George Lucas’s popular film series Star Wars depicts an epic galactic battle between good and evil. A basic premise of the story is that the universe is penetrated with “the force,” which has a light and dark side. In these films, the good
Jason Dean and Geoffrey Raynor
Andrew J. Webber
Lore , a German-Australian co-production based on Rachel Seiffert’s narrative of the same name from The Dark Room (2001) and shot in Germany, in German, with a German cast. The film, set at the end of World War II, charts the trek of a group of
Stuart Marshall Bender
A clear definition of realism is understandably difficult for critics and theorists to agree upon when applied to texts such as the war film or combat shooter, which can have a very direct connection to events that have actually taken place. This article uses textual observation and analysis to advance the concept of “reported realism” as an alternate analytical tool to account for the impression of truth and authenticity produced by specific stylistic components of these representations of combat violence. Drawing on cognitivist theories of meaning and the imagination (Torben Grodal, Stephen Prince) and neoformalist film studies (Kristin Thompson) this article points toward some of the significant developments in the evolution of violence in war films as well as the adjacent genre of the first-person shooter video game. The article shows that the intensified audio-visual detail in contemporary screen representations of war enable film viewers and game players to construct more vividly imagined mental simulations, thus offering a greater affective realism.
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.
Lalita Pandit Hogan
This article discusses filmic emotion by focusing on how the dominant color (blue in Gabbeh and Meenaxi; red in Mirch Masala) is used to elicit emotion. Through alienation effect, the viewer is distanced from the aims and goals of characters, and is less likely to experience the sorts of emotions that result from identification. The first two films use multiple frames of narration leading to character(s) in the outer frame becoming like spectators, invested in, for instance, fortune of others emotions that are central to the enjoyment of movies. In Mirch Masala, narration focuses on class struggle; there is minimal engagement with characters' individual aims, goals, and desires. While the red film foregrounds social anger, the blue films foreground consciousness. The three films together ask questions about what makes war and what makes peace, and how human action and human consciousness, represented through colors, figures in all this.
The topic of violence in moving image media has retained its salience and controversies over several decades, and Stuart Bender returns our interest to the subject in his analysis of depictions of war violence in movies and video games. Bender is a working filmmaker as well as a scholar and university educator. This combination of skill sets enables him to blend a filmmaker’s attention to the craft of creating moving images with a scholar’s attention to the historical, theoretical, and cultural contexts in which moving images circulate and are produced. He is interested in why viewers describe certain depictions as being realistic even under circumstances in which various elements of cinematic style take those depictions away from the known contexts where battlefield violence occurs. He compares Hollywood films from the classical and modern eras with video games in order to advance a conception of realism based on viewers’ perceptions of the accretion of detail within the surface design of shots and scenes. He situates what he terms “reported realism” with reference to existing traditions of realist theory in cinema.
On Viewing Ali Atassi’s Our Terrible Country from Beirut
hope on the screen, was to be swept up in the civil war’s terrible pull of collective suffering and loss. Swept up, for many in the salle, perhaps all, all the more than each was already. Less than a decade earlier, Syrian military checkpoints had
A Style Analysis
Adventure/Melodrama 1.37:1 8.9 1954 The Glenn Miller Story Biopic/Music 1.85:1 (spherical) 11.4 1954 The Far Country Western 1.75:1 (spherical) 7.6 1955 Strategic Air Command Melodrama/War 1.85:1 (VistaVision) 10.0 1955 The Man from Laramie Western 2
Edited by Stephen Prince
photographs. Jason Dean and Geoffrey Raynor bring a psychoanalytic lens to the St ar Wars films. They draw on psychoanalyst Melanie Klein’s theories of aggression and psychological positioning, which she termed “depressive” and “paranoid-schizoid,” and they
), attempts to liberate five women held as breeding “wives” from Immortan Joe (Keays-Byrne) and his army of half-life war boys in her armored war-rig tanker truck. The film is set in a post-nuclear wasteland where water, gasoline, and mother’s milk are sacred