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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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In Pursuit of Masculinity

On Aging Bodies, Migration and Youthful Masculinities

Usman Mahar

be summarized under five interrelated concepts that form an axiom: individual agency, independence, active aging, productivity, and permanent personhood constitute “success” in aging ( Corwin 2017 ). In short, through individual effort and labor

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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 Dragon Can't Roar”

Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many

Antony Mukasa Mate

's independence political power fell into the hands of a few black elite statesmen. Many white settlers decide to leave the country because of political uncertainty, but Walker decides to stay. Later on in the novel he winds up working for a member of the ruling

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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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Sexuality, Masculinity, and Intellectual Disability

Beyond a Focus on Regulation and Vicarious Illusions

Nathan J. Wilson and David Charnock

boys was an indication of practice associated with developing independence and control, which was perhaps not available to them outside the virtual environment. It could be suggested that opportunities created in this way open up new environments for

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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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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