Search

The document discusses the twentieth-anniversary conference of the journal "French Screen Studies," which was held in Lyon in November 2021. The conference marked a significant change in the journal's name and editorial team. The event focused on continuity, change, and perspectives in French cinema and screen media, with a collection of leading international scholars presenting their work. The document highlights the evolution of the journal, thematic issues, and the impact of digital age on publication and research in the field of French and Francophone cinema and media studies. [Extracted from the article]

In the course of researching and writing the first-ever book length biography of Edward Graeme Robertson's (1903–1975) eventful life and career in Australasian neurology, a rare 1933 cinema film recording of National Hospital staff at Queen Square has recently been rediscovered. Graeme completed his residency in neurology at Queen Square in the early 1930s and maintained close connections with his colleagues in London, thoughtfully recording them at different times using early movie cameras. Two versions of Graeme's 1933 film have been preserved, and there are also other color clips of his colleagues from later in life in the UCL Neurology archives and Robertson family collection. These remarkable films contain images of several historically significant neurologists, including Gordon Morgan Holmes (1876–1965), Samuel Alexander Kinnier Wilson (1878–1937), Derek Denny-Brown (1901–1981), Macdonald Critchley (1900–1997), and several others. We provide a contextual summary of the many clips recorded alongside an in-depth inventory of all the personalities represented in the 1933 film. Selected photographs are used to indicate the contents of these remarkable films. [ABSTRACT FROM AUTHOR]

The article focuses on the emotional journey of the narrator as they navigate the loss of their pet, Herman, while attending a book club meeting. Topics include the narrator's memories of caring for Herman, the impact of the pet's absence on their daily life, and the unexpected joy that arises from a friend's acknowledgment of their grief.

Copyright of Journal of Public Relations Research Middle East / Magallat Bhut Al-Laqat Al-Amh - Al-Srq Al-Aust is the property of Egyptian Public Relation Association 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 use of WWII films as educational tools in history classrooms. It emphasizes the power of films to engage audiences and bring history to life, particularly as the generation with lived memory of WWII diminishes. The article emphasizes the importance of considering the biases and perspectives presented in these films and encourages students to critically analyze them. It also provides a framework for teaching with film, including fostering empathy, developing interpretive skills, exploring difficult topics, and visualizing the past. The article acknowledges the challenges and limitations of using film as an educational tool but highlights its potential to motivate students and enhance historical film literacy. [Extracted from the article]

Immediately after India's independence, the Indian revolutionary martyr Bhagat Singh became the focus of several competing biopic projects. A censorship controversy erupted around the making of the now-lost film Shaheed-e-Azam Bhagat Singh (1954), the first biopic on the martyr. It became a contentious site where the interests of the filmmakers, former revolutionary colleagues of Bhagat Singh and his family members, and various other stakeholders like public representatives, intersected with an almost disinterested state. Following Debashree Mukherjee's (2019) methodological approach of considering film censorship 'as a productive material site for the study of lost films', this article enters into a microhistory of this controversy by utilising bureaucratic paperwork and filmic and nonfilmic paratextual material to compensate for the absent film element. By tracing the very first attempts which were made to mount a biopic on Bhagat Singh, I try to investigate personal and political motivations behind the race to make the first biopic on the revolutionary martyr. For this purpose, I employ Chris Moffat's (2019) mobilisation of the metaphors of corpse, corpus and corps, which he productively uses to understand the politics behind the multifarious afterlives of Bhagat Singh and wrangle over his revolutionary inheritance in the post-colonial period, and make a case for the importance of the study of Bhagat Singh's hitherto neglected biopics by arguing that the time of their making, their production contexts and attendant controversies afford us unique insights into what Moffat terms the politics of 'India's revolutionary inheritance'. [ABSTRACT FROM AUTHOR]

