Browsing Alphaville: Journal of Film and Screen Media. Issue 05: Cinema in the Interstices by Issue Date
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- ItemPicturing a golden age: September and Australian Rules(Film Studies, University College Cork, 2013) Marsh, PaulineIn two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on-screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future.
- ItemBetween frames: Japanese cinema at the digital turn(Film Studies, University College Cork, 2013) Lee, LauraThis article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape.
- ItemJonas Mekas, Serpentine Gallery, London, 5 December 2012-27 January 2013(Film Studies, University College Cork, 2013) Busetta, Laura; Chen, Yuanyuan
- Item“Cinema, alone”/multiple “cinemas”(Film Studies, University College Cork, 2013) Bellour, RaymondThis lecture was presented as part of a series of twenty-five conferences on cinema and the arts held between 2001–2002 at the Collège d’Histoire de l’Art Cinématographique, Cinémathèque française. It was first published in French, as “Le Cinéma seul/Multiples ‘cinémas’”. Le Septième Art. Le cinéma parmi les arts. Ed. Jacques Aumont. Paris: Léo Scheer, 2003, 257–80. Print. Some elements of the essay have since been integrated in the introductory chapter of La Querelle des dispositifs. Cinéma – expositions, installations, coll. “Trafic”. Paris: P.O.L, 2012. Print.
- ItemInterstices and impurities in the cinema: art and science(Film Studies, University College Cork, 2013) Dalle Vacche, AngelaThrough a close analysis of Alain Resnais’s Mon Oncle d’Amerique (1980), Angela Dalle Vacche argues that the French filmmaker interrogates the “humanity” of humans through art, science, and religion in the light of Andre Bazin’s film theory. On the scientific side, Resnais’s film clarifies Bazin’s modified Darwinian scheme about the history of the cinema. As far as the religious aspect is concerned, for Bazin and Resnais, the cinema is an illusionistic perpetual motion machine that aligns projection with a pseudo-resurrection of those who were in front of the camera. Finally, in contrast to all the arts and media that precede and follow the cinema, the references to interwoven textiles in Mon Oncle d’Amerique validate Bazin’s claim that cinema is not characterised by medium specificity.
- ItemThe tales of New Orleans after Katrina: the interstices of fact and fiction in Treme(Film Studies, University College Cork, 2013) Letort, DelphineFocusing on the months that followed Katrina and the breach of the levees in New Orleans, the first two seasons of HBO series Treme (2010, 2011) plumb the interstices between fact and fiction, thereby testifying to the confusion that prevailed after the storm. The series derives entertainment from the disruptions engendered by the floods, which create enigmas and knowledge holes in the narrative, dramatising the characters’ individual life stories. From melodrama to docudrama to crime fiction, the series pulls together various generic modes that enhance the impact of Katrina on the local community. While many episodes are devoted to celebrating the resilience fostered by the musical creativity that characterises New Orleans cultural life, this article argues that the focus on music as spectacle downplays the political significance of the events the series retraces.
- ItemStop the Clocks! Time and Narrative in Cinema, by Helen Powell(Film Studies, University College Cork, 2013) Mellamphy, Deborah; Murphy, Ian
- ItemMontage in the portrait film: where does the hidden time lie?(Film Studies, University College Cork, 2013) Tarrant, PatrickSince the portrait film eschews biography in favour of the more elusive and emergent dynamics of subjectivity, this article explores the relationship between the off-screen duration of people’s lives and the duration of their on-screen performances of Self. Pedro Costa’s Where Does Your Hidden Smile Lie? (2001) is a feature-length portrait of the filmmakers Jean-Marie Straub and Danièle Huillet, set almost entirely within the confines of a film editing suite. Just as Costa’s subjects are trying to reveal a hidden smile through editing, in this article I analyse the hidden time of Straub and Huillet’s professional and personal lives, time that cannot possibly be squeezed into a feature-length film (without recourse to biographical storytelling), but which can nonetheless be read as the very material that fuels the subjects that do emerge in Costa’s portrait. This article advances the idea of a polyvalent montage assembled from multiple modes of duration in particular, and argues that this kind of montage is capable of illuminating the complex trajectory of subjects in time. If the duration of subjects’ lives is largely and necessarily elided from the time and space of the screen, the screen nonetheless remains an interstitial space where such elisions beget new durational possibilities.
- ItemRadical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, by Austin Fisher(Film Studies, University College Cork, 2013) Phillips, Mike; Murphy, Ian
- ItemECREA 2012, 4th European Communication Conference, Istanbul, 25–27 October 2012(2013) Willems, Gertjan; Chen, Yuanyuan
- ItemMa, mu and the interstice: meditative form in the cinema of Jim Jarmusch(Film Studies, University College Cork, 2013) Daly, RoyThis article focuses on the centrality of the interstice to the underlying form of three of Jim Jarmusch’s films, namely, Stranger Than Paradise (1984), Dead Man (1995) and The Limits of Control (2009). It posits that the specificity of this form can be better understood by underlining its relation to aspects of Far Eastern form. The analysis focuses on the aforementioned films as they represent the most fully-fledged examples of this overriding aesthetic and its focus on interstitial space. The article asserts that a consistent aesthetic sensibility pervades the work of Jarmusch and that, by exploring the significance of the Japanese concepts of mu and ma, the atmospheric and formal qualities of this filmmaker’s work can be elucidated. Particular emphasis is paid to the specific articulation of time and space and it is argued that the films achieve a meditative form due to the manner in which they foreground the interstice, transience, temporality and subjectivity.
- ItemMad Men: Dream Come True TV, edited by Gary R. Edgerton(Film Studies, University College Cork, 2013) Power, Aidan; Murphy, Ian
- ItemMemories of a buried past, indications of a disregarded present: interstices between past and present in Henri-François Imbert’s No pasarán, album souvenir(Film Studies, University College Cork, 2013) Schweigl, VeronikaThis article focuses on the interstices between past and present in Henri–François Imbert’s essay film No pasarán, album souvenir (2003). It examines Imbert’s strategies to reveal the largely unknown past of the Retirada, where nearly half a million Spanish Republicans fled to France after the victory of Franco in the Spanish Civil War in 1939. In addition the article investigates Imbert’s approach to link this often overlooked event of the past with the current situation of refugees in France. The aim of this paper is to analyse how No pasarán, album souvenir oscillates between spatio-temporalities and to explore the ways in which Imbert’s method of filmmaking functions as a transport mechanism through which memory resurfaces in the present.
- ItemDis-placing the East/West Binary: Aesthetic and Cultural Crossover in Film and Visual Culture, Cardiff, 2 November 2012(2013) Chan, Hiu M.; Chen, Yuanyuan