Film Noir

This paper revisits Sergei Eisenstein’s montage theory in the context of Russian Avant-garde aesthetics. In particular, this paper focuses on Eisenstein's speculations on paintings and architecture. Through the analysis of his writings on the works of El Greco, V. Serov, and J. B. Piranesi will be discussed the specificity of Eisenstein’s theory of cinematic representation. He saw substantial continuity between painting and cinema and thought cinema as “the contemporary phase of painting.” In this paper all these issues are explained as a process toward the invention of cinematic language, on which Russian formalists also concentrated. Eisenstein related the multiperspectiveness in a painting with the aesthetics and functions of architecture and further developed it to the cognitive activity of audience who can move and synthesize the fragmented pictures into a total representation. The key concepts in Eisenstein’s late theoretical works such as pathos, ecstasis and synesthesia also can be explained in the context of his interest in the cinematic representation of the unrepresentable and the deeper understanding of the Russian Avant-garde aesthetics and its revolutionary orientation, its passion for the “costruction’, which never faded away even in his last cinematic experiments.

Aleksandr Sokurov’s film Whispering Pages, in which camera follows a journey of Raskolinikov, the main character of Dostoevsky’s novel Crime and Punishment in Petersburg, intentionally creates flatness of scene. This paper focuses on the aesthetics of these flattened scenes and reveals how they are connected with the main themes of the director - the art, which saves human beings from the death. It is especially significant that the scenes presented horizontally in the film are actually vertical spaces. Verticality is replaced by flatness and laid on the screen of a movie like a page in a book. The main characters of the film – this film was inspired also by Mahler’s <Kindertotenlieder (Songs on the Death of Children> – are all characters of 19th century Russian literature. The film is filled with images of ruins, a demonic atmosphere, chaos and madness, and there people jump toward the abyss of death. But the film intentionally removes the verticality and represents a vague space with no depth, so makes their deaths unreal. These flat scenes are the very “quiet pages”, the title of the film. These pages indicate the Petersburg text of Russian Literature. A. Sokurov turns the demonic Petersburg into a book of literary heritages and artistic memories. The unexpectedly inserted scene of a ruin of museum in the climax of the film can be interpreted as a metaphor for the Petersburg, the Petersburg text and this film itself. However, just as the finale of the movie, an allegory of death, in which the face of the protagonist is hidden and invisible, overlaps with the image of the Rome’s foundation myth through a giant, grotesque statue made of stone and a man suckling a she-wolf, the Petersburg text in this film comes to be not only a Heterotopia as a book and a museum, but at the same time a Necro-Utopia driven by the Thanatos per se beyond the cliché of cinematic representation of death, “the Real” of it.

Donald Westlake, as we experienced, he is one of the most prolific and versatile crime novelists of the twentieth century, occupies a unique place in American literature. He writes under his own name and several pseudonyms, including Richard Stark, Westlake expanded the boundaries of crime fiction by blending suspense, satire, comedy, and moral ambiguity. This paper investigates Donald Westlake's contribution to American crime fiction, emphasizing his portrayal of crime not merely as an act of illegality but as a mirror of human behaviour, social structures, and cultural anxieties. His narratives range from hard-boiled noir heists to farcical capers, often interrogating the complex relationship between criminals, society, and justice. This paper explores Westlake's narrative craft with a special emphasis on his ability to portray the "many faces of crime" not merely as acts of illegality, but as reflections of human psychology, economic pressures, and social contradictions. By analysing major works such as The Hunter, The Hot Rock, and The Ax, the study highlights Westlake's innovations in character development, narrative voice, genre-blending, and his subversion of traditional crime-fiction tropes. The paper also situates Westlake's contributions within the larger framework of American crime writing, drawing comparisons with contemporaries such as Dashiell Hammett, Raymond Chandler, and Elmore Leonard. Westlake destabilizes conventional genre boundaries and raises questions about justice, capitalism, and the psychology of criminal behaviour. Ultimately, this paper argues that Westlake's oeuvre exemplifies the "many faces of crime," positioning him as both an innovator of crime fiction and a commentator on American cultural anxieties. The findings reveal that Westlake's true artistry lies in his ability to oscillate between dark realism and comic absurdity, thereby reshaping crime fiction into a genre of moral inquiry and social commentary.

Noir terimi sanat tarihi içerisinde çoğunlukla sinemaya dair bir kavram olarak kullanılır. Film Noir (Kara Film) olarak bilinen ve Hollywood kökenli 1940-50 yılları aralığını kapsayan karanlık atmosferli ve suç odaklı filmlerin geneli için kullanılan bir tanım olarak öne çıkan noir terimi; aslında sanat tarihinin de farklı dönem ve üslup anlayışlarında gerek biçim özellikleri anlamında gerekse de bağlamsal özellikler açısından karşımıza çıkar. Siyah, kültür tarihi açısından varlığının ötesinde resim sanatı içerisinde ilk olarak ışık-gölge karşıtlığında asli bir resimsel unsur olarak; sonrasında Romantizm ve Sembolizm hareketi içerisinde de biçim özelliklerinden sıyrılıp genel bir kompozisyon atmosferi oluşturması açısından oldukça önemli bir plastik enstrüman olarak öne çıkar. Bu noktada siyahın kullanımı renk olma özelliğinden sıyrılıp kompozisyonel auranın oluşmasını sağlayan bir tür atmosfer etkisi oluşturmaya başlar. Bu çalışma noir kavramını hem resim sanatı alanında hem de sinema özelinde siyahın yarattığı etkiyi hissettiren bazı örnekler açısından ele alarak tartışmayı amaçlamaktadır. Seçilen örnekler noir etkisinde kompozisyonel atmosferin en net hissedildiği çalışmalardan hareketle siyahlığın oluşturduğu sanatsal etkinin boyutlarını aktarmayı hedefler. Çalışma, siyahın sözü edilen atmosfer etkisini sanat tarihi-sinema disiplinleri üzerinden karşılaştırmalı bir aktarımı merkeze alarak ortaya koyacaktır.