Many of us consider ethnographic and biographical films as fixed categories, serving differentiated knowledge schemas. Yet, in the context of autobiographical filmmaking, the categories overlap, and new aesthetic and genre possibilities emerge. This article arises from this context; where post-Independence South Sudan's film narratives merge visual ethnography's attentiveness with realist narration, and biographical film's reflexivity toward melodramatic self-narration. Using Akuol de Mabior's No Simple Way Home (2023) as a case of this genre overlap, this article proposes ethnobiopic as an appropriate coinage. It ends with a discussion of the perlocutionary possibilities for its characterization. [ABSTRACT FROM AUTHOR]

This text explores the concept of postnational cinema and its relationship to transnational cinema in the context of French film and television production. It discusses the diversification of offerings and audiences, as well as the connections between different levels in the production and consumption of media. The text includes analyses of various French and francophone productions, examining their strategies for appealing to international audiences and their portrayal of national identity. The authors suggest that the rise of streaming platforms and increasing intercultural literacy may lead to the prominence of less familiar territories and cultures within mainstream cinema circuits. They emphasize the importance of research in understanding our globalized world. [Extracted from the article]

Cet article explore les dynamiques contradictoires à l'œuvre dans les biopics français contemporains qui apparaissent d'une part comme les symptômes d'une culture cinématographique globalisée, ce dont témoigne l'appropriation récente du label 'biopic' dans le répertoire générique national, et d'autre part comme un écrin pour des histoires de vie qui restent ancrées dans une histoire et une culture nationales. Plusieurs facteurs expliquent ce positionnement paradoxal et conduisent à l'hypothèse d'une ère postnationale pour le genre : l'hybridation culturelle et cinématographique des représentations ; l'effacement de l'origine nationale des biopics dans le discours critique en raison de leur abondance dans les cinémas occidentaux ; le caractère bicéphale du biopic français, avec des films aux sujets biographiés locaux et aux ambitions locales et des films aux ambitions internationales consacrés à des héroïnes et des héros nationaux mais d'envergure internationale ; la mise en scène d'identités plus complexes et la diversification des mémoires ; l'utilisation de formes de multilinguisme ; l'exportabilité du genre, à la fois recherchée par les producteurs et en partie effective. This article explores the contradictory dynamics at work in contemporary French biopics that appear on the one hand as symptoms of a globalised film culture, reflected in the recent appropriation of the 'biopic' label in the national genre lexicon, and on the other as a showcase for life stories that remain rooted in a national history and culture. Several factors explain this paradoxical positioning and lead us to hypothesise a postnational era for the genre: the cultural and cinematographic hybridisation of representations; the erasure of the national origin of biopics in the critical discourse owing to their abundance in Western cinemas; the two-headed nature of the French biopic, which includes films with local subjects and local ambitions as well as those with international ambitions devoted to figures who are national but with an international status; the mise en scène of more complex identities and the diversification of memories; the use of different types of multilingualism; and the exportability of the genre, both sought after by producers and in some cases successful. [ABSTRACT FROM AUTHOR]

The author examines the mise en scène of performance in Barbara (Mathieu Amalric, 2017) in the context of the problematic yet pervasive cultural re-inscription of the musical biopic in French cinema, and its remediation of the traditions of chanson française and variété through the body of the female performer. Featuring Jeanne Balibar as 'Brigitte', an actress playing the eponymous singer-composer, Barbara unfolds as a 'film-about-filmmaking' that presents the iconic Barbara as a hypothesis. The article looks at performance in terms of approximation rather than imitation and considers the ways in which the film extends its investigation on the chanteuse to the spectator-in-the-text played by Amalric himself. As a biopic, Barbara stands against the fetishisation of the absent (i.e. dead) performer. Instead, it engages with the rhetorical authenticity that makes for the basis of the genre by producing the female performer's presence as cinematic event. Furthermore, the article discusses the connection between performer and spectator through affective intimacy and redefines the space of performance as a nomadic cinematic form, which hypothesises a postnational cinematic aesthetic that weakens the alignment of the female musical performer with the Frenchness of the biopic. [ABSTRACT FROM AUTHOR]

