." 1895, no. 64 (September 1, 2011): 227–28. http://dx.doi.org/10.4000/1895.4423.

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GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do iná­cio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestá­gios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concess
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Uva, Christian. "Il cinema italiano intorno aGomorratra visibilità, semivisibilità, invisibilità." Italianist 30, no. 2 (2010): 290–308. http://dx.doi.org/10.1179/026143410x12724449730295.

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Omenetto, Silvia, and Maria Chiara Giorda. "Seppur informali: l'invisibilità urbana dei gruppi religiosi. Un'ipotesi esplorativa per un centro culturale Sikh a Roma." ARCHIVIO DI STUDI URBANI E REGIONALI, no. 132 (November 2021): 177–99. http://dx.doi.org/10.3280/asur2021-132008.

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A partire dall'"informalita" e dall'"invisibilita" urbana che connotano la condizione di alcuni gruppi religiosi in Italia, l'articolo presenta una possibile soluzione architettonica e urbanistica: la conversione di un cinema romano nel primo centro culturale Sikh in Italia attraverso l'adozione di un approccio interdisciplinare basato sui metodi della geografia delle religioni.
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Yoshimoto, Mitsuhiro. "Nuclear disasters and invisible spectacles." Asian Cinema 30, no. 2 (2019): 169–85. http://dx.doi.org/10.1386/ac_00002_1.

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The violence of nuclear catastrophe is fundamentally contradictory. On the one hand, when caused by nuclear weapons, it is highly visible and often spectacular. As is the case with exposure to a large dose of radiation, the consequence of this violence can be instantaneous, too. On the other hand, odourless and invisible, radiation is beyond direct human perception. Furthermore, the deadly effect of radiation often manifests itself gradually over many years or even decades. This paradox of nuclear violence on human lives and the environment, which is simultaneously hypervisible and invisible,
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SALNIKOVA, EKATERINA V. "Diegetic Invisible/Vanishing in Silent Cinema and its Origins." Art and Science of Television 18, no. 1 (2022): 49–78. http://dx.doi.org/10.30628/1994-9529-2022-18.1-49-78.

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The article studies the early silent cinema motif of disappearance or invisibility of bodies in a frame. In adventure and adventure-fantasy films, this motif performs a whole set of functions. Using the example of several films, I uncover its rich semantic potential. Further on, the mythological origins of the motif are analyzed, as are the role of theater, circus, attraction and fairy tale in the prehistory of the diegetic disappearing. Attention is paid to the aesthetics of the trick in Georges Méliès’ films, where the condition and location of the vanishing body remain uncertain. Narrative
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Sandrin, Tamara. "Credere alla carne La funzione del corpo nel cinema di genere e documentario." Altre Modernità, no. 26 (November 29, 2021): 246–61. http://dx.doi.org/10.54103/2035-7680/16809.

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Che cos’è il cinema del corpo? E il cinema del corpo-animale? E ancora: il cinema può darci la presenza del corpo? Sulla scorta del concetto deleuziano di corpo cinematografico in questo saggio cercherò di condurre – con l’ausilio di alcune pellicole esemplari, film di “genere” e d’autore – un’analisi del cinema del corpo e del corpo-animale che, attraverso la raffigurazione di corpi mostruosi e di corpi sacrificabili, di corpi animali e animalizzati, attraverso il divenire animale di corpi visibili e invisibili, possa contribuire a restituire il discorso al corpo, a portare alla luce una nuov
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Fortes, Lucas Bitencourt, and Daniela Ripoll. "Decolonialidade e contravisualidade no cinema de horror negro brasileiro." (Des)troços: revista de pensamento radical 5, no. 2 (2025): e54291. https://doi.org/10.53981/destroos.v5i2.54291.

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This article aims to discuss Brazilian Black horror cinema, connecting it to a decolonial approach and the concept of counter-visuality, through an analysis of the short film Gênesis 22 (1999), directed by Jeferson De. To this end, it draws on the theoretical field of Cultural Studies, using a methodological tripod consisting of screen ethnography, critical visual methodology, and cultural analysis. It is understood that Black individuals, for many years, have faced a series of issues in the audiovisual world, related to invisibility and stereotyping, many of which unfortunately still persist.
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10

Jesson, Claire. "‘We shall really have to do something about your equipment’: The Projectionist's Negotiation of Obsolescence in The Smallest Show on Earth and Coming Up Roses." Journal of British Cinema and Television 15, no. 1 (2018): 115–30. http://dx.doi.org/10.3366/jbctv.2018.0405.

