2023/1 - #Ports
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- ArticleGirls will be boys in German silent cinemaHorak, Laura (2023) , S. 231-256The popularity and availability of Ernst Lubitsch’s cross-dressing comedy Ich möchte kein Mann sein (1918) sometimes creates the impression that it is a unique example of female-to-male cross-dressing in silent cinema. Likewise, attention to the gender and sexual play of Weimar-era (1918-1933) German cinema often eclipses cinema of the Wilhelmine era (1895-1918). This article asks: how does Ich möchte kein Mann sein fit into the wider ecology of German films featuring cross-dressed women, during both the Wilhelmine and Weimar eras? How are the cross-dressed women of German silent cinema similar to and different from silent films in other countries? After examining more than 47 German silent films featuring cross-dressed women, I argue that German films adapted transnational cross-dressing performance traditions to fit local contexts, offering audiences deliberately contradictory experiences of female masculinity and same-sex desire. Though scholars have focused on Weimar cinema as offering new possibilities for gender and sexuality, Wilhelmine cinema also offered varied visions of female masculinity – especially in Danish actress Asta Nielsen’s creative takes on cross-dressing traditions. Weimar films continued these traditions while making more explicit reference to real life lesbian and gay subcultures. Attending to the complexities of female-to-male cross-dressing allows us to see how popular culture envisions alternative gender and sexual scenarios while maintaining its popularity and, for the most part, dodging the censors’ scissors.
- ArticlePorts: On the material and symbolic mediation of global capitalismVélez-Serna, María; Stauff, Markus (2023) , S. 5-15Introducing and contextualising the contributions to the thematic section on ports, we discuss the conceptual and empirical productivity of the port for media research. As material infrastructures, ports mediate between land and sea, nature and culture, centres of power and colonised/extracted peripheries. As logistic nodes, ports connect transport and communication, technological innovation and revolutionary agency. Their ambivalent and managed visibility makes ports an intriguing motif of media representations that is harnessed for dramatic narratives, cognitive mapping of capitalism, or for city branding. As such ports help to rethink ideas about the relationship between material and symbolic aspects of mediation, between technological innovation and cultural heritage, between metaphorical and literal media ecologies.
- ArticleWith a Camera in Hand, I Was AliveBird, Katie (2023) , S. 284-285
- ArticleHow to capture the festival network: Reflections on the Film Circulation datasetsLoist, Skadi; Samoilova, Evgenia (Zhenya) (2023) , S. 363-390The Film Circulation project is the first quantitative research in film festival studies that analyses the complex network relations of the sector using festival run data. This paper provides a detailed account of the project’s dataset, including decisions on data model, collection, structuring, and enhancement. It also documents the dataset’s sources, structures, limitations, and potential, with the goal of making the project more accessible and encouraging further collaborations in festival-related data analytics.
- Article‘The shipyard is dead’: Ports, memory, and left melancholy in contemporary French cinemaScott, Ben (2023) , S. 104-124This article examines the representation of ports and shipyards within contemporary French cinema, addressing three works whose narratives centre around port towns on France’s Mediterranean coast: L’Atelier (2017), La Ville est tranquille (2000), and Les Neiges du Kilimandjaro (2011). The analysis places theories of left melancholy in dialogue with these films in order to explore their representation of the relationship between the Fordist past, neoliberal present, and any possible beyond. Consequently, it makes a case for the importance of the port as a site through which fundamental questions pertaining to cultural, social, and economic changes are explored within contemporary work-oriented film.
- ArticleHavana Film Festival New York 2022: A cultural bridge emerging from COVID-19Farrell, Michelle (2023) , S. 316-322
- ArticleDesktop DocumentaryBinotto, Johannes (2023) , S. 281-283
- ArticleSome Thoughts Occasioned by Four DesktopsAvissar, Ariel (2023) , S. 293-294
- ArticlePorts and media: A research project showcaseBaptist, Vincent; Savoldi, Francesca; Hein, Carola; Smith, James Louis; Ramírez, George N.; Moss-Wellington, Wyatt; Rawnsley, Ming-yeh T.; Loo, Yat Ming; Karmy, Eileen; Vidiella Pagès, Judit; Castro-Varela, Aurelio (2023) , S. 125-151
- ArticleCinema and/as infrastructure in interwar avant-gardes and empire aviation documentariesThapa, Anu (2023) , S. 170-187This article analyses cinematic exposition of aeriality in empire documentaries and avant-garde cinema from the interwar period to interrogate cinema as infrastructure, its weaponisation and deployment in the imperial project, and its convergence with aerial infrastructure which united the perception of Empire with the experience of modernity. I argue that the use of aeriality in the aestheticisation of infrastructures in avant-garde films like De Brug (Joris Ivens, 1928) and La Tour (Rene Clair, 1928) cannot be divorced from the ideology that is on overt display in Empire aviation documentaries such as Wings over Everest and Contact.
- ArticleData Papers – An IntroductionSchneider, Alexandra; Hagener, Malte (2023) , S. 359-362In order to diversify the scope of scholarly formats within NECSUS, the new section Data Papers offers a curated platform for publishing commented datasets from film and media studies research projects. It invites researchers to share insights into the often invisible collaborative work of data preparation and dataset collection.
