Alphaville: Journal of Film and Screen Media. Issue 01: European Cinema: Transnational, Transcultural, Transmedial

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https://hdl.handle.net/10468/642
The inaugural issue of Alphaville stems thematically from an international Film Studies conference on European Cinema (UCC, May 2010), which addressed the permeability of European spaces from a number of diverse perspectives, showcasing the geopolitical, sociocultural, aesthetic and productive "movement" that was historically and still is at the heart of European cinema. Edited by Laura Rascaroli, University College Cork.

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    The Society of Cinema and Media Studies Annual Conference 2011: Media Citizenship, New Orleans, USA, March 10-13
    (Film and Screen Media, University College Cork, 2011) Mellamphy, Deborah
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    Transnationality and transitionality: Sandra Kogut’s The Hungarian Passport (2001)
    (Film and Screen Media, University College Cork, 2011) Pinazza, Natália
    This article examines Sandra Kogut’s The Hungarian Passport (2001) in the light of recent theoretical debates on diasporic and postcolonial filmmaking. It focuses on how Kogut’s displacement—both as the granddaughter of Jewish refugees and a foreigner in France—permeates the structure of the documentary in terms of narrative, visual style, subject matter and theme. In the process, the article addresses questions of transnational cinema in a postcolonial and diasporic context by exploring how the film’s transnational representations interrogate the validity of both national cinema and cultural identity as fixed concepts in contemporary Europe.
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    Issue editors’ note
    (Film and Screen Media, University College Cork, 2011) Keating, Abigail; Murphy, Jill; Power, Aidan
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    Ideas of sex: discourses on sexuality in Liliana Cavani's 'The Night Porter' and Cesare Canevari's 'The Gestapo’s Last Orgy'
    (Film and Screen Media, University College Cork, 2011) Impey, Nick
    Both The Night Porter (Cavani) and The Gestapo’s Last Orgy (Canevari) are often referred to as exploitation. Exploitation cinema’s focus on empty excess is in line with the exaggeration/superficiality of “Camp”. Despite Susan Sontag’s separation of “Camp” elements and homosexual-Camp elements, subsequent commentators have argued that Camp is an exclusively gay critique of the artificial nature of the “performance” of hetero-normative gender roles. My article looks at the ways in which lesbian filmmaker Liliana Cavani discusses queer sexuality through a Camp play on gender roles, and how this same discourse is “developed” in Canevari’s virtual remake. German/Italian fascist ideology’s preoccupation with the perfected male body and Hitler’s original acceptance of homosexuality contributed to the presence of a lingering (masculine) homoeroticism in Nazi iconography. Holocaust history of Nazi domination enhanced this masculine image. Accordingly, the two filmmakers use a binary of male (masculine) Nazi dominator and female submissive prisoner, which is possessing of a heterosexual quality made fragile by the history of fascist sexual ambiguity. Essentially, my paper argues that the films’ disruption of the traditional images of Nazi aggressor/innocent victim through the protagonists’ depicted collaboration corresponds with the filmmakers’ blurring of masculine/feminine roles in their individual statements about queer sexuality.