American Psycho and Hitchcock's Psycho mirror each other, creating distorting effects of modern desires for subjecthood and identity while symbolising the end of the American dream. Patrick Bateman from Bret Easton Ellis' novel far surpasses Norman Bates from Hitchcock's 50-year classic in terms of cruelty and psychopathy and entangles the viewer in a disturbing dialectic of subjecivism and individualism. Against the backdrop of psychoanalysis and transcendentalism, the American morality tale of modernity is deconstructed and re-examined.

This paper compares the film Ema, directed by Pablo Larra� ın (2019), with the short story "La comunidad del azote," written by Natalia Berbelagua ([2011] 2017), focusing on how they both challenge the naturalization of women's roles as caregivers and reproductive laborers. Both works are set in Valpara� ıso, Chile and follow groups of violent, joyful, and anarchic women who revolt against the imposition of traditional care work responsibilities and gender roles dictated by the heteronormative happiness script, the idealized figure of the angel of the house, and Marianist feminine values. Ema proposes a redefinition of the femme fatale and the institution of family, while "La comunidad del azote" presents a revenge fantasy against patriarchal society. This paper also examines other feminist themes in these works and draws parallels between them and Latin American movements such as LasTesis (Chile), Ni Una Menos (Argentina), and the Marea Verde (Argentina), particularly in their joyful yet incendiary occupations of the streets, their values of sisterhood and desire, and their portrayal of gendered violence.

Η εργασία εξετάζει τον ρόλο του αστικού τοπίου στον αμερικάνικο μοντερνισμό όπως αυτός αναπαρίσταται στα φιλμ νουάρ. Εστιάζει σε δύο εμβληματικές ταινίες, την Double Indemnity (1944) του Billy Wilder και την The Naked City (1948) του Jules Dassin, αναλύοντας πώς η Νέα Υόρκη και το Λος Άντζελες λειτουργούν όχι μόνο ως σκηνικό αλλά και ως πρωταγωνιστικοί παράγοντες της αφήγησης. Στο Double Indemnity, το Λος Άντζελες παρουσιάζεται ως τόπος αλλοτρίωσης, μοναξιάς και εγκλήματος, με το αμερικανικό όνειρο να αποδομείται μέσα από την απληστία και τη διαφθορά. Στο The Naked City, η Νέα Υόρκη εμφανίζεται ως «πόλη της παρανομίας», της αποξένωσης αλλά και της κοινωνικής δικτύωσης, με έντονα στοιχεία ντοκιμαντερίστικης αισθητικής και κρατικού ελέγχου. Η συγκριτική ανάλυση των δύο πόλεων αναδεικνύει τη διαφορετική συμβολική τους φόρτιση στα noir: η πρώτη ως προαστιακός χώρος εγκλήματος και ψευδαίσθησης, η δεύτερη ως μητρόπολη που συνδυάζει μεγαλείο, παρακμή και κοινωνική κριτική. Συνολικά, το φιλμ νουάρ αναδεικνύεται ως μέσο αναστοχασμού πάνω στη νεωτερική εμπειρία της πόλης και στις ανησυχίες του σύγχρονου ανθρώπου για την αστική ζωή.

l lugar que ocupa Joseph L eo Manki ewi cz e ntre los padres de l c ine mod ern o , a la lu z d e las más radicales teorías cahieristas , se conso lida al analizarse detenidamente su parti cular trata miento del cine de género. Mankiew icz, g uionista más o menos brillante, dramaturgo frustrado e intelectua l dilettante, elabora su obra fílm ica, paradóji camente, en direcc ión contrari a a l ci ne. La estética de sus películas se doblega ante el trabajo de los actores, apun tala la agudeza de los d iálogos y subraya e l astuto desarrollo del argumento. El auto r de Eva al d esnudo

This paper examines how torture functions aesthetically, politically, and metaphysically as an instrument for creating a restorative vision of cinema.  In practice, the torture chamber takes on a name borrowed from the popular vocabulary of the movies: “the cinema room”.  The mise-en-scène of torture visibly organises, in the formal structure of its agents and objects, a space for the projection, exhibition and generation of cinematic effects.  If the torture chamber resembles a film set and the technical machinery and professional expertise of the torturers recalls the operation of the cinematic apparatus, then the structure of torture may provide a frame of reference for interrogating the system of representation in film.  Likewise, a film which exposes the mechanisms of torture can reflect upon the process by which power makes itself manifest.  What’s showing in the cinema room?  How do the images that appear on the screen exert their terrible appeal? 

Through its capacity to record, film reproduces reality and grants it renewed existence in the image.  André Bazin celebrated this tendency toward realism as a means of gaining access to the truth of the visible world.  In Historie(s) du Cinéma, Godard appears to endorse this position by paying homage to Roberto Rossellini.  His emphasis on the torture sequence in Rome, Open City takes the agony of the body and the torment of the spirit under torture as an emblem of the transcendental vocation of cinema.  On the other hand, the artistic and political mission of Le Petit Soldat places the practice of torture in its historical context as an implement of social control.  My essay uses these films to explore the two poles – political resistance (criticism) and spiritual redemption (art) – around which Godard constructs an image of the “cinema room”.

This paper introduces a novel filmmaking paradigm developed through the creation of the feature film Pendulum Drift (2025). The film's production methodology, which I term the Anti-Fragile Production Paradigm, is a practice-led research framework that intentionally leverages real-world disruption and spontaneous collaboration to generate a new aesthetic language. This cinematic language, dubbed Pendulum Cinema, subverts traditional narrative structures by prioritising fragmented, a-temporal rhythms over linear plot progression. Drawing on principles from Neorealism and Third Cinema, and informed by Deleuzian time-image theory, this paper argues for a paradigm in which the production process and the resulting filmic form are inseparable. This work provides empirical evidence that profound artistic innovation and scholarly inquiry can emerge from a resource-constrained, real-world context, challenging conventional, studio-centric production models.