- Article17th DocsMX: Returning to the streets and meeting with audiencesPires, Bianca (2023) , S. 305-315
- ArticleDouble Exposures: ‘Visual returns’ in the Deadwood and Breaking Bad sequel filmsTedesco-Barlocco, Brunella (2023) , S. 286-289
- ArticlePorts and the politics of visibility: An interview with Laleh KhaliliVélez-Serna, María; Stauff, Markus (2023) , S. 16-34In this interview with Laleh Khalili, her book Sinews of War and Trade (Verso, 2020) is the starting point to discuss how ports – through their material procedures and their media representations – contribute to the uneven visibility of the global economy and labor conditions. The book weaves a richly-detailed history of places along the Arabian peninsula that have been transformed by oil and finance, imperialism and nationalism, from the traditional dhow traders to the modern container ports and oil terminals. In the interview Khalili details how some ports have become a spectacle that enacts the technological sublime and caters to tourism, while also obscuring less attractive operations such as bulk cargo and scrap. Their managed visibility offers insights into the infrastructural power relationships they emerge from and reproduce. This was particularly salient in the context of supply chain crises during COVID, which also exacerbated problems of labour exploitation and the restriction of human movement. Ports can also be key nodes of protest through tactical interruption of capitalist logistics. Next to critical analysis, Khalili suggests literary imagination as a procedure that allows for a more complex understanding of the layered realities of ports.
- ArticleThe use of sound and film as rebranding strategies in two Danish port citiesLange, Ida Sofie Gøtzsche; Laursen, Lea Holst; van Hulst Pedersen, Marieke (2023) , S. 81-103Through two Danish case studies, we investigate how the media of sound and film production are used in port city branding and transformation: in the port city of Struer through a somewhat unconventional branding strategy called ‘The City of Sound’; and in the port of Hirtshals, through film productions foregrounding cultural, social, and physical-material aspects of the port. The paper analyses the role of sound and film in place-branding and port city development and discusses the challenges and benefits of these ventures as a port city transformation strategy, and in the building of positive port city narratives.
- ArticlePort of call: The eyeline of the logistical imageTurner, Stephen (2023) , S. 35-57From the surface of the sea to a sea of data as a canvas of affective inscription, the port emerges as a calling card, constituted by the aggregate image of logistical media and its ‘looks’ and ‘likes’. The surface of software infrastructure encompasses and extends the operation of the port. Cross-weaving documentary (Allan Sekula and Noël Burch’s The Forgotten Space [2010]), experimental and independent film (Jean Luc Godard’s Socialisme [2010], Philip Scheffner’s Havarie [2010]), reality television (Below Deck: Mediterranean, 2016-present), and Instagram, the port emerges as the para-site par excellence of floating capital, consumption, and waste.
- ArticleFirst person war: Helmet cameras between testimony and performanceSelvini, Federico (2023) , S. 188-211In the contemporary media landscape, the visual component of armed conflicts tends to be articulated in two distinct imaginaries. On one hand, we observe a ‘view from above’ generated by aircrafts, UAVs, and satellites; on the other, we encounter videos and photographs shot with consumer technologies by people on the ground such as regular soldiers, militiamen, guerrillas, NGOs, and civilians. Through the internet, these ‘low images’ have created a new imaginary. Among the devices that mark the iconography of the wars of the new millennium, a prominent place is occupied by minute-sized videographic instruments usually secured on the operator’s head, called helmet cameras. These devices are characterised by two elements: the first-person view and the prosthetic relationship with the human body. The machine vision hence presupposes a form of witnessing inextricably related to the subject’s mobility. Helmet cameras produce an embodied experience of war in which the visual perspective echoes the agency of a body at risk that is exposed to the stimuli and the dangers of the battlefield. Focusing primarily on the television docu-series Taking Fire (2016), the paper aims to explore all the elements that mark helmet cameras as a real topos of the contemporary war imagery, pointing to the relationship between vision, technical device, and body. The essay highlights recurring features of the images on both filmic and content levels, adopting an interdisciplinary perspective. Starting from studies on point-of-view shots and documentary filmmaking, the essay demonstrates how helmet camera images are profoundly influenced by several trends shaping the contemporary media landscape, including the post-photographic approach, the videogame world, the aesthetics of extreme sports, and the social network culture.
- ArticleArquivo em Cartaz: Archival film festivals amid old and new challengesMuylaert, Juliana (2023) , S. 295-304
- ArticlePorts as nodes in film logistics: Swedish film agent Oscar Rosenberg in the years after the First World WarBjörkin, Mats (2023) , S. 58-80Ports make visible neglected details in the history of film distribution. The international shipment of film connected for more than half a century the main nodes in the network of film distribution. This article maps questions on port-related logistical challenges, based on the personal and corporate collections of Swedish film distributor Oscar Rosenberg (1874-1943) and his film agency from around 1916 to 1930, also the changing conditions for four Swedish ports in the years around 1920.
- ArticleIndians from 1967: A ReactionKaushik, Ritika (2023) , S. 290-292