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Showing papers in "Studies in European Cinema in 2021"


Journal ArticleDOI
TL;DR: In this paper, the authors consider the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation.
Abstract: This article considers the representation of the adolescent female body and the relevance of corporeality in Catholicism in three Western European films, which have at their centre the religious confirmation. These are: Un poison violent (Love Like Poison, 2010, Katell Quillevere), Corpo celeste (Heavenly Body, 2011, Alice Rohrwacher), and Kreuzweg (Stations of the Cross, 2014, Dietrich Bruggemann). The sacrament of confirmation as portrayed in the three films becomes the axis around which the dynamics of adolescence (i.e., changing body, blossoming sexuality, family conflicts) unfold, opening up a space for the analysis of the interplay between female subjectivities and Catholicism’s regulatory role. We look at the often-subtle violence exerted by Catholicism in an attempt to tame the female body and the ways female adolescents (re)negotiate their identity against the backdrop of religious authority. Our contention is that, in the films, the female protagonists’ subtraction from the confirmation becomes a way to distance themselves from the Catholic obedient body and reaffirm their individual, embodied subjectivity. To this end, we engage with the complex relationship between Catholicism, women, and women’s bodies, exploring the dichotomy between the Catholic ideal, unchangeable body and the continually-changing, desiring female bodies.

10 citations


Journal ArticleDOI
TL;DR: In his documentary Crossing the Bridge, Akin utilizes the various insider/outsider positions of his German-Turkish experience in o... as discussed by the authors, which is often hailed as the most European German director.
Abstract: Fatih Akin is often hailed as ‘the most European German director’. In his documentary Crossing the Bridge, Akin utilizes the various insider/outsider positions of his German–Turkish experience in o...

9 citations


Journal ArticleDOI
TL;DR: In this paper, the authors observed the relationship of 937 high-school students from eight countries of the European Union with cinema and a survey was applied in 37 different countries of Europe.
Abstract: This cross-cultural descriptive empirical research observes the relationship of 937 high-school students from eight countries of the European Union with cinema. A survey was applied in 37 s...

8 citations


Journal ArticleDOI
TL;DR: Although sport is a popular theme among film directors, it is all too rarely studied by film studies researchers as discussed by the authors, and often considered in a thematized or anthological way.
Abstract: Although sport is a popular theme among film directors, it is all too rarely studied by film studies researchers, and often considered in a thematized or anthological way. The scarcity of scientifi...

8 citations


Journal ArticleDOI
TL;DR: In this paper, the authors focus on two Catalan amateur filmmakers from the late 1920s and early 1930s, Lluís Gisbert and Llorenç Llobet Gràcia, to show how silent film practices continued to develop beyond commercial cinema in the films, writings and screening venues of amateurs throughout the world for decades after the release of the first talkies.
Abstract: ABSTRACT If we understand cinema only as commercially produced and exhibited films then we are bound to a silent film history marked by loss and irreversibility. But what if we expand our conception of cinema to the numerous film experiences that happened beyond the commercial screen? This essay poses this question with the hope of initiating a transnational reinterpretation of silent film historiography through noncommercial cinema. I focus on two Catalan amateur filmmakers from the late 1920s and early 1930s, Lluís Gisbert and Llorenç Llobet Gràcia, , to show how silent film practices continued to develop beyond commercial cinema in the films, writings, and screening venues of amateurs throughout the world for decades after the release of the first talkies.

8 citations


Journal ArticleDOI
TL;DR: In her recent study of Agnes Varda's films and feminist film theory, Hilary Neroni argues that the director's L'Opera-Mouffe/Diary of a Pregnant Woman "explores the contradictions in pregnancy" as mentioned in this paper.
Abstract: In her recent study of Agnes Varda’s films and feminist film theory, Hilary Neroni argues that the director’s L’Opera-Mouffe/Diary of a Pregnant Woman ‘explores the contradictions in pregnancy’ and...

