Film Theory Research Articles

An image too many: the contemporary biopic, the historical body, and the documentary footage trope

Abstract This article explores the inclusion of historical footage at the end of biopics. The impact of such footage, commonly appended to recent films, varies depending on the specific film. By drawing on theories of viewership, historical film, ontology, and epistemology, this investigation attempts to shed light on why this footage is sometimes, but not inevitably, troubling. Its analysis of the use of such footage in Bohemian Rhapsody and I’m Not There delves into the viewer’s relationship with images and the complexities arising from the intersection of reality and fiction. By exploring the shifting modes of engagement that influence the viewer’s experience, the analysis suggests that this choice may imply a claim to historical authenticity or truth. In questioning the reasons for the increasing prevalence of this trope in contemporary biopics, this article considers the implications of blurring the boundaries between the real and the imaginary.

On What Lacks in Current Film Theory

The review does not make the case that the recent republication of George Littera’s work is relevant for todays film criticism. On the contrary, it suggests that contemporary film criticism might not stand very well in the light of Littera’s work. In particular, it shows how his writing is concerned with the idea of value and contradictions, which is less investigated in new work concerned with subjects of history such as the working class. First, it details Littera’s assessment of Soviet avant-garde cinema. Second, it compares his book with the work of one of his UNATC collegues such as Florian Potra. Finally, it briefly investigates a mode of production and essay writing which has disappeared as technique.

Redefining Female Identity Through the Female Gaze: A Comparative Analysis of Gender Narratives in Feminist Cinema

Abstract: This paper examines how female directors convey feminist consciousness and challenge traditional gender roles through the female gaze in film. Through film analysis, theoretical research, and case studies, this paper examines how female directors have redefined female roles and narratives in contrast to traditional male perspectives. The conventional male perspective has traditionally objectified and marginalized women with the male gaze in visual expression. However, the female perspective portrays women as complex and multidimensional subjects, breaking the male-dominated narrative paradigm and offering new possibilities for reimagining the image of women on screen. Through a feminist lens, this paper further analyzes how the female perspective resists widespread misogyny and provides a counter-narrative to traditional patriarchal representations. In addition, this study examines how female perspectives from different cultural contexts have advanced feminist film theory globally. By highlighting their unique visual expressions, the study demonstrates how these directors advance feminist discourse through their filmmaking, challenging gender, and cultural norms.

Out of Time, Pedagogy, Temporality and the Affective Encounter. Film and Moving Image Making Practice in Art Education

AbstractThis article explores how lens‐based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists’ film and moving‐image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving‐image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out‐of‐time, temporal experiences. Deleuze's time‐image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context.

“Cultural In-Betweenness” in Borderland Films of Malaysian and Indonesian Cinemas

ABSTRACT This paper examines cinematic representations of the borderlands between Malaysia-Thailand and Malaysia-Indonesia in the twenty-first century. The films focusing on the region explore problematic issues such as the intersection of traditions, issues of identity and belonging, the modern nation-state system, and the citizens in these peripheral areas. This paper employs film discourse analysis, and the ideas discussed herein are crucial to the national cinemas of the region, as they operate in a manner akin to Deleuze and Guattari’s concepts of the war machine, the smooth space, and nomadology. These representations raise questions about uneven power dynamics between the hegemonic center and the peripheral other. This investigation analyses two films: Batas (Rudi Soedjarwo, 2011) from Indonesia and Bunohan: Return to Murder (Dain Said, 2012) from Malaysia. This paper argues that the portrayal of borderlands and borders challenges the stability of inwardly focused and ethnocentric national cultural identities by presenting the borderlands of this island region as nomadic spaces, conveying a nomadic ethos and a sense of “in-betweenness” among its people.

O contracinema feminista de Agnès Varda: imagens do desnudamento na reinvenção do amor

The text aims to characterize the feminist counter-cinema of Agnès Varda in three fiction films, Cleo from 5 to 7 (1962), One sings, the other doesn’t (1976) and Vagabond (1985), based on an interpretative analysis that outlines three categories of images of nudity: literal, existential-metaphorical and cinematographic. The cine-pamphlet Women reply: our body, our sex (1975) summarizes the common proposal of the films and sheds light on their goal: the reinvention of love. This is an exercise in film analysis and philosophical interpretation, in dialogue with studies in history, theory and criticism of cinema, which seeks to characterize a particular form of feminist counter-cinema.