International reconsideration of Mexican film noir is a recent phenomenon. For decades, Mexican film criticism tended to dismiss the importance of this tradition and even to deny its existence, often citing the presence of melodramatic elements in would-be noir films and the lack of a crime novel tradition for screen adaptations. By comparing two Mexican films to similar American productions and examining the local political and economic conditions of the former, this article argues that Mexican film noir had its own pessimistic viewpoints, which were borrowed from journalism and the illustrated press. These viewpoints were based on existing social ailments and delivered relevant criticism of the institutions, classism, and sexual norms of the postrevolutionary Mexican state of the 1940s and 1950s.

The present article aims to analyze Richard Brautigan’s Dreaming of Babylon: A Private Eye Novel 1942 (1977) in the light of the genre of Metaphysical Detective Story. As a postmodern genre, Metaphysical Detective Story alters the customary features of traditional detective stories in order to go beyond simple murder mysteries and become a literary phenomenon which examines the questions of being. The central questions of the article are: what makes Richard Brautigan’s Dreaming of Babylon a metaphysical detective story? What are the functions and implications of metaphysical elements in the novel? To answer these questions, first the characteristic features of metaphysical detective stories are introduced and then they are contextualized in the novel. Focusing on such concepts as ‘parodic detective,’ ‘dreams,’ and ‘circular narrative,’ the present research demonstrates that the novel subverts the standard tropes of hard-boiled detective stories and becomes a philosophical novel which portrays a bleak world and a failed hero. It also shows that as a postmodern novel, Brautigan’s Dreaming of Babylon deals with life in the postmodern era and explores the questions of being and knowing in the contemporary world, characterized by uncertainty and doubt regarding existence.

본 연구는 페미니즘적 관점에서 터키와 한국 문학에서 ‘어머니’ 정체성을 분석하며, 귤텐 아큰(Gülten Akın)과 고정희의 작품을 중심으로 탐구한다. 모성 개념은 생물학적 경계를 넘어 사회적, 문화적, 심리적 요소를 포함한 광범위한 의미를 지닌다. 가부장제 사회에서 어머니라는 존재는 가부장적 이데올로기의 협력자이자 동시에 희생자로서 이중적 정체성을 가지게 된다. 1980년대 한국 여성 문학 운동의 선구자인 고정희는 여성의 사회적 역할을 재정립하고 전통적 서사를 비판적으로 해석하고자 했다. 마찬가지로 터키 문학의 귤텐 아큰은 그녀의 시에서 희생, 억압, 그리고 여성의 힘을 강조하는 다층적인 모성의 의미를 탐구했다.
본 연구는 어머니라는 존재가 사회적 억압의 도구이면서도 동시에 여성들에게 힘을 제공하는 역할을 어떻게 수행하는지를 분석하는 것을 목표로 한다. 페미니즘 문학 비평 기법을 활용하여 귤텐 아큰과 고정희의 시 속에서 모성이 사회적 규범에 맞서 어떻게 여성 정체성을 재정립하는지를 연구한다. 연구 결과, 두 시인은 전통적인 모성 개념을 뛰어넘어 모성을 사회 정의와 성평등을 위한 역동적인 힘으로 재현하고 있음을 보여준다. 그들의 시는 모성을 단순히 헌신적인 역할로 한정하지 않고, 여성 해방 과정에서 저항과 힘의 원천으로 묘사하고 있다. 본 연구는 터키와 한국 문학에서 모성이 어떻게 재정의될 수 있는지를 탐구하며, 이를 통해 페미니즘 담론과 사회적 변화 사이의 연결고리로서 모성의 역할을 조명하고 여성의 다면적인 문학적 정체성을 인정하는 것의 중요성을 강조한다.

Literary and artistic depictions of the Holocaust have long been shaped by a strictly humanising impulse; that is to say, they have been produced by and for the human, and have aimed to emphasise the loss of six million Jewish victims as humans. At the same time, representations of Jewish suffering that draw on animal imagery have been met with controversy due to the perceived and "ethically repugnant" reduction of victims to animals. Situating itself within emerging scholarship on the recent turn to the nonhuman in Holocaust representation, this chapter examines the unusual depiction of Jewish murder in Ravensbrück survivor and Czech Jew Juraj Herz’s macabre comedy horror The Cremator (Spalovač mrtvol, 1969) as a distinctly nonhuman undertaking which complicates the abiding divisions characterising Holocaust studies: those of victim and perpetrator, but also of human and animal. Combining Holocaust scholarship with perspectives from art criticism and animal studies, it traces the film’s production of what Carrie Rohman has called a “creatural consciousness” or aesthetic, in which the on-screen presence of animals in addition to formally non-anthropocentric elements and aesthetics comes to express the “uncanny animality” of the Holocaust.

URL : https://journals.usj.edu.lb/regards/article/view/1408.
Consacré au Crime à l’écran dans le monde arabe, ce numéro de Regards prolonge la réflexion sur les représentations du crime dans les œuvres fictionnelles arabes, dont les jalons ont été posés avec l’ouvrage collectif Le récit criminel arabe/Arabic Crime Fiction.[...]Le présent volume poursuit cette démarche investigatrice en considérant les films et séries arabes dont l’intrigue se fonde sur des crimes ainsi que sur des personnages de criminels et/ou d’enquêteurs.

