American Cinema Research Papers - Academia.edu (original) (raw)

2025, Scegliere un film

Recensione del film Pixar (2025)

2025, Scegliere un film

Recensione del film di Joseph Kosinski (2025).

2025, Journal of Jewish Identities

Within the field of Israeli Cinema Studies, the period of early statehood has been discussed mainly in terms of production, which in turn led to the highlighting of Israeli film's role as a tool for Zionist indoctrination. Israeli spectators-the presumed primary audience for Israeli cinema-were not given as thorough an analysis as the films themselves. Consequently, they emerged in research as not much more than Israeli cinema's textual-ideological effect: the un/willing receptacles of Zionism's powerful nationalist propaganda. This essay aims to counter such a reductive reading by fleshing out the Israeli audience, at least to the degree that it was reflected on the pages of Israel's postwar film magazines-Kolnoa and Olam HaKolnoa. Focusing principally on both magazines' "letters to the editor" section, my analysis reveals readers to be ardent movie fans, fully devoted to the pleasures of a cinema from elsewhere (Hollywood in particular), even as this commitment conflicts with the values of Israeli high nationalism and the requirements of Israeli citizenship.

2025, USJ Journals

The emergence of new forms of leisure in Iraqi urban landscapes, such as cinemas, nightclubs, and theaters, unleashed debates about the dangers and potentials of leisure. The result of this process is a vast, albeit scattered, archive of texts that deal with practices and institutions of leisure. The archive of leisure, as it pertains to cinema, can be located across a variety of texts including memoirs, short stories, student essays, police records, official discourse, medical texts, and works by Iraqi historians. Given the limited access to Iraqi film and cinema archives, the archive of leisure can offer an important addendum and a supplementary history of Iraqi cinema and cinemagoing. This article offers a new way to retrieve and think about cinematic pasts by examining different archives of leisure. Using these archives, it provides examples of how cinemagoing became a battleground for competing visions of class, morality, gender relations, and politics in early and mid twentieth century Iraq.

2025

Audiovisual Healing and Reparation gathers a collection of scholarly and creative voices that explore how audiovisual media can serve as a catalyst for healing, reparation, resilience, care, and hope. The contributors critically engage with the audiovisual mediations of harsh histories and experiences of violence, discrimination, racism, sexism, colonialism, displacement, illness, and death, all situated within diverse historical, geographical, social, and political contexts. Through a reparative approach to films, documentaries, digital and social media, and art, they examine how audiovisuality intervenes in and transforms trauma, rupture, loss, and silence. This book examines audiovisual media as a rich aesthetic, social, and political site for acknowledging wounds, seeking healing, and reparatively reimagining a broken world during troubling times. It argues for the recuperative affect of audiovisuality, which can unlock silenced or suppressed (personal) histories by integrating them into the fabric of mundane daily life. It analyses two major questions: What kind of recuperative potentials can emerge from audiovisual mediations of troubling times? How can we (re)imagine audiovisual mediums, narratives, aesthetics, and practices as reparative possibilities? This book will be of interest to scholars working in film and media studies, cultural studies, memory studies, performance studies, and affect studies, and will also inspire practitioners of audiovisual media. Özgür Çiçek is a film scholar, researcher, and lecturer in the Media and Culture Department at the University of Amsterdam, the Netherlands. Her research interests lie at the intersection of national and transnational cinemas, minor cinemas, audiovisual heritage and media memory studies, documentary film and archive studies, film philosophy and aesthetics. Her forthcoming monograph is provisionally titled Kurdish Cinema in Turkey: Imprisonment, Memory, and the Archive. Özlem Savaş is a media studies scholar, researcher, and lecturer at the Department of Comparative Cultural and Social Anthropology at European University Viadrina, Germany. Her interdisciplinary work bridges media studies, migration studies, and cultural studies, with a particular emphasis on affect and emotions, aesthetic and cultural production, and everyday life. Her forthcoming monograph, The Sigh of Displacement: Affective Practices of Mediating Migration and Belong ing, is under contract with Routledge.

2025

2025, Il Cinema Metamusicale di Woody Allen

In questa breve analisi ho cercato di chiarire alcuni nessi espressivi che legano la cinematografia alleniana alla sue scelte musicali, stabilendo in modo particolare l’esistenza di nessi di verità, che vanno a rafforzare il senso drammaturgico delle scene filmiche, confrontandoli invece con gli esiti paradossali che le medesime scelte determinano laddove esse si esercitino su segmenti filmici (o addirittura opere intere) in cui la natura stessa di ciò che viene rappresentato determina la falsificazione del messaggio.