The Phenomenology of Animation

This paper presents a framework for a phenomenology based on pure transcendental phenomenology that examines the nature of both the experience of viewing and creating animation. The technological innovation of film and cinema in general is based upon two overarching principles. The first is the phenomenon of the captured frame and the second is the spectator’s phenomenological experience of sequences of such captured frames. It is argued among animation and film theorists alike that the insights offered by the consideration of the phenomenon of the cinematic frame should form the nexus of all film theories. This paper argues that a complete theory of film and cinema should start by explaining this fundamental conceptual bedrock, and that the ‘already-created’ frame of film restricts insight into the phenomenology of cinema spectatorship. The article also shows how the practice of animation is instrumental to the proposition and elaboration of a phenomenology of animation.

Filmic Representation of ‘A Community with a Shared Future for Mankind’ in The Wandering Earth Series

Over the past 4 years, The Wandering Earth series has garnered significant acclaim and recognition within the market and film festival circuits. This study examines The Wandering Earth series, including The Wandering Earth and The Wandering Earth II, through the lens of ‘a community with a shared future for mankind’. Utilising qualitative content analysis, it explores the representation of global cooperation in these Chinese science fiction films, transcending conventional Western-centric narratives. The study reveals a unified international community by analysing film narratives, characters and visual symbolism, focusing significantly on China and non-Western countries’ roles in saving humanity. This approach aligns with global governance and post-colonial theories, highlighting the series’ challenge to Western hegemony and its contribution to the discourse on China’s growing cultural industry influence. This research enriches understanding of Chinese cinema’s role in shaping cultural values and international cooperation, emphasising the potential of the science fiction genre to reimagine global dynamics from a non-Western perspective. Its implications extend to enhancing the global understanding of China’s cultural narratives and contribute to the international dialogue on the evolution and influence of Chinese science fiction films.

A novel quantitative particle distance estimation method of low water/binder cementitious composites (LW/B-CC): Modeling and verification

This paper intends to employ water film theory and 1H Low-field NMR (Lf-NMR) to quantitatively evaluate the particle packing state of low water/binder cementitious composite (LW/B-CC) at different scales. The specific approach involves establishing particle distance models to evaluate the macroscopic, mesoscopic, and microscopic particle packing states of LW/B-CC samples using water film theory and Lf-NMR. The results indicate that Macro_PD is positively related to the product of plastic viscosity and distance of aggregate segregation, Meso_PD shows negatively related to the elastic modulus of ITZ. And Micro_PD can indicate different hydration period. Finally, a multiple linear regression analysis is used to establish a quantitative relationship between PD of different scales and compressive strength. The established particle distance models at different scales are proved to have significant guiding implications for various properties of LW/B-CC. This study presents a novel evaluation method for the particle packing state and provides guidance for the mix design of LW/B-CC.

Decolonizing Forest: The Myth of Panjurli and Guliga in Kantara (2022)

Colonial ideologies reduce nature to a repository of extractable resources and portray the Indigenous communities’ religious understanding of nature as primitive and unscientific. Decolonization foregrounds the silenced Indigenous epistemes that critique exceptional human paradigms of colonial modernity. This paper examines how traditional religious rituals function as a method of decolonization and discusses their exclusion from Western academia. It focuses on Kantara’s cinematic representation of the Indigenous ritual of Bhoota Kola and the worship of forest deities, Panjurli and Guliga, in the coastal areas of southern Karnataka and Kerala. These rituals emphasize the agency of the environment, where the forest, humans, and deities are porous and permeable. This non-anthropocentric understanding of humans questions the dominance of the secular narratives of posthuman theories in Western academia. Rituals foster ecological behaviours and highlight multispecies relationality, providing alternatives for sustainable futures. In emphasizing Indigenous religious practices, the paper undisciplines the Eurocentric study of religion and questions the disciplinary boundaries between scientific thought and Indigenous knowledge. Thus, this paper argues for the inclusion of regional cinemas from the Global South in Western academia to foreground Indigenous epistemes that undiscipline the study of religion and science.

A Rootless Duckweed-Inspired Flexible Artificial Leaf from Plasmonic Photocatalysts.

The naturally existing leaves are ubiquitous two-dimensional flexible solar-to-chemical conversion systems that can run continuously in a sustainable manner. However, the current artificial photocatalytic systems are unable to achieve this due to the grand challenge in integrating existing photocatalysts in a flexible layout with high conversion efficiency and the ability to function independently. Here, we report on a rootless duckweed-inspired artificial leaf based on a lightweight, flexible, Janus plasmonic nanosheet-integrated sponge. The Janus plasmonic catalytically active nanosheet was made from self-assembled gold nanocube nanoassemblies grown on the porous sponges, which were further coated with an ultrathin palladium layer on one side via a ligand symmetry-breaking method. This sponge-based photocatalytic system is lightweight yet able to float on a water surface and conducts the gas-liquid reaction without auxiliary pumping and mixing devices. In a model reaction of 4-nitrophenol reduction, this floating leaf could achieve 2.5-fold and 65-fold higher efficiency than the corresponding dispersion and precipitation systems, respectively. The film theory is used to explain the sponge-based lightweight solar-to-chemical conversion system in a detailed kinetic and thermodynamic analysis, including the reaction rate constant, activation energy, enthalpy, entropy, Gibbs energy, and equilibrium constant.

