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In the wake of such blockbuster films as Dilwale Dulhania Le Jayenge (DDLJ) film-related travel from India has become an important economic factor in the tourist industry in Switzerland, to the point where the luxury suite in one of the most prestigious five-star hotels in the country is now dedicated to the style and memory of pioneer producer Yash Chopra. Tracing the romance between commercial Hindi cinema and Switzerland from the 1980s to 1990s onwards, the Chopra suite in the Viktoria Jungfrau hotel in Interlaken can also be read as an indicator of an important cultural constellation: a composite style in visual and design culture. [ABSTRACT FROM AUTHOR]

Cinema Culture in 1930s Britain (CCINTB) is a pioneering inquiry into memories of 1930s cinemagoing conducted in the 1990s by Annette Kuhn. Its research design, incorporating questionnaire surveys and interviews involving male and female participants in various parts of Britain, has become a benchmark for methods of exploring everyday practices during a golden age of cinemagoing. CCINTB's successor project, Cinema Memory and the Digital Archive (led by Professor Richard Rushton), has facilitated the creation of an accessible online infrastructure that has opened up CCINTB's data and findings for further research possibilities. CMDA's co-Investigators Annette Kuhn and Sarah Neely spoke to Dario Llinares, host of the Cinematologists Podcast, about the scope and objectives of the two projects, reflecting on questions of methodology in historical audience research; on the uses and value of digital tools in gathering, recording, analysing and presenting the findings of this kind of investigation; on strategies for making these findings accessible for a range of users; and on the future of cinema memory. [ABSTRACT FROM AUTHOR]

This article examines Steven Spielberg's 1997 film Amistad, which depicts a slave rebellion and mutiny on a Cuban slave ship in 1839, as a lens through which to view the origins of the Black Legend. The Black Legend emerged in 1830s in the U.S. to depict Latin American instability as the result of Spanish oppression, violence, cultural inferiority and Catholicism. The narrative served to benefit the ideology of white supremacy and the myth of American (read U.S.) "exceptionalism" by drawing global attention away from the maintenance of slavery in the U.S. and highlighting Spanish and Cuban involvement in the clandestine slave trade in the nineteenth century. The article analyzes a variety of secondary and primary sources that place blackness at the center of the construction of the Black Legend, from contemporary accounts of the Amistad revolt to subsequent references to blackness in histories of U.S.-Latin American relations in the 1830s and 1840s. The article shows how Spielberg inserts Christianity as a force for racial equality and holds up the judicial branch of the U.S. government as a model for Latin America to follow, echoing the inherent contradictions of the Black Legend in the late twentieth century. Ultimately, the article argues that U.S. history must be examined in relation to the history of Latin America, and narratives of blackness in the Atlantic world shaped national mythos and identities in similar ways. Examining the African Diaspora in the Americas, as well as the subsequent national narratives of race and national identities, helps to deconstruct narratives of exceptionalism and reveal political motivations and contradictions in the Black Legend narrative. [ABSTRACT FROM AUTHOR]

This essay examines some of the social contexts underlying the Supreme Court's decision in the seminal case of United States v. Bhagat Singh Thind (1923). Since the Court's decision in that case established that whiteness in the U.S. was based on 'common' sense, this essay examines how this 'common' sense was created in the public sphere. This essay presents arguments on how film, and in particular, the 1915 film Birth of a Nation, helped cement popular understandings of whiteness. Through these arguments, this essay provides further context to some of the social and political underpinnings of the Thind case. [ABSTRACT FROM AUTHOR]

The article discusses the efforts to promote the serious study of Arab cinema and film scholarship at the Insaniyyat Forum 2022 in Tunisia. The forum included eight panels on various topics related to Arab cinema, such as critiques of orientalism, refugee and migration cinema, and queer Arab film theory. The article also highlights five papers from the forum that challenge prevailing understandings of Arab cinema, including discussions on language, US cultural hegemony, cultural diplomacy, queer theory, and displacement in Tunisian film. The authors hope that these articles will contribute to a more vibrant and inclusive discussion of Arab cinema and its dilemmas. [Extracted from the article]

