Film Theory

Little boy en Fat Man. De atoombom in de audiovisuele cultuur van Japan en de Verenigde Staten (1945 - 2010)

by Sidney Smeets

De paddenstoelwolk, een oogverblindende flits gevolgd door een alles verwoestende vuurzee: in de twintigste eeuw heeft... more De paddenstoelwolk, een oogverblindende flits gevolgd door een alles verwoestende vuurzee: in de twintigste eeuw heeft de atoombom zowel in de werkelijkheid als in de filmwereld een onuitwisbare indruk achtergelaten. In Little Boy en Fat man onderzoekt Sidney Smeets aan de hand van bekende voorbeelden als Godzilla, Star Trek en Planet Of The Apes - en historische ontwikkelingen zoals bijvoorbeeld de Cubacrisis, Reagans buitenlandse politiek en het einde van de Koude Oorlog - de nucleaire impact van de atoombom op de Amerikaanse en Japanse filmindustrie. Oftewel, een aanrader voor zowel historici als fans van het witte doek!

André Bazin e o plano-sequência do neo-realismo italiano: flutuações entre a experiência da realidade e ficção do personagem Umberto D

by Mauro Luciano de Araujo

Datamoshing and the emergence of digital complexity from digital chaos

by William Brown

Co-authored with Meetali Kutty, published in Convergence (online first - journal volume, issue and page references to follow)

In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby... more In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby audiovisual artists actively downgrade the quality of digital images in order to render a more ‘raw’ aesthetic on screen. We follow this up by exploring the ways in which datamoshing as a practice (together with ‘glitch art’ more generally) highlights the decay that digital images undergo over time. Because it takes place through the deliberate compression of images, we here argue that the aforementioned loss of quality is an ‘artistic’ form of entropy, which leads us to the possibility for a theory of ‘digital chaos’. However, since the loss of data is reworked by artists in order to create new forms, we argue that this is a form of digital ‘emergence’ of ‘order out of chaos’, or ‘digital complexity’.

Channel hopping: Charlotte Rampling in French cinema of the early 2000s

by William Brown

Celebrity Studies, 3:1, 2012, pp. 52-63.

In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made... more In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made between 2000 and 2005, in particular considering her as an ageing transnational female star, in terms of both representation and performance. By representation, I mean to analyse how Rampling's nationality, gender and age function in our understanding of her and her films, not least because she often plays sexually active and/or aggressive women. In the films discussed here, which include Sous le sable/Under the Sand (François Ozon, France, 2000), Embrassez qui vous voudrez/Summer Things (Michel Blanc, France/UK/Italy, 2002), Swimming Pool (François Ozon, France/UK, 2003), Vers le sud/Heading South (Laurent Cantet, France/Canada, 2005) and Lemming (Dominik Moll, France, 2005), Rampling in particular plays sexually active and/or aggressive older women. However, I shall also consider Rampling through the framework of performance. Following Elena del Río (2008), I shall argue that Rampling repeatedly produces affective performances that not only play upon but also elude the representational aspects of her work – and that this notion of what del Río terms ‘affection’ might be a useful framework through which to reconsider the concept of charisma, a quality that Richard Dyer, drawing upon Max Weber, identifies in Stars (1998 [1979], p. 34–37).

cinema journal article

by catherine fowler

Spending time with (a) celebrity: Sam Taylor Wood's Video Portrait of David Beckham

by catherine fowler

La structure cristalline dans Millenium Actress

by Stephane Collignon

travail réalisé en 2004 dans le cadre du cours d'Analyse Textuelle du cinéma suivi pendant ma formation en Écritures et Analyses Cinématographiques à l'Université Libre de Bruxelles.

Étude du film Millenieum Actress de Satochi Kon, à travers le filtre de la structure cristalline de Deleuze. Étude du film Millenieum Actress de Satochi Kon, à travers le filtre de la structure cristalline de Deleuze.

Assignment 3

by kurt diminieux

My 3rd Assignment, this is from my Film studies at Birkbeck college so please feel to have a look and leave any NICE remarks.

El Barroco cinematográfico

by antonio dominguez leiva

Introduction au Neobaroque contemporain

by antonio dominguez leiva

Martial Arts and Philosophy Mediated

by Paul Bowman

Fluid Fantasies: Splash and Children of a Lesser God

by Susan Felleman

Revised and expanded as chapter 5 of Art in the CInematic Imagination (U. Texas, 2006).

The Kafkaesque Cinematic Language of the Coen Brothers' A Serious Man

by Ido Lewit

Published in the Journal of the Kafka Society of America on Oct 2011 (Thirty third & Thirty fourth issue)

In my article I reflect on the affinity of the Coen Brothers' film A Serious Man (2009) to Kafka-affiliated rhetorical... more In my article I reflect on the affinity of the Coen Brothers' film A Serious Man (2009) to Kafka-affiliated rhetorical structures. I refer to the film's utilization of the biblical stories of Job and of Cain & Abel as mythological grounds for the impotency of the human rationality regarding matters of faith and the existence and actions of God. Formally, I propose, the Coen Brothers convey this notion of futility of the human mind by means which can be regarded as cinematic transformations of common rhetorical practices in Kafka's writing, which I refer to as: "Incessant Negation", "Regression ad Infinitum" and "Cognitive Nihilism".

L’Histoire politique des images

by Gabriel Rockhill

Gilles Deleuze, Félix Guattari et le politique.  Eds. Manola Antonioli, Pierre-Antoine Chardel and Hervé Regnauld.  Paris:  Editions du Sandre, 2006, p. 197-212.

Le Cinéma n’est jamais né

by Gabriel Rockhill

Le milieu des appareils.  Ed. Jean-Louis Déotte.  Paris:  L’Harmattan, 2009, p. 187-211. Also available in the online journal Appareil 1 (2008).

The Politics of Aesthetics: Political History and the Hermeneutics of Art

by Gabriel Rockhill

Jacques Rancière:  History, Politics, Aesthetics.  Eds. Gabriel Rockhill and Philip Watts.  Durham, North Carolina:  Duke University Press, 2009, p. 195-215.

Modernism as a Misnomer: Godard’s Archeology of the Image

by Gabriel Rockhill

Journal of French and Francophone Philosophy, Vol. XVIII, No. 2 (2010):  107-129.

Vis-à-vis the Glaneuse

by Sylwia Chrostowska

published in Angelaki

'Childhood' in Film (essay in Bengali language)

by Abhijit Roy

Ekak Matra, February, 2001. pp.29-32

On the politics of representation of child and childhood in film. Questions of gaze, pov and spectatorship are... more On the politics of representation of child and childhood in film. Questions of gaze, pov and spectatorship are important here.

CFP: International Film and Media Studies Journal. Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: February 25, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011