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Algo flota sobre el agua (Alfredo B. Crevenna, 1948) es la segunda adaptación cinematográfica de la novela homónima del escritor húngaro Lajos Zilahy. Este artículo estudia varios estratos textuales en el proceso de adaptación de una novela corta húngara de 1928 a un melodrama mexicano evocativo del film noir europeo: los vínculos transnacionales con cineastas emigrados, la caracterización de los protagonistas en los textos húngaros anteriores, el contexto social nacional añadido y la influencia de las estrellas mexicanas Arturo de Córdova y Elsa Aguirre como galán noir y mujer fatal. El estudio de una película excluida del canon del cine mexicano contribuye a la labor historiográfica de interrogar, mediante el análisis textual y cultural, lo que se entiende como nacional y film noir en el cine clásico latinoamericano.

Critics, scholars and readers alike have hailed Tennessee Williams as the greatest Southern playwright and one of the most distinguished dramatists in the history of American drama. He is indisputably the most renowned American playwright of the second half of the 20th century. This article endeavors to make an overview of Tennessee Williams’s lyrical drama, focusing on its main features such as characterization, art, language, major themes represented in his plays, etc. Williams introduced the innovative concept of the Plastic Theater into the American drama, which combined all elements of production- dialogue, action, setting, lighting, even props - in a unified and symbolic expression of truth. Williams was a very prolific playwright, poet and prose writer but his three plays- The Glass Menagerie, his most experimental play; A Streetcar Named Desire, his masterpiece; and Cat on a Hot Tin Roof, his most popular play- have entered and captivated the imagination of theater audiences...

En el siguiente artículo, estudiaré la película La corona negra (1951), filmada en Marruecos, dirigida por el argentino Luis Saslavsky, basada (livianamente) en un argumento del francés Jean Cocteau, protagonizada por la mexicana María Félix, y producida por el español Cesáreo González con su empresa Suevia Films. En primer lugar, reconstruiré la gestación de esta curiosa producción transnacional, a partir del trabajo con dos conjuntos documentales que no han sido considerados hasta el momento: (1) el archivo de Saslavsky (conservado en el Museo del Cine Pablo Ducrós Hicken), que incluye un pequeño cuaderno personal (1949-1950) donde el director registra minuciosamente los avances del proyecto y los múltiples contratiempos con Jean Cocteau; (2) la correspondencia con su amiga María Rosa Oliver (conservada en la Princeton University Library), que permite recuperar datos, reflexiones y acontecimientos ausentes en el cuaderno. En segundo lugar, inscribiré la película en el género del film noir, discutiré los vínculos con el melodrama y el surrealismo, y analizaré el rol de la femme fatale interpretado por María Félix.

In the following article, I will examine the film La corona negra (1951), shot in Morocco, directed by the Argentine Luis Saslavsky, loosely based on a story by the French Jean Cocteau, starring the Mexican actress María Félix, and produced by the Spanish Cesáreo González with his company Suevia Films. First, I will reconstruct the development of this curious transnational production, based on two sets of documents that have not yet been considered: (1) Saslavsky’s archive (held at the Museo del Cine Pablo Ducrós Hicken), which includes a small personal notebook (1949–1950) where the director meticulously records the project's progress and the multiple setbacks with Jean Cocteau; (2) his correspondence with
his friend María Rosa Oliver (held at the Princeton University Library), which provides additional data, reflections, and events absent from the notebook. Secondly, I will classify the film as film noir, discuss its links with melodrama and surrealism, and analyze the role of the femme fatale played by María Félix.

This article discusses the circulation of Argentine film production in the Brazilian market between 1935 and 1945 aiming to map out which films were shown in Rio de Janeiro and São Paulo, their repercussion in the press, as Argentine producers sought to market their products and the difficulties encountered by them. The research is mainly based on sources such as film magazines and newspapers of the period, besides bibliography about the history of Cinema. It was concluded that the market structure in Brazil, characterized by the dominance of Hollywood, was an insurmountable barrier to broad commercialization of Argentine product despite its good quality.

The paper‟s main argument is the idea that the city plays a key role in formation of contemporary African American identity. To be more specific, the paper argues that the city is crucial in the experience of young black men living in the postindustrial variation of inner-city neighborhoods, i.e. the hood, since the paper presents its main argument through a reading of four different coming-of-age narratives: John Singleton‟s Boyz n the Hood (1991), Allen and Albert Hughes‟ Menace II Society (1993), Paul Beatty‟s the White Boy Shuffle (1996) and Kendrick Lamar‟s good kid m.A.A.d city (2012). Each of the four texts follows young black men as they navigate the issues that are emblematic of life in the hood – institutionalized racial segregation, police surveillance, police brutality, poverty, gang violence, crime, peer pressure, the lure of drugs and drug dealing, etc. The paper argues that these issues are so prevalent in the hood that protagonists of these narratives are forced to m...

1 page.During WWII, American society experienced a momentous shift in gender roles as women stepped out of the traditional domestic sphere and transitioned into the wartime economy. Following the war’s resolution, the government and sects of society alike pushed for a return to conventional gendered spaces. Within this period of widespread societal contention and postwar disillusionment, the dark and fatalistic genre of film noir grew in popularity. My research analyzes noir films using cinema and cultural studies lenses to explore how postwar society viewed ideal gender roles and the evolving place of women. Close examinations of Gun Crazy, Out of the Past, and The Reckless Moment reveal that female characters’ interactions with narratives of crime, love and family reflect contemporaneous societal concerns about gender roles. The tradition defying archetypal noir character, the femme fatale, mirrors postwar women engaging in the workforce. The manner in which femme fatales are puni...

