Introduction : les croisements intermédiaux dans les arts audiovisuels et interactifs

Autor: Loukia Kostopoulou, Maria-Ilia Katsaridou

Publikováno v: Syn-Thèses, Vol 0, Iss 15, Pp 3-10 (2024)

The introduction presents an overview of the concept of intermediality and how it is linked with other concepts such as experimentation, transformation, and liminality. Furthermore, the authors claim that intermediality in the post-media era revoluti

Externí odkaz: https://doaj.org/article/36a7b02e413940c1b43deaf6baefc8b8

Labour-Intensive Filmmaking: An Interview with Su Friedrich

Autor: Sibley Labandeira

Publikováno v: Alphaville: Journal of Film and Screen Media, Iss 27, Pp 283-292 (2024)

In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes

Externí odkaz: https://doaj.org/article/0db0d7ca5d20447cb73757d0b602b0e0

Janet Staiger Lecture in Gender and Sexuality: Alessandra Raengo, '‘How much fuller?’ Jenn Nkiru’s Cosmic Archaeologies', University of Texas at Austin, March 28, 2024

Autor: David Roche

Publikováno v: Miranda: Revue Pluridisciplinaire du Monde Anglophone, Vol 30 (2024)

Externí odkaz: https://doaj.org/article/2d2d2f753bd8427faa9b5eb9f04a4a58

Su Friedrich: Interviews, edited by Sonia Misra and Rox Samer

Autor: Sibley Labandeira

Publikováno v: Alphaville: Journal of Film and Screen Media, Iss 27, Pp 278-282When the actor Phillip Baker Hall was approached by a twenty-two-year-old Paul Thomas Anderson with the script for his first short film, Cigarettes & Coffee (1993), he claims to have wondered to himself, “Who was the first actor in the seventeenth century to see a Shakespeare script, and did he know what he was reading? I certainly knew what I had in my hand” (qtd. in Warren 3). As Anderson is known for having a deep self-certainty about exactly what he was capable of, and moreover, a keen self-awareness too of how he is placed as an auteur figure within the arena of post-New Hollywood cinema, it can be very hard to divorce his work from his personality. This popular imagination of Anderson and his oeuvre, which I in no way wish to suggest is inherently misleading or facetious, is extensively considered by film critic Ethan Warren through a critical reading of not just his films, but also the discourse surrounding Anderson as well. Through a theory of an American apocrypha in Anderson’s work, Warren finds a fascinating way to not just think through Anderson’s own dynamicity as a filmmaker, but also to provide us with an intellectual manoeuvre that makes the reader ask what an auteur even means within commercial Hollywood today, a question we must approach within the terms of commerce. (2024)

When the actor Phillip Baker Hall was approached by a twenty-two-year-old Paul Thomas Anderson with the script for his first short film, Cigarettes & Coffee (1993), he claims to have wondered to himself, “Who was the first actor in the seventeenth

Externí odkaz: https://doaj.org/article/9c59a07a583e4111ac75d00060f63b7c

Mircea Săucan — Secretul cel mai bine păzit din cinematografia românească a anilor ’60-’80

Autor: Marian Sorin Rădulescu

Publikováno v: Symbolon, Vol 23, Iss 1(42), Pp 101-109 (2023)

Mircea Săucan — The Best-Kept Secret of Romanian Cinema in the 1960’s-1980’s Mircea Săucan, one of the most atypical figures of Romanian narrative cinema, is yet to be unveiled. He only directed a few full-length features which were either ba

Externí odkaz: https://doaj.org/article/1020e937706e4170a914bcaebda7f52d