collective livelihood’ (Tuñón, 1993 : 161).
This book takes note of current tendencies in filmstudies and
postcolonial theory to look for the excesses, instabilities and incoherencies in texts,
which challenge such totalizing projects of hegemony or cultural reification
as ‘cultural nationalism’ or ‘ mexicanidad.’
The book also takes note of how the quest for mexicanidad has been
critiqued in Mexico as an elaborate game played
From 1943 until 1950, Emilio Fernández was regarded as one of the foremost purveyors of 'Mexicanness,' as one of the most important filmmakers of the Mexican film industry. This book explores the contradictions of post-Revolutionary representation as manifested in Fernández' canonical 1940s films: María Candelaria, Víctimas del pecado, Las abandonadas, La perla, Enamorada, Río Escondido, Maclovia and Salón Mexico. It examines transnational influences that shaped Fernández' work. The book acknowledges how the events of the Mexican revolution impacted on the country's film industry and the ideological development of nationalism. It takes note of current tendencies in film studies and postcolonial theory to look for the excesses, instabilities and incoherencies in texts, which challenge such totalizing projects of hegemony or cultural reification as 'cultural nationalism' or ' mexicanidad.' The book looks at how classical Mexican cinema has been studied, surveying the US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses. Fernández's Golden Age lasted for seven years, 1943-1950. The book also examines how the concept of hybridity mediates the post-Revolutionary discourse of indigenismo (indigenism) in its cinematic form. It looks specifically at how malinchismo, which is also figured as a 'positive, valorisation of whiteness,' threatens the 'purity' of an essential Mexican in María Candelaria, Emilio Fernández's most famous indigenist film. Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity.
Pierre de Coubertin was responsible for the founding of the modern Olympics. Its antique ideals were consecrated in a painting by his father, an artist of the French salon, who pictured modern sportsmen from Paris paying tribute to Athena. The fourth chapter analyses the most notorious visual artwork concerning the games, Leni Riefenstahl’s Olympia. Promoted as a documentary of the 1936 Berlin Olympics, but enjoying state patronage from the fascist regime, the status of this film is highly contested in the fields of history and film studies. Here, it is argued that the film evinces attitudes not incompatible with, although not reducible to, Coubertin’s own conflicted views on modernity. This is contrasted with László Moholy-Nagy’s abortive project to film the same games, before a consideration of Gustav Klucis’ constructivist designs for the Soviet response to the Olympics, the Spartakiada, and other constructivist engagements with sport in light of the Soviet emphasis on fizkultura (physical culture).
–44. Chicago: University of Chicago Press.
Cowie, Roddy, Naomi Sussman and Aaron Ben-Ze’ev. 2011. ‘Emotion: Concepts and
Definitions.’ In Emotion-Oriented Systems: The Humaine Handbook, edited by Paolo
Petta, Catherine Pelachaud and Roddy Cowie, 9–30. Berlin: Springer.
De Certeau, Michel. 1984. The Practice of Everyday Life. Berkeley: University of
De Sousa, Ronald. 1987. The Rationality of Emotion. Cambridge, MA: MIT Press.
Eder, Jens. 2006. ‘Ways of Being Close to Characters.’ FilmStudies 8: 68–80.
Eder, Jens. 2008. ‘Feelings in Conflict
established topic in French filmstudies, which has documented
the increasing visibility afforded this section of French society
since the 1980s. Rather than consider Maghrebis and those of
Maghrebi heritage as one sole category – and consequently run
the risk of eliding important differences between them – all the
works I consider focus specifically on how people of Algerian heritage fare in contemporary French visual culture. Furthermore,
as the depiction of Maghrebis and those of Maghrebi heritage
in contemporary French cinema is now so well documented,
evoke the eclecticism of the Palace on Sydenham Hill in bringing together the research
of scholars from the disciplines of art history, English literature, classics,
digital humanities, filmstudies and the history of science.14 The chapters
in this volume consider parts of the Palace less well explored; not just
specific courts but the relationships among permanent Fine Arts Courts
and shifting displays, representations and responses to the Palace, both
inside and outside.
‘What it will be when the sound of the workman’s hammer has ceased,
contemporary impact and influence in warfare (Apel 2012) and Gerhard Paul on
the role and function of media icons in the twentieth and twenty-first centuries
(Paul 2013) (see also Elkins in this volume).
Research in filmstudies builds on sophisticated methods of audiovisual analysis (e.g. Bordwell and Thompson 2008) and on a tradition of analysing political
documentaries (e.g. Chanan 2007; Nichols 2010) as well as cinematic operations
in times of war and conflict (e.g. Chapman 2008; Kappelhoff et al. 2014). Yet only
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan,
Cao Fei, and Wu Mali
Jane Chin Davidson
subject in the discourse of filmstudies. Just twenty years after China’s Cultural Revolution, when Rey Chow
acknowledged the impact of Wu Wenguang’s retrospective film titled 1966
Wo de hongwebing shidai (1966: My Time in the Red Guards), she argued that
the 1990s viewer’s response to the ‘spectacle in collectivity in 1966 constituted
the ethnic and nationalistic self-consciousness of “being Chinese” once again
... a proud, rather than shockingly shameful, experience.’9 Discussed in her
book, Primitive Passions, Chow had used Althusser’s Marxist terminology to
toward melodrama and that this suggests a certain feminization in the text,
challenging the overt gender ideology of the Revolution. This chapter looks
at how melodrama offers a space for subversive pleasure within an otherwise
restrictive moral context that challenges gender ideology as it relates to
Melodrama has occupied an ambivalent position in filmstudies. In the early days of film theory it was dismissed
different world. In Wim Wenders’s Wings of Desire the
coming-into-colour signifies the angels’ full immersion in the ‘real’
world of everyday life. So the effect of adjusting from black-and-white
films to the new colour cinema must have been something similar.
In a context in which reality has been conventionally represented in
black and white, the introduction of colour was bound to register a
kind of exotic shift. The history of colour cinema and its technologies
is a fairly new, and fast expanding, field in filmstudies, but I haven’t
Colour (mainly blue)