Film Theory

Durante la segunda mitad de la década del sesenta y principios de los setenta «lo político» pasó a ocupar en Argentina un lugar privilegiado como eje en el que se legitimaban las propuestas culturales y artísticas. El cine, que no permaneció ajeno a este movimiento, experimentó formas inéditas de producción, realización y distribución, despertando a su vez un interés internacional sin precedentes en la cinematografía argentina. En el periodo comprendido entre los años 1966 y 1973 -fechas que señalan la toma del poder político por el general Juan Carlos Onganía y el retorno al gobierno constitucional-se realizaron en la clandestinidad, desafiando la fuerte censura y persecución política que puso en práctica el gobierno militar, una serie de films fuertemente comprometidos con diferentes sectores políticos de izquierda. No obstante las discrepancias ideológicas y formales que evidentemente distinguían a estas películas -hablamos de films como La Hora de los hornos, Informes y Testimonios, Ollas populares, Operación Masacre, Los traidores, El camino hacia la muerte del viejo Reales, La revolución Justicialista, Actualización política y doctrinaria para la toma del poder y otros-podemos reunirlas en un conjunto bastante homogéneo debido a que a través de ellas el cine comenzó a pensarse como arma política. En este sentido, sus realizadores las consideraban, por un lado, instrumento de denuncia y contrainformación, enfrentándolas a la constante y cotidiana información de los medios de comunicación masivos al servicio del sistema; y, por otro, como arma desde donde poder contribuir a las luchas de liberación. Estos objetivos, que desafiaron al fuerte control que ejercía el Gobierno sobre la producción artística e intelectual, obligaron a que muchos de estos films fueran realizados, distribuidos y exhibidos en la clandestinidad, abriendo para ello todo un circuito alternativo de proyección en casas de familias, sindicatos, iglesias, cineclubs y universidades que alcanzó, a pesar de las circunstancias, una gran difusión.

Durante la segunda mitad de la década del sesenta y principios de los setenta «lo político» pasó a ocupar en Argentina un lugar privilegiado como eje en el que se legitimaban las propuestas culturales y artísticas. El cine, que no permaneció ajeno a este movimiento, experimentó formas inéditas de producción, realización y distribución, despertando a su vez un interés internacional sin precedentes en la cinematografía argentina. En el periodo comprendido entre los años 1966 y 1973 -fechas que señalan la toma del poder político por el general Juan Carlos Onganía y el retorno al gobierno constitucional-se realizaron en la clandestinidad, desafiando la fuerte censura y persecución política que puso en práctica el gobierno militar, una serie de films fuertemente comprometidos con diferentes sectores políticos de izquierda. No obstante las discrepancias ideológicas y formales que evidentemente distinguían a estas películas -hablamos de films como La Hora de los hornos, Informes y Testimonios, Ollas populares, Operación Masacre, Los traidores, El camino hacia la muerte del viejo Reales, La revolución Justicialista, Actualización política y doctrinaria para la toma del poder y otros-podemos reunirlas en un conjunto bastante homogéneo debido a que a través de ellas el cine comenzó a pensarse como arma política. En este sentido, sus realizadores las consideraban, por un lado, instrumento de denuncia y contrainformación, enfrentándolas a la constante y cotidiana información de los medios de comunicación masivos al servicio del sistema; y, por otro, como arma desde donde poder contribuir a las luchas de liberación. Estos objetivos, que desafiaron al fuerte control que ejercía el Gobierno sobre la producción artística e intelectual, obligaron a que muchos de estos films fueran realizados, distribuidos y exhibidos en la clandestinidad, abriendo para ello todo un circuito alternativo de proyección en casas de familias, sindicatos, iglesias, cineclubs y universidades que alcanzó, a pesar de las circunstancias, una gran difusión.

