Over the past two decades, Israeli Orthodox Jewish women filmmakers have used film to speak in a public voice about various subjects that were previously taboo. Although there are aspects of Orthodoxy to which these filmmakers object, they do so as ‘devoted resisters’. Rather than expressing heretical opposition, the women stay committed to Orthodoxy precisely because they are able to use filmmaking to resist. In their negotiations of voice used to ‘justify’ their decision to become filmmakers, the women position themselves as ‘accidental’ filmmakers, thereby remaining within Orthodoxy while critiquing it through their films. Cultural resistance in this case is not carried out as defiance to Orthodox Judaism but rather out of a relationship with it, featuring a form of resistance that insists upon devotion to multiple commitments.
Israeli Orthodox Women Filmmakers
Valeria Seigelsheifer and Tova Hartman
Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails
Representing Social Relations in a Mixing Neighbourhood
This is a story and analysis of a film production that has never materialised. The case study features a group of neighbourhood residents who wished to produce a film representing their experiences of living in a mixed neighbourhood in the northern Israeli city of Haifa, where Jews and Arabs live together. The ethnography of their work documents the incommensurability between the social interactions within the group and the content of the film’s script. While the group dynamic reflected the mixing atmosphere of the neighbourhood, their script succumbed to the hegemonic discourse of separation in Israel and to steering away from ambiguities. The group’s aspiration to create a realistic representation required a political and visual language that was not available as an objective possibility and thus was challenging to imagine.
A Cinematic Case Study
James E. Cutting and Karen Pearlman
We investigated physical changes over three versions in the production of the short historical drama, Woman with an Editing Bench (2016, The Physical TV Company). Pearlman, the film’s director and editor, had also written about the work that editors do to create rhythms in film (Pearlman 2016), and, through the use of computational techniques employed previously (Cutting et al. 2018), we found that those descriptions of the editing process had parallels in the physical changes of the film as it progressed from its first assembled form, through a fine cut, to the released film. Basically, the rhythms of the released film are not unlike the rhythms of heartbeats, breathing, and footfalls—they share the property of “fractality.” That is, as Pearlman shaped a story and its emotional dynamics over successive revisions, she also (without consciously intending to do so) fashioned several dimensions of the film— shot duration, motion, luminance, chroma, and clutter—so as to make them more fractal.
Knut Erik Jensen’s Work as Eco-Auteur
In an interview with Marianne Bjørneboe, aptly titled “Mennesket—en del af naturen” (The human being—A part of nature], Norwegian filmmaker Knut Erik Jensen insists that ecology is the principal concern of his filmmaking: “Humans have to live in
Time-Tricking and the Limits of Temporal Play in Children’s Online Film-Making
the multiplicity of time maps that are at stake in social life. Here, I will point to three aspects of temporal play in children’s online film-making, focusing on how online environments allow numerous opportunities for temporal play whilst also being
A Naturalized Aesthetics and the Challenge of Modernism
subsequent research. It comes as no surprise, then, that Smith’s new book, Film, Art, and the Third Culture (2017), explores a diverse range of filmmaking traditions. These include Hollywood both old (Hitchcock again, along with Howard Hawks) and new (Paul
In Conversation with Eylem Atakav
. As she insists, “We’re feminist media scholars, and as great as theory and research is, we need to move beyond that and make our own media and do our own feminism.” As Kent (2016) notes, “The film is everything feminist filmmaking should be [in
due to the extraordinary language used to describe his work. In surveying the literature on Lynch’s filmmaking, I found abundant references to the profundity of his artistry. However, I was also interested in looking deeper as, despite the severity of
Malcolm Turvey, Mette Hjort, Julian Hanich and Christopher T. Gonzalez
ELEGY FOR THEORY by D.N. RODOWICK
COGNITIVE MEDIA THEORY by TED NANNICELLI AND PAUL TABERHAM (EDS.)
THE FORMS OF THE AFFECTS by EUGENIE BRINKEMA
MEX-CINÉ: MEXICAN FILMMAKING, PRODUCTION, AND CONSUMPTION IN THE TWENTY-FIRST CENTURY by FREDERICK LUIS ALDAMA
Christopher T. Gonzalez