5 citations


Journal ArticleDOI
TL;DR: In this paper, the authors take seriously Lars von Trier's claim that Nymphmaniac (2014) is an exposition of Sadean themes and tropes, where sensuality is found to be searching for a glimpse of unbridled sexual deliverance and release.
Abstract: This exegesis takes seriously Lars von Trier’s claim that Nymph()maniac (2014) is an exposition of Sadean themes and tropes. The film is redolent with recondite pornographic flatness and aesthetic cultural density that remains peculiarly un-erotic. Sexual representations intersect with a plenitude of digressions; sensualism is simultaneously tempered and positioned as threatening the domain of normative romantic love and marriage. The series of allegorical vignettes are visually intelligent and serve to form a portrayal of desire, where sensuality is found to be searching for a glimpse of unbridled sexual deliverance and release. Not unexpectedly, reviewers, spectators and censors have reacted with reservations, trepidation and fascination. Trespassing and destabilising the posture of representations found in realist cinema, von Trier’s cinematic Sadean journey transgresses and is unsettling, as the visual experience moves sensuality and desire beyond the prosaic limits established in normative so...

5 citations


Journal ArticleDOI
TL;DR: There was a significant number and proportion of interwar British films with aristocrats among their major protagonists as discussed by the authors and the predominance of the romantic drama during the period of'silent' films g...
Abstract: There was a significant number and proportion of interwar British films with aristocrats among their major protagonists. The predominance of the romantic drama during the period of ‘silent’ films g...

5 citations


Journal ArticleDOI
TL;DR: Italy's status as Europe's "unguarded door" in terms of arriving migrants and refugees has both altered and intensified long-standing divisions within Italy, as well as between Italy and... as mentioned in this paper.
Abstract: Italy’s status as Europe’s ‘unguarded door’ in terms of arriving migrants and refugees has both altered and intensified long-standing divisions – within Italy, as well as between Italy and ...

4 citations


Journal ArticleDOI
TL;DR: In this paper, the authors demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic a...
Abstract: In this article, we demonstrate and argue that one way to acquire a better sense of cinemagoing in the silent film era is to investigate the relations between cinema locations, the socio-economic a...

4 citations


Journal ArticleDOI
TL;DR: Cinemas and Cinema-Going in the United Kingdom contributes to an expanding array of literature on changes in leisure in post-World War II Britain this article, which offers fresh insights into the decline of cinemas and cinema-going in the UK.
Abstract: Cinemas and Cinema-Going in the United Kingdom contributes to an expanding array of literature on changes in leisure in post-World War II Britain. It offers fresh insights into the decline of cinem...

Journal ArticleDOI
TL;DR: The authors examines the role of the lost child in feature films of the immediate post-war period and argues that they use the child figure to deal with traumatization and make it part of the reconstruction of communal intergenerational relations.
Abstract: The article examines the figure of the ‘lost child’ in feature films of the immediate post-war period. The figure’s enormous symbolic value as innocent victim and future generation, granted the ‘lost child’ a key position in post-war discourse, including films which tried to grapple with the moral and physical destruction of the continent after 1945. National film industries, particularly of the perpetrator nation, employed the ‘lost child’ for genre stories in which the post-war chaos is being mastered and a new, masculine national self is re-built. However, films made by victim groups outside a national context rely on the ‘lost child’ to broach the destruction of their identity by war and persecution. Analysing two films, Fred Zinnemann’s The Search (1948) and Nata Gross’s Unzere Kinder (1948), I argue that they use the child figure to deal with traumatization and make it part of the reconstruction of communal intergenerational relations. This does not result in stories of masculine mastery but in narratives that incorporate moments of trauma process emerging around destroyed mother-child relations. The films, encoding traumatization in film language, develop a rich cinematic language along questions of identity and form a first instance of posttraumatic cinema.

Journal ArticleDOI
TL;DR: In critical evaluations of what is commonly termed ‘Scandinavian Gothic‘, the geographic landscape figures prominently, and it is often claimed to almost act as a living presence as mentioned in this paper.
Abstract: In critical evaluations of what is commonly termed ‘Scandinavian Gothic‘, the geographic landscape figures prominently, and it is often claimed to almost act as a living presence. Taking this notio...

