Deepfakes are a technological innovation that might be understood to violate the documentary film’s relationship with the real. Yet documentary makers have been among the first screen producers to ...

This article engages with differences of experiences generated by transmedia migration of filmic content in artist-filmmaker Albert Serra’s two-channel installation Personalien and feature film Lib...

This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director’s aesthetic and signatures. Not on...

The peculiar romance portrayed in Phantom Thread (2017) has been subjected to much criticism. While Paul Thomas Anderson’s film patently narrates a love story, the nature of its romance may appear ...

In 1999, The Sopranos (HBO, 1999–2007) was the first-ever nominee from premium or basic cable in the Primetime Emmys’ Outstanding Drama Series category, a slate annually dominated by broadcast dram...

Published in New Review of Film and Television Studies (Vol. 21, No. 4, 2023)

Published in New Review of Film and Television Studies (Vol. 21, No. 4, 2023)

This article seeks to redeem the idea that virtual reality (VR) might serve to foster empathy by rethinking both the notion of empathy and the ways contemporary VR films have attempted to generate ...

There is no consensus on the definition of participatory or collaborative practices in relation to audiovisual media. The same term has been used to name a range of similar practices although they ...

News organizations in recent years have embraced documentary film. From streaming ventures to Academy Award nominations, newsrooms are producing documentaries to reach new audiences and maintain th...

What counts as documentary in the twenty-first century? More importantly, is documentary studies capable of contributing to a discourse that can both define the contours of and point beyond the pas...

This paper addresses some fundamental aesthetic (and thus political) questions which arise when faced with the problem of the representation of migratory flows in documentary cinema: how to represe...

Film-Philosophy, Volume 27, Issue 3, Page 592-595, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 587-591, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 583-586, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 579-582, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 553-578, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 531-552, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 507-530, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 488-506, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 464-487, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 443-463, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 424-442, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 401-423, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 377-400, October, 2023.

Film-Philosophy, Volume 27, Issue 3, Page 375-376, October, 2023.

Dans cet article, l’autrice étudie les interventions d’Agnès Varda à la télévision fran?aise et la manière dont cette dernière a forgé une image genrée de la cinéaste. Dans ses reportages, journaux...

Published in French Screen Studies (Ahead of Print, 2023)

This article examines two documentaries that go beyond the audio-visual canon representing the guest worker from Turkey to Germany. Look, Listen Carefully (?zlem Sar?y?ld?z, 2021) and Gurbet is a H...

In Katell Quillévéré’s Réparer les vivants (2016), based on Maylis de Kerangal’s best-selling novel, a fatal road accident after a surfing trip leaves Simon Limbres (Gabin Verdet) braindead. His vi...

ABSTRACT This article analyses how Belgian identity is articulated in contemporary Belgian cinema. Since the introduction of sound, Belgian cinema has been characterised by a divide between Flemish and Belgian francophone cinema. However, the twenty-first century has seen an increase in co-productions between the two communities. By analysing how these intranational co-productions relate to Belgium

ABSTRACT This article analyses how Belgian identity is articulated in contemporary Belgian cinema. Since the introduction of sound, Belgian cinema has been characterised by a divide between Flemish and Belgian francophone cinema. However, the twenty-first century has seen an increase in co-productions between the two communities. By analysing how these intranational co-productions relate to Belgium

ABSTRACT French screenwriters’ precarity has been highlighted in a number of different ways in recent years, not least by their efforts to organise and publicise professional abuses. This article will consider the situation of writers and how these are often framed in relation to a cinematic culture rooted in what Jonathan Buchsbaum calls ‘a certain idea of film [as] the art form of the twentieth century’

ABSTRACT French screenwriters’ precarity has been highlighted in a number of different ways in recent years, not least by their efforts to organise and publicise professional abuses. This article will consider the situation of writers and how these are often framed in relation to a cinematic culture rooted in what Jonathan Buchsbaum calls ‘a certain idea of film [as] the art form of the twentieth century’

In recent years, television has undergone an artistic and critical reevaluation. This essay aims to add to the study of television aesthetics by examining a form particular to American television: ...

This article seeks to renegotiate the relationship between reenactment, truth, history, and the archive in documentaries on genocide. It moves away from the common binaries surrounding the supposed...

Australia’s George Miller, director of the Mad Max films and others, has an international reputation as a singular creative force. But this reputation overlooks key facts about Miller’s career and ...

In recent years, Stanley Cavell has become one of the canonical reference points for film scholars. In particular, his work on ‘comedies of remarriage’ has become one of the most fertile arenas of ...