2025, PEARSON ACADEMIC JOURNAL

Films that take their topics from ancient times were called Epic Films. The beginning of Epics-which were a reflection of archaeological discoveries-coincides with the early period of cinema. They constitute an important genre of cinema and differ from other genres in terms of iconography and content. The films such as "The Ten Commandments", "Ben Hur", "Spartacus" and "Cleopatra" were considered to be the top of the genre which experienced its golden age in the 1950s, in terms of both the quality and demand. The most important element in the appreciation and acceptance of the genre is undoubtedly its music. In our study, we first touch on the function of music in the early ages. Our aim is to draw attention to how important the music is for Epics. In the second section titled 'The Journey of Notes on the Silver Screen', we examine the introduction of music to Epics and its journey until the 1950s. The 1950s and 60s were the golden age of the genre and they were mostly made in Italy. Therefore, the period when the music of these films was at its peak were the work of Italian composers. The last two sections of our study are about the reasons for the emphasis on classical music in Epics and the use of New Age, the greatest alternative in film music.

2025, British and American Studies Journal

This essay examines the complex dynamics of fatherhood in Wally Lamb’s
novel I Know This Much Is True (1998) through the lens of three distinct paternal
figures: the abusive stepfather Ray Birdsey, the idealized yet oppressive grandfather
Domenico Onofrio Tempesta, and the protagonist, Dominick, himself, grappling with
the loss of his infant daughter and the subsequent challenges to his own paternal
identity. The analysis explores how cultural factors, including American masculinity
and Italian patriarchy, shape these paternal figures, contributing to their respective
approaches to child-rearing and interpersonal relationships. The study draws
upon sociological theories of masculinity, family dynamics, and cultural studies,
to understand the impact of these influences on the characters’ experiences and the
enduring consequences of intergenerational trauma. Ultimately, the essay examines
Dominick’s journey towards self-discovery and the possibility of rewriting his own
narrative, transcending the limitations imposed by his familial and cultural heritage.
Keywords: fatherhood, Italian-American experience, patriarchy, Wally Lamb

2025

Режиссер Жак Дониоль-Валькроз (Jacques Doniol-Valcroze) поставил два десятка фильмов и сериалов и сыграл примерно столько же ролей в кино, но ни одна его режиссерская работа и ни один фильм с его участием не шли в советском кинопрокате. Как и многие иные режиссеры французской «новой волны» Жак Дониоль-Валькроз пришел в кино из кинокритики и киноведения. Вместе с Андре Базеном (1918-1958) и Эриком Ромером (1920-2010) он основал в 1951 году журнал Cahiers du cinéma и одновременно публиковал свои статьи о кино в популярных изданиях France Observateur, Cinémonde и La Revue du cinéma.

2025, Pouvoirs des ecrans (ed. Dalmasso et al.)

En 1951, peu avant d'assister à la première projection en 3D en France, Bazin introduit l'idée de « No-D » -une absence de dimensions. Il écrit: « sur la toile blanche de l'écran la croix noire... seule trace visible laissée par l'assomption de l'image, témoigne de ce dont la réalité n'était qu'un signe 1 ». L'année même où le pape Pie XII déclarait que l'Assomption de la Vierge était un article de foi, Bazin parle d' « assomption de l'image » à un autre niveau, où l'écran vide est tel un signe indicateur d'une réalité existant au delà de la nôtre. Un cinéma de non-dimension, un cinéma zen. Moins d'un an plus tard, Bazin revient sur la même idée dans son compte rendu du documentaire Kon-Tiki (1950), chronique d'une équipée en radeau à travers l'océan pacifique. Bien trop peu du voyage était filmé, et aucun moment dramatique, puisque pendant de tels instants, comme l'attaque du requin, la caméra aura été déposée pour qu'un harpon supplémentaire puisse être employé. Pourtant ce document incomplet, nous dit Bazin, « est le plus beau des films, mais il n'existe pas ! 2 ». Le résultat demeurant « le vestige d'une oeuvre virtuelle dont on ose à peine rêver 3 ». Une fois encore, il s'agissait de No-D, où l'absence d'image signale une réalité infilmable. Ceux qui sont à bord du Kon Tiki, ainsi que la caméra qui y est parfois employée, ne voient qu'une mer illimitée à l'horizon, dans toutes les directions. Et lorsqu'on regarde vers le bas, seule une

2025, Meanings in Texts and Actions (eds. David E. Klemm and William Schweiker)