Like the visual O that Uncle Charlie forms by blowing smoke from his phallic cigar in Young Charlie's bed,  much of Shadow of a Doubt's Oedipal drama is suggested by the film’s more than a hundred verbal "Oh's."  Hitchcock’s way of saying that one visual "O,"  which stands for Oedipus, is worth a hundred verbal “Oh’s.”  Unlike the visual “O,” though, the verbal “Oh’s’ are expressed through a variety of seemingly meaningless interjections so that they don't draw attention to themselves and hence are not readily "hitched" to the visible "O," let alone Oedipus.  But as the always-playful Hitchcock suggests by Ann's curious fascination with pencils and Roger's peculiar preoccupation with numbers, when penciling in the film’s "Oh's” as one would a picture by numbers, they form a deliberate and well-laid Oedipal pattern.  The more Young Charlie and Uncle Charlie give expression to their Oedipal desires, the more "Oh's" come into play.

Apocalissi e diete su TikTok, riscaldamento globale e guerre, Antropocene e mostri, giochi mortali e nostalgie digitali, identità fluide e cancel culture si incontrano e si scontrano in un volume che rilegge lo stato dell’arte di un’umanità proiettata allo scoccare dell’orologio della fine del mondo. Di film in film siamo così accompagnati in una riscoperta estetica ed etica del nostro tempo, con il coraggio di non scendere a patti con alcun cliché, calandoci nell’abisso dei nervi più scoperti dell’oggi, che gli spazi liminali – espressione enigmatica nata su Internet e divenuta un’ossessione culturale – intercettano e coagulano, e di proporre una via per ripensare noi stessi, partendo dal disperato presupposto di mettere in gioco le nostre più profonde incertezze.

Cinema liminale ci conduce in un viaggio insolito e inquietante, dal 1990 a oggi. Un’odissea che coniuga filosofia e semiotica, sociologia e antropologia, per decostruire i luoghi comuni del nostro tempo e illuminare, da una nuova prospettiva, le ossessioni e i malesseri che lo segnano.

The Pride and the Passion (1957) is remembered today less for its story than for its spectacle: a giant cannon dragged across Spain, Cary Grant and Frank Sinatra clashing egos, and Sophia Loren caught in between. But beneath the widescreen pageantry lies a fundamental problem: the characters behave like fools, and the script assumes the audience won't notice. Miguel: The Guerrilla "Leader" Who Gambles Everything Frank Sinatra's Miguel is supposed to be a charismatic guerrilla leader rallying his people against Napoleon's forces. Yet when Cary Grant's British officer Anthony Trumbell-the only man alive who can actually operate the cannon-gets into a fight with one of the guerrillas, Miguel allows it to proceed. If Trumbell had been killed, the entire plan collapses. No cannon, no rebellion, no "pride," no "passion." What kind of leader risks his campaign on a brawl? Only in Hollywood could such recklessness be framed as courage. Contemporary critics noticed the same dissonance. Variety (1957) dismissed Sinatra's performance as "unconvincing" and the plotting as "strained," while The New York Times noted that the story "teeters uncomfortably between the heroic and the absurd." Juana: The Silent Enabler Sophia Loren's Juana, presented as the voice of passion and loyalty, also fails spectacularly. Any sensible ally would have shouted, "Stop! If he dies, we're finished!" Instead, she watches silently, as though the stakes were no more than a tavern quarrel. Her silence makes her complicit in Miguel's stupidity.

This article introduces the concept of contemplative science fiction cinema through a phenomenological study of Jóhann Jóhannsson’s film Last and First Men (2020). Bringing together film phenomenology, genre theory, and cultural hermeneutics, the essay argues that the film fuses science fiction’s speculative estrangement with the durational aesthetics of slow cinema to produce a distinctive mood of “civilisational melancholy.” The article proposes that such films instantiate a hybrid cinematic mode that reflects contemporary historical moods and expands the philosophical scope of film phenomenology. By analysing the film’s intertwinement of space and time, it shows how cinematic experience can attune viewers to existential fragility, temporal disorientation, and cultural decline in the context of the Anthropocene.

A g r a d e c i m i e n t o s AGRADECIMIENTOS Este Trabajo Final de Máster ha sido posible gracias al apoyo incondicional y generosidad de Sara, mi mujer. Agradezco a mi hermano Abraham, gran profesional CG, su paciencia, sus recomendaciones y su disponibilidad. No puedo olvidar a todas aquellas personas cercanas a mi, que me han alentado a seguir manteniendo la ilusión por aprender, por mejorar y por perseguir mis sueños. Gracias a Marta Ventura, por regalarme un tiempo imprescindible para poder terminar este trabajo, a Lorena Hueso, por sus sugerencias. Quiero destacar de forma especial, a la Dra. D.ª Sara Álvarez Sarrat, mi directora en éste TFM, por animarme a investigar y por apoyarme en esta aventura. Creo que sus correcciones, sus valiosas aportaciones y sus oportunos consejos, han contribuido a enriquecer este trabajo, tan especial para mi .

O artigo articula uma interpretação da obra de Kathryn Bigelow como uma expressão da visão de mundo da classe profissional-gerencial (CPG). Fazendo uso de Lucien Goldmann, Fredric Jameson, e as teorias psicanalíticas de Herbert Marcuse e Christopher Lasch, identifica-se um transição dos filmes inicias centrados em comunidades marginais para as obras tardias marcadas por protagonistas narcisistas e conteúdo moralizante. A formação marxista inicial de Bigelow deixa uma marca formal que registra o impasse histórico da CPG. Esta trajetória é lida como alegoria de consciência bloqueada, e a conclusão especula sobre o seu próximo filme, propondo "contra-filmes" sobre a ciência climática e a rebelião de George Floyd como alternativas.

French filmmaker and anthropologist Jean Rouch (1917-2004) made both fiction films and documentaries in Africa since the 1950s. The themes of spirit possession, performance and migration dominated the oeuvre of Rouch-themes that were to be central motives in African Cinema. How has ethnographic film, Rouch's work in particular, contributed to African Cinema? The paper, while assessing Rouch's legacy on African Cinema, asks wider questions about the relationship between African cinema and anthropology, power and resistance, documentary and fiction.

Cinema, which possesses capacity of capturing the physical reality in the form of image, emerged as a technological invention. In addition to this, it turned into an art that has ability to produce it’s own narratives in a short while. In a commonly performed formate film production process is composed of preproduction (script writing)-production (camera recording)-postproduction (editing) phases. From past to present, many new stylistic manners in film production process can be observed to convey the content more differently and efficiently. Most especially when new technological advancements become a part of an activity, new potentials of cinematic style did come to life. This chapter focuses on Reha Erdem’s Hey There! movie which produced in pandemic circumstances. In terms of forming with recording images from web-cam only, this movie is out of known production conditions. The function of this stylistic preference on narrative content of movie has been analysed with semiotic approach and has been interpreted
at a qalitative basis. In the consequence of the analyse, it has been deduced that new technological possibilities can differentiate traditional film production process and can generate contemporary stylistic manners in also Turkish Cinema as such in World Cinema.

This article explores the semiotics of person-indexing registers—registers where one of the indexical targets of the register’s metasemiotic model of semiosis is an individuated, singular entity (vs. a social type). Differentiating such cases from persona-indexing registers (e.g., speech registers like legalese, regional dialects, etc.) and so-called idiolects, the article then turns to cases of person-indexing enregisterment in the cinema, where various filmic and non-filmic signs come to be (non-referential) indexes of particular individuals within the production format of film. I focus in particular on the star actor and the auteur director, two intertextual principles that function as metapragmatic models of filmic textuality, presenced in films through the enregistered signs that indexically invoke them. I am particularly interested in how signs enregistered as proper-to the entity they index (in such cases, a particular star or director) become construed as “theirs,” and how this relation, through processes of cinematic entextualization, incorporates and enlarges the repertoire of so-enregistered signs. I conclude my discussion by gesturing to the non-discreteness of persona- and person-indexing registers, the way they dialectically transform into each other through citational processes, and how an understanding of this relationship affords insight into more general dynamics of indexicality and enunciative praxis.

кіно і утопія, пам’ять і час, мовчання і присутність, кіностихія простору, поетика погляду, кіно і філософія, кіно як медитація, образ і тиша, кінематографічний хронотоп, кінометафізика, кіно і межа, порожнеча і досвід, кіно і травма, антропологія кіно, екзистенційний простір

Derrida and Film Studies views Jacques Derrida’s in-depth and meandering ideas within the realm of film. Bringing together audiovisual culture and deconstruction, the book explores the spectral turn of cinema. Seeing the phenomenon of film as impacted by deconstruction and poststructuralism, the essays offer a wide spectrum of perspectives and illustrate the reception of Derrida’s thought for a new generation of philosophers of film. Using both well-known and pioneering methodologies, this rich volume is an essential guide for understanding the importance of spectrality, hieroglyphics, writing and difference, and alterity in film.

A spate of avant-garde apocalypse films emerged towards the end of the twentieth-century in apparent response to the endless cycle of patriarchally conservative counterparts coming out of Hollywood at the time. In fact, such films as Geoff Murphy’s The Quiet Earth (1985, New Zealand), Don McKellar’s Last Night (1998, Canada), Lars von Trier’s Melancholia (2011, Denmark, Sweden, France, Germany), or Bong Joon-Ho’s Snowpiercer (2013, South Korea), to name only a few examples, stage a particularly anarchist-inflected set of apocalyptic themes. The recognition of this proclivity provides an opportunity to add a layer of understanding to their analysis that complements the dominant theoretical lenses through which film scholars have understood them and to explore the wider contexts of their cultural significance. And just as there is a distinct vein of apocalyptic philosophy that runs through an otherwise divergent history of anarchist theory, so too is there a noticeable vein of anarchist philosophy permeating the narratives of such apocalyptic films. My project is to recover lost and/or displaced notions of the apocalypse and put them in the service of developing an anarcho-apocalyptic analytical paradigm for film studies. This analytical vehicle will help to understand and evaluate an unfolding global ideology reflected in any apocalypse cinema that is imbued with anarchist-inflected sentiment and that significantly challenges a now deeply questionable patriarchal state-capitalist status quo.

El estudio que hace Maaret Koskinen de la película El silencio (Bergman, dir., 1963), escrita y dirigida por Ingmar Bergman, resulta francamente fascinante debido a su insistencia en una comprensión global e «intermedial» de la obra del cineasta sueco, siendo de este ...

Indian popular culture often tends to adapt mythological stories, folklore
narratives, and other cultural texts into the fictional medium of film. Animal figures and their hybrids, abundant in Hindu mythology, are often used to create spectacles of divine horror. The mythological hybrid entity called the naga (Sanskrit: “serpent”) is such an identity that is adapted to the screen as the snake woman (called nagins); a half-woman, half-snake figure with shapeshifting powers and the ability to manipulate her enemies and take revenge on her detractors. Serpents are worshipped in the land as holy deities, and nagins represent feminine fantasies of beauty and erotic power. Examples of the portrayal of snake women in horror films include Mallika Sherawat in Hisss (2010), Reena Roy in Nagin (1976),
Sridevi in Nagina (1986), Meenakshi Seshadri in Nache Nagin Gali Gali (1989), Rekha in Sheshnaag (1990), and Manisha Koirala in Jaani Dushman – Ek Anokhi Kahani (2002). This chapter scrutinizes the cinematic transmutation of the naga myth in Indian cinema, probing its ramifications as a vehicle of divine horror. It contends that films depicting the serpent woman position the female form at the core of narratives where the sacred and the sinister converge, evoking emotional
responses of fear, reverence, and entertainment. We argue that such a visual construct upholds the value of female subjectivity in unorthodox ways. It paradoxically reflects the monstrous-feminine in the abject form while simultaneously emphasizing the traditional holy image of the Devi (Indian goddess) for worship. The complex semiotics of the snake-woman thus maintain ambiguity in terms of her cultural reception and gender performativity.

John Waters’ mothers are frequently depicted as larger-than-life characters, embodying both the grotesque and the absurd. For instance, in Pink Flamingos (1972), the character of Divine, who plays the role of an unconventional mother, subverts traditional maternal expectations through
her outrageous behavior and defiance of societal norms. Similarly, in Serial Mom (1994), Kathleen Turner’s character Beverly Sutphin presents a satirical take on the archetypal suburban mother, whose obsessive commitment to maintaining her family’s image leads to homicidal
extremes. Waters uses these hyperbolic portrayals to critique and parody the idealized notions of motherhood and female sexuality, revealing the complexities and often hypocritical standards imposed on women in society. His films thus transform the mother figure into a site of rebellion
and critique, highlighting the absurdity and constraints of conventional maternal roles.

The question of aesthetic value remains a source of tension within diverse film education environments. While film-makers and audiences have visceral experiences of the value of cinema, these experiences are troubled by a contemporary film studies that tends to adopt a more relativist approach, suggesting that the experience of value is reflective of sociocultural subjectivity. Speaking from two different perspectives, Alan Bernstein and Andrew Burn explore the role of value in film education, and film culture more widely, in 2019. While Bernstein argues for a reinstatement of value as a fundamental aspect of how film is experienced and understood in educational contexts and beyond, Burn contextualizes questions of value within a wider framework of semiotic and aesthetic theory, arguing for a multimodal approach that takes into account the multifaceted nature of film.

The result of a curatorial research project developed with Adrian Bojenoiu in 2019, this catalogue features a selection of almost 30 mid-career Romanian artists whose work interrogates, expands and critically interact with images as primary material. The selected artworks, lavishly illustrated, are introduced and analyzed by more than 20 art historians, critics and curators.  The catalogue offers a subjective overview of the Romanian contemporary art scene and serves as an introduction to its recent trends and turns.

Postmodernism has shaped up to be the intellectual and creative interface of late capitalism, supported by a cultural logic imbued with «senses of the end of this or that» (F. Jameson): the end of history, of ideologies, of art, of the novel, of criticism, etc. However if the novel has never ceased to thrive, becoming global, it was the postmodern episteme that quickly turned towards its end, progressively reabsorbed into a wider episteme, where the before and after the end of modern history have resumed their dialogue using a new creole language, whose vocabulary asks to be finally compiled and systematized. The novel that springs from this new episteme oscillates between the postmodern anti-narrative fluidity, which deconstructed regimes, identities, genres and cultures depriving them of the traditional patterns of realism, and the attempt to relocate that fluidity within new narrative patterns, which try to mediate between the disenchanting derealization of the postmodern and the enchanted realism of the modern. This essay reconstructs the affirmation of the category of metamodern to fully describe this momentous attempt of mediation enacted by the novel.

Questo libro \ue8 dedicato a una pratica cinematografica giovanile che emerge e si definisce nel corso di poco pi\uf9 di un decennio, in Italia durante il fascismo: il cosiddetto \u201ccinema sperimentale\u201d. Questa prende forma e si articola all\u2019interno delle strutture dei Gruppi Universitari Fascisti, dando vita a una delle pi\uf9 originali formule associazionistiche della storia del cinema italiano: i Cineguf

's latest work, ''Self Fiction, Self Migration'', stands at a curious intersection between anthropology, autobiography, and documentary filmmaking. It is neither a conventional ethnographic film nor a strictly personal diary; rather, it negotiates the uneasy terrain between selfrepresentation and cultural exploration. As a researcher affiliated with the CNRS (France's prestigious National Centre for Scientific Research), Ms. Fabienne Le Houérou has spent many decades working on issues of migration, memory, and the Muslim world. But unlike most academic anthropologists, she also situates herself at the center of her work-openly narrating her vulnerabilities, her friendships, and even her betrayals.

Cinema is one of the most revered media art form that has a universal appeal. Cinema has been a point of debate and discussion for decades. The constant wriggling of cinema related contentions has led to some astonishing discoveries making it a den of potentially more unexplored areas of academic interest. With this in consideration, this study aims to examine and compare the portrayal of male and female characters in selected Hindi films directed by female and male directors, with a particular focus on the storytelling art within the context of the feminist perspective. The films chosen for analysis are "Lipstick under my Burkha", "A death in the gunj" and "Dhobi Ghat" by female directors and "Pink", "Queen" and "Padman" by male directors. This research explores the aspirations, characterizations and roles of male and female characters in the aforesaid films from both male and female perspectives through a rigorous qualitative content analysis. Additionally, the study seeks to investigate the presence of any stereotypes associated with the characters and the degree of its representation. By analyzing the films' narratives, character development and the interplay between male and female characters, this research further aims to shed light on the portrayal of gender dynamics in storytelling and its potential influence on the way gender is being portrayed. The findings of this study are not significant for cinephiles alone. Gender psychology aspirants would also find something thought-provoking to ponder upon.

A partir de textos clásicos y la comparación de ejemplos, este texto propone una definición del "análisis cinematográfico" como una actividad metodológica que atraviesa varios tipos de textos sobre el fenómeno audiovisual (como las críticas y las reseñas de películas). Su interés es funcionar como una introducción a la vasta discusión sobre la pertinencia que el análisis cinematográfico puede tener en la distinción de rasgos teóricos, metodológicos, empíricos y filosóficos del campo audiovisual.

Palabras clave: análisis cinematográfico, crítica cinematográfica, lenguaje cinematográfico, metodología de análisis, estudios de cine

Plot twists have long become a mainstream mainstay, losing much of their ability to truly surprise audiences. A prevalent tendency in plot-twist films is to pit diegetic reality against protagonists' subjective perspective as affected by a mental illness, connecting neurodiversity with (narrative) unreliability. This essay offers three alternative readings of this conventionalized type of twist films with a neuro-non-normative protagonist: as mediations of the fictional unconscious, as mediations of viewers' unconscious, and as remediations of the role of mental illness. Drawing on cognitive film theory, the essay illustrates these readings using Joe Wright's The Woman in the Window (2018), whose surprising twist is that the protagonist does not have a mental illness. Subverting the convention of the unreliable, neuro-non-normative narrator, the essay argues that the film invites viewers to reflect on and question their own involvement in the (re)construction of narrative unreliability.

is a junior researcher (CICANT, Universidade Lusófona) whose main interests are technological cultures and visual media. She is currently preparing a PhD dissertation on nineteenth century's virtual tours and mediated tourism archaeology. She teaches "Visual Culture" and "Methods in Image Analysis" at the School of Communication, Arts and Information Technologi es (ECATI, Universidade Lusófona). She has published papers on haptic media, visual culture and image technologies. Ana Barroso is currently a PhD candidate at the University of Lisbon. She has been publishing in national/ international magazines/ books on art and film. She is also working as an experimental/ videoart artist and her works have been screened in several countries around the world.

Images de l'instant, images de l'éternité Une étude sur le haïku comme langage et perception de l'invisible et de l'atemporel dans le cinéma de Yasujiro Ozu -Mémoire de Master 2 -Année 2016 -2017 Sous la direction de Vincent AMIEL Sommaire Introduction ………………………………………………………………………………………………………..……….p.3 Chapitre 1 -Vers un détournement de l'image de fiction : le choix de(s) l'image(s) 1 -Les principes du haïku au travers d'Ozu et l'invention de l'image-haïku ………………….p.8 2 -Entrelacements et va-et-vient entre texte et image …………….………………………………….p.26 3 -La poésie plutôt que la narration -Les figures visuelles ………………………………….....…..p.30 Chapitre 2 -En utiliser le moins pour en dire le plus : le minimalisme en faveur du sensible 1 -Faire circuler l'émotion et la détacher de l'homme pour l'amener ailleurs ……………..p.35 2 -Le sensible exprimé par le vide et l'égale mesure des choses ……………….…………….....p.43 3 -Le détournement des objets pour l'élaboration d'un système de lecture ……………….p.51 4-Alliance du dehors et du dedans -Le paysage total brise l'espace et la temporalité ..p.62 Chapitre 3 -Le présenté infini. Pour une atemporalité et un mouvement intérieur 1 -La fixation du mouvement ou la coexistence entre instantanéité et permanence ….p.66 2 -L'homme éphémère et le rythme éternel du monde ……………………………..………………p.70 3 -L'ombre et la nuance pour la perception de l'invisible et de l'évènement ……………...p.80 Conclusion ……………………………………………………………………………………………………….………….p.87

Existen vinculaciones entre Ante el retiro de Thomas Bernhard y La vida de los otros de Florian Henckel Von Donnersmark que se manifiestan si se consideran ambas obras como hilos pertenecientes a un mismo tejido. Segun Pascale Casanova, la mirada aislada del texto y su analisis desde la insularidad de la obra, no dejan ver la totalidad de la figura ni sospechar su existencia. Para dar real magnitud a una obra y entender su resonancia, hace falta romper con el prejuicio de la insularidad constitutiva del texto y observarlo en relacion al conjunto de las obras que lo conforman y configuran su verdadera originalidad.

The article offers a reconstruction of Derrida's concept of phantasm with a stress on the discussion of the phantasm in Glas (1974) and his final seminar (2002-2003). I argue that the main characteristic of the phantasm is that it is placed on both sides of a border or a frontier. In this, it produces the believe that one can stand on both sides of a divide while remaining on one of them. In this way, phantasm becomes a phantasm of power, an illusion for pure auto-affectivity. Yet, the phantasm also disrupts the illusion of mastery and opens the way to the other in an unpredictable manner, becoming an event that cannot be simply opposed to reality or truth.

The book discusses in depths Kurosawa's films "No Regrets for our Youth," "The Idiot," "Ikiru," "The Lower Depths," and "Dersu Uzala" in the context of Japanese, Russian, and Western European intellectual history and the Cold War, and in relation to the Japanese and Western art, performance, theater, and music.

Our online magazine, RFF Sprint, vows to thrive on the margins—celebrating the thrill of obscure cinema. Sprint isn’t about keeping pace with trends—it’s about rediscovering what cinema means when it lingers in the shadows. Bold, restless, and unapologetically cinephilic, it seeks out films that resist erasure and demand to be seen differently. If this debut resonates, more occasional issues may follow, keeping the spirit of rare cinema alive online.

The essay delineates a psychic phenomenon of incapacity to remain alive, as depicted in Jean-Charles Fitoussi’s movie "The Days When I Do Not Exist" (2002). The film introduces a provocative thought experiment, illustrating the life of a man who vanishes every other day, only to reappear at precisely the same location twenty-four hours later. The author contends that this narrative serves as a poignant manifestation of the inability to metabolize emotions, thoughts, and memories, leading to their continual evacuation and ultimate loss. The recurrent disappearance of the protagonist diminishes his ability to feel alive, even upon his reentry into the world. This fragile psyche undergoes a potential transformation when the man falls in love, giving rise to the hope that the relationship with another human being may facilitate the integration of both the represented and unrepresented parts of his mind. An analysis of "The Days When I Do Not Exist" connects the cinematographic structure and the narrative plot to illustrate unrepresented states of severely damaged minds, which are under constant threat of dissolution.

Carlos Drummond de Andrade tinha na infância o apelido de Carlito. Carlito era como o poeta Carlos nomeava o personagem Carlitos de Charles Chaplin. Embora Drummond enfatize que Carlito é um personagem plural, ele o nomeia sem o "s" no final, pois, apesar de vários, Carlito é um só: "Unidade/ estranha é a tua, em um mundo assim pulverizado". Haveria, entre eles, uma forma análoga de se pensar o estatuto da arte e do cinema na década que precedeu a Segunda Guerra Mundial, para além de uma identificação gauche entre a persona poética e o personagem cinematográfico, já notada na melhor fortuna crítica de Drummond? Essa identificação está relacionada à inadaptação social de ambos: Carlos e Carlito. No Dicionário Drummond, Sérgio Alcides destrincha os múltiplos significados da palavra gauche na obra do poeta itabirano, finalizando seu verbete com uma citação de CDA: "Que milagre é o homem?/ Que sonho, que sombra?/ Mas existe o homem?". Alcides defronta tal mistério recorrendo justamente a Chaplin: para o poeta, Carlito é o "homem do povo", sendo também "outro 'Carlos' desmazelado, especialista em desastres, gauche". É notável que a sensibilidade literária de Drummond tenha sido formada a partir de sua experiência como espectador de cinema na moderna cidade de Belo Horizonte nos anos 1920. Quando Drummond entrava na maioridade, Chaplin já era um cineasta mundialmente reconhecido, desde que fez seus primeiros filmes na produtora Keystone em 1914. A estreia de Drummond na imprensa belo-horizontina em 1920 aconteceu precisamente com a publicação de uma crônica cinematográfica. Ao longo de sua formação como escritor, portanto, enquanto o jovem poeta ainda assinava textos com pseudônimos -entre eles, o de Camundongo Mickey -foi decisivo o impacto do cinema em seu sentimento do mundo. Praticando a crítica cinematográfica em forma de crônica, Drummond ao mesmo tempo em que formava sua sensibilidade, formava também o gosto do público leitor. O poeta, que fez pouquíssimas * Este texto foi apresentado no evento II Seminário de História e Literatura: A consciência da Ficção, do grupo de pesquisa Hi-Fi (Historicidade e Ficção), do qual Roberto Said e Pedro Rena fazem parte. A contribuição de Eucanaã Ferraz, Ana Lúcia Andrade e Rafael Ciccarini em debates na Mostra Drummond e o cinema, sobre Chaplin, foram fundamentais para a escrita deste texto. ** Este texto faz parte da tese de doutorado em andamento de Pedro Rena, orientada por Roberto Said, com apoio financeiro da Capes, a quem agradecemos.

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”.

Si tratta un incipit particolarmente denso, piene di promesse. Il primo evento cui assistiamo è una svestizione, messa tra le parentesi dei nomi degli autori (il regista e i due attori) e del titolo del film. L’inquadratura che mostra Nicole Kidman (Alice) mentre si spoglia non è in continuità con i preparativi per l’uscita del piano successivo. Siamo nella stessa casa e la donna è la stessa, ma le due sequenze appartengono a momenti temporali distinti: la donna si sta spogliando e non vestendo, le scarpe che indossa sono diverse, così come l’acconciatura. Anche la luce è differente. Incastonato tra due titoli, quello che vediamo è una sorta di teaser, sia nel senso oggi comunemente inteso (un breve filmato che, al contrario del trailer, anticipa il film senza riassumerlo), sia in senso letterale: qualcosa che stuzzica l’occhio, una provocazione. Lo si può commentare con il verso di una canzone dei Velvet Underground: “She's just a little tease / (She's a femme fatale)”. La sequenza è un’anticipazione di quello che vedremo, una promessa: in questo film si parla di corpi e di (del trauma del) desiderio.

Halina Reijn's film Babygirl (2024) explores the problem of "role-work," wherein a subject's personal expression and ideological beliefs are recast as performance of labor, resulting in a specific form of neoliberal alienation. Despite the film's sadomasochistic seduction plot, filled with steamy sex scenes designed to appeal to the gaze, Reijn's film demands attention to the auditory, retraining its audience to discern the difference between performed displays of desire and feminist political virtue, and authentic expressions of need and identification. This discernment opens up possibilities for "role-play" which allows neoliberal subjects to reconcile themselves with forbidden desires in ethically and emotionally positive ways.

Resumen :  El presente articulo analiza la pelicula de los hermanos Coen  El hombre que nunca estuvo alli , paradigmatico ejemplo de cine  neo-noir  posmoderno. Mas concretamente, en nuestro analisis nos fijamos en el personaje de Birdy, la jovencita seductora de hombres adultos protagonizado por Scarlett Johansson, que parece encarnar a la perfeccion el mito de Lolita. Un exhaustivo analisis de la representacion de este mito asi como una comparacion con la novela original de Vladmir Nabokov, nos lleva a concluir que en realidad los hermanos Coen proponen una parodia de este mito mediatico valiendose de los recursos propios del cine posmoderno: intertextualidad, pastiche y metaficcion historiografica propuesta por Linda Hutcheon. Una parodia similar se observa en  Flores Rotas , film de Jim Jarmusch analizado al final del articulo. Ambas parodias sirven para la distancia ironica asi como para la alimentacion de un mito que, aunque de origen literario, encuentra en la cultura audiovi...

Intencionalnost je esencijalno mentalni, esencijalno zgodimièni, te esencijalno iskustveni (svjesni) fenomen. Svaki pokušaj karakteriziranja intencionalnosti koji je izdvaja iz svjesnog iskustva suoèuje se s dva nesavladiva problema. Prvo, obvezno je priznati da gotovo sve (ako ne i sve) ima intencionalnost -sve do subatomskih èestica. Drugo, ima za posljedicu da sve što ima intencionalnost, ima je puno previše -mo®da beskonaèno mnogo. Kljuè zadovoljavajuaee i istinski naturalistièke teorije intencionalnosti jest (1) realistièka koncepcija naturalizma i (2) ispravno razvijeno razumijevanje fenomena spoznajnog iskustva.