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“Normality is threatened by the Monster”: Robin Wood, Romero and zombies
No full textA tribute to Robin Wood, focusing on his influence on horror criticism, and more specifically, on his appraisal of George A. Romero as ‘a great and audacious filmmaker’ through detailed consideration of his zombie movies. The article considers the key elements of his extraordinary influence on horror criticism, and a detailed examination of the monster which most directly responds to horror’s potential ambivalence: the zombie. In order to consider the ambivalence in the relationship between normality and the monster – that central and most important component of Wood’s horror criticism – created by Romero’s zombies, analysis focuses on the materiality of the films through close attention to the bodies on-screen
Robin Wood - British Film Critic
No full textPopular Abstract in Swedish Den brittiske filmkritikern Robin Wood började publicera essäer om film 1960. Sedan dess har han ensam eller tillsammans med andra givit ut tretton böcker. Vid sidan av dessa har han skrivit flera hundra essäer samt medverkat i mängder med antologier och uppslagsverk. Speciellt betydelsefull har Wood varit för Alfred Hitchcocks status som den förmodligen mest omskrivne filmskaparen någonsin. Men också hans texter om amerikansk skräckfilm, om Hollywoodfilm i allmänhet samt om diverse olika filmregissörer har varit inflytelserika. Wood studerade engelsk litteratur vid universitetet i Cambridge i början av 1950-talet. Sedan dess har han varit djupt påverkad av en rad idéer om den unika och betydelsefulla roll konstarterna och kritik av dessa bör inta. Dessa idéer är typiska för vad som kommit att benämnas Cambridgeengelska. Inte minst litteraturkritikern F. R. Leavis har behållit en roll som idealiserad förebild för Wood. Wood har ofta framfört sin övertygelse att filmen sedan ungefär 1920-talet övertagit rollen som den mest betydelsefulla konstformen från romanen. I denna studie ses Woods karriär som en strävan att upprätta film och filmvetenskap som motsvarigheter och arvtagare till den roll den tidiga Cambridgeengelskan försökte etablera för engelsk litteratur och litteraturkritik.British film critic Robin Wood began to publish on film in 1960. Since then, he has written or co-written 13 books, and also published hundreds of essays and articles in books, in journals, and in different encyclopedias. At the same time, Wood has been a key figure in the development of what has become academic film studies. Wood was educated at Cambridge University, where he studied English literature in the early 1950s. Ever since, he has remained deeply influenced by a set of ideas concerning art, literature, and culture, ideas which have been typical for what has been known as the Cambridge English School. Wood’s admiration for the work and example of literary critic F. R. Leavis has been particularly profound, and has continued to this day. The present thesis attempts to recapitulate Wood’s critical agenda in terms of a struggle. In a sense, his work can be regarded as a critical endeavour aimed at creating for film and film studies a cultural role similar to the one traditionally held by literary studies and English literature. In this endeavour, film studies is seen as the natural successor to Cambridge English. Another area which is under scrutiny is the development of film studies within a cultural and historical context where modernism, in a general sense, has been firmly entrenched as the dominant current within the arts. With this context in mind, the aesthetic position developed by Wood and in Movie, the seminal journal to which Wood contributed most frequently during the 1960s, is used as a means of challenging the established view that the European art cinema - the modernist film movement emanating in Europe after the Second World War – was the key to film being accepted as an art form, and, thus, enter academia. Ultimately, Wood is seen as having withdrawn from his main project. The reason for this being that he came to view contemporary Anglo-Saxon university culture as unfit for establiblishing a position with any resemblance to the one he had in mind for film and film studies
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Robin Wood - brittisk filmkritiker
No full textBritish film critic Robin Wood began to publish on film in 1960. Since then, he has written or co-written 13 books, and also published hundreds of essays and articles in books, in journals, and in different encyclopedias. At the same time, Wood has been a key figure in the development of what has become academic film studies. Wood was educated at Cambridge University, where he studied English literature in the early 1950s. Ever since, he has remained deeply influenced by a set of ideas concerning art, literature, and culture, ideas which have been typical for what has been known as the Cambridge English School. Wood’s admiration for the work and example of literary critic F. R. Leavis has been particularly profound, and has continued to this day. The present thesis attempts to recapitulate Wood’s critical