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This article analyses two British film comedies, The Smallest Show on Earth (1957) and the Welsh-language film Coming Up Roses (Rhosyn a Rhith) (1986), both of which feature projectionists as significant characters. It focuses on the implications of the projectionist as a hero within the narratives, on his portrayal and on the dramatisation of his labour. I examine the paradox of his inhabiting a central narrative role when his professional one requires his isolation and invisibility, when his own attention is funnelled towards the on-screen diegesis he is concerned to project and, moreover, w
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11

SCHWARTZINGER, Charlotte. "En quête d’image(s)." Regards, no. 21 (March 31, 2019): 31–46. https://doi.org/10.70898/regards.v0i21.12.

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En s’appuyant sur le travail de deux réalisateurs palestiniens – un documentaire de found footage et un essai expérimental – cet article questionne l’importance des archives dans l’élaboration d’une mémoire visuelle palestinienne. De par son histoire cinématographique complexe et son « image manquante/invisibilisée », les créateurs palestiniens emploient aujourd’hui le medium du cinéma pour attester de leur présence. L’auteure entend réfléchir à l’utilisation de l’archive dans la lutte contre l’invisibilité et pour la reconnaissance d’une histoire, d’une culture et d’une mémoire qui sont sans
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12

Herbert, Emilie. "Black British Women Filmmakers in the Digital Era: New Production Strategies and Re-Presentations of Black Womanhood." Open Cultural Studies 2, no. 1 (2018): 191–202. http://dx.doi.org/10.1515/culture-2018-0018.

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Abstract The story of Black women in British mainstream cinema is certainly one of invisibility and misrepresentations, and Black women filmmakers have historically been placed at the margins of British film history. Up until the mid-1980s, there were no Black female directors in Britain. Pioneers like Maureen Blackwood, Martina Attille and Ngozi Onwurah have actively challenged stereotypical representations of Black womanhood, whilst asserting their presence in Black British cinema, often viewed as a male territory. In the 2010s, it seems that the British film industry remains mostly white an
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Karsono, Christine Viena, and Ribut Basuki. "The Sun, The Moon, and The Earth: A Screenplay Focusing on the Depth of Mid-Life Crisis in the Eye of an Indonesian Housewife." k@ta kita 12, no. 3 (2024): 299–306. https://doi.org/10.9744/katakita.12.3.299-306.

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This creative work focuses on empowering Indonesian housewives, particularly those navigating transformative life challenges in their middle years. It champions complete autonomy in life decisions, ambitions, and goals, countering societal and familial expectations. The work also aims to highlight the vibrancy and aspirations of middle-aged women, combating societal invisibility and fostering a broader understanding of their diverse experiences. This work also seeks to present perspectives from marginalized groups, emphasizing middle-aged women often overlooked by society, through Indonesian c
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Rugo, Daniele. "England, That Desert Island." Cultural Politics 12, no. 3 (2016): 263–78. http://dx.doi.org/10.1215/17432197-3648834.

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A recurring feature of Patrick Keiller’s work is the lack of human presence and activity. Throughout his films, Keiller delivers a vision of England as a desert island, depopulated and unoccupied. Scrutinizing Keiller’s early shorts and feature-length films, this article argues that the absence of human subjects allows the filmmaker to articulate a broader discourse on space, so that the films can be described as “spatial fictions.” Keiller, by aligning his work with various strands of utopian thinking on space—from the surrealists to Henri Lefebvre and the situationists—forces us to think the
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15

Cash, Conall. "The Dweller on the Threshold: Whiteness, the Family and the End of Classical Cinema." Film-Philosophy 29, no. 1 (2025): 169–98. https://doi.org/10.3366/film.2025.0297.

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Through a discussion of two key American films of the 1940s and 1950s – Alfred Hitchcock's Shadow of a Doubt (1943) and John Ford's The Searchers (1956) – this article situates the breakdown of classical cinema, or what Gilles Deleuze calls the “crisis of the action-image”, in relation to the critique of whiteness and the family. Focusing on the figure of the “dweller on the threshold” within these two films, the article shows how this individual's deprivation of action is tied to their status simultaneously as protective of and estranged from the white family. Once whiteness and the family be
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François-Denève, Corinne. "La blonde d’à côté : Sophie Daumier." Women in French Studies 2024, no. 2 (2024): 192–207. https://doi.org/10.1353/wfs.2024.a946135.