This article presents the findings of an Arts and Humanities Research Council (AHRC) project, Objects of the Mind: engaging publics in the material cultures of media and mental health (AH/W002140/1), which was co-investigated by academics at the University of East Anglia and the University of Manchester and curators from across the Science Museum Group (SMG). Through this coinvestigation we sought to tap into public interest in the SMG object collections and the accessibility of popular films (supplied by partners StudioCanal) to engage new audiences for our research on the interactions of psychiatry and cinema. From the museum perspective, we sought to use this research to ask new questions and tell new stories about the SMG objects, and to foster crosscollection dialogue between medicine (Science Museum) and media (National Science and Media Museum) collections. We discuss a range of events, activities and outputs we delivered towards these aims, but focus particularly on three new films we produced that (re)combined museum objects, feature film clips and expert interviews to tell new, enhanced or entangled stories about and across the collections. We will use these three short films to demonstrate three dialogues the project fostered: between museum collections; between histories; and between academic disciplines. [ABSTRACT FROM AUTHOR]

This article explores the relationship between film and games as forms of audio-visual play from the perspective of media theory and game studies. Initially, I discuss the research into mimetic audio-visual play, media and genres with their affordances and the transformation brought about by digitization to the mediascape. The comparative analysis starts with an outline of the evolution of films and games, followed by an investigation into their unique modes of representation, narration and audiovisualization. Research findings conclude that the cinematic mode of representation captures external movement, while games model systems dynamically; films present time-based narrative syntagms, whereas games offer space-based multilinear paradigms for playful selection; films still work primarily with indexical recordings, games with non-indexical procedural animations, although hybridization of recording and animation characterizes contemporary media practice. In sum, the relation between films and games can be defined as alterity, an interrelated, reciprocal and mutually influential otherness. [ABSTRACT FROM AUTHOR]

This article seeks to redeem the idea that virtual reality (VR) might serve to foster empathy by rethinking both the notion of empathy and the ways contemporary VR films have attempted to generate it. Specifically, this paper considers two forms of embodiment—being and being with—in order to highlight some of the shortcomings of the 'empathy machine' discourse. In doing so, I also offer an alternative analogy: a tool for empathy, rather than a machine. Finally, an analysis of two key VR productions that invite users to be with characters—rather than putting users 'in the shoes' of a character—allows me to demonstrate how a more productive path towards empathy in VR might instead lay in experiences that create space—or 'make room'—for the work of empathy to be undertaken by individuals who know and want to use VR as a tool, rather than as an end in itself. [ABSTRACT FROM AUTHOR]

Commonly associated with the cinema of Béla Tarr and Gus Van Sant, walking on screen has received relatively little attention from researchers despite the ongoing popularity of wayfaring films and videos. Unsurprisingly, even less is known about how walking functions in experimental film and video or responds to avant-garde storytelling. To fill this gap, I take a phenomenological stance on walking to discuss the pedestrian's embodied experience in a few stylistically distinct works: Crowdog (Vanessa Renwick, 1984/1998), A Walk (Jonas Mekas, 1990), Ordinary Matter (Hollis Frampton, 1972), and Death Songs & Car Bombs (Brendan and Jeremy Smyth, 2013). Despite having different formats and narrative foci, which, respectively, explore walking in a structural-diaristic framework and as a trance state or turn it into a social commentary on female liberation and the culture clash, all of these films echo the phenomenological turn in film studies, demonstrating how pedestrians relate to the multisensorial, kinaesthetic practice and space of walking. Compared to the itinerant mode of art cinema, experimental film and video usually challenge the representational nature of walking and present it as a more complex, disorientating, and unconventional experience, linking the sensation of walking to social mobility, personal freedom, feminism, or place and urban memory. [ABSTRACT FROM AUTHOR]

By taking a close look at the forms and cinematic strategies of Tsai Ming-liang's 1998 film The Hole, this article intends to identify the nostalgic subtext that emerges from the tensions generated by different temporal/diegetic levels of representation. Using proper citation mechanisms, the film dialogues with the memory of the century that ends, while projecting into the near future--the overly symbolic year 2000--the anxieties of the present, ultimately proposing a way out through human unmediated connection. Relying on scene analysis, the text will invoke thinkers from cultural studies, film studies, politics, history, philosophy and sociology as well as objects from the visual arts and fiction literature, to create an ample mesh of references that can help contextualize Tsai's gesture as a filmmaker of its time. [ABSTRACT FROM AUTHOR]

In the foreword to Architecture, Film, and the In-between: Spatio-Cinematic Betwixt, Mark Foster Gage opines that the architectural discipline has reached an ideological and creative “wall”. Devoid of a dominant ideological force in architecture to subvert or rebel against, and competing for the attention of an increasingly overstimulated public, he asserts that modern architecture lacks a taboo, set of building materials, language, or style that is revolutionary enough to make people pay attention to innovative design. However, Gage and the book’s editors Vahid Vahdat and James F. Kerestes suggest that the future is not entirely bleak: one simply needs to look inside the liminal spaces—whether between literal walls or academic disciplines—to find meaningful and engaging solutions. The central organising theme of this collection is “the betwixt”, a concept first coined by the Scottish cultural anthropologist, Victor Turner. Originally used as a term to explicate his theory of liminality, particularly as used to describe rites of passage within different cultural systems, the editors and contributors of this volume find numerous challenging and insightful ways of applying “the betwixt” to both architectural and cinematic design.

