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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston


These comments concern Bordwell’s explicit and implicit claims about cinematic authorship in his 1985 Narration in the Fiction Film. Distinctions are drawn between causal and attributionist conceptions of authorship, and between actualist and fictionalist views about the spectator’s attitude toward authorship. A key question concerns the autonomy or independence of a viewer’s competent uptake of story and narration, as opposed to its dependence on knowledge of authorship or authorial design. The example of cinematic quotation in Resnais’s Mon oncle d’Amérique is used to illustrate the pertinence of the latter option.

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

website promoting his current film project, Yearning for Today , Pomor Film describes “his experimental and modernist films” as having “renewed Norwegian film.” Independence is a concept that applies to Jensen’s filmmaking practices, for he established

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

low-level, bodily effect. Eisenstein’s attractions too were modular, and it is precisely their potential independence from narrative context that prompted Gunning to appropriate them for his non-narrative and self-aware cinema of attractions. Yet

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Todd Berliner

Sergeants [Mervyn LeRoy, 1958], and Rocky III [Sylvester Stallone, 1982]), as well as New Hollywood action blockbusters (like Die Hard [John McTiernan, 1988], Independence Day [Roland Emmerich, 1996], and The Dark Knight [Christopher Nolan, 2008

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

Argentina's independence from Spain. While independence helped to expel the colonizer, it positioned the criollos as the ruling landed elite who would continue the racial, gender, and economic projects that the European colonizer had initially instituted

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

prime minister Rafik Hariri. Widely held to have been Syria-sponsored, and perhaps linked to efforts by Hariri allies within Syria to oust the young Bashar Assad, Hariri’s assassination set in motion an independence intifada that ended Assadist rule in

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

acknowledgment and marriage self-help books, which similarly emphasize the need to find a shared language, to give oneself freely yet preserve one's independence, and to keep making the commitment to one's partner again and again. Chapter 5, on Contesting

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Robert Sinnerbrink and Matthew Cipa

on the independence of the represented world-in the film from the expressed (or presented) world-of the film puts him firmly in the “heterocosmic” (rather than mimetic) tradition of theorizing works of art as “virtual worlds” independent of the

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On Sinofuturism

Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.

Yunying Huang

more magical than plastic surgery ( Figure 1 ). Figure 1. Before Douyin filter and after Douyin filter ( Miao Ge 2020 ). Instead of a genuine expression of independence, this fanatical pursuit of beauty is a reaction to social and economic

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How Motion Shapes Thought in Cinema

The Embodied Film Style of Éric Rohmer

Maarten Coëgnarts

tells the story of François (Philippe Marlaud), a twenty-year-old student who is madly in love with Anne (Marie Rivière), a young woman who is very keen on her independence and who strongly believes that love does not mean living together. Obsessed with