An important theme in current studies of environmental representation is the inadequacy of many narratological and stylistic techniques for registering ecological complexity. This article argues that, in the case of cinema, water constitutes an especially vivid example of an allusive natural subject, and it examines the means by which one film, The Bay (Barry Levinson, 2012), manages to confront that challenge. It pays particular attention to The Bay’s treatment of animal life, and its acknowledgement of water’s infrastructural currency. The article draws on the writings of ecocritical literary theorist Timothy Morton and media historian and theorist John Durham Peters.

The recent uses of digital technology in war films have sparked a wave of discussions about new visual aesthetics in the genre. Drawing on the approach of film discourse analysis, this article critically examines recent claims about new visual grammar in the war film and investigates to what extent the insertion of different media channels has affected the persuasive function of the genre. Through a detailed analysis of Redacted (2007), which constitutes an extreme case of a fiction filmmaking use of a variety of digital channels, this article demonstrates that the multimedia format works within systems of classical film discourse while also generating new patterns of persuasion tied to new visual technology.

This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

In the late 1960s, Hollywood had the youth demographic in its sights. In 1969 Butch Cassidy and the Sundance Kid proved that Westerns could appeal to this market, and sparked a cycle of youth Westerns. The cycle framework provides a new lens to refocus this group of Westerns. When the films are situated alongside the other production trends and cycles of the period, as they were in the contemporary trade discourses, they emerge as part of a short-lived strategy for financing Western films that targeted the youth market. An industrial and discursive analysis of the marketing and reception of the youth Western cycle contributes to a more nuanced understanding of the New Hollywood period.

In French cinema, representations of girls have often been associated with films made by women, as demonstrated by Carrie Tarr with Brigitte Rollet (2001). They claim that the young girl is the major cinematographic topic for a woman’s first film, and names, such as Céline Sciamma in the late 2000s, Diane Kurys and Catherine Breillat in the 1970s, substantiate this position. However, Breillat’s A Real Young Girl was different, as it attracted critics’ acerbic reception and was subsequently banned for its open depiction of a young girl’s sexual experiences. It is argued that Breillat’s images of the young girl’s sexual initiation in the 1970s brings to the fore the significance of the idea of authenticity in relation to sex and cinema. Examining the representation of the ‘real young girl’ highlights the ideas of reflexivity and creativity attached to the existentialist notion of authenticity. This article aims to show that the young girl stands as a metaphor for Breillat’s auteurist approach to challenging existing filmic conventions.