Disrupting Epistemology and Coalescing Community

Trends in critical disability studies have taken issue with the absence of representations of disability beyond images of heroism or charity cases (Chaturvedi; Ferri; Sherry). In addition, an absence of representation in cinema and literature reinforces an existing bias that individuals with disabilities are uninteresting and have less value than nondisabled people (Beckett et al.; Hodkinson). The article explores the frontier of disability activism on social media as a space where new onto/epistemologies grapple among existing biases of disability. Particularly, the autoethnographic study looks at the experiences of two women, one who has a physical disability and one who has a child with a disability, as disability activists on social media.

Artistic-Stylistic Search for Cinematic Expression and Hybrid Documentary: To the Question of Genealogy of Mockumentary

The purpose of article is to analyse the artistic-stylistic search for cinema expression in connection with the emergence of hybrid documentary as an audio-visual environment and a context for the development of mockumentary. Research methodology is based on the culturological approach that allowed us to expand the context of consideration of the problem genealogy of mockumentary and special-scientific methods of art history. Considering the synthetic nature of the researched phenomenon, the work is comprehensive and interdisciplinary. Without involving knowledge in philosophy, aesthetics, the theory of cinema and television is difficult to understand such multifaceted and complex phenomena, such as hybrid documentary and mockumentary. Scientific novelty of the research lies in the fact that for the first time, at the level of a single research, attention is focused on the role of artistic-stylistic searches for cinematic expressiveness and hybrid documentary in shaping the context of the formation of mockumentary as a genreform and phenomenon of audio-visual culture in the second half of the XX century. Conclusions. If is proved that they should not exclude the practice of embodying life material in a work of fiction and documentary, which is directly related to the stylistic search for cinematic expressiveness as an important determinant of the genealogy of mockumentary. It is affirmed that the advent of television convinced us that the mobility of the boundaries between the chronicle and the staged aspect is not limited to on-screen synthesis and experiments with form, but also refers to semantic hybridisation, which has led to the formation of various genreforms within television documentaries, such as mockumentaries, documentary drama, or “docudrama”. Genre mutations and convergent processes, which also encompassed hybrid documentaries, eventually led to the expansion of the documentary sphere towards the emergence of mixed forms as hybrids of the fiction, fictional and real spheres, i.e. the transformation of the artistic-aesthetic system of documentary led to the emergence of mockumentary as a fiction film with fictional content in documentary form in the audio-visual culture of the second half of the XX century.

Extract And Reconstruct: Research On the Content Of “Second Creation” Short Videos for Film Promotion

Short videos have surged in popularity, particularly on platforms like Douyin, Kuaishou, WeChat Channel, and Little Red Book in China. These brief yet engaging videos are extensively produced and consumed, making them a potent tool for promoting theatrical films. Among the various types of short videos, second-creation short videos—those that creatively reinterpret or remix original content—are particularly effective in driving platform users to theaters. This research focuses on these second-creation short videos used for film promotion. Through extensive viewing and creating these videos during an internship, the author observed notable deviations in meaning between the original films and their second-creation counterparts. To delve deeper, this study analyzes short videos related to “The Boy and the Heron”. Starting from the unique characteristics of second-creation short videos, the research identifies issues such as the narrowing of meaning that can occur in the adaptation process. By highlighting these problems, the study aims to offer insights into how audiences should interpret short videos in the context of film promotion. Finally, the research proposes recommendations for better alignment between original films and their promotional short videos, ensuring a more accurate representation of the cinematic works.

Film Theory

Abstract This chapter discusses four notable books concerning film theory that were published in 2023 and early 2024. Two of them are translated from languages other than English, and two are wide-ranging edited collections. The chapter is divided into five sections: 1. Nicole Brenez, On the Figure in General and the Body in Particular: Figurative Invention in Cinema, trans. by Ted Fendt; 2. Shiguéhiko Hasumi, Directed by Yasujirō Ozu, trans. by Ryan Cook; 3. Craig Fox and Britt Harrison, eds., Philosophy of Film Without Theory; 4. Julian Hanich and Martin P. Rossouw, eds., What Film Is Good For: On the Values of Spectatorship; and 5. Conclusion.