"Fate in Film: A Deterministic Approach to Cinema" by Thomas M. Puhr is a book that explores the connections between philosophy and film, specifically focusing on the philosophical concept of determinism and its portrayal in horror films. The book is part of the Short Cuts series, which covers a wide range of topics in film studies. Puhr analyzes various films, including those by Jonathan Glazer, Joel and Ethan Coen, Ari Aster, Jordan Peele, and Alfred Hitchcock, to examine themes of identity, family ties, and the limitations of free will. The book offers new perspectives on familiar cinematic texts and is recommended for scholarly readers interested in film and philosophy. [Extracted from the article]

This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms. [ABSTRACT FROM AUTHOR]

Abstract Expressionism is often regarded as the first purely American art movement and the first to gain mass cultural recognition. Prior to the 1940s, the consideration and appreciation of abstract art belonged to a certain intellectual elite, but the intimidating complexity of Abstract Expressionism, the daring allure of its artists, and the particularities of mid-century American culture converged to transform the avant-garde into consumer spectacle. This shift represented, and was symptomatic of, a larger societal rearrangement: information and commodity superseded industrialized labor as the core of American culture. Jackson Pollock, America's first avant-garde superstar, stood at the center of this shift, at once representing both active creative labor and the commodification of the idea of that labor. Hans Namuth's photographs and films of Pollock placed him and his art firmly in the realm of consumable popular spectacle, underlying further connections to Hollywood film and prominent print media. This article examines how Pollock became a paradigmatic figure in the avant-garde's proliferation into mass culture and asserts that mass culture did not simply subsume the avant-garde. Rather, the two realms engaged in a mutual construction that pushed the avant-garde across numerous social boundaries. The artistic, critical, and popular receptions that grew out of this convergence erased distinctions between 'high' and 'low' culture. [ABSTRACT FROM AUTHOR]

This article places Toni Cade Bambara at the center of a history of Black feminist culture and its radical politics of repair through a close reading of Bambara's and Louis Massiah's film treatment Come as You Are. In its depiction of a group of poor, unhoused Philadelphians taking over a luxury apartment building for a live-in, Come as You Are posits taking over and living-in as practices of refusal of the state care offered through social workers, the housing authority, welfare agencies, and the police. Bambara's cinematic work points to Black feminist representations of state violence and contra-state forms of repair that complicate how feminist theory encounters the problem of reparative appeal. [ABSTRACT FROM AUTHOR]

This article examines the material culture of Urdu action heroine films released in the era of Pakistan's Islamization (late 1970s through 1980s) by a woman-led company called Shamim Ara Productions, which was headed by the illustrious female star, director, and producer of the Urdu screen Shamim Ara. With titles such as Miss Hong Kong (1979), Miss Colombo (1984), Miss Singapore (1985), Lady Smuggler (1987), and Lady Commando (1989), the action films released by Shamim Ara Productions bear the imprint of a traveling culture of production roving through urban South and Southeast Asia. Not only do we find here a mobile industry, headquartered in Lahore, fostering collaborations between smallscale film and tourism entrepreneurs strewn across South and Southeast Asian cities (Colombo, Dhaka, Manila, Hong Kong), but we also encounter a hybrid cinema led largely by women and cross-fertilized by global images of female action and public mobility flowing into Pakistani cities with the video trade and its piracy, and satellite television (video and VCR having come to the country in the late 1970s). In this article, I situate the gender politics of the ensemble heroine narrative Lady Smuggler (1987) in its material culture of production and reception, with attention to the diverse locations of that culture. [ABSTRACT FROM AUTHOR]

