scholarly journals Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience

2021 ◽  
Vol 25 (1) ◽  
pp. 70-73
Author(s):  
Claudio Celis Bueno
Keyword(s):  
Contemporary Cinema ◽  
Film Experience

Fall

2021 ◽  
Author(s):  
Adriano D’Aloia
Keyword(s):  
Human Body ◽  
Homeostatic Process ◽  
Found Footage ◽  
Starting Point ◽  
Contemporary Cinema ◽  
The Mind ◽  
Film Experience

A common outcome of acrobatics, and a motif often combined with it, is the fall. The chapter ‘Fall. Descent to equilibrium’ discusses the recurrence of the motif of the falling human body in contemporary cinema, taking as a starting point Oliver Pietsch’s found footage film Maybe Not. Relying on Torben Grodal’s application of the notions of telic and paratelic to the film experience, referring to the use of cinema as metaphor for the mind proposed by Antonio Damasio, and interpreting several experiments on the perception of movement in film sequences whose temporality is manipulated, this chapter describes the modality through which cinema ‘regulates’ the fall by adopting a homeostatic process that reduces its traumatic character and, at the same time, enhances its expressive effectiveness.

Cinéma-monde

2018 ◽  
Keyword(s):  
French Language ◽  
Related Topic ◽  
Diverse Area ◽  
Contemporary Cinema

The first book devoted to a wide-ranging study of developments in global French-language cinema, from Quebec to Mauritania and from Belgium to Cambodia, Cinéma-monde picks up on the lively scholarly debates generated by the related topic of littérature-monde. Extending the scope of this debate to cover the thriving and diverse area of international French-language cinema, this innovative book also considers cinema from France within the context of global production. With contributions from an international range of specialists, and with considerations of works by contemporary directors like Rachid Bouchareb, Abderrahmane Sissako and Rithy Panh, Cinéma-monde explores the porous borders around francophone spaces and the ways in which languages and identities ‘travel’ in contemporary cinema.

‘Good enough for a spot of lippy anyway’: Rape and the Body Politic in My Brother Tom

2013 ◽  
Vol 10 (2) ◽  
pp. 358-373
Author(s):  
Louise Wilks
Keyword(s):  
Sexual Abuse ◽  
Female Body ◽  
Body Politic ◽  
The Body ◽  
Sexual Violation ◽  
Female Protagonist ◽  
British Cinema ◽  
Hollywood Movies ◽  
Contemporary Cinema ◽  
Rape Narratives

The representation of rape continues to be one of the most highly charged issues in contemporary cinema, and whilst many discussions of this topic focus on Hollywood movies, sexual violation is also a pervasive topic in British cinema. This article examines the portrayal of a female's rape in the British feature My Brother Tom (2001), a powerful and often troubling text in which the sexual violation of the teenage female protagonist functions as a catalyst for the events that comprise the plot, as is often the case in rape narratives. The article provides an overview of some of the key feminist academic discussions and debates that cinematic depictions of rape have prompted, before closely analysing My Brother Tom's rape scene in relation to such discourses. The article argues that the rape scene is neither explicit nor sensationalised, and that by having the camera focus on Jessica's bewildered reactions, it positions the audience with her, and powerfully but discreetly portrays the grave nature of sexual abuse. The article then moves on to examine the portrayal of sexual violation in My Brother Tom as a whole, considering the cultural inscriptions etched on the female body within its account of rape, before concluding with a discussion of the film's depiction of Jessica's ensuing methods of bodily self-inscription as she attempts to disassociate her body from its sexual violation.

Specters of Colonialism - Sven Augustijnen's Haunted Cinema

2017 ◽  
Author(s):  
Andrzej Marzec
Keyword(s):  
Jacques Derrida ◽  
Prime Minister ◽  
Colonial History ◽  
Philosophical Perspective ◽  
History Of ◽  
Contemporary Cinema ◽  
Presence And Absence

The author analyzes Sven Agustijnen's Specters from the philosophical perspective. He tries to prove that the cinema of the Belgian director is haunted because it presents the reality as made out of traces, which disturb the traditional division into presence and absence. The author analyzes Augustijnen's film techniques and uses Jacques Derrida hauntology to show, how contemporary cinema tries to face the difficult and unfinished colonial history of Belgium (the genocide in Congo during the reign of the Belgian king Leopold II and the murder of the first prime minister of the independent Congo, Patrice Lumumba).

Music in Contemporary Cinema: The Crystal-Song by Phil Powrie

2017 ◽  
Vol 91 (1) ◽  
pp. 245-246
Author(s):  
Marius Conceatu
Keyword(s):  
Contemporary Cinema

Page, Stage, Location

2021 ◽  
Vol 6 (3) ◽  
pp. 297-313
Author(s):  
David Damrosch
Keyword(s):  
Home Country ◽  
Literary Works ◽  
The World ◽  
Contemporary Cinema

Abstract The growth of globalization has greatly expanded the exposure of writers and now filmmakers to the wider world beyond their home country or region, offering new opportunities to bring elements of the outside world into their works, and in turn to take their works out to distant audiences. This essay discusses the increasing presence of foreign cultures in the progression from the literary detail to the stage prop and then the movie location, and then focuses on three films based on literary works, films that display the growing presence of the world in contemporary cinema and of the films in the world.

Neurofilmology of the Moving Image

2021 ◽  
Author(s):  
Adriano D'Aloia
Keyword(s):  
Embodied Cognition ◽  
Cognitive Neuroscience ◽  
Philosophy Of Mind ◽  
Human Condition ◽  
Moving Image ◽  
Wide Range ◽  
Perceptual Psychology ◽  
Contemporary Cinema

A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.

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