Backroads into buried pasts: Irish border mobilities and narrative film

ABSTRACT Because of the Irish border’s troubled history and heightened symbolism, filmmakers have since long relied on the border as a setting to thematise issues of national identity, belonging, and trauma. Departing from the concept of border poetics this article takes films featuring the border between the Republic of Ireland and Northern Ireland as its topic of inquiry. Beyond compiling a border film archive in which all cinematic representation of the Irish border is collected, a close reading is conducted of border mobilities in a sample of 43 narrative fiction films (1937–2021). The article’s textual analysis makes the distinction between three border mobilities (1) border crossing, (2) border inhabiting, and (3) border (re)visiting, to investigate how filmmakers utilise the Irish border for various narrative, formal, and ideological ends. As such, the border’s cinematic legacy can be better understood.

Investigation of the Bending Process and Theory in Free-Boundary Pneumatic Film-Forming for Curved Image Sensors.

To explore the bending process and theory of the free-boundary aerodynamic film forming method for curved detectors, this study integrates practical forming structures with theoretical analysis and establishes a simulation model to investigate stress, strain, and morphological changes during bending. The analysis indicates that the shift from "projection" to "wrapping" in forming theory is due to the release of boundary degrees of freedom. The forming process can be summarized as the mold's arc characteristics, originating from the chip's corners, gradually replacing the chip's rectangular characteristics along the diagonal, resulting in corresponding stress and strain changes. The "wrapping" bending theory of this method has significant advantages over traditional methods and represents a crucial direction for achieving higher curvature in the future. However, this study found that the use of film pressure can only inhibit out-of-plane deformation to a certain extent, and the buckling phenomenon will still occur when the thinner chip is bent. It prevents the use of thinner chips in the thinning-bending method, so avoiding out-of-plane deformation during the molding process is the direction that needs to be broken in the future.

Christian martyrdom and Yusin censorship's conundrum: the 1977 screening suspension of Toward the High Place (1977–1981)

ABSTRACT This article focuses on the unconventional censorship case of Toward the High Place (1977), a religious film that dramatized the life of Reverend Ju Gi-cheol. Despite passing censorship with ease, even selected as a ‘superior film’ by the state, Toward the High Place's screening was delayed multiple times and ultimately prohibited, only to be shown after the collapse of Park Chung Hee regime. Given the Protestant Church's crucial role in the state's diplomatic relations with the United States, the decision to prohibit the film's screening was highly unusual. Through a close reading of the film's censorship file and other archival documents, I reconstruct the various censorship processes that came to constitute the film's visual grammar. As an instance of unofficial censorship, I argue that Toward the High Place demonstrates how censorship practices, socio-political conditions, and the changing status of organized religion influenced cinematic representation, while also revealing the limits of official censorship procedures.

Questions of (un)framedness in the post-cinematic road movie/travelogue

Image of the Road and Virtual Realis (Pruciak 2023) are travelogue video projects selected as a vantage point from which to examine our understanding of image since the disappearance of the frame and collapse of the cinematic form in VR video. Exploring the concept ‘frame’ in dialogue with theories of cinema and VR and an analysis of VR video’s characteristics, we question whether it may effect changes of perception and new understandings of the road as a virtual site/sight explored by travellers. We suggest that VR video’s ‘unframedness’ gives the unlimited freedom that allows a cognitive shift in the experience of non-narrative travelogues. This allows an inherent potential for an experience of transcendence akin to the overview effect. VR video gives spectators the opportunity of making autonomously their own journey and thus encountering new understandings and experiences in the travelogues presented to them.

Malabou, Medicine and Film: Screening Brain Injury, Organ Transplantation and Plasticity in Katell Quillévéré's Heal the Living

This article brings Catherine Malabou's explorations of bodily mutation and metamorphosis at the intersections of philosophy and biomedical science into contact with film. In particular, it explores dialogues between Malabou's work on biomedical understandings of bodily plasticity and filmic representations of medical interventions in the body. This article specifically explores Malabou in relation to Katell Quillévéré's film Heal the Living ( Réparer les vivants, 2016), an adaptation of Maylis de Kerangal's novel The Heart ( Réparer les vivants, 2014). The film tells the story of Simon Limbres, who is taken to a hospital following a road accent and pronounced brain dead. The film then explores how Simon undergoes organ donation, following his organs on their journey to other bodies in need. I argue that Heal the Living allows us to challenge and extend Malabou's central thinking of (neuro)plasticity, precisely by emphasising the plasticity of the body beyond and in the wake of the brain. Further, the film's emphasis on transplantation allows for an exploration of interpersonal plasticity, developing an ethics of transplanted plasticity in testing and extending conceptions of otherness and alterity central to Malabou's thinking.