2025, Slavic Review

Vadim Shneyder's excellent study contributes to a growing field of economic criticism in Russian literary scholarship. Focusing on the realist epoch, he elucidates how Lev Tolstoi, Fedor Dostoevskii, Anton Chekhov, and other nineteenth-century authors articulated the "economic imaginary" of Russia's capitalist modernity. As Shneyder argues, "Russian realism confronted capitalism as a problem-of social thought, of historical imagination, and of aesthetic representation" (177), and his book thoughtfully explores these three dimensions of this "problem." Initially, capitalist practices resisted methods of realist representation, a limitation that individual works reflexively conceded in literary structure. However, as capitalism became increasingly central to pre-revolutionary Russian life, it influenced representational conventions of setting, character, and plot, to the point of threatening the very viability of the realist project. The book's five chapters focus largely on fiction published after the emancipation of the serfs in 1861, an event that transformed Russia's economy and society. The introduction outlines the evolution and conceptualization of the Russian economy, and assesses the treatment of economic activity and class identity in works by Aleksandr Pushkin, Nikolai Gogol΄, and Ivan Goncharov. Chapter 1 examines realist approaches to the factory site, spanning texts by canonical authors (Gogol΄, Ivan Turgenev, Nikolai Chernyshevskii, Nikolai Leskov), as well as several who are now less commonly read (Dmitrii Grigorovich, Fedor Reshetnikov, Petr Boborykin, Dmitrii Mamin-Sibiriak). These works, Shneyder contends, elaborate a composite poetics of the factory interior, depicted as an incomprehensible space from the estranged perspective of a newcomer. The second chapter explores Tolstoi's engagement with agricultural and industrial labor in Anna Karenina, and the way these systems either enable or suppress realist representation. While the mowing scene on Levin's estate successfully integrates labor and literary technique, it is nonetheless predicated on the social estate and land ownership of the Russian nobility. Chapter 3 interprets Dostoevskii's Idiot as a contest between two money economies, merchant and capitalist, and their corresponding potential for literary representation. Whereas the merchant fortunes inherited by Rogozhin and Myshkin are inert, their money fetishized as physical objects, the fungible capital of Totskii and Epanchin circulates invisibly through conversion. Their capitalist activity ensures future prosperity, but it also eludes realist methods of emplotment and psychological exposition; Myshkin and Rogozhin, by comparison, exhibit the complex interiority and eventful lives essential to realist narrative. The fourth chapter examines how The Brothers Karamazov deconstructs the convertible potential of money, and applies money's transactional equivalency to the novel's ethical and theological discourses. Dostoevskii grounds his model of "human economy" in Zosima's vision of universal responsibility, securing the possibility of narrative beyond the monetary economy. Chapter 5 analyzes how Chekhov's fiction of the 1890s presents a "naturalized" vision of Russian capitalism as an inevitable economic and social order. In this final case study, realism has

2025, E-Structural (English Studies on Translation, Culture, Literature, and Linguistics)

This research was conducted to analyze slang language in the script of Pulp Fiction by Quentin Tarantino. The study aimed to identify and analyze the types, meanings, and functions of slang in the film's script. The primary source of this research is the script of "Pulp Fiction." The researchers employed a descriptive qualitative method, reviewing and identifying slang dialogues using English translations, and then capturing screenshots of important dialogues relevant to the chosen title. The slang words found in the Pulp Fiction script are categorized into two types according to Chapman's theory (1988): Primary Slang and Secondary Slang. In this study, 19 slang words are classified into these two types, each found in various sentences throughout the Pulp Fiction script. The dominant type of slang is Primary Slang, with the most frequently used word being ain't, which appears 47 times. In contrast, the word O.D.ing in Secondary Slang is used only 3 times. In the Pulp Fiction movie, slang is predominantly used by specific social groups, particularly young people. Through slang, the characters express solidarity with others who share similar values or experiences, highlighting their closeness and familiarity with one another.

2025, IV. ULUSLARARASI KATILIMLI ANKARA İNSAN VE TOPLUM BİLİMLERİ KONGRESİ

Yapay zekâ birçok alanı etkilediği gibi sinema sektörünü de tesiri altına almıştır. Son zamanlarda çekilen bazı filmlerde; senaryo yazımının, mekân, sahne ve karakter tasarımlarının yapay zekâ araçlarından yararlanılarak oluşturulması bu duruma işaret etmektedir. Bu bağlamda film endüstrisi, yapay zekâ teknolojilerinden profesyonel anlamda istifade etmeye başlamıştır. Hollywood’da önemli film şirketleri, yapay zekâ teknolojisinden yararlanarak bir filmin başarılı olup olmayacağına ve hangi toplumsal grupların ilgisini çekip çekmeyeceğine dair analizler yapabilmektedir. Ayrıca son zamanlarda, tüm yapım süreci yapay zekâ ile tamamlanan filmler de ortaya çıkmıştır. Dolayısıyla yapay zekâ, sinema sektörünü dönüştürme ve değiştirme potansiyeli taşımaktadır. Buradan hareketle bu çalışma, yapay zekâ ve sinema ilişkisi üzerine bir tartışma ve değerlendirme yapmayı amaçlamaktadır. Bu kapsamda, çalışmada öncelikle yapay zekâ teknolojisinin ortaya çıkış sürecine, gelişimine ve uygulama alanlarına değinilmektedir. Ardından, sinemada yapay zekâ uygulamalarının kullanımı üzerinde durularak senaryosu yapay zekâ tarafından yazılan ve aynı zamanda yapay zekâ ile bir senaryo yazarının ilişkisine odaklanan 2024 yapımı The Last Screenwriter filmi betimsel analiz yaklaşımı ile incelenmektedir. Bu çerçevede film; sinema ve yapay zekâ, yapay zekâ ve karakterlerin dönüşümü, yapay zekâ ve hikâye anlatıcılığı temaları çerçevesinde ele alınmaktadır. Bu temalar ışığında; sinema ve yapay zekâ ilişkisine, bir senaryo yazarının yapay zekâ ile kurduğu bağa ve bir hikâye anlatıcısı olarak yapay zekâya odaklanılmaktadır.