ABSTRACT Agnès Varda’s science fiction tale, Les Créatures, is her only film with an extravagant plot, and it is also the film considered (by others and by herself) to be her great failure. This article argues that these two aspects of the film are related. Les Créatures can be read as a condemnation of a certain kind of unrestrained storytelling, in which an artist’s desire for invention displaces

ABSTRACT Agnès Varda’s science fiction tale, Les Créatures, is her only film with an extravagant plot, and it is also the film considered (by others and by herself) to be her great failure. This article argues that these two aspects of the film are related. Les Créatures can be read as a condemnation of a certain kind of unrestrained storytelling, in which an artist’s desire for invention displaces

Published in New Review of Film and Television Studies (Vol. 21, No. 3, 2023)

Published in New Review of Film and Television Studies (Vol. 21, No. 3, 2023)

ABSTRACT This article analyses the Franco-British series The Tunnel (Canal+, 2013–2017), co-produced by Sky Atlantic and StudioCanal, as an iteration of the Swedish-Danish series Bron/Broen/The Bridge (Danmarks Radio, 2011–2018). The author situates Bron within the global television format trade and argues that The Tunnel is best understood as a localised version rather than a remake or an adaptation

ABSTRACT This article analyses the Franco-British series The Tunnel (Canal+, 2013–2017), co-produced by Sky Atlantic and StudioCanal, as an iteration of the Swedish-Danish series Bron/Broen/The Bridge (Danmarks Radio, 2011–2018). The author situates Bron within the global television format trade and argues that The Tunnel is best understood as a localised version rather than a remake or an adaptation

Abstract Netflix’s reboot series Cobra Kai (2018–present) depicts an intergenerational negotiation of masculinities as the men from the original Karate Kid mentor Gen Z students. Reagan-era masculine norms and measures of manhood are tested by the teens as they face twenty-first-century challenges. Static performances of masculinity fail to meet the demands of new situations; thus, the mentors and

ABSTRACT There is very little academic work on music in television series, and none on music in French television series. This article focuses on one of the most successful French television series, the eight-season-long Engrenages/Spiral (Canal+, 2005–2020). It identifies the similarities and differences between music for films and music for television series before focusing on the music composed

ABSTRACT There is very little academic work on music in television series, and none on music in French television series. This article focuses on one of the most successful French television series, the eight-season-long Engrenages/Spiral (Canal+, 2005–2020). It identifies the similarities and differences between music for films and music for television series before focusing on the music composed

Abstract Bernarr Cooper (1912–1999) led the Bureau of Mass Communications of the New York State Education Department from 1962 to 1982. During its heyday—roughly between 1970 and 1980—the Bureau produced or coproduced more than 1,500 educational programs, distributed widely to public schools and libraries across the state of New York. This article draws the story of Cooper and the Bureau out of the

ABSTRACT Except for a brief representation of her as a child in The King’s Speech (2010), Queen Elizabeth II’s life has been adapted to the screen through The Queen (2006) and A Royal Night Out (2015). Moreover, the release of the TV series The Crown has added a new perspective to the ways in which the queen’s life has been revised, rewritten, and adapted, although the dynamics of film and of television

Abstract The post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new

Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)

Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)

Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)

This article uses textual and discourse analysis to examine the interpersonal dynamic between Rob and Cherise in High Fidelity (Hulu 2020), two Black female characters at the center of a gender- an...

ABSTRACT This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist

ABSTRACT This article re-examines Rod Serling’s career as he transitioned from writing live anthology teleplays to his famous series, The Twilight Zone (1959–1964), in service of investigating the changing definitions of authorship as the television industry changed. It does so in order to show that the techniques many critics agree Serling used to subvert corporate sponsors may have been rooted in

Published in New Review of Film and Television Studies (Vol. 21, No. 2, 2023)

ABSTRACT This special issue highlights a range of scholarship on LGBTQ+ film and media, encompassing a variety of subjects from across numerous decades and explored through a diverse range of methodologies. If these articles collectively define ‘queer/trans media now’, it is due to their capaciousness, dexterity, and generative provocation – qualities essential to articulating the value of queer/trans

ABSTRACT This article discusses the ‘Netflix imaginary’ and how it shapes our understanding of queer taste and legibility in contemporary visual culture. While Netflix has promoted itself as a bastion of LGBTQ inclusivity and other forms of ‘diversity’, this article considers the platform not on the basis of celebrated LGBTQ ‘Netflix Originals’ such as Sex Education or Queer Eye but rather on how our

ABSTRACT Several critics have described Xavier Dolan as a gifted yet self-indulgent filmmaker. From the stylish costume design to the carefully composed arrangement of colors and objects within the mise en scène, Dolan’s films would seem to be guilty of an over-investment in the image. This essay interrogates the aesthetic and affective possibilities that the ostensibly intolerable textuality of Dolan’s