scispace - formally typeset
Search or ask a question

Showing papers in "Film Quarterly in 1984"


Journal ArticleDOI
TL;DR: The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming as discussed by the authors, and the relationship between music videos and dreaming.
Abstract: The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming.

97 citations


Journal ArticleDOI
TL;DR: The seventies produced a new kind of cinematic melodrama, different from European predecessors and often subordinating narrative to spectacle as mentioned in this paper, which often subordinated narrative to the spectacle.
Abstract: The seventies produced a new kind of cinematic melodrama, different from European predecessors and often subordinating narrative to spectacle.

4 citations



Journal ArticleDOI
TL;DR: The Tramp9s first appearance in "Kid Auto Racing" points to two fundamental modes of film acting, traceable to Breathless and Lightning Over Water as discussed by the authors, which were used in the movie.
Abstract: How the Tramp9s first-ever appearance in "Kid Auto Races" points to two fundamental modes of film acting, traceable to Breathless and Lightning Over Water.

4 citations



Journal ArticleDOI
TL;DR: Godard's latest puzzle for critics recounts the filming of reconstructed famous paintings, a project which he feels "attains the status of sin" as discussed by the authors, which he describes as a "sin".
Abstract: Jean-Luc Godard9s latest puzzle for critics recounts the filming of reconstructed famous paintings—a project which he feels "attains the status of sin."

4 citations


Journal ArticleDOI
TL;DR: The coding of narrative perspective is more complex and varied than sometimes thought, but it can be sorted out in a systematic and useful way as discussed by the authors, which is a good starting point for our work.
Abstract: The coding of narrative perspective is more complex and varied than sometimes thought, but it can be sorted out in a systematic and useful way.

3 citations


Journal ArticleDOI
TL;DR: After the much-publicized debacle of "Hammett", the director of "The American Friend" comes out into new territory with Paris, Texas as mentioned in this paper, which is a new city for the movie.
Abstract: After the much-publicized debacle of "Hammett", the director of "The American Friend" comes out into new territory with Paris, Texas.

3 citations


Journal ArticleDOI
TL;DR: In computer science, computer characters have come a long way since HAL in 2001: now they can be all-encompassing villains, surrogate sons, and mythic threats to human life as mentioned in this paper.
Abstract: Computer characters have come a long way since HAL in 2001: now they can be all-encompassing villains, surrogate sons, and mythic threats to human life.

3 citations


Journal ArticleDOI
TL;DR: In Under Fire, a hot-shot news photographer (played by Nick Nolte) finds that his personal files of unpublished photos of Sandinista rebels relaxing in their mountain hideaway have been purloined by a European intelligence agent working with the CIA.
Abstract: In Under Fire, a new film directed by Roger Spottiswoode about the final months of Sandinista insurrection in 1979 against the American-supported dictatorship of Anastasio Somoza in Nicaragua, a hot-shot news photographer (played by Nick Nolte) finds that his personal files of unpublished photos of Sandinista rebels relaxing in their mountain hideaway have been purloined by a European intelligence agent working with the CIA. The photos have been put at the disposal of a CIAfinanced American mercenary, who uses them to identify and summarily execute anyone in his "picture collection." For the photographer, the discovery of how his pictures are used comes as the final blow to his stubborn illusions of the photo-journalist's "neutrality." ("I don't take sides; I take pictures," has been his credo.) In The Year of Living Dangerously, Australian director Peter Weir's 1982 film about foreign correspondents covering Sukarno's Indonesia during the social unrest of 1965, a strangely androgynous, half-caste dwarf, Billy Kwan (played as a man by actress Linda Hunt) uses his skills as a photo-journalist to amass files of surreptitiously taken photographs of his friends. He muses endlessly over these pictures-and over those he has shot of Indonesia's President Sukarno, whom he greatly admires-using the photographs almost as magic talismans or fetishes, whose purpose, it would seem, is to enable him to exercise an imagined, benevolent control over the destinies of those he loves and admires. He is devastated, however, when the people who mean most to him fail to live up to his own "image" of them. A fascination with photographs-and with their potential use as real or imagined elements of control-is only one of the features shared by Under Fire and The Year of Living Dangerously. But it is an important one, especially in these two films dealing with highly volatile political situations in the Third World. As a point of departure, we would be wise to recall that, historically, photographs, when first printed in newspapers, were immediately r cognized-and used-by the police and the state as "evidence" to suppress political dissent. In 1871, when newspapers in Paris printed photographs of the crowds gathering to hear the leaders of the French Commune holding forth in the streets, the Paris police, on orders from the government, used the published photos to identify and round up both the leaders and many of their listeners. Aside from their fascination with photographs, both Under Fire and The Year of Living Dangerously concern themselves with the social and political aspirations and struggles of Third World peoples-not exactly a theme one would expect to be treated at all, much less so sympathetically, by films coming from Hollywood. (Under Fire is an Orion Pictures release; and The Year of Living Dangerously is an MGM/United Artists release.) Of the two films, Under Fire is especially timely,

3 citations






Journal ArticleDOI
TL;DR: Bette Gordon as mentioned in this paper explores what pornography imagery for women might be like from an avowedly feminist standpoint, and explores what "pornographic" imagery might look like for women.
Abstract: Bette Gordon9s ambitious and controversial film explores, from an avowedly feminist standpoint, what "pornographic" imagery for women might be like.




Journal ArticleDOI
TL;DR: Schroeter and his films have usually appeared to eschew the reality of those historical events which have anchored Fassbinder's Maria as discussed by the authors, and their films have been criticised for not being part of the same family history.
Abstract: of the defining marks of that celebrated new wave from Germany has been the coherency with which its family of film-makers has addressed movie markets at home and abroad, Schroeter has drifted (passionately, perversely, and insouciantly) in and out of that community of Wiinderkinder as they developed in the last twenty years into adult entrepreneurs. Indeed, what has united these new German film-makers through the years has been, perhaps above all else, an engagement with the cultural and cinematic history that contextualizes them. Anchored in the specter of a Nazi past and a postwar colonization by America and Hollywood, these filmsfrom Wenders's nostalgic broodings about the United States to SchlOndorff's political parables about fascism through the ages-have consistently aimed at re-examining the meaning of history for themselves, their characters, and their audiences. Yet to describe Schroeter's films as part of the same family history would seem, especially to viewers acquainted with the earlier films, the most procrustean of academic exercises. Unlike many of his contemporaries, Schroeter and his films have usually appeared to eschew the reality of those historical events which have anchored Fassbinder's Maria