The article provides an overview of the film "Saina," a biographical sports film centered around the life of Indian badminton player Saina Nehwal. It explores Nehwal's journey and acknowledges the individuals who have played a role in her success. The film also delves into the media's impact on Nehwal's career, examining how her achievements are publicized and her commitment evaluated. It addresses broader issues such as the portrayal of women in Indian society and the challenges faced by athletes who become media sensations. The article features insights from Goutam Karmakar and Payel Pal, scholars from different academic institutions, offering a diverse and global perspective on the topics discussed. [Extracted from the article]

"Mapping the Rockumentary: Images of Sound and Fury," edited by Gunnar Iversen and Scott MacKenzie, is a comprehensive exploration of the rockumentary genre. The book covers a wide range of topics, including the historical context, political culture, and close readings of various popular music documentaries. The term "rockumentary" is used broadly to encompass documentaries about different popular music forms. The editors argue that the emergence of the rockumentary in the late 1950s was influenced by technological advancements and the growing presence of youth cultures. The book also examines the aesthetics, politics, and counter-cultures depicted in rockumentaries, as well as the future of the genre. Overall, "Mapping the Rockumentary" offers valuable insights into the intersection of music and film. [Extracted from the article]

Copyright of Sexuality, Gender & Policy Journal is the property of Wiley-Blackwell 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.)

Attaining the status of a recognized genre of fiction via postmodernism with its immanent polyphony and deconstructivist possibilities, biofiction in the last two decades of the 20th century eventually became a neat blend of biographical fact and literary fiction with a hybrid aesthetic which opened new perspectives for both enquiries into and interpretations of this kind of fiction in the 21st century. While biographies are still studied and used as references to historical figures, recent criticism has also considered some of the biographical novels as relevant sources about their fascinating lives. With the unwaning interest in the "star-crossed" lives of Ted Hughes and Sylvia Plath and the enormous amount of critical material about them in the form of numerous biographies, monographs, articles, and films, at least five well-known novels have tried to shed light on their tumultuous relationship and marriage culminating with the intention to start divorce proceedings and Plath's suicide. This paper will explore empathy, endurance, authenticity and readability in two of them - Kate Moses's Wintering (2003) and Susan Schaeffer's Poison (2006) while making a commentary on the ever-elusive symbolic truth about the two poets that both novels attempt to illuminate. [ABSTRACT FROM AUTHOR]

Copyright of Millars: Espai i Història is the property of Millars: Espai i Historia 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 article discusses three latest screen portrayals of Emily Dickinson, namely Terence Davies's biopic A Quiet Passion (2016), Madeleine Olnek's independent biographical comedy Wild Nights with Emily (2018), and Alena Smith's Apple TV+ teen series Dickinson (2019-2021), examining to what extent these texts can be termed neo-Victorian biofictions. The article focuses on the latter two screen products, which are analysed as queer and selfreflexive biofictions, questioning and subverting the dominant cultural image of the poet as a reclusive writer and thinker, and portraying her in an irreverent and often humorous way. Their respective creators both chose to make Dickinson's love affair with her sister-in-law the driving force of the plot, demythologising the poet and claiming her as an icon of queer heritage. In turn, Terence Davies's 2016 biopic is treated as a counterfoil to the other two, by virtue of its startlingly conservative and heteronormative agenda. Furthermore, the article discusses the use of humour as a strategy in queer biofiction, and finally it analyses how Olnek's and Smith's projects deploy romantic comedy tropes in their presentation of the romance between Emily Dickinson and Sue Gilbert. [ABSTRACT FROM AUTHOR]