2025, Populismus kritisieren

in: Evelyn Annuß/Ralf von Appen/Sarah Chaker/Silke Felber/Andrea Glauser/Therese Kaufmann/Susanne Lettow/, Populismus kritisieren (53-66). Bielefeld: transcript Verlag. – – – The article represents an attempt at a critique of populism in three senses: firstly, in the sense of an analysis of »populist reason« (according to Laclau); secondly, in the sense of linking populist mobilization back to an egalitarian-democratic project (left-wing populism according to Mouffe); thirdly, in the sense of a radical democratic critique of identifying, totalizing forms in which a
people is made to appear. At the same time, this making-appear as well as an emphasis on popular conflict orientation is not abandoned; this is in accordance with the criticism of reductions of democracy in its current institutional forms – a criticism that populism, also in its exuberance of can-do-pathos and "things" elevated to "causes", can achieve.This is illustrated here using, among other things, references
from populism theories to film theories as well as the socialt hriller "Us" (USA2019). – – – Der Beitrag stellt einen Versuch in Sachen Populismuskritik in dreierlei Sinn dar: erstens im Sinn einer Analyse der populist reason (nach Laclau); zweitens im Sinn einer Rückbindung populistischer Mobilisierung an ein egalitär-demokratisches Projekt (Linkspopulismus nach Mouffe); drittens im Sinn radikaldemokratischer Kritik an den identifizierenden, totalisierenden Formen, in denen ein Volk zur Erscheinung gebracht wird. Zugleich wird von diesem Zur-Erscheinung-Bringen, wie auch von einer Emphase popularer Konfliktorientierung nicht abgelassen; dies in Übereinstimmung mit der Kritik an Verkürzungen von Demokratie in ihren aktuellen institutionellen Formen – einer Kritik, die Populismus, auch in seinem Überschwang von Zuspitzung und 'Ding-Festmachung', leistet. Dies wird hier u.a. anhand von Bezügen der Populismustheorie zu Filmtheorien, sowie anhand des Social Thriller "Us – Wir" (USA 2019) dargelegt.

2025, Scegliere un film

Recensione del film di Wes Anderson (2025).

2025, Critical Inquiry

DUDLEY ANDREW An awe-inspiring volcano rises in the center of Marco Grosoli's compelling chronicle of the formation of Eric Rohmer's system of ideas about cinema. For over a hundred pages Grosoli climbs with Rohmer in his apprenticeship as an ambitious novelist under Jean-Paul Sartre's spell, until halfway through the book when he reaches a peak where a furious eruption demolishes the path traveled thus far. Never one to flaunt his feelings, this time Rohmer immediately broadcast the dramatic moment of a complete "conversion." It was September 1950 at a Parisian movie theater when a flash of light knocked him off his horse at just the moment in Roberto Rossellini's Stromboli when Karin (Ingrid Bergman) fell to the ground, overwhelmed at the might of the spewing volcano. Spiritually denuded before its majesty, Karin lets go her pride, and empties her forsaken soul laying it open to be filled by a larger power. In Grosoli's unambiguous allegory, it is Immanuel Kant's universal philosophy that comes to fill and anchor a transformed Eric Rohmer. The solidity of the German philosopher will keep him tied thereafter to a classical idea of art. From 1950 till his death in 2010, Rohmer was thereby able to withstand the tides of fashion that have since washed over Europe: from phenomenology to structuralism, semiotics, psychoanalysis, poststructuralism, and posthumanism. Was he out of date or timeless? Your answer, Grosoli implies, depends on what you think of Kant's relevance. An established and uncommonly assiduous researcher, Grosoli has located and apparently memorized all of Rohmer's writings, as well as much of Jean-Luc Godard, Jacques Rivette, François Truffaut, and Claude Chabrol. But it is the scope and depth of this new book that proves him to be one of the deepest thinkers of his generation of film scholars. For he reads with a purpose-too much of a purpose some may argue. Within any film review, no matter how minor, he sees in X-ray the skeleton of an unstated philosophical position. The New Wave emerged, he is sure (and I agree), not haphazardly, but by a design it may not even have known was there, that of a mature philosophy most clearly intuited by Rohmer, the eldest of them, the master of a "school of criticism" that would evolve into the Politique des Auteurs.