Journal ArticleDOI
TL;DR: In this paper, the authors investigate how the post-2010 Turkish action films portray men and find that popular cinema positions all other sexual identities as secondary and often Other than (hegemonic) masculinity.
Abstract: This study investigates how the post-2010 Turkish action films portray men. Popular cinema positions all other sexual identities as secondary and often Other than (hegemonic) masculinity. In this c...

Journal ArticleDOI
TL;DR: The European film production and distribution is currently regulated and shored up by many public policies drawn up by a range of institutions: the European Union (the supra-national level), the European Council, the European Court of Justice (ECJ), and the European Parliament.
Abstract: European film production and distribution is currently regulated and shored up by a great many public policies drawn up by a range of institutions: the European Union (the supra-national level), ce...

Journal ArticleDOI
TL;DR: In this paper, the authors take Peter Jackson's use of Imperial War Museum footage in They Shall Not Grow Old (2018) and its reception as a starting point for considering the dilemma for film archives over how...
Abstract: This article takes Peter Jackson’s use of Imperial War Museum footage in They Shall Not Grow Old (2018) and its reception as a starting point for considering the dilemma for film archives over how ...

Journal ArticleDOI
TL;DR: Fassbinder as mentioned in this paper included an unusual variety of characters and social classes in his films, in which he presented a critical view of the New German Cinema's most prominent directors.
Abstract: Rainer Werner Fassbinder, one of the New German Cinema’s most prominent directors, included an unusual variety of characters and social classes in his films, in which he presented a critical view o...

Journal ArticleDOI
TL;DR: In this paper, the authors analyze how Lars von Trier has used music and sound to enhance his idiosync and show that it has a distinct auteur-signature.
Abstract: Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosync...

Journal ArticleDOI
TL;DR: The range and ingenuity of people's creative responses to the coronavirus pandemic have been inspiring in so many ways as mentioned in this paper, and a number of important artistic interventions have been made in various settin...
Abstract: The range and ingenuity of people’s creative responses to the coronavirus pandemic have been inspiring in so many ways. A number of important artistic interventions have been made in various settin...

Journal ArticleDOI
TL;DR: The digital optimism of the past decade has been reflected in many policy documents related to cultural heritage in which digital technology is portrayed as a great opportunity to bring cultural he....
Abstract: The digital optimism of the past decade has been reflected in many policy documents related to cultural heritage in which digital technology is portrayed as a great opportunity to bring cultural he...

Journal ArticleDOI
TL;DR: There are several aspects to Albertine Fox's Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard that are particularly exciting as discussed by the authors, the first is her deft ability to analyse musi...
Abstract: There are several aspects to Albertine Fox’s Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard that are particularly exciting. The first is her deft ability to analyse musi...

Journal ArticleDOI
TL;DR: Sunset as mentioned in this paper is a period drama set in Budapest of the early 1910s, which combines the careful assembly of period mise en scene with a countervailing and systematic attenuation of this reconstruction, achieved through tight framing, shallow focus and extreme focalisation on the pro-tagonist Irisz Leiter.
Abstract: This paper investigates how Laszlo Nemes’ Sunset (Napszallta, 2018), a drama set in Budapest of the early 1910s, gestures to but problematises the pleasures of ‘her-itage space’ (Higson 1993). The film combines the careful assembly of period mise en scene with a countervailing and systematic attenuation of this reconstruction, achieved through tight framing, shallow focus and extreme focalisation on the pro-tagonist Irisz Leiter. This strategy consigns many of the splendours of Belle Epoque Budapest to off-screen or out-of-focus space. I explore how Sunset’s deployment and complication of the visual, and narrative, pleasures of the period film engages critically with attitudes towards history and the past; the resulting response to the film among Hungarian reviewers; and the gender politics of the film. The institution-alised gender abuse behind the beautiful facade of the Leiter hat store and its opu-lent clients parallels contemporary scandals. Like many period films, Sunset is set on the cusp of change, a moment when “the present imagines itself to have been born and history forever changed” (Sadoff and Kucich 2000). But it refuses to be sealed off as a closed history to be either nostalgically enjoyed or smugly judged at a safe distance from the present.