Although they may have learned the norms and practices of fiqh at home and in school, most Muslims have scant knowledge of the ways in which their religious laws and mores were practiced in pre-modern times. Indeed, when it comes to imagining and understanding the role of fiqh in earlier Muslim societies, many contemporary Muslims get their information through fictional treatments, particularly from films and television dramas. For Arab Muslims, the relevant medium here is the musalsal , the 30-episode Ramadan drama. This article is a preliminary investigation into the role of fiqh in Egyptian historical films and musalsalāt. Based on collected scenes of fiqh – judges passing sentences, muftis issuing fatwas, teachers instructing, and student discussions – it identifies the issues at stake and analyzes the style of argumentation, the exercise of authority, and the general image of a fiqh -based society created in films and dramas. While the fuqahāʾ only play a minor role in Egyptian film, they are prominent in Arabic historical and religious musalsalāt , often, but not exclusively, produced in Egypt. In these two genres, we have biopics of major religio-legal figures, such as the founders of the four legal schools, major theologians, 19th century reformers, and a few modern ʿulamaʾ. Tracing the evolving treatment of fiqh and fuqahāʾ from the early dramas of the 1980s up to today, this article focuses on the themes of judicial independence, justice for the poor, corruption, and the intellectual process behind rulings. It argues that, overall, the lesson of the musalsalāt is a positive one: Shariʿa works, authoritarian rule has the capacity to be enlightened, and the key to effective leadership is appointing the right people to govern, or judge. The article concludes by discussing these messages in a contemporary Egyptian setting. [ABSTRACT FROM AUTHOR]

This article explores bio documentary cinema, an often overlooked biographic genre that, unlike its “big brother,” the biopic focusing on the lives, achievements, and legacy of people from the past, prefers to investigate living people through interviews and other forms of interaction. In order to understand the challenges, methods and human dynamic shaping talking heads documentaries, the article prioritizes the first-hand experience of the filmmaker, more specifically, that of Gyula Gulyás, a Hungarian director of documentaries for over five decades. After a general introduction to his career path, preferred topics and shared interests with local and regional documentary filmmakers, the interview covers areas relevant to the biographic documentary such as generic labels, professional standards and the usefulness of cinematic portraits for academic research, choice of subject, methods of interviewing and structuring recorded material, moral responsibility and intimacy as a well as general and specific questions about financing and distributing biographic documentaries, their reception, and the struggle with political and non-political censorship [ABSTRACT FROM AUTHOR]

The second film in what one might call Aaron Sorkin’s ‘Asshole Diptych’ (following 2010’s The Social Network) Steve Jobs engages with Apple’s controversial founder: a man whose legacy, as Sorkin’s screenplay voices, had more to do with building beautiful machines than being a beautiful person. This article argues that Sorkin’s innovative biopic approaches its complex subject (both Jobs, and Silicon Valley) via the artifice and intricacy of its own screenplay form: the portrait of an imperfect man, as a perfect cinematic machine. Departing from classical biopic’s focus on the narrative of a ‘life’, Steve Jobs’ three-part structure - focusing on three public product releases - aligns with the structural expectations of the classical screenplay, as well as acknowledging its theatrical setting and influence: the idea of Jobs as a performance. In the script’s various progressions and parallelisms, this article shows, Steve Jobs offers a self-consciously aesthetic rendition of a life seemingly ‘fixed’. Recognising that art is more perfect than its subject, Sorkin’s film encapsulates and potentially obviates the contradictions at play in Jobs - not unlike the ‘beautiful products’ for which Jobs is himself recognised [ABSTRACT FROM AUTHOR]

This study focuses mainly on the genre of biographical compilation in the context of development of the compilation film form in Slovakia after 1989. The author analyses current creative approaches in creating biographical compilations or compilations with biographical motifs. His main interest is the application of film collage techniques by those documentary directors who work with appropriated audiovisual and archival materials. He explores the crossing of authenticity and fiction based on the case study of the biographical compilation film Countdown - The Last Film of Ivan Palúch (Odpočítavanie - posledný film Ivana Palúcha, dir. Martin Palúch, 2022). This feature film is a unique example of a biopic about the career and life of a film actor. [ABSTRACT FROM AUTHOR]