In this essay, the notion of "the people behind the scenes" is used to build a bridge between the cognitive framework of film studies and migration research to describe those who are discursively categorized as "illegal" or "irregular" migrants and whose lives are exploited in the workforce and at risk in "Fortress Europe". As a natural southern border of the Schengen area, the Mediterranean region sometimes offers fleeting encounters between "illegal" migrants excluded by this border regime and foreign travellers courted by the tourism industry. These ephemeral juxtapositions of people with contrasting political and economic stakes create what we call "visual clashes", gathering in one frame antithetical human lived experiences of this maritime area. Drawing on Nicholas Mirzoeff's concept of the "right to look", which the visual culture theorist and activist uses as a bulwark against a dominant Western regime of visuality, this essay analyses a series of visual texts that bear witness to unwanted encounters by this dominant regime's visual system of classification and separation. The essay examines two press photographs and television images alongside Elleke Boehmer's short story "Synthetic Orange", and analyses a cartographic experiment and a film; each case opposes the authority of Western visuality and makes a claim for the autonomy of the right to look. [ABSTRACT FROM AUTHOR]

Based on the question of the representability of economy and economics in audiovisual media, developments on the financial markets have often been discussed as a depiction problem. The abstractness and complexity of economic interrelations seem to defy classical modes of storytelling and dramatization. Nevertheless, public opinion about economic changes and dependencies crucially relies on audiovisual media. But how can the public communicate in images, sounds, and words about forces that are out of sight and out of reach, and can supposedly only be adequately grasped by experts? In a case study on audiovisual images of the global financial crisis (2007–), this paper tracks and analyzes a recurring motif: the staging of expert knowledge as close‐ups of expressive faces vis‐à‐vis computer screens in television news, documentaries, as well as feature films. It draws on the use of digital tools for corpus exploration (reverse image search) and the visualization of video annotations. By relating and comparing different staging strategies by which these "broker faces" become embodiments of turbulent market dynamics, the paper proposes to not regard them as repeated instantiations of the same metaphor, but as a developing web of cinematic metaphors. Different perspectives (news of market developments or historical accounts of crisis developments) and affective stances toward the global financial crisis are expressed in these variations of the face‐screen constellation. The paper thus presents a selection of different appearances of "broker faces" as a medium for an audiovisual discourse of the global financial crisis. A concluding analysis of a scene from Margin Call focuses on its specific intertwining of expert and screen as an ambivalent movement figuration of staging insight. Between the feeling of discovery (of a potential future threat) and the sense of being haunted (by a menacing force), the film stages the emergence of a "broker face" in an atmospheric tension between suspense and melancholy. We argue that the film thereby reframes the motif and poses questions of agency, temporality, and expert knowledge. [ABSTRACT FROM AUTHOR]

Renowned narratologists, especially those focusing on film studies, have little interest in the prologue as a narrative device. I argue that this film segment is crucial in postmodern narratives, usually characterized by their nonlinearity. In films that feature it, this introductory scene/sequence is part of the work’s complex embroidery and is formally produced in the same style of the overall film, alerting to its tone, nonlinearity, self-reflexive nature, theme, and metanarrative discourse. Like all prologues, it explains part of what is to follow and engages the viewer’s curiosity. I call these segments hermeneutic decoders. However, in complex narratives they also deliberately hide the film’s full story and/or real meaning in plain sight. They engage the viewer’s cognitive abilities but manage to be as enigmatic as the rest of the film (despite containing most of the clues to its understanding). I will provide examples from several established categories of complex films and will deal with a specific case study in more detail: David Lynch’s INLAND EMPIRE (2006), which belongs to an undecipherable category of narratives that Kiss and Willemsen call “impossible puzzle films.” After a detailed analysis of the hermeneutic decoder, I will explain how it provides all the clues for an account of the film as an allegory of spectatorship from two theoretical standpoints: Gilles Deleuze’s concept of the time-image and Jacques Lacan’s notion of the gaze. The aporetical enunciation and the duplicated gaze, in tandem, form the key to the film’s narrative enigma, open to an intense hermeneutic activity that is nevertheless, and necessarily, frustrated. [ABSTRACT FROM AUTHOR]

In this analysis, the author analyzes Jindřich Polák's 1977 sf comedy Tomorrow I'll Wake Up and Scald Myself with Tea and its implications regarding time travel, ideology, and repetition. In exploring the paradoxes present in time-travel fiction, the article finds there exists a concurrent trauma for the individuals involved, stemming primarily from the splitting-then-reintegrating of the self in the wake of the expedition. The film – centering around a group of former Nazis, whose plan is practically thwarted through a set of comically tragic circumstances regarding the aircraft's pilot – offers a humorous approach to totalitarian discourse, pointing out the fallibility of said institutions and showing the pitfalls of adherence to Nazi ideology. The author draws on modern instances of fascist ideology and connects them to the comedic situations presented in Polák's film, putting forth a critical approach to the identification of Nazi modernism as comprised solely of loss and lack. [ABSTRACT FROM AUTHOR]