Journal ArticleDOI
TL;DR: Agnieszka Holland as mentioned in this paper discusses her early filmmaking career and the potential influence of acting as a global citizen, and traces the filmmaker's journey from early filmmaking to her early feature and screenwriting career.
Abstract: This article transcribes an interview with the President of the European Film Academy, film director and scriptwriter Agnieszka Holland. It traces the filmmaker’s journey from her early filmmaking career and the potential influence of acting as a global citizen. Agnieszka Holland studied directing at the Film and TV School of the Academy of Performing Arts (FAMU) in Prague. She began her career as an assistant director to Krzysztof Zanussi and Andrzej Wajda as her mentor. In 1977, Agnieszka Holland made her co-directing debut with ‘Screen Tests.’ In 1978, Holland wrote her first screenplay for Wajda, ‘Without Anaesthesia.’ Her solo feature directing debut started with ‘Provincial Actors,’ which won the International Critics Prize at Cannes Film Festival (1980). Since then, she has directed over 30 films, won numerous awards, including the Golden Globe and Silver Bear Berlinale. Agnieszka Holland was nominated for a BAFTA and Emmy, while her films ‘Angry Harvest’ (1985), ‘Europa Europa’ (1990), and ‘In Darkness’ (2011) were nominated for an Academy Award. The emotional impact and foresight of these films have earned her international fame. Throughout her career, Holland’s vision of cinematography and the way reality is depicted influenced the further history of cinema.

Journal ArticleDOI
TL;DR: A collection of the results of a 2018 conference that was held at the University of Leeds and funded by White Rose College of the Arts & Humanities (WRoCAH) as mentioned in this paper.
Abstract: This collection is the result of a 2018 conference that was held at the University of Leeds and funded by White Rose College of the Arts & Humanities (WRoCAH). As organizers, we were brought togeth...

Journal ArticleDOI
TL;DR: Ungar as discussed by the authors describes how avant-garde film-making in 1920s France explored "how film was capababe" in the Silent Era to the New Wave.
Abstract: In his introduction to Critical Mass: Social Documentary in France from the Silent Era to the New Wave, Steven Ungar recalls how avant-garde film-making in 1920s France explored ‘how film was capab...

Journal ArticleDOI
TL;DR: In this paper, a film about a disgraced East German doctor who has been demoted to work in a provincial hospital, borders and boundaries abound, while moral, ethical, and...
Abstract: In Christian Petzold’s 2012 film Barbara, a film about a disgraced East German doctor who has been demoted to work in a provincial hospital, borders and boundaries abound. While moral, ethical, and...

Journal ArticleDOI
TL;DR: Since the release of Giorgio Moroder's restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent movies.
Abstract: Since the release of Giorgio Moroder’s restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent ...

Journal ArticleDOI
Neil Archer1
TL;DR: In this paper, the authors look at the thirty-year history of the Dinard Film Festival, with a particular focus on the financial support provided by bodies with disabilities, including the British National Health Service (NHS).
Abstract: This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with...

Journal ArticleDOI
TL;DR: The subject of film studies has been gaining ground in recent years among film scholars, thanks in no small part to the work of Ewa Mazierska as mentioned in this paper, who was one of the first to introduce the concept of film as a subject of study.
Abstract: The subject of work has been gaining ground in recent years among film scholars, thanks in no small part to the work of Ewa Mazierska (see Mazierska 2012, 2013, 2017; Mazierska and Kristensen 2018)...

Journal ArticleDOI
TL;DR: In this article, the authors examined the power relations found in Greek director Yorgos Lanthimos' films and found that despite the inevitable rise of the internet and social media, the power relation between men and women in movies remained unchanged.
Abstract: This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of...