agenda in terms of a struggle. In a sense, his work can be regarded as a critical endeavour aimed at creating for film and film studies a cultural role similar to the one traditionally held by literary studies and English literature. In this endeavour, film studies is seen as the natural successor to Cambridge English. Another area which is under scrutiny is the development of film studies within a cultural and historical context where modernism, in a general sense, has been firmly entrenched as the dominant current within the arts. With this context in mind, the aesthetic position developed by Wood and in Movie, the seminal journal to which Wood contributed most frequently during the 1960s, is used as a means of challenging the established view that the European art cinema - the modernist film movement emanating in Europe after the Second World War – was the key to film being accepted as an art form, and, thus, enter academia. Ultimately, Wood is seen as having withdrawn from his main project. The reason for this being that he came to view contemporary Anglo-Saxon university culture as unfit for establiblishing a position with any resemblance to the one he had in mind for film and film studies
Variations on the Author
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Robin Wood – British Film Critic
No full textBritish film critic Robin Wood began to publish on film in 1960. Since then, he has written or co-written 13 books, and also published hundreds of essays and articles in books, in journals, and in different encyclopedias. At the same time, Wood has been a key figure in the development of what has become academic film studies. Wood was educated at Cambridge University, where he studied English literature in the early 1950s. Ever since, he has remained deeply influenced by a set of ideas concerning art, literature, and culture, ideas which have been typical for what has been known as the Cambridge English School. Wood’s admiration for the work and example of literary critic F. R. Leavis has been particularly profound, and has continued to this day. The present thesis attempts to recapitulate Wood’s critical agenda in terms of a struggle. In a sense, his work can be regarded as a critical endeavour aimed at creating for film and film studies a cultural role similar to the one traditionally held by literary studies and English literature. In this endeavour, film studies is seen as the natural successor to Cambridge English. Another area which is under scrutiny is the development of film studies within a cultural and historical context where modernism, in a general sense, has been firmly entrenched as the dominant current within the arts. With this context in mind, the aesthetic position developed by Wood and in Movie, the seminal journal to which Wood contributed most frequently during the 1960s, is used as a means of challenging the established view that the European art cinema - the modernist film movement emanating in Europe after the Second World War – was the key to film being accepted as an art form, and, thus, enter academia. Ultimately, Wood is seen as having withdrawn from his main project. The reason for this being that he came to view contemporary Anglo-Saxon university culture as unfit for establiblishing a position with any resemblance to the one he had in mind for film and film studies
Vivir para narrarlo : homenaje a Robin Wood
Full text linkFil: Giménez, Christian. Universidad Nacional de Misiones. Facultad de Humanidades y Ciencias Sociales; Argentina.Cuando pienso en Robin Wood, la primera imagen que se me viene a la mente es la de Don Beñacar, el canillita de mi pueblo, llegando a casa un día de lluvia torrencial -nunca sabré cuál era su magia para que con sus simples plásticos no se mojara la mercadería- con una edición del diario El Territorio que tenía algo llamativo: hojas coloridas que contrastaban con el blanco y negro (siempre listos para manchar los dedos) del matutino misionero. Ahí estaba el compilado El Mundo de la Historieta, con varias de las aventuras ya publicadas por la “editorial de la palomita”, pero que eran totalmente nuevas para mí. Papá, como mucha gente de su generación, había vivido el resurgimiento de la historieta de aventuras en la Argentina desde fines de los años ‘60, en el que millones de ejemplares de Editorial Columba se vendían en los quioscos de revistas. Él ya conocía y estimaba a esos personajes que aparecieron esa mañana junto al diario y me los recomendó entusiasmado, mientras hojeaba el número y me hablaba sobre la vida de su guionista, alguien que era oriundo de un lugar muy cercano, Paraguay, pero que entonces recorría el mundo con su escritura. Esto ocurrió a inicios de los ‘90, y yo estaba en segundo grado de la escuela primaria por lo cual, ergo, algo ya podía leer: empecé a recorrer las páginas y quedé atrapado al instante por esas historias mucho más serias que las tiras infantiles que entonces llegaban a mis manos. Dicho recuerdo es imborrable como el aroma de ese papel impreso con tintas chillonas y desparejas
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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