My essay maps Yingjin Zhang's impact on film studies by tracing selective examples of polylocality in queer Sinophone cinema. In his original framework of polylocality, the concept refers to "the production of scale and translocality" in cinematic representations of space in globalization. This essay explores several modes of queer urbanism and polylocality across the Sinophone cities of Hong Kong, Taipei, and Kuala Lumpur. In Wong Kar-wai's 1997 queer classic Happy Together, the local spaces of cruising, drifting, and boredom in Buenos Aires are linked to the postcolonial anxiety of Hong Kong mediated by Taipei as an alternative geopolitical entity. In Yau Ching's 2002 film Let's Love Hong Kong, the status of Hong Kong's newly postcolonial regionalism is linked to its cosmopolitan mediation by various lesbian subjects from Mainland China, the local, and cyberspace. Finally, Tsai Ming-liang's 2006 ecological and postmodern illumination on queer desire and migrant workers in I Don't Want to Sleep Alone offers a cinematic representation of queer polylocality in Kuala Lumpur. The film details scenes of interracial intimacies, vulnerability, and survival amid ecological destruction and pollution. Overall, my essay thinks with Zhang's contribution to cinema studies and urban studies by queering the concept of polylocality through Sinophone articulations. [ABSTRACT FROM AUTHOR]

Copyright of Revista Luciérnaga - Comunicación is the property of Politechnico Colombian Jaime Isaza Cadavid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The relevance of media franchises and transmedia narrative universes in the mainstream audiovisual context calls for a new reflection on the origins of this set of practices and strategies. This is possible through a critical rereading of the Matrix project as the precursor of many of the practices that define the contemporary mainstream mediascape. With these considerations in mind, this paper proposes an analysis of Matrix Resurrections as a metalectic and parodic fruition experience characterized by new elements of narrative complexity such as the collapse between a sequel and a reboot and the transmedia mise en abyme. [ABSTRACT FROM AUTHOR]

This article presents a new approach for understanding the sense of place in film, based on the findings of a practice-based case study. With a background in both television production and heritage interpretation, I approached the production of a short film for a heritage site as an opportunity to investigate filmic approaches to interpreting and analysing a sense place by using the location-linked theories of space and place from philosophy and human geography and the understanding of setting and landscape from film studies. The article contributes to the ongoing discussion around the place at a time when digital technologies are increasingly altering definitions of spatiality and one’s sense of place. [ABSTRACT FROM AUTHOR]

Chris Vanderwees provides a brief review of Richard C. Ledes's film, Adieu Lacan, the story of a young woman's struggle to understand and come to terms with her origins through psychoanalysis. Following this review, Vanderwees interviews Ledes about the making of the film, the depiction of Lacan's clinical practice, and some of the decisions regarding representation. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Documentaries are a medium for capturing the reality of people by constructing their everyday life. They are narratives told using sound and moving pictures that highlight the world's wonder, complexity, and contradictions. These moving photographs visually express the life of people, the hardships and the events revolving around them. Non-fiction films dramatise factual information to the readers instead of presenting creatively, and are compelling, informative and appreciated as they represent the events without moulding them. Documentaries attempt to enlighten, educate, and raise awareness by utilising interviews, archive material, reenactments, and narration. They also present a non-fictional perspective that frequently challenges and broadens viewers' perception of the world. The documentaries epitomise the social, cultural and economic facets by portraying the lives of people living in different parts of the world. The present paper studies how cities are represented through documentaries and analyses non-fiction films as a platform for encapsulating the authenticity of the select cities. The analysis includes documentaries Calcutta (1969) by Louis Malle, Bombay Our City by Anand Patwardhan and Dilli by Rintu Thomas and Sushmit Ghosh. The study attempts to understand the economic disparity, social problems and other struggles in the lives of people living in cities through documentaries made on Indian metropolitan cities. [ABSTRACT FROM AUTHOR]

The appeal to the Russian film studies heritage is conditioned by the need to find solutions in the construct of actual contemporary problems, which today have the status of open problems. In this correlation, our research interest is aimed at appealing to scientific heritage of one of the famous Soviet and Russian film expert V.E. Baskakov (1921–1999) in configuration of his theoretical publications on the pages of Cinema Art journal. The purpose of our study is to carry out a holistic retrospective analysis of V.E. Baskakov’s film studies views presented in his theoretical works in Cinema Art journal (1975–1999). Research material: texts of V.E. Baskakov’s theoretical film studies publications in Cinema Art journal. Research methods: content analysis, comparative-historical analysis, textual, hermeneutical method of understanding and interpretation of the text, theoretical methods: analysis, synthesis, induction, deduction. The basic conceptual foundation of V.E. Baskakov’s research was a multifaceted analysis of the problems of methodological knowledge in Russian film studies. The theoretical works of the film expert outlined the following topics: the state and development of Western cinematography, the specifics of its study in the context of ideological and political, as well as social dogmas of the Soviet period; the problems of Soviet cinematography, the genre uniqueness of expressive means; the importance of studying the history of world cinematography in the focus of creation of a film work; the analysis of filmmakers’ creativity works; the relationships during the film production with the history and national culture; the development of Soviet and foreign cinematography theories influencing the cinema artists. As a result of the content-analytical discourse of V.E. Baskakov’s film studies positions presented in his theoretical articles in Cinema Art journal, several conclusions can be drawn: - in his theoretical articles, V.E. Baskakov paid special attention to the study of the main approaches and methods of film studies analysis, trying to trace their modification in the context of political, social, and cultural construct; - V.E. Baskakov’s theoretical approaches focused more on analyzing the problems of cinematographic methodology, genre specificity, and expressive means within the study of film phenomena; - the content of some V.E. Baskakov’s articles traces the problems associated with the study of the most important phenomena in the history and theory of foreign film studies; - the works of this film expert have clear tendency to reflect the ideology of the ruling Communist Party and orientation towards the study of the interrelations and influence of political and socio-cultural transformations on the development of cinematography; - V.E. Baskakov’s theoretical works are characterized by the ideological analysis of historical events and trends that shaped the Soviet cinematography in different time periods and reflection of foreign cinematography. [ABSTRACT FROM AUTHOR]

In this editorial, the editors introduce the 12.2 volume of The Australasian Journal of Popular Culture. The dynamic and interdisciplinary nature of the field is discussed with reference to the collection of articles within the volume, highlighting the malleability of popular culture in all its transdisciplinary forms. The editors provide a summary of the seven articles included in the volume, which collectively represent diverse critical discussions of the field across sociopolitical, socioeconomic and sociocultural artistic realms. The articles examine the evolving realms of the monstrous, the mythic, the heroic and the historical through various mediums like television, film, characters and historical moments. The editors then conclude by offering a summary of the three book reviews included in the volume. [ABSTRACT FROM AUTHOR]

The examination of still/motion has been a longstanding subject within the realm of art history, but its significance has gained greater prominence in the field of film studies since the 1970s. However, it appears that the focus has predominantly been on the aspect of motion, overshadowing the exploration of stillness. This paper examines Gregory Crewdson's use of stillness to create narrative and emotional effects in his photography, specifically in the series An Eclipse of Moths. Drawing on theories of still/motion and intermediality, and situating his work within the broader context of contemporary photography, the paper demonstrates how Crewdson's work reflects and contributes to debates and trends within the medium. Crewdson's static lens captures moments of emotional and psychological intensity, offering a remarkable exploration of the power and complexities of photography in narrating. First, this paper delves into how Crewdson blurs the boundaries between photography and cinema, and the consequent impact on the narrative power of his photographs. Second, it explores the role of cinematic techniques, such as lighting, composition, and staging, in enhancing the narrative quality of Crewdson's photographic works. Finally, it examines how Gregory Crewdson employs stillness and stasis to convey narrative depth and evoke emotional resonance in his photography. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the ways in which pastiche, the past, and national iden- tity are portrayed and navigated in the concluding film of Edgar Wright’s The Cornetto Trilogy: The World’s End (2013). By focusing on the relationship between the use of the past and pastiche, it will be considered how they are employed to negotiate the notion of national identity. Through its comedic strategies and tropes, the film rebels against a homogenised version of Englishness based on mythical assumptions of the past and striving toward perfection. The dissection of the cinematic structure of pastiche will reveal a temporal framework questioning contemporary narratives of national identity. Moreover, the exploration of nostalgia and the past as places of retreat, as well as pastiche as a device of comedic criticism, enable Wright to offer a portrait of Englishness as struggling to recover its identity amidst a turbulent and apocalyptic time.

A transnational film studies and mixed race studies analysis comparing French and American cinemas, which have had significant international exposure and have constantly strengthened exchanges between their national talents.