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Abstract: Au Père-Lachaise, la tombe de Sophie Daumier attire des visiteurs qui parlent d’elle comme « la femme de Guy Bedos, qui faisait des sketchs avec lui ». En effet, Sophie Daumier (1934–2004) a été entre 1965 et 1977 la femme et la partenaire de Guy Bedos : de leur duo sont demeurés célèbres des sketches (parfois écrits par Jean-Loup Dabadie) comme « les vacances à Marrakech », « la drague » ou « la rupture ». Daumier, jeune, blonde, « sexy », semble y être cantonnée au rôle décoratif de faire-valoir tête-à-claques d’une performance qui reprend tous les clichés genrés de l’époque. La le
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17

Heald, Karen. "Slowness as a Strategy of the Contemporary through Films." Airea: Arts and Interdisciplinary Research, no. 3 (September 30, 2021): 82–102. http://dx.doi.org/10.2218/airea.3059.

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In Future Studies and the History of Technology accelerating change is a perceived increase in the rate of technological change throughout history. This may suggest faster and more profound change in the future and may or may not be accompanied by equally profound social and cultural change. Responding to the accelerating technological landscape and contemporary life, this paper researches how the concept of ‘time’ plays a significant role. The author, an experimental filmmaker, charts an experiential journey within several pivotal ‘dream films’, along with relevant artists’ moving images in r
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Razawa, Dilshad Mustafa Raheem. "Memory of the wound : An attempt to interrogate invisible space." Journal of University of Raparin 7, no. 2 (2020): 532–51. http://dx.doi.org/10.26750/vol(7).no(2).paper23.

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The power of silence, however, it might attend an invisible discourse framework, it goes further to the sphere of killing the opportunity of exploring the invisibility codes. Exploring the space that has been explored previously, there was a simple narrative of the victims’ stories, that could help the researcher go much deeper through different kinds of concepts that could help in the interpretation process, or create an intentional approach for the sake of the victims' subjectivities and opening wider space for its appearance.
 In other words, to get out of the limitations of silence we
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19

Beato, Ana, Leonor Pereira da Costa, Ana Carvalho, Sara Albuquerque, and Isabel Santos. "WeARTolerance: Evaluating the impact of an arts-based program to reduce mental health-related stigma in young people." PLOS ONE 19, no. 12 (2024): e0314994. https://doi.org/10.1371/journal.pone.0314994.

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The stigma surrounding mental health remains a significant barrier to help-seeking and well-being in youth populations. The invisibility of mental health issues highlights the critical need for improved knowledge and stigma reduction, underscoring the urgency of tackling this issue. Arts-based interventions have shown promise in addressing stigma, yet comprehensive longitudinal studies in community settings are limited. This research evaluates the "WeARTolerance’’ arts-based program in reducing mental health stigma among diverse youths. The program integrated psychoeducational and creative act
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Herencia Grillo, Amalia. "¿Una oportunidad perdida? Multiculturalismo y razas invisibles en The Bridgertons." Textos, plataformas y dispositivos. Nuevas perspectivas para el análisis del discurso 9, no. 18 (2022): 291–312. http://dx.doi.org/10.24137/raeic.9.18.13.

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El cine y la televisión son medios de comunicación cuyo alcance permite contar historias, reflejar ideas, retratar sociedades y establecer debates en torno a diferentes temas como el multiculturalismo. A través del análisis de una serie como The Bridgertons (Shondaland, 2020), en la que la raza de sus actores no está asociada a la de los personajes que representan, queremos comprobar si este hecho supone un apoyo o un escollo al concepto de la invisibilidad de la raza como soporte del multiculturalismo. Para esto, realizamos un recorrido por el papel desarrollado por actores de razas minoritar
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Cavaleri, Giuseppe. "Les médias italiens contemporains : explorer les représentations du sans-papier." Clandestins, clandestinités - Gestes de couleur : arts, musique, poésie, no. 17-2 (December 15, 2022). http://dx.doi.org/10.58335/textesetcontextes.3962.

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La représentation du clandestin est foncièrement un oxymore étymologique. Comment mettre en exergue un être qui est relégué visuellement, socialement et politiquement dans l’ombre ? Les médias appartenant à l’univers audiovisuel sont-ils capables de nous montrer objectivement le quotidien des sans-papiers ? À travers cette contribution, nous tenterons de comprendre, avant tout, comment certains médias de masse altèrent la vision du grand public en lui proposant des images peu édifiantes du clandestin. Puis, nous nous concentrerons sur le poids des stéréotypes véhiculés par les médias de masse
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Mazaj, Meta, and Shekhar Deshpande. "The Political Imperative of World Cinema." Studies in World Cinema, October 30, 2020, 1–8. http://dx.doi.org/10.1163/26659891-0000a002.