This paper analyzes the TVING series LTNS (2024), scripted and directed
by Jeon Go-Woon and Lim Dae-hyung, focusing on how it exposes the
contradictions of the heterosexual, monogamous family through the romantic affairs of married individuals and envisions alternative forms of relationships beyond family. The feminists, such as Michèle Barrett, Mary McIntosh, and Sophie Lewis, influenced by Karl Marx and Friedrich Engels have argued that since the monogamous family system supports the institution of private property, the inclusive relationships grounded in mutual care, sharing, and love can be achieve after abolishing family. LTNS criticizes the family as an institution bound by private ownership and legitimized by societal norms, revealing its foundational role in sustaining capitalist society. By portraying married individuals who disregard monogamy and who care and respect among family members to mere tools for maintaining private property and social status, the series offers a critical representation of the family. Through its narrative, LTNS exposes the dissonance between the emotional vision of familial relationships and their actual dynamics, which often starkly contrast those ideals. Moreover, the series portrays the different relationships from the typical family founded on mutual support and respect that transcend blood ties, marital bonds, and species boundaries, prospecting the new relational forms among individuals that might emerge in a post-family future.

Based on the author's doctoral thesis, this book is part of the prestigious Edinburgh University Press Film, Media and Cultural Studies series, which includes previous books on American independent cinema (Tzioumakis, 2017; Rogers, 2015). Historically, the role of the independent film-maker was understood to rest on a daring, innovative form of film-making, emerging in the 1970s and 1980s, which operated outside of and in opposition to the aesthetic norms and commercial objectives of the Hollywood mainstream. Independent filmmakers sought to minimise their aesthetic and economic dependence on the major Hollywood studios. By the late 1990s, independent cinema had been consolidated as a cinematic sub-field with its own institutions, aesthetic norms, forms of financing, distribution and exhibition, embedded in speciality divisions of the major studios. With the 2008 financial crash, the major studios began closing or cutting back on their involvement in specialty production, refocusing on the production of event films and franchises. The advent of platforms, streaming, and the "cinematization" of television by the long-form series resulted in a global expansion in the demand for audiovisual products. This was followed by the expansion in small-to medium-size studios supplying sub-cultural niche markets, which were hoping to break into the global value chains controlled by conglomerate Hollywood and streaming platforms such as Amazon and Netflix (Parker and Cox, 2013; King, 2016, McDonald and Wasko, 2008). The success of streaming platforms encouraged the major studios to cultivate an elite of indieauteurs. This intervention restructured the independent sector into three modes of production: "Indie" low-cost and digital film making that departs from established Hollywood genres and film conventions; "Indiewood" film productions that stay within the aesthetic paradigms of the Hollywood cinema in order to make "quirky" modest budget features with the potential to crossover to a mass market; and the upper echelon studio-based big budget event films that aim to exploit the global market and its associated merchandising spin offs (Tzioumakis, 2014). These developments call for the reconsideration of traditional ideas concerning the nature of authorship and creative autonomy in Hollywood. Taking what is defined as a production of culture approach, the primary purpose of this book is to track the power dynamics between the major film studios and independent film makers in the era of media convergence, deregulation and neoliberal

Tratto da un romanzo di David Goodis, scrittore pulp assurto post-mortem al rango di autore di culto, "Tirate sul pianista" di François Truffaut rappresenta la prima tappa di un progetto che il regista francese realizzerà con costanza nell'arco della sua carriera, e volto a ricreare, in Francia, un cinema di genere d’autore, sul modello di quello hollywoodiano, che attinga dagli scrittori della letteratura di serie B ingiustamente snobbati dalla critica accademica.

Gelişen yapay zekâ teknolojileri, vefat eden bireylerin dijital ortamda yeniden canlandırılmasını mümkün kılarak dijital reenkarnasyon kavramını ortaya çıkarmaktadır. Derin öğrenme, doğal dil işleme ve deepfake gibi teknolojiler, ölülerle sanal etkileşimi mümkün kılarken, bu süreç etik, hukuki ve toplumsal açıdan önemli tartışmalara yol açmaktadır. Bu çalışma, Sosyal Kimlik Kuramı, Baudrillard'ın Simülasyon Kuramı ve Teknolojik Determinizm çerçevesinde yapay zekâ destekli dijital reenkarnasyonun etkilerini incelemektedir. Sosyal Kimlik Kuramı, bireylerin kimlik algısının dijital ölümsüzlük bağlamında nasıl yeniden şekillendiğini ele alır. Baudrillard'ın Simülasyon Kuramı, yapay zekâ ile üretilen ölü avatarlarının, gerçek ve sanal arasındaki sınırları bulanıklaştırarak toplumsal gerçeklik algısını nasıl dönüştürdüğünü açıklar. Teknolojik Determinizm perspektifinden, teknolojinin ölüm algısı üzerindeki belirleyici rolü ele alınmaktadır. Çalışmada, yapay zekâ destekli dijital reenkarnasyonun yas süreci, etik ve mahremiyet ihlalleri, ticari sömürü ve toplumsal bellek üzerindeki etkileri tartışılmaktadır. Sonuç olarak, bu teknolojinin bireylerin ölümle yüzleşme biçimlerini dönüştürme ve dijital etik konusunda yeni düzenlemeler gerektirme potansiyeline sahip olduğu değerlendirilmektedir.

Modern and Postmodern Los Angeles is examined through the lens of film noir and neo noir. The unique relationship between the city of Los Angeles and cinema is discussed in terms of a historiography emphasizing the role played by these defining film styles and genres. The research draws and extends on the work conducted by Edward Dimendberg, Paula Rabinowitz and Mike Davis, and urban theory approaches associated with the Los Angeles School of Urbanism. Triple Helix: Film Noir, Neo Noir and Los Angeles -imagining history and remembering the future in the most contemporary city.