2025

Az ebbe a csoportba tartozó magyar nyelven megjelent anyagokat részben az orosz nyelvű írások118 és Tarkovszkij írásainak magyar fordításai119, részben önálló, a filmről szóló egyéb -változó szakmai színvonalú -gondolatok képezik. Az utóbbi forrásmunkák áttekintése után arra a következtetésre jutottam, hogy jelen fejezetben való részletes ismertetésük nem szolgálja közvetlenül a kitűzött 120

2025

Aus der SPEX-Magazin-Reihe "Bilder, die die Welt bewegten" (Ausg. 8, 2015) – Reprint im Sammelband: Drehli Robnik: Ansichten und Absichten. Texte über populäres Kino und Politik (hg.von Alexander Horwath bei FilmmuseumSYNEMA, Wien 2022)

2025, Punk Noir Magazine

William Lindsay Gresham (1909-1962) is known today for his novel Nightmare Alley and for writing what many consider the first great Houdini biography, but not much is known about his life. Of the many questions researchers ask about... more

2025

Alexander Spektor's thoughtful and beautifully written book adopts as its point of departure the core assumption of the growing scholarly field of "Narrative Ethics": that literary works create the space for ethical engagement among the figures of implied author, fictional character, and reader, an engagement in which the moral imagination of the latter is activated through ethically charged-indeed, often ethically ambiguous-acts of narrative representation. The book's sophisticated analysis draws attention to the varied ways in which literary texts ask their readers to become conscious of, take responsibility for, and adopt a stance toward the sorts of power relations that are inevitably involved in the formal conditions for the possibility of storytelling. At stake, one might say, is not so much the ethics of content, as the ethics of form. The book draws its case studies from the work of Fedor Dostoevskii and Vladimir Nabokov, two novelists, whose names are irreversibly bound to each other ever since the latter's scathing and perhaps improvidently ardent remarks on his predecessor's artistic failings. Although much scholarly attention has been dedicated to the pair, Spektor's theoretical framework enables him to contribute an innovative account of the convergences and differences at play. In his reading, the two corpuses present us with texts that contribute to the formation of the reader's ethical subjectivity by foregrounding the ethical stakes of representation: the hierarchies of power distributed among authors, readers and characters; the responsibilities inherent in authoring and reading alike; the relationship between language and violence; between the desire to tell stories and the urge to dominate. Of course, the two authors do so very differently. The "Christ-intoxicated" realist stages the exercise of "authorial silence" (177) vis-à-vis characters, who are thus given over to dialogic struggle for domination, issuing either in physical violence or in (silent) forgiveness. "In Dostoevsky's world," Spektor writes, "to have faith is to begin the hard work of forgiving oneself. Since forgiveness represents a redemptive internalizing of one's relationship with Christ, faith renders the endless external dialogic engagement with others obsolete" (81). Nabokov translates something like this very logic from the language of metaphysics to that, more explicitly, of aesthetics. At stake here is the mirroring relationship between the implied author and the author-like (or imposter-author) protagonist, whose desire for total mastery and metaphysical certainty manifests itself paradigmatically in acts of violence. The dialectical relationship between the implied author and the protagonist transpires as a kind of unity-in-opposition; the author is utterly unlike his mad hero insofar as he is positioned outside the diegetic universe of the tale and yet also like him insofar as he shares the (violent) impulse of total aesthetic control (178). The four central chapters of the book supply readings of Dostoevskii's and Nabokov's fictional works-focusing on Dostoevskii's "The Meek One" (1876) and The Idiot (1869), and Nabokov's Despair (1937) and Bend Sinister (1947), respectively-each highlighting the textual strategies involved in interpolating readers, soliciting their ethical responses to the diegetic and para-diegetic (implicit-authorial) dynamics of the text. Thus, readers of "The Meek One" are asked to recognize their complicity in perpetuating the "narrative cycle" that issues in the heroine's suicide (81). The Idiot, in turn, places the reader in the uncomfortable predicament of having to choose between violence-ridden "understanding" and helpless failure to understand,

2025, unpublished

A critique of Robin Wood's interpretation of Penn's film The Chase, in his book Arthur Penn.

2025, What Ought to Scare You

Front cover images: Christopher Lee as Count Dracula in Horror of Dracula (1958 UK) aka Dracula (Universal Pictures/Photofest); camera(© ledokolua/Shutterstock)

2025

Canlilar dunyasinda dusunebilen ve cevresindeki olaylari izleyip, sorgulayabilen tek canli turu olan insan, cok eski devirlerden bu yana kendi varliginin kaynagini, nereden geldigini, nasil ortaya ciktigini sorgulamis, evrenin ve canliligin kaynagi ile ilgili gorusler ileri surmustur. Her ne kadar, daha eski uygarliklarda da bu yonde cabalar bulunsa da, canliligin kaynagi ile ilgili ilk somut gorusler, Antik Yunan’da Anadolu topraklarinda ortaya cikmistir. Darwin’in dogal secilim mekanizmasini ortaya koyarak, evrim teorisini bilimsel bir temele oturtmasindan cok once Antik Yunan’da “karsitlar savasi”ndan soz edilmekte, canliligin sudan ortaya ciktigi fikirleri acikca dile getirilmekteydi. Bu makale calismasinda, Antik Yunan’daki biyolojik evrim dusuncesi ile ilgili gorusler degerlendirilmektedir.