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This paper argues for the political urgency of the project of World Cinema, and an understanding of World Cinema as a dynamic totality. Totality here is not a generic, macroscopic lens, but a system that accounts for the co-existence of all cinemas as well as the uneven power relationships that determine the relative visibility or invisibility of cinemas in the global system. This structural inequity, a condition that underlies the differentiated cinematic flows, is also a methodological ruse in that it can only point to unequal relationships in discourses that define the current conceptions o
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Shyma P. "The Caste of Casting: Thilakan and ‘Backward’ Articulations in Malayalam Cinema." BioScope: South Asian Screen Studies, October 27, 2022, 097492762211294. http://dx.doi.org/10.1177/09749276221129419.

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The invisibility of the modern backward caste presence is fundamental in validating Nair dominance in Malayalam cinema. This article analyses how cast–caste contingency operates as a mode of erasure to ensure the invisibility of ‘backwardness’ in Malayalam cinema. The mechanisms of erasure are described with reference to the multiple forms of proscription imposed on the Ezhava actor Thilakan following his enunciation of caste-based discrimination in the workspace. The insistence on verisimilitude while casting a lower caste body is substituted by a desire to camouflage in the case of a backwar
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24

Pereira, Ana Catarina. "Quando a arte é política: Cinema, feminismo e análise." AVANCA | CINEMA, October 25, 2021, 813–21. http://dx.doi.org/10.37390/avancacinema.2021.a312.

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This communication focuses on the possibilities of analyzing a film, made by a woman, from a gender perspective. Based on the assumption that feminisms did not denounce “only” the non-places of women in art, still allowing, and essentially, their slow and difficult entry into a male universe, we focus on an art whose lack of representation in terms of gender, in management positions, has been particularly criticized. The proposed communication begins, therefore, in the study of feminist criticisms aimed at certain films that will have mimicked (or even perpetuated) the patriarchal order. The c
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Li, Chengxi. "Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 33 (September 21, 2022). http://dx.doi.org/10.2218/forum.33.7449.

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This article examines Djouhra Abouda and Alain Bonnamy’s experimental documentary Ali au pays des merveilles (1975) and discusses how the filmmakers expose Algerian workers’ living conditions in the 1970s France, a promised land where racism and exclusion persist. This study analyses the visibility and invisibility of the Algerian labour by first discussing the exclusion of Algerian migrants on the basis of their racial identity and their social status, in light of thinking related to French republican identification. The author then examines the interrelations between the Algerian labour and
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Gómez García, Concepción. "Derroteros hipertextuales e intermediales entre el relato periodístico y la ficción cinematográfica: del crimen de Mazarrón a El extraño viaje." Doxa Comunicación. Revista Interdisciplinar de Estudios de Comunicación y Ciencias Sociales, July 1, 2024. http://dx.doi.org/10.31921/doxacom.n39a2057.

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Journalism has always been a rich breeding ground for audiovisual stories, but throughout much of the history of Spanish cinema, recognition of the generic label that “based on real events” implies has not been common. Being aware of the difficulties that arise when approaching a canonical work of Spanish cinema such as El extraño viaje (Fernando Fernán-Gómez, 1964) from this perspective, the purpose of this research is to carry out a comparative study of the transfer that is produced from the narrative journalistic report of the Mazarrón crime (an event that occurred in January 1956) and the
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Cavalcanti Tedesco, Marina. "Margot Benacerraf: (não) pioneira do Nuevo Cine Latinoamericano." Revista Latinoamericana de Ciencias de la Comunicación 21, no. 39 (2022). http://dx.doi.org/10.55738/alaic.v21i39.784.

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A venezuelana Margot Benacerraf realizou, nos anos 1950, dois filmes de grande repercussão. As relações entre tais obras, o projeto de cinema da diretora e o Nuevo Cine Latinoamericano (NCL) são muitas. Porém, Benacerraf quase não é citada nas publicações sobre esse movimento. Pretendemos, neste artigo, demonstrar que: 1) Benacerraf é uma (não) pioneira do Nuevo Cine Latinoamericano; 2) ela esteve conectada de várias maneiras com o NCL, seus eventos e participantes; e 3) sua invisibilidade na história do movimento se deve a diferentes aspectos do machismo que estrutura nossa região, e que invi
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Belladi, Sunil, and Hannah Sarasu John. "Representation of Indian Christians and their ‘othering’ in Mainstream Indian Cinema, a Critical Evaluation." International Journal on Minority and Group Rights, April 1, 2024, 1–19. http://dx.doi.org/10.1163/15718115-bja10156.