The affection felt in retrospect for the 1930s is akin to what is often felt for any period of adolescence: the time, inevitably troubled, of coming into one's identity, just before being shoved into the realities of a much larger world. For despite its august history and its victory in 1918, France in the 1930s appears as an uncertain youth standing before modernity. A fragile contrivance surrounded by totalitarian nations, its ethos came from a vulnerable humanism already outsized by the realities of the century. France, and particularly Paris, was the beloved refuge of Europe's political refugees. It had already become the cultural refuge of American writers and artists. The H; City of Light simply had to withstand the inhumane political and economic oppression whose dark specter was everywhere evident. If the human still mattered, it mattered most in Paris. This feeling for-or memory of-an adolescent sincerity and vulnerability stands behind |g the affection expressed by critics from the 1930s to our own day for the exceptional II aesthetic that incubated in the era, the so-called school of Poetic Realism, and for its icon, H; Jean Gabin. In films like La Belle Equipe (1936, Jutien Duvivier) Gabin would disingenu-||ously claim to be an everyman, that is, to be no icon at all; but in an entertainment system EARLY CINEMA III!!' that: marketed stars, he was a magnet for aspirations of social justice, if not for simple sociality. While Gabin was not quite the most popular star of the day, just as Poetic Realist films were not always the biggest hits, both have come down to us as the image of the era, as its best and most characteristic face. However, a history of Poetic Realism can hardly stand in for that of a national cinema. To the student of popular culture these eighty films of 'dark pessimism' constitute merely one type among others within the larger system of the French film industry. Moreover, when treated as part of the chief 'popular entertainment medium' of the day, Poetic Realism hardly fulfills the vaunted social claims its apologists have made for it. Short-sighted and morally anemic, Poetic Realism tended to evade pressing political problems and wallow in regret. Indeed, few French films of the time, none of them commercially viable, lifted their heads out of the sand to confront the Depression and the Fascist threat head on. The fact is that none of the writers or directors in the industry came from the working class. This is evident when one tallies up the problems fussed over in film after film (virginity, for example, or paternity); problems that apply to a petit-bourgeois moral code that was officially promulgated in the nation but that did not keep the proletariat awake at night. Too lax in its 'social' ambition, perhaps too pretentious in its 'cultural' ambition, Poetic Realism has been lionized chiefly for a purely aesthetic appeal that may obscure whatever work cinema as a whole performed in its social context. That social context comes clearer when we attend to faces other than Gabin's. Older men like Raimu, Alerme, Harry Baur, comics like Fernandel, Milton, Bach, and ingenues like Simone Simon, Anabella, and Michele Morgan played with and against one another in standard entertainment genres such as the historical drama, the military comedy, the theatrical farce, and the boulevard me/o (melodrama). Seldom before 1960 did cinema anywhere in the world seem so capable of satisfying or equilibrating art and entertainment, and of doing so with minimal state or studio supervision. French cinema would have to await the invasion of the Nazis before serious regulations and government rationalization would be set in place. As for business conditions, the same disorganization made this cinema truly a cottage industry, at least in comparison to the studio system in Hollywood or Japan. Ninety-five per cent of the theaters were owned by individual families, and dozens of distributors cropped up to bid for the scores of films made by oneshot producers. Scattered and without a long-term strategy, French cinema could only adopt a comparatively modest look. Seldom spectacular, these films aimed to speak to a wide social spectrum on a human scale, and they did so neither under the crass guise of rationalized commercial product nor under that of high art, but as the result of the everyday exercise of talent and tradition. The coming of sound It was in an ambience of sound that the films of the period huddled together (not always harmoniously) under the umbrella term 'French cinema of the 1 930s'. New audio technology, including phonographs and radio, helped democratize a notion of culture that an elite had always believed it alone defined. Hybrid musical genres resulted from the mix of classical compositions and ribald singers available on airwaves. Popular modes of theater attracted playwrights like Jean Cocteau and anarchist poets like Robert Desnos. The latter, for instance, prepared a radio version of Fantomas in 1 932, bringing his idiosyncratic sensjbility to thousands of listeners who would never pick up a copy of his Surrrealist poems. In luring to cinema a formidable array of writers, actors, and composers, and with proud traditions in theater and music, sound markedly changed the look and feel of French cinema. Journals and newspapers carried the protests of traditionalists against this amalgamation of media and audiences, while modernists saluted the collapse of artificial distinctions between popular and elite expression, between visual and literary modes, and between the officially mandated categories of 'spectacle' and 'art'. Meanwhile, sound technology advanced irrevocably across the country, driven by Hollywood's financial power and accelerated by German and American technological competition. France could put up little resistance to the new powers of international cinema. Despite a run of famous masterpieces (

More than forty years ago, I inadvertently put my foot into what Mary Ann Doane, soon to be a distinguished film scholar, warned me was the swamp of adaptation, when I composed an under-researched article that has kept me trudging intermittently onward ever since. 1 That article has many problems, but it did properly stake out the two principal directions one could take in this unmapped zone: semiotics and sociology. The former avoids history and encompasses media specificity (including media overlap), narratology, comparative stylistics, registers of equivalence, and degrees of fidelity. The latter deals with periods and movements in multiple arts; the varied incarnations and remediations of overriding themes, situations, and characters; the national promotion or censorship of topics; comparative reception and the fluctuating force of fandom, etc. Both directions demand general reflection and specific case studies. In 1980, emerging from a decade of semiotics and narratology, I held the banner of the sociological alternative high so it could at least be recognized. Actually I was unknowingly contributing to