2025

Un sassofono e una cinepresa; una nota e un primo piano; uno spartito e una sceneggiatura. Cosa avranno mai in comune John Zorn e Quentin Tarantino, due maestri dei rispettivi campi, un musicista/compositore a trecentosessanta gradi e un regista leggendario? Molto di più di quanto si possa pensare: le latenti ma vigorose affinità che intercorrono tra questi due geni contemporanei possono essere estrapolate, portate alla luce grazie a una approfondita analisi delle loro opere cardine, Pulp Fiction e Naked City.
Tale indagine prende in considerazione i più svariati argomenti: il percorso parte rintracciando gli aspetti comuni di Tarantino e Zorn nelle loro personalità, nel modo di creare, nelle ispirazioni, nel rapportarsi l’uno con il medium espressivo dell’altro; si passa poi ad analizzare alcuni degli aspetti salienti che caratterizzano il film e il disco in questione, come l’uso di una struttura temporale e ritmica alquanto anomala, la convivenza di molteplici e diversissimi generi cinematografici e musicali, la tendenza alla citazione, la palese ammirazione per Jean-Luc Godard. La ricerca prosegue con uno sguardo approfondito al tema della città, esaminando l’utilizzo della tecnica del collage, riflettendo sull’umorismo e sui modi in cui esso si palesa nel corso del film e dell’album. Il fine ultimo di questo sfaccettato viaggio attraverso i caleidoscopici mondi dei due autori è sottolineare l’enorme influenza di Pulp Fiction e Naked City sulla maniera odierna di fare cinema e musica ma, soprattutto, evidenziare come Zorn e Tarantino abbiano anticipato e predetto il modo in cui queste forme d’arte vengano fruite al giorno d’oggi, dimostrandosi artisti visionari capaci di guardare ben oltre i loro tempi.

2025, Scegliere un film

Recensione del film di Steven Soderbergh (2025).

2025, Bell Belgian Journal of English Language and Literatures

This paper examines the conditions of possibility for realism in several fields of contemporary culture-literature, painting, film, and TV news. It is argued that contemporary texts mobilize novel resources for the representation of the real. Realism in these works no longer takes the form of a seemingly self-evident mirroring of the world. Instead, the work of representation unfolds along several axes-fact-finding, metadiscourse, contractual negotiation, and praxis. Accordingly, contemporary realist texts display a hybrid make-up, mingling elements of classical mimesis and postmodernism. The essay indicates how this complex set of representational strategies informs alternative film-making (David Cronenberg's eXistenZ, Lisa Cholodenko's High Art), live TV news coverage of the 2003 Iraq campaign, and Michael Moore's documentaries.

2025, Audiovisual Healing and Reparation: Recuperative Affect of Mediation

2025, Mythlore

The poem "Christmas in the Workhouse" archived in William Lindsay Gresham's papers at first appears to be a random transcript in his files. Exploring the work's publication history and Gresham's contributions to War Poems of the United Nations, a book edited by his second wife Joy Davidman, suggests that in fact "Christmas in the Workhouse" is part of the larger story of how they informed each other's work in the 1940s.

2025, Kwadratura Koła

Angielski reżyser Peter Watkins jest jednym z najciekawszych twórców filmu
dokumentalnego i mockumentu drugiej połowy XX wieku. W trakcie swojej kariery
wypracował unikalną metodę twórczą, faworyzującą kolektywność pracy. Wykorzystał ten
zamysł w rozważaniu interesującej go tematyki mediów masowych i systemowej opresji. Jego
filmy oddały głos historycznie ignorowanym grupom społecznym. W ujęciu Watkinsa kino
może być orężem w walce z tendencjami autokratycznymi i sposobem na obnażanie spektaklu
tworzonego przez media głównego nurtu.

2025, Pensamiento crítico y realidad ficcionada: la influencia de la pantalla en lo cotidiano

Las ciudades resisten como documentos vivenciales a través de los tiempos. En su cartografía
participan tanto los relatos históricos, literarios y musicales como los cinematográficos
y televisivos. Proponemos, echando mano de ejemplos significativos en la
historia del cine, reflexionar sobre cómo ha evolucionado la percepción urbana en el
cine, qué elementos han ayudado al surgimiento de los estereotipos o cuál ha sido el
papel de la dirección artística en su (re)creación espacial. Para ello convendrá señalar
qué géneros han contribuido a la asimilación de determinados clichés, que función
que juega la ruina en la ciencia-ficción, la noche en el cine negro o la metamorfosis en
la comedia romántica. Lo visto en una pantalla influye notablemente en nuestra visita
a un entorno urbano; las lecturas de esos espacios se redibujan tras un reclamo cinematográfico.
Finalmente, corresponderá plantearnos qué medidas debemos tomar para
cuidar nuestro patrimonio y para convivir con la turistización más salvaje en los enclaves
públicos.