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Abstract The recent changing tides of social and political climate across the globe has impacted the influence of media and culture (Michael Gurevitch, 1982), and in effect, the social fabric of our globalised society. This paper uses theories from Sturcturalism to understand better the larger socio-cultural structures that lay deeply embedded into our understanding of society as a whole. This cultural understanding is important to look at media (and by extension film) through its power dynamics and capital it provides to the groups that it represents and the groups that it does not. The study
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Fernacz, Nicholas P. "The Skywalk is Gone !: Infrastructural sound and everyday invisibility in Tsai Ming-Liang’s cinema of slowness." Journal of Chinese Cinemas, December 5, 2024, 1–18. https://doi.org/10.1080/17508061.2024.2434991.

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Santi Guarda, Alessandra Camila, and Lourdes Kaminski Alves. "gesto da escritura e da tradução em Il naso d'argento." Revista de Literatura, História e Memória 19, no. 33 (2023). http://dx.doi.org/10.48075/rlhm.v19i33.30900.

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Italo Calvino se destacou como autor multifacetado que buscou pensar o livro e o mundo em crise, o que se observa tanto em sua produção ensaística como em sua produção literária. Escreveu contos, romances, ensaios, crítica de cinema e teatro, relatos de viagens e manteve expressiva correspondência com escritores, intelectuais e tradutores de diferentes nacionalidades, a exemplo da obra Lettere 1940-1985 (2000). Conhecido por obras como Le città invisibili (1972), Le cosmicomiche (1965), Se una notte d’inverno un viaggiatore (1979) e a trilogia I nostri antenati (1960), o autor também ganhou am
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López, Jesús Ramé. "La estética modal como herramienta de análisis cinematográfico." AVANCA | CINEMA, May 5, 2020. http://dx.doi.org/10.37390/ac.v0i0.12.

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Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film
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Guerra, Paula, and Sofia Sousa. "Dreaming is not enough. Audiovisual methodologies, social inclusion, and new forms of youth biopolitical resistance." Frontiers in Sociology 7 (December 5, 2022). http://dx.doi.org/10.3389/fsoc.2022.1020711.

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The eleventh Sustainable Development Goal, “make cities and human settlements inclusive, safe, resilient and sustainable,” can only be truly answered when there are no individuals in our societies who feel forgotten by the various social institutions. Not in Education, Employment, or Training [NEET] are among those most affected by this social invisibility. Nevertheless, these young people are not alienated or lost. Far from it. Instead, some of them found in the arts registered in the community—music, dance, photography and graffiti—a possibility to resist the various social stigmas attached
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Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “
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Blackwood, Gemma, and Toby Juliff. "“A Little Limited”." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3115.

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Right from the start of HBO’s surreal new sketch comedy Fantasmas (2024), we are confronted by the “ghosts” of the show’s title. The work of Salvadorean-American comedian, actor, and writer Julio Torres, Fantasmas constructs a highly artificial set of digital hauntings that, this article argues, speaks to and through a Latin experience that conjures unresolved tensions of displacement and exile, as well as raising probing questions about human agency and identity in an era of globalised neoliberalism. Torres has also given his own explanation for the use of the term in his show: all the people
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Hjorth, Larissa, and Olivia Khoo. "Collect Calls." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2586.

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 Synonymous with globalism, the mobile phone has become an integral part of contemporary everyday life. As a global medium, the mobile phone is a compelling phenomenon that demonstrates the importance of the local in shaping and adapting the technology. The adaptation and usage of the mobile phone can be read on two levels simultaneously – the micro, individual level and the macro, socio-cultural level. Symbolic of the pervasiveness and ubiquity of global ICTs (Information and Communication Technologies) in the everyday, the mobile phone demonstrates that the experiences of
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Brammer, Rebekah, Lisa J. Hackett, and Jo Coghlan. "From Noir to Neo-Noir." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3150.

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Though the ‘official’ film noir period ended more than 60 years ago, the enigmatic allure of noir endures, lingering like the smoke from a femme fatale’s cigarette. IMDB defines the classic film noir period of American cinema as beginning with the film Underworld (1927) and ending with Touch of Evil (1958), while many consider that John Houston’s The Maltese Falcon (1941), an adaptation of Dasheill Hammett’s hard-boiled detective novel, as launching the classic noir cycle. Classic noir is immediately recognisable for its characters: the brooding detective and sultry femme fatale; its themes of
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Sears, Cornelia, and Jessica Johnston. "Wasted Whiteness: The Racial Politics of the Stoner Film." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.267.

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We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners w
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