Classical Philology has certainly been in luck because there have been many contemporary and non-contemporary playwrights who, as a result of a personal decision and a clear consciousness of the Greek origins of Western theatre, have used all sorts of explicit or implicit references to heroes, myths, historical events, etcetera, taken from Classical Antiquity. Therefore, we should suppose that this wide range of references endow their plays with an extra value. At any rate, T. Williams's plays do display this classical fidelity in Suddenly Last Summer -with such a degree of literary savoir faire that in my opinion it could hardly be surpassed-by referring on this occasion to two mythical characters, Venus and Oedipus, who seem to be the most suitable to attain the necessary tragic tension. Indeed, the influence of the classical legacy on T. Williams's plays has often been examined 3 and I should like to mention, for instance, a good study by A. Gómez García entitled Mito y realidad en la obra dramatica de T. Williams 4 , which was published in Salamanca in 1988. In accordance with the literary tendency known as "mythical, archetypal or primitive", she is in favour of relating -audaciously and at the same time carefully-several of T. Williams's plays with archetypal classical myths, which does not mean that the playwright becomes a prisoner of the prestigious model but, on the contrary, he integrates it coherently into his personal symbolical world. He takes advantage, then, of ancient myths -like many other playwrights-on account of their enigmatic, symbolical and non-temporary nature, so that A. Gómez establishes some significant associations such as: "Persephone in Saint Louis" and The Glass Menagerie; the "katábasis to Hades" and Kingdom on Earth; "Dionysus crowned with roses" and The Rose Tattoo; "Orpheus and Eurydice" and Battle of Angels and Orpheus Descending, and, finally, "Oedipus in search of his identity" and Suddenly Last Summer. "Oedipus in search of his identity" already shows that the thesis of A. Gómez and mine must be somehow different with regard to the significance of the role played by Venus in Suddenly Last Summer. As a teacher of Classical Tradition, I know perfectly well the risk of turning any classical reference into the key of the "best" interpretation of a text. This kind of risk must certainly be taken into account but, on the other hand, I am reasonably convinced that the binomial Venus-Oedipus, Oedipus-Venus -with the help of some more classical reference I shall comment later on-, becomes in this case highly significant. And I also know the risk of approaching a literary work too much conditioned by the archetype, i.e. by myth, thus accepting

This study examines the role of liminality in Tennessee Williams' The Glass Menagerie (1945), analyzing how transitional states shape character development, identity formation, and the interplay between illusion and reality. While the play has been widely studied, the role of liminality as a framework for understanding the play's character transformations and narrative structure has not. Grounded in anthropological theories of liminality, particularly van Gennep's rites of passage model and Victor Turner's concept of liminal spaces, and through thematic analysis, theoretical coding, and purposive textual interpretation, I investigated how the play characters Amanda, Tom, and Laura navigate liminal spaces, confronting personal aspirations and societal limitations. Liminality functions as a transformative force, exposing characters' struggles with uncertainty, displacement, and unfulfilled desires. This research offers a novel theoretical perspective that integrates anthropological thought with literary analysis, enhancing the understanding of postwar American drama and its depiction of psychological and social transitions.

O presente estudo apresenta uma análise do filme O Substituto (2012) a partir da compreensão dos efeitos de sentidos promovidos pela linguagem cinematográfica da referida obra, esta que contém elementos oriundos do "cinema de poesia", termo cunhado pelo cineasta italiano Pier Paolo Pasolini, e que prevê o uso da câmera "subjetiva indireta livre" como sua principal característica. O tema da docência é recorrente no cinema, mas diferente de outros filmes, O Substituto rompe com a perspectiva romantizada da figura do professor. Dessa forma, a intensidade dramática da narrativa mostra-se associada às escolhas de planos e movimentos de câmera, construção do espaço e, sobretudo, tempo, aspectos próprios à sétima arte. Nesta obra, os conflitos existenciais de um professor indiferente aos laços sociais e à profissão tornam o drama pessoal responsável pela alta densidade emotiva da diegese. Com base na análise de alguns elementos cinematográficos, este estudo procurou analisar como a poesia está presente nesta obra e como ela contribuiu para ramificar a construção dos sentidos e apresentar uma nova forma de interpretação ao espectador.

This study presents an analysis of movie Detachment (2012) from the understanding of the effects of the senses promoted by the cinematographic language, which contains elements from the &quot;cinema of poetry&quot;, coined by the Italian filmmaker Pier Paolo Pasolini, and which provides for the use of the &quot;subjective indirect free&quot; camera as its main feature. The subject of teaching is recurrent in cinema, but unlike other films, Detachment breaks with the romanticized perspective of the figure of the teacher. In this way, the dramatic intensity of the narrative is associated with the choices of plans and camera movements, construction of space and, above all, time, specific aspects to the seventh art. In this work, the existential conflicts of a teacher indifferent to social bonds and to the profession make the personal drama responsible for the high emotive density of narrative. Based on the analysis of some cinematographic elements, this study sought to analyze how poet...

<1> Sixteen voices, ten majors, two professors, and one learning community. Advertised as an upperlevel English elective for the spring of 2016, "Special Topics in English: Editing an Academic Journal" did not fulfill a major requirement; instead, we chose to take this class based solely upon our individual interests and ambitions. Perhaps because of this, our class evolved into a cohesive learning community with the dedication necessary to produce this special issue of Nineteenth-Century Gender Studies. Throughout this course, cooperative learning proved to be fundamental to our success, allowing us to overcome challenges as a class and publish a professional body of work with the help of Drs. Karpenko and Dietz. In order to produce this issue, we relied upon each other's insights and areas of expertise. Here, we will share our experiences in this class, specifically emphasizing the two main events that most influenced us as a learning community: the selection of our Undergraduate Managing Editor (UME), Linda Braus, and the process of choosing acceptance criteria for the submitted manuscripts. Moving from a local to a global perspective to emphasize the growth we made as students and peer leaders, we discuss the advantages and challenges of working in a cooperative learning community and provide direct student feedback to paint a clear picture of the inner workings of the course. Ultimately, we believe this course was innovative, creative, and worth replicating. We were given many unique opportunities as undergraduate students, and we believe that similar courses would benefit undergraduate students at other universities. <2> To start, Braus will share her own exceptional experience in being selected as the UME, an event which initiated the creation of our learning community: ©Nineteenth-Century Gender Studies, Edited by Stacey Floyd and Melissa Purdue

