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The Editors

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.

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

countries and languages and that shared a genre (drama) and a main theme (children of war): The Empire of the Sun (Steven Spielberg, 1987) from Hollywood, Ispansi! (Carlos Iglesias, 2011) from Spain, and Mother of Mine (Klaus Härö, 2005) from Finland

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

Bacon’s The Fascination of Film Violence , which is a translation and expansion of his 2010 Finnish book Väkivallan lumo: Elokuvaväkivallan kauheus ja viihdyttävyys , is crucial in this regard, since he takes as his starting point not film violence

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Introduction

Bodies, Sexualities, and Masculinities in the Time of Coronavirus

Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

asked. What might it mean that women leaders were more effective in managing the crisis? Recognizing, of course, that these leaders come from diverse countries, such as Germany, Finland, Iceland, Sweden, Norway, Denmark, Taiwan, and New Zealand

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

—including the making and watching of films—“does good” is an appealing and productive one, with implications for policy work, programming practices for screening sites outside the commercial sector, and even, in Finland, the sorts of prescriptions that doctors

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

: Simulatorium Eisensteniense . Jyväskylä, Finland : University of Art and Design Helsinki . Vassilieva , Julia . 2017 . “ Eisenstein and Cultural-Historical Theory .” In The Flying Carpet: Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

). Whittle values, named after a New Zealand–Finnish statistician, have been shown to be the most stable estimates of fractional dimension in measuring a time series ( Stadnitski 2012 ). Using values from simulations in Cutting and colleagues (2018 , Study 3

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

. “ The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty Boop .” In Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media , ed. Anu Koivunen and Susanna Paasonen, 48 – 54 . Turku : Finnish