1,720,962 research outputs found
Violations: The Boys of St. Vincent
No full textAbstract:
This paper analyzes The Boys of St. Vincent in the context of the conventions of the American made-for-television movie. It begins with a review of some of the critical literature, from both British and American sources, which has defined the genre. The author then offers a
close analysis of The Boys of St. Vincent, and in the end assesses
its social progressiveness using criteria developed by John Caughie
and other British critics working for Screen in the 1980s. The author ultimately argues that The Boys of St. Vincent, because it significantly disrupts the conventions of the American telefeature, can be seen as politically progressive. These disruptions include a potent systemic critique of church and state, a critical and highly controversial examination of
pedophilia, and a disruption of the visual conventions of the American form.
Résumé:
Cet article analyse The Boys of St. Vincent ("Les Garçons de Saint-Vincent") dans le contexte des conventions du téléfilm américain. Il commence par un examen d'une partie de la littérature critique de provenance anglaise et américaine qui a défini le genre. L'auteur
offre ensuite une analyse détaillée des Boys of St. Vincent, et à la fin évalue la progressivité sociale du programme en recourant à des critères développés par John Caughie et d'autres critiques anglais écrivant pour
la revue Screen au cours dans les années quatre-vingt. L'auteur
soutient en fin de compte qu'on peut envisager The Boys of St. Vincent comme étant politiquement progressif, parce que l'émission renverse significativement les conventions du téléfilm américain. Ces enversements comprennent une puissante critique systémique de l'état et de l'église,
un examen critique et très controversé de la pédophilie, et le bouleversement des conventions visuelles du format américain
Jeanette Sloniowski and Marilyn Rose (eds), Detecting Canada : Essays on Canadian Crime Fiction, Televison, and Film
Get PDFThe title of Jeannette Sloniowski and Marilyn Rose’s Detecting Canada is a clever (and presumably intentional) pun : all of the essays in this collection about Canadian crime fiction are also, either implicitly or explicitly, about how we can detect who or what is Canadian. Is it enough, for instance, for an author to have been born in Canada, or to be a Canadian citizen ? What if a writer resides in Canada but sets his books elsewhere ? Or, having moved away, returns to Canada only through h..
Lesley Stern, <i>The Scorsese Connection</i>. Indiana University Press: Bloomington and Indianapolis, 1995
No full text<i>Las Hurdes</i> and the Political Efficacy of the Grotesque
No full text Se basant sur les théories du grotesque, cet article dément l'hypothèse qu'une sensibilité colonialiste a influencé le portrait que Buñuel trace des Kurdanos dans Las Hurdes. Une lecture attentive du film démontre que Buñuel a utilisé le grotesque pour mettre en évidence la condition des Hurdanos, pour questionner le conventions du documentaire ethnographique et pour désabillser les représentations stéréotypées et souvent dégradantes de "l'Autre." </jats:p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Making the past present: Peter Watkins's Culloden
No full textBook abstract: Originally released in 1998, Documenting the Documentary responded to a scholarly landscape in which documentary film was largely understudied and undervalued aesthetically, and analyzed instead through issues of ethics, politics, and film technology. Editors Barry Keith Grant and Jeannette Sloniowski addressed this gap by presenting a useful survey of the artistic and persuasive aspects of documentary film from a range of critical viewpoints. This new edition of Documenting the Documentary adds five new essays on more recent films in addition to the text of the first edition
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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