Hybrid journal (It can contain Open Access articles) ISSN (Print) 0036-9543 - ISSN (Online) 1460-2474 Published by Oxford University Press[425 journals]
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Pages: 179 - 211 Abstract: There was much rejoicing when, in 2022, caboose published The André Bazin Reader, a collection of 45 Bazin texts translated into English by Timothy Barnard and accompanied by annotations and commentary. Back in 2009, caboose had published 13 Bazin essays that had fallen into the public domain in Canada (where caboose is based). Those translations were hailed not only for their readability but also because – as with all the texts in the Bazin Reader – they strive for perfect neutrality, hemming closely to Bazin’s original prose. This was, for many, a welcome development. Since 1967, when the University of California Press published the first of two volumes of Bazin translations, readers have rued the liberties taken by the translator, Hugh Gray, who tended to bring out a certain mysticism in Bazin11 while also making befuddling errors.22 Even so, these volumes have remained standard issue in English-language film studies courses. The Bazin Reader has come to take their place, and running to around 670 pages in length, it arrives heavily, even aggressively: as Barnard writes, it is a ‘brick of a book’ to be ‘hurled in the opposite direction’.33 Standing on the other side, one presumes, is the UC Press and its translations (26 in total), which have been lambasted since the moment they appeared. Consider, for example, Richard Roud’s 1968 blistering review, which begins with a flourish:It has taken almost ten years for just a selection of the all-important essays of André Bazin to be translated into English, and it is to the credit of the University of California Press (and to the shame of the English publishing houses) that even these ten essays have now been Englished. But have they' Leafing through the (beautifully produced) California book, it seemed to me that something had gone wrong; Bazin didn’t sound as good as I had remembered him. He was not the greatest of writers, but he wrote clearly and forthrightly. I was inclined to put this slight disappointment down to the inevitable loss in translation or to my perhaps too golden memories of the original. And then I began to notice strange things.44What Roud noticed was a ‘catalogue of sins’: ‘annoying’, even ‘disturbing’ errors, from proper names to film titles to basic phrases.55 All of these errors suggest, to Roud, Gray’s inability to properly ‘transcribe’ or ‘transliterate’ Bazin’s original writing; in fact, Gray is so prone to ‘misreading’ that his ‘disgrace’ of a translation amounts to outright ‘nonsense’.66 The result, Roud concludes, is that Bazin has been ‘distorted’ beyond recognition.77 PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae016 Issue No:Vol. 65, No. 2 (2024)
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Pages: 212 - 232 Abstract: You remember wanting to let go and swim ashore. You remember wanting only to let go. To sink. Into nothingness. I have had enough. Boats. A helicopter. The water swirls. That