2025

When approached from a Kuhnian perspective, it becomes evident that, just as in the philosophy of physics, normal science, discoveries, crises, and revolutions also play crucial roles in the history of biology. Until Darwin, the fixed typological concept of speciesbelieved to be created by God and without transitional forms-prevailed. However, with Darwin, this notion was replaced by a dynamic understanding of speciation, where species are not fixed but instead originate from a single common ancestor and are related to one another through natural selection. It can be argued that Darwin's theory of evolution triggered a revolution comparable to the Copernican Revolution and that there was a paradigm shift in the history of biology from an Aristotelian paradigm to a Darwinian one. Since Darwin's theory of evolution, no further paradigm shifts have occurred. Fisher, Haldane, and Wright significantly contributed to the maturation of the theory, making evolution quantitatively measurable. Later, the works of Dobzhansky, Huxley, and Simpson were added to these developments. While Fisher, Haldane, and Wright's studies were concerned with microevolution, the works of Dobzhansky, Huxley, and Simpson focused on macroevolution. The integration of microevolution and macroevolution ensured the coherence of the modern synthesis. Although there was conceptual unity regarding the synthesis, disagreements arose over the question of the unit of selection. While Dawkins and Williams argued that genes were the sole unit of selection, Sober and Wilson opposed this view. They suggested that not only genes but also organisms and groups could serve as units of selection. In response to Sober and Wilson's claim, this study aims to demonstrate that individual holobionts function as units of selection.

2025, М.: ОД «Информация для всех»

Fedorov A.V. 1000 & 1 Foreign Leaders of Soviet Film Distribution (1945-1990). Moscow: SM "Information for All", 2026. 1001 р. What foreign films were popular in the Soviet film distribution? How did the press and the audience... more

2025

// Государство, общество, церковь в истории России ХХ-XXI вв. Материалы XXIV Международной научной конференции, посвященной 80-летию Победы в Великой Отечественной войне. Иваново, 25-27 марта 2025. Иваново: ИвГУ, 2025. С 527-532.

2025, Italian American Review

Edited by Daniele Fioretti and Fulvio Orsitto.

2025

Významný americký filmový tvůrce Terrence Malick (*1943) pro nás tento rok chystá premiéru svého posledního filmu pod názvem Cesta větru, který vzbuzuje velká očekávání. Tento autor se do povědomí diváků na celém světě uvedl filmy jako... more

2025, Crisis y cambio: propuestas desde la sociología. Proceedings of the XIth Congreso Nacional de Sociología, H. Cairo and L. Finkel (eds.). Madrid, Universidad Complutense de Madrid, Vol. 2, p. 705-715.

This study addresses the ideological burden contained in the films Grease and Forrest Gump, especially regarding the transference of behavioral models intended to close down the values of counterculture in the audience. To this end, it analyzes some of the most significant sequences, with particular emphasis on the aesthetic and ideological function of the soundtrack, outlining the social relevance in the gestation of an integrating and uncritical collective imagination that stemmed from this cinema.

2025, Sēmēion Méditerranée

Régulièrement caricaturé comme un continent « sans histoire », apparu comme instantanément avec l'arrivée de la flotte de ChristopheColomb aux Caraïbes à la fin du XV e siècle, l'Amérique cherche, depuis les transcendentalistes et la déclaration intellectuelle d'indépendance de Ralph Waldo Emerson (1885), à se bâtir une mythologie propre. Parmi ces nouveaux mythes typiquement états-uniens, les journées du 8 au 10 août 1969 restent, sans doute, parmi les plus significatives commeles plus symboliques. C'est à ce moment que Charles Manson, à la tête d'un groupe baptisée « famille » (en l'occurrenceTex Watson, Susan Atkins, Linda Kasabian et Patricia Krenwinkel), orchestre l'assassinat de 6 personnes dans la maison du couple Roman Polanski / Sharon Tate à Los Angeles. Or, si ces meurtres ont une portée médiatique évidente, expliquée, en partie, par la célébrité de la victime Sharon Tate, le milieu artistique, et cinématographique en particulier, s'est rapidement emparé de la figure de Charles Manson pour construire une figure à la fois métaphorique et allégorique. Manson inspire comme rarement auparavant bon nombre de cinéastes dont Wes Craven ou Lucio Fulci qui vont faire de lui le symbole d'une jeunesse issue du Flower Power qui refuse le Rêve Américain ; l'assassin devient, de son vivant, un personnage stéréotypique du cinéma et va intégrer une mythologie populaire au sens barthien de « message » et de « système sémiologique ». C'est ce processus que nous étudierons plus attentivement, pour analyser les stratégies mises en place par un certain nombre de cinéastes pour dépasser Charles Manson l'individu (dépasser, donc, la reconstitution des meurtres) pour développer un mythe national à part entière, un « récit fabuleux 2 » toujours en construction. Nous verrons également de quelle manière les actes commis par la « famille » ont pu, paradoxalement, revitaliser un pan entier du cinéma américain depuis le début des années 1970.

