What facilitates the psychic process of grieving a traumatic loss, and what happens when that process is blocked? Forbidden Games is, on one level, an intimate film about childhood trauma. When viewed from a psychoanalytic perspective informed by concepts such as introjection and pathological mourning, however, it emerges as a complex allegory that reflects, through its narrative and filmic elements, on the sociocultural and historical dynamics of France's troubled response to the loss of its identity as a democracy during World War II. The film also reflects on the even more shameful history of the rise of French anti-Semitism under the Vichy regime and France's history of silencing or repressing the drama of its willing collaboration with the Nazis' Final Solution. Private trauma thus screens public, political trauma as Clément's film becomes both a medium for sociocultural commentary and a memorial to loss that could not be buried or mourned.
As we complete our second year of publication, we notice how international our journal has become. We now receive submissions and publish writing from France, Italy, England, Scotland, Israel, Spain, Germany, Denmark, Finland, Hungary, Australia, and the United States. We imagine that this list will continue to grow because of the ubiquitous nature of both film and the disciplines we bring to bear on the subject of the motion picture. This internationalism is made possible by new technologies in communication, and also by the continuing internationalism of the English language. Film has been the most international of art forms since its origins and it seems only fitting that film studies should be a joint collaboration of writers from around the globe.
Some Comments on David Bordwell’s Narration in the Fiction Film
that do not square well with the explanations proposed by Laborit in the embedded interviews. Instead, the quotations of scenes from old French films are meant to inflect our understanding of the characters in another direction, the key idea being that
Beyond the Kuleshov Effect
A major star of prerevolutionary Russian cinema and French cinema in the 1920s, Ivan Mozzhukhin will always be associated with a lost experiment from around 1920 carried out by Russian film director Lev Kuleshov. The purported result of the
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
a sound movement, … a dialectic: the quest for truth in a concrete and common expression, where it is innocently at work,” said the French director Bruno Dumont, another important but often overlooked figure of slow cinema. For Dumont, “the discovery
critical impact of Best Years . He claims it “became a touchstone in the evolution of French criticism and provoked one of the most penetrating critical essays in film history” (1974: 271). Bazin makes the point that Best Years has more consistency in
Paul Taberham and Kaitlin Brunick
. Forbidden Planet . USA . Wyler , William . 1950 . Sunset Boulevard . USA . Plays McDonagh , Martin . 2003 . The Pillowman . UK . Reza , Yasmina . 1994 . Art . France . Peter Wyeth, The Matter of Vision: Affective Neurobiology & Cinema
Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis
Peter French’s Cowboy Metaphysics: Ethics and Death in Westerns (1997). Against this background we can consider Robert Sinnerbrink’s welcome contribution to the discussion, Cinematic Ethics: Exploring Ethical Experience through Film . Sinnerbrink is a
fully affords an experience of the work than an instance of the other. (Maybe this is the case with The Immortal Story in English and French.) In the vast majority of typical cases, however, the upshot of creative activity in the cinema is the
Knut Erik Jensen’s Work as Eco-Auteur
, best appreciated in the manner of a landscape painting, and thus the Claude glass, a tinted mirror named after the seventeenth-century French painter, Claude Lorrain, was advocated as essential equipment for anyone seeking to appreciate nature