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Catalin Brylla and Mette Kramer

research area relates to a variety of domains that employ nonfiction audiovisual means for particular social purposes, such as ethnography, activism, propaganda, promotion, and education. Kate Nash and John Corner (2016: 234–237) emphasize how emotional

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Josh Morrison, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

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Brian Bergen-Aurand

, the Internet continued to disseminate more negative reviews of the rebooted Ghostbusters (2016)—starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones, directed by Paul Feig, written by Katie Dippold and Paul Feig. I think the film

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

Platters, is of central importance to a story concerning the forty-five-year marriage of Kate and Geoff Mercer (played by Charlotte Rampling and Tom Courtenay). From the first dialogue, “Smoke Gets in Your Eyes” becomes associated with the couple; Kate

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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

2018, Taylor Mason (played by Asia Kate Dillon) in Billions ( Brian Koppelman, David Levien, and Andrew Ross Sorkin, 2016– ) had just made a strong impact with their pronoun statement in the second season of the series, in which Taylor introduces

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Karen Pearlman

significance both for editors and audiences is supported by a 2000 study of cognition and choreography. Kate Stevens and coauthors write: “the artistry of movement is in trajectories, transitions, and in the temporal and spatial configurations in which moves

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

) has identified women and, more broadly, upper middle-class viewers as the target audience of feel-good films. By contrast, Kate Egan and Kerstin Leder Mackley (2013) suggest that the target audience of feel-good films are predominantly older adults

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Jens Eder

phenomenological change that amounts to … a shift in the overall structure of world-experience” (2012: 26). Such a shift is vividly expressed by Kate Gompert, a character in David Foster Wallace’s novel Infinite Jest : When people call it that [depression] I

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Situating Screen Bodies

Brian Bergen-Aurand

in Cinema by Katharina Lindner; Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement by Saige Walton; A Capsule Aesthetic: Feminist Materialisms in New Media Art by Kate Mondloch; Chinese Surplus: Biopolitical Aesthetics and

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Emma Celeste Bedor

of Academy Award-winning actress Jennifer Lawrence and supermodel Kate Upton were victimized, a growing amount of news coverage and discourse has insisted that we frame these occurrences as sex crimes, not scandals, as is usually done (Ceron 2014