İkna, gündelik yaşamdan iş dünyasına kadar geniş bir yelpazede, bireylerin düşünce ve davranışlarını şekillendirmede merkezi bir rol üstlenmektedir. Yapay zekâ alanındaki ilerlemelerle birlikte sanal etkileyiciler, giderek daha antropomorfik özellikler kazanmakta ve kullanıcılarla ilişkiler kurarak ikna güçlerini artırmaktadır. Aristoteles'in üç ikna kanıtı olan ethos, pathos ve logos, sanal etkileyicilerin ikna gücünü pekiştiren temel unsurlar olarak işlev görmekte ve kullanıcıların etkili bir şekilde yönlendirilmesine olanak tanımaktadır. Bu kapsamda sosyal medyada önemli bir yer edinen sanal etkileyicilerin ethos, pathos ve logos çerçevesinden incelenmesi anlamlı hâle gelmektedir. Bu araştırma, sanal etkileyicilerin kullanıcılarıyla nasıl etkileşim kurduklarını ve bu etkileşimde güven oluşturma (ethos), duygusal etki yaratma (pathos) ve mantıklı argümanlar (logos) sunma stratejilerinin nasıl kullanıldığını ortaya koymayı amaçlamaktadır. Araştırmada, farklı ülkelerden seçilen yedi sanal etkileyici örneklem olarak belirlenmiştir. Her bir sanal etkileyicinin Instagram paylaşımları, Aristoteles'in tanımladığı retoriğin temel unsurları bağlamında niteliksel-tematik içerik analizine tabi tutulmuştur. Araştırma kapsamında elde edilen bulgular, sanal etkileyicilerin sosyal medya paylaşımlarında, tıpkı insanlar gibi, ikna stratejilerini etkili bir şekilde kullandıklarını ortaya koymuştur. Özellikle Instagram gibi etkileşimin yoğun olduğu platformlarda, sanal etkileyicilerin üç ikna kanıtına başvurdukları gözlemlenmiştir.

A Streetcar Named Desire and The American Dream differ stylistically and generationally, both plays confront the erosion of American cultural ideals through language, performance, and social practice. Williams presents a culture in painful transformation, where old values cannot survive in the new world. Albee, more pessimistically, presents a society that has already lost its soul, continuing only through empty roles and consumerist rituals. Together, these works stand as incisive critiques of how culture, language, and social expectations can imprison rather than liberate, particularly when rooted in illusion rather than authenticity.

Pina Bausch -kobieta krucha i delikatna, a jednocześnie posiadająca tyle siły, by stworzyć i doprowadzić do perfekcji swój zamysł -Teatr Tańca. Tancerka i choreografka urodziła się 27 lipca 1940 roku w Niemczech w miejscowości Solingen 1 . Imię i jednocześnie pseudonim artystyczny rozpoznawalny w całym świecie tanecznym pochodzi od jej imienia Philippine. Jak sama twierdziła, bała się mówić, więc pokochała taniec 2 , który dał jej możliwość wyrażania samej siebie i odczuwania rzeczywistości, którą przenosiła na deski teatralne. Zwykłe gesty, codzienne czynności, ruch naszego ciała, na który zupełnie nie zwracamy uwagi, stał się elementem twórczym i zajął miejsce na scenie. Ciężka praca, którą artystka podjęła jeszcze jako mała dziewczynka, przyniosła jej uznanie w całym świecie. Skromna, nie chciała, by ludzie oklaskiwali ją, lecz jedynie jej taniec. Nigdy nie zwracała uwagi na rzeczy przyziemne, nie potrzebowała w życiu luksusu, zawsze myślała pozytywnie i szła na kompromis, jednak nigdy wtedy, kiedy chodziło o sztukę. Federico Fellini pisał o niej: Obdarzona arystokratycznym wyglądem, raz czuła, to znów okrutna, tajemnicza i bliska, Pina Bausch uśmiechnęła się do mnie, by dać się poznać. Zakonnica, która je lody, święta na rolkach, w sposobie zachowania przypominająca królową na wygnaniu, założycielka zakonu, sędzia sądu metafizycznego, nieoczekiwanie puszcza do ciebie oko 3 . 1 Ukończyła studia taneczne w Folkwangschule w Essen w 1959 roku i wyjechała na stypendium do USA do The Juilliard School of Music.

Roman Polanski's penchant for perception is most apparent in Repulsion, his second feature from 1965, a film bookended by extreme close-ups of the young heroine's right eye. The opening close-up introduces her as she's in the present, staring blankly into space in the London beauty salon where she works. The zoom shot that ends the film focuses on her eye as a young girl in a family photograph. While all are looking at the camera, she's looking at an older man, apparently her father, which pictures what's behind her repulsion from men and sex. As Repulsion's ocular bookends attest, perception informs much of Polanski's cinema. This interest in how we perceive and how to convey it in films drew the filmmaker to neuropsychologist Richard L. Gregory, whom John Orr calls "Polanski's favorite philosopher of perception." 1 Polanski was drawn to Gregory's concept of perceptions as hypotheses, which maintains that we see what we hypothesize according to our experience and stored information. That we see what's in our mind's "eye" rather than see what's before our eyes. In Gregory's words, "The eye is a simple optical instrument…The brain is the engine of understanding." 2 As Davide Caputo notes in his book Polanski and Perception, "Polanski himself cites the work of the constructivist neuropsychologist Richard L. Gregory (1923-2919) as having a great influence on his approach to film-making, claiming that Professor Gregory 'lent scientific confirmation' to many of his intuitive beliefs regarding perception." 3 This influence, Caputo points out, is already apparent in Polanski's first feature, the Polish Knife in the Water (1962), in which through a "simple gesture of 1

This article focuses on film noir as a place of visual representation of character embodiment, including most prominently sweat, but also pain, exertion, and addiction. This embodiment provides a way in for the viewer, a connection based upon a shared felt affect that situates emotional engagement and understanding at a more basic level. Noir films use indicators of character embodiment as a communicative resource for viewers to understand character experience and narrative situations, especially those that are unfamiliar and thematically prominent in the canon, such as paranoia, fear, anxiety.