2025, Hollywood Progressive

Erich Maria Remarque's crushing war novel, All Quiet on the Western Front finally got its adaptation to German cinema. Released by Netflix on October 28, 2022 and directed by Edward Berger (yeah, just in time for Halloween with more blood and gore than Jason Voorhees or Freddy Krueger ever spilled), it garnered nine Academy Award nominations, winning four. Berger's loose adaptation is driven by a compelling performance by Felix Kammerer in the role of the film's protagonist, Paul Bäumer. The pervasive sense of dread and hopelessness of the film is heightened by a strong supporting cast in the roles of Bäumer's fellow soldiers, including Albrecht Schuch's standout portrayal of the "shrewd, cunning, and hard-bitten" veteran, Katczinsky, along with an ensemble cast in the roles of military leaders and government officials. The woeful march towards inevitable doom depicted in the film's source text is further bolstered by painfully lucid images of a natural world ravaged by trench warfare in which national borders have given way to the hellish no man's lands that came to symbolize World War I. This forlorn setting is brilliantly rendered through the cinematography of James Friend and supplemented by the hauntingly minimalist music by Volker Bertelmann, both winning Oscars in recognition for their outstanding work.

2025, Hollywood Progressive

erriam-Webster recently announced "gas-lighting" as their word of the year. Soon after and not to be outdone, the Oxford English Dictionary-reminding everyone of their status as the "definitive record of the English language," Scrabble's™ officially sanctioned dictionaries be damnedchose the hipper phrase, "goblin mode." As if anticipating the chaos to come, the Collins English Dictionary, the Rodney Dangerfield of the lexical world, was first to announce their word of the year giving the distinction to "permacrisis." If only they'd all waited . . . such a permacrisis of contending words may have been averted with the choice for the honor of a term that became a thorn in the body double's side of the Hollywood elite: "nepo baby." While this syntactic combination is relatively new, the concept behind it is nearly as old as civilization itself, bestowing a scheme of privilege and entitlement that functions to amplify and concentrate power and wealth. It doesn't take much thinking to recall a slew of examples of this phenomenon in American history and popular culture. After all, nepotism simply names various practices that have infiltrated nearly every nook and cranny of American society where there's money to be made and influence to be wielded. Although there will always be some notable exceptions to the rule of success by nepotism, the subjects of such stories are often offered up as convenient exemplars of meritocracy that feed the mythos of the American

2025, Hollywood Progressive

J ohn Carpenter's adaptation of The Thing based on the novella by John W. Campbell (a deeply problematic writer due to his racism and attraction to pseudoscience) titled Who Goes There? (1938) and premiered on June 25th, 1982-in an event hosted by the queen of scream, Elvira and on the same day as Blade Runner. The film broke new ground in the realm of sci-fi-horror while creating distance from its connection to the original source. Equipped with the magic of the movie make-up and special effects of Rob Bottin, Carpenter's adaptation brought a sense of realism, gore, and hideous alien monstrosity that stood in stark relief from the Campbell's novella, as well as Christian Nyby's previous 1951 adaptation, The Thing from Another World, both of which featured a three-eyed, humanoid alien. It was also a harsh departure from the endearing alien of Steven Spielberg's E.T., released just a few weeks prior. Although Carpenter's contrasting approach from these examples gave The Thing a much-increased sense of tension and grotesqueness, such features were initially seen as more of a detriment to the final cut as they were any indication of his directorial and creative talents. This was due in large part to the visceral effect his "disgusting" and "repellant" alien transformation scenes had on some critics and viewers, even prompting Roger Ebert to call it "the most nauseating thing I've ever seen on a movie screen." John Carpenter's "The Thing" John Carpenter's "The Thing" On Not Just Knowing One is Human, but in Being and Acting for the World Beyond On Not Just Knowing One is Human, but in Being and Acting for the World Beyond Our Own Our Own

2025, Hollywood Progressive

2025

Tesi Magistrale con la quale mi sono laureato con Lode in CAM – Cinema, Arti della Scena, Musica e Media – presso l’Università degli Studi di Torino, con la professoressa Giovanna Maina come relatrice; e con la quale ho vinto il Premio di... more

2025

is known as the founder or father of the science of inheritance, which has become a significant branch of science today. Mendel's reputation as the founder of the science of inheritance is based on his article Experiments on Plant Hybridization published in 1866. However, this extremely important article was ignored and unrecognized by the scientific community of the time for a long period after it was published, and was almost forgotten in time. Experiments on Plant Hybridization was noticed by only three scientists in 1900, exactly 34 years after its publication. Following being noticed, the article brought along a lot of controversy and was accepted by the scientific community after 1930 and became the leading theory in the science of inheritance. In this study, I will offer a possible answer as to why the significant article Experiments on Plant Hybridization of Mendel, who is considered as the founder of the science of inheritance, did not attract attention for a prolonged period after its publication and the reasons behind its being forgotten.