This article analyzes two recent biopics, Judy (2019, Rupert Goold) and Blonde (2022, Andrew Dominik), which reimagine the icons from the Hollywood Golden Era, Judy Garland and Marilyn Monroe respectively, under the prism of the #MeToo movement. By examining the way in which these movies treat abusive experiences within the film industry, along with their placement in the public arena, this paper exposes how contemporary biopics dedicated to female movie stars face the consequences of #MeToo in Hollywood. In terms of textual construction, both movies presumptively adopt a female perspective in portraying actresses’ experiences of exploitation –such as sexual harassment, eating disorders, substance abuse, and more– under a male-dominated Hollywood studio system. Meanwhile, directors’ articulated intentions, promotional campaigns, reviews, and film critiques seeking to convincingly place the films in the domain of public discussion around #MeToo. Despite this ‘feminist’ assumption, this article will argue that these movies, while appearing to confront and re-address injustices in Hollywood through revisiting the mythical narratives of well-known female stars, fail to challenge the melodramatic victimization plot familiar in traditional biopics about women. In doing so, it will explore how they reinforce a representation of the female Hollywood star after #MeToo as a mentally troubled woman struggling to survive in an exploitative film industry. [ABSTRACT FROM AUTHOR]

Many accounts of film genre reiterate a familiar narrative of growth to “classic” maturity and subsequent parody and/or deconstruction, and the biopic is no exception. However, rock music biopics have reversed this narrative, so that the genre begins in parody and only gets serious later. This is partly because rock and roll music began as parody, mainly by white people imitating African Americans, what is known as blackface minstrelsy, in which music and humour are necessarily (because of racism) mixed. In turn, the 60s rock counterculture took many of its cues from this untimely birth, appropriating African-American marginality in modes that were at once serious (concerns about authenticity) and ironic (mockery of Establishment values). This collision of opposites helps explain both the counterculture’s preference for documentary, especially of live performance, over Hollywood fiction, and its predilection for mockery of both (for example, mockumentary). As the single most influential proto-rock act, whose inventive wit and comic antics, rendered in newsreel, direct cinema, cartoon, and on record, were keys to their commercial and critical success, The Beatles were the perfect subjects for such ironic canonisation. Their filmic career highlights the intersection of documentary and comedy, as well as reality and fiction, via musical performance, a mode which can problematise documentary/ comedy, and reality/fiction distinctions. In line with this argument, I have focused on key live performances from the Beatles’ career, and how they are parodied in The Rutles: All You Need Is Cash (1978) henceforth The Rutles, which doubles as the first filmic biography of the Beatles and the first rock mockumentary. The Beatles’ later career saw their public image shift from intentional to unintentional comedy, a shift mapped in the The Rutles, which gradually moves from parody towards satire. It is argued that The Rutles is open to a range of audience identifications and readings: it is at once a text for “true fans”, a playful deconstruction of their investments, but also one with real-world reverberations (some of its predictions came true). In this sense, it is a “media savvy”, peculiarly contemporary text that questions the priority of reality over fiction. [ABSTRACT FROM AUTHOR]

This article compares two films about French singing stars: La Môme (La Vie en Rose, 2007), directed by Olivier Dahan and Dalida (2016), directed by Lisa Azuelos, respectively about Edith Piaf and Dalida. It argues that Dahan in La Vie en Rose attempted to make a feminist biopic, which recognises that a famous woman can live mostly for her art or even equate her life with her art. This does not necessarily mean that such a woman, Piaf in this case, is unable to love passionately, but rather that there is no competition between her romantic and professional personas. Piaf’s talent for singing is also presented as a protection against external tragedies and as a source of meaning in her life. By contrast, Azuelos, in a more traditional fashion, plays up the contrast between the successful professional life of Dalida and her unhappy personal life, suggesting that if Dalida chose a different profession, she could be happier. [ABSTRACT FROM AUTHOR]

This article, titled "Editorial," discusses the surge in the production and success of biopics in recent years. The increase in biopics can be attributed to factors such as an interest in micro-histories and the popularity of biographies and memoirs of famous individuals. Many biopics are directed by well-known filmmakers and often combine elements of film and concert, making them suitable for theatrical distribution. Biopics allow filmmakers to explore the boundary between fiction and documentary, and they often fall into categories such as mockumentaries or parodies. The article includes essays that focus on specific biopics, such as those about The Beatles, Edith Piaf, Dalida, Judy Garland, Marilyn Monroe, and Steve Jobs. These essays examine various aspects of these biopics, including their treatment of abusive experiences in the film industry and their reflection on current gender and racial politics. Overall, the article highlights the variety of aesthetic approaches and uses of biopics and the audience's appetite for learning about real people, even if biopics can only provide a partial truth. [Extracted from the article]

A major writer of twentieth century English Literature, T S Eliot was awarded the Nobel Prize for Literature and Order of Merit in 1948. His major works include The Waste Land (1922), Murder in the Cathedral (1935), Four Quartets (1943), and The Cocktail Party (1949). J Robert Oppenheimer, on the other hand, was an American theoretical physicist who was the Director of the Los Alamos laboratory for the Manhattan Project, which built nuclear bombs that were dropped on Hiroshima and Nagasaki. A biographical film by Christopher Nolan, titled Oppenheimer, was released in 2023, based on the life and career of J Robert Oppenheimer. However, the point of similarity between these two diverse personalities is the impact of the Bhagavad Gītā (Gītā) on them. The Bhagavad Gītā or "The Song of God" is considered a major philosophical poem which constitutes a part of the epic Mahābhārata. Its themes of detachment, bereft of desire and love are central to the Four Quartets. Eliot tried to understand time and mystical experiences in Four Quartets in the light of the Gītā, while Oppenheimer found solace in it. Gītā's message of executing one's duty (karma) without caring for its result, impressed Oppenheimer. This paper attempts to present how an Indian philosophical poem impacted the Western world, i.e., Eliot's Four Quartets and Oppenheimer's life. [ABSTRACT FROM AUTHOR]

Copyright of Nexus (1900-9909) is the property of Universidad del Valle 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.)

In this essay I explore two recent 'reparative biopics,' Once Upon a Time in Hollywood (Quentin Tarantino, 2019) and Seberg (Benedict Andrews, 2019), which share features found in the resurgent cycle of 1960s-set 'back studio' films that have appeared in the wake of feminist criticism of mainstream Hollywood. Although positioned very differently in terms of genre (as biopic and counterfactual history respectively) and in their creative engagement with the cultural and political history of the late 1960s, both are notable for the way they deal with the real female stars at the centre of their stories, Sharon Tate and Jean Seberg. While each film seems to be seeking reparation for the past, their approach ultimately recuperates the women into a mythic discourse of the 'radical sixties' in which masculine agency and homosocial bonds are privileged. I argue that these films rehearse familiar biopic conventions to depict the blonde female star as tragic victim, not only of history but also of her own inherent frailty. [ABSTRACT FROM AUTHOR]

While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader 'Ozploitation' discourse and the increase in Australian genre production in the 2010s, there has been little discussion of how a variety of song- and music-based Australian cinema operates in dialogue with the classical Hollywood musical and the global musical genre. Existing scholarship on the Austrlian musical has largely focused on singular well-known examples, including Strictly Ballroom (1992), The Adventures of Priscilla: Queen of the Desert (1994), Moulin Rouge! (2001), Bran Nue Dae (2009) and The Sapphires (2012). Specific film studies on successful musicals, particularly on Moulin Rouge! and The Sapphires, are often framed in popular and academic circles as 'reviving' the genre for Australian audiences, due in large part to their box office success. This does not account for the long history of Australian musical films, and their popularity. This article posits a theoretical re-evaluation of the Australian film musical genre through its unusual variations and lesser-known examples, including dance films, animations, and musical biopics. It traces the Australian film musical genre in detail, considering its rich history, numerous subgenres, and its interconnections with Australian national cinema and the global musical genre. [ABSTRACT FROM AUTHOR]

