CINEJ Cinema Journal
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The Effects of Film Illumination Hues – An Exploration Study
Get PDFThis study is an attempt to investigate the ability of different colors used in cinematic lighting designs to affect audience’s impressions towards the appearance and mood of film characters. The study critically appraised existing cinematic lighting techniques and identified the two basic color groups (i.e., warm and cold colors) that should be examined in order to answer the research questions and formulate its conclusions. To provide the needed empirical evidence for this research work, some experiments with a representative sample of viewers were conducted. These experiments confirmed the existence of direct relationships between various colors of lighting and the perceived appearance and mood of film characters. Moreover, specific color hues of lighting appeared to be more effective than others in altering the perceived appearance and mood of film characters. The study concluded that audience’s perception of appearances and moods within cinematic images is linked, even in part, to different colors of lighting
Remembering Thomas Elsaesser and Peter Wollen
Get PDFLate in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal. His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer
Review of The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain
Get PDFRaúl Rodríguez-Hernández and Claudia Schaefer, The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain. Lincoln: University of Nebraska Press, 2019. xii + 304 pp. ISBN 9781496214249, $55.00 (hbk
Becoming-Animal in the Narrative and the Form of Reha Erdem’s Kosmos
Get PDFThis article performs a narrative and aesthetic analysis of Reha Erdem’s movie, Kosmos (2009), through an engagement with Gilles Deleuze and Félix Guattari’s philosophical concept of becoming-animal. Erdem narrativizes the story of an odd traveller dervish named Kosmos, who has supernatural abilities and an expanded capability of communication—one that displays liminal features between human and animal. Through his distinctive editing technique, particularly by juxtaposing human and animal faces, the director further deconstructs the conceptual boundaries between humanity and animality, revealing the inherent connectedness of the two. Hence, this article discloses the consistency between the narrative and the form of Kosmos through a close reading based upon the notion of becoming-animal and its conceptual constituents
Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night
Get PDFIn this article, first the “paradox of assimilation and difference” and its consequences will be discussed in the film A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant Iranian-American director. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her
Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan\u27s The Wild Pear Tree
Get PDFThis article analyzes the father-son relationship in Nuri Bilge Ceylan’s latest film The Wild Pear Tree (2018), which tells the story of a son who desires a life as unlike his father’s narrow, provincial life as possible, only to find himself following in his father’s footsteps almost against his will. Drawing upon Freudian and Lacanian psychoanalysis, this article examines the film as an oedipal drama that portrays the predicament of a son who grapples with an ineffectual, humiliated father that fails to embody the paternal function. It undertakes to show how the father-son conflict eventually culminates in the father’s transformation from an object of contempt into an identificatory ideal for his son, who becomes heir to a legacy of disillusionment and thwarted hopes
Review of Cinema/Politics/Philosophy
Get PDFReview of Nico Baumbach, Cinema/Politics/Philosophy. New York: Columbia University Press, 2018. 248 pp. ISBN 9780231184236, $28.00 (pbk
Books received
Get PDFIn 2019-20 we have received a variety of books on cinema and media from these publishers: Bloomsbury Academic, Brill, Columbia University Press, IB Tauris, Intellect, John Wiley & Sons, Manchester University Press, Oxford University Press, Palgrave Macmillan, Wayne State University Press
Review of The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema
Get PDFBasil Glynn, The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema. International Library of the Moving Image. Bloomsbury, 2019. 216 pp. ISBN 9781788314084 (hardcover). $115.00
Man In A Hat: Martin Balsam And The Refining Of Male Character Acting In American Films, 1957-1976
Get PDFThis article attempts a definition at what constitutes “character acting” in mainstream cinema in the United States and argues that throughout the peak of his film career—roughly, 1957 through 1976--Martin Balsam refined the definition of male character acting in American film, a parameter previously established by such skilled practitioners as Eugene Pallette and Claude Rains. Balsam did this through his ability to portray what can be termed “a man in a hat” portrayals: tartly humorous, reliable, and sometimes authoritative supporting characters, usually wearing a chapeau. This is clearly seen in such performances as the private investigator in Alfred Hitchcock’s Psycho (1960) and most interestingly, a partner in an unusual subway hijacking in Joseph Sargent’s The Taking of Pelham One, Two, Three (1974).