Graham Harman, an American contemporary philosopher, is the founder of object-oriented ontology (OOO). In his 2016 book, Immaterialism, he offeres a theoretical framework for studying social phenomena using OOO. According to this theory, the traditional distinction between subject and object is eliminated in favor of a more realistic vision, in which everything from human beings to animals and arti- ficial entities are 'objects' as far as they have similar stages of living: birth, maturity, decadence, and death. We tried to examine this theoretical framework in film studies by taking the film Dance with Me!, (2019, Persian: "Jahan, ba man beraghs!") as a study case. The methodology of this article is a description-analysis based on observations and library resources. In this paper, we try to sketch out how the film's protagonist, Jahan, as an object in his last stage of living, undergoes! actions and reactions to other objects (characters, animals, properties, etc.) to make sense of his life as a symbiosis.Immaterialism provides a framework to analyze things as they are, as well as their effects on other things. Unlike other theoretical frameworks used in film studies, such as Lacanian psychoanalysis, OOO's main goal is that the critic does not need to find events, accidents, or actions in the films to apply prior knowledge to them. In other words, while other methodologies try to confirm their own limits by abstracting them from the narrative, immaterialism lets audiences see what is deliberately conveyed in the narrative, even if it does not contribute to or amount to the level of dialectical progress of the narration. Dance with Me!, unlike "art movies" that are produced for global or western audiences, is a film that targets local cinemagoers in Iran. Its director, Soroush Sehat (1965), has a long experience in scriptwriting, direction, and acting in Iranian TV and cinema. In this paper, we take the characters as objects that interact in order to create momentum in the narration. Jahan (a Persian name meaning 'world', dropped out of the film's English name), is regarded as a thing at its last stage of life that has some important interactions with other things, from his family and friends to his domestic animals and properties. But, as its name suggests, the film is not simply a biographical drama about someone dying but instead it is trying to portray an improvised cinematic dance. Dormant objects, which according to immaterialism are things present before any interaction with other things, are considered in this paper to have great importance. Instead of trying to prove something or confirm some psychoanalytic realities, here we simply try to address dormant things that may have or not have obvious effects on the plot or the protagonist's consciousness but make a difference, provoke curiosity, and provide a spot in which metaphor becomes possible. So, while we care about what happens and how the narration goes on, we also have an eye on what remains dormant and escapes from the normative restrictions of cinematic narration in Iran. [ABSTRACT FROM AUTHOR]

This paper examines how the production, content and reception of the film Antony van Leeuwenhoek (1924) influenced the historical framing of science. The film features microcinematography by the pioneering Dutch filmmaker Jan Cornelis Mol (1891–1954), and was part of a dynamic process of commemorating seventeenth-century microscopy and bacteriology through an early instance of visual re-creation – a new way of using scientific material heritage, and of enabling audiences to supposedly observe the world of microscopic organisms in just the same way as the Dutch scientist Antoni van Leeuwenhoek (1632–1723) had observed them for himself. Knowledge transfer concerning material culture, around both historical and contemporary instruments, was the determining factor in the microcinematography practices applied in this film. The production and experience of the film also mirrored the seventeenth-century process of experimentation, playing with optics, and visualizing an entirely new and unknown world. Unlike other biographical science films of the 1920s, Antony van Leeuwenhoek featured abstract depictions of time and movement that allowed the audience to connect the history of science with microcinematography, contributing to the memory of Van Leeuwenhoek's work as the origins of bacteriology in the process. [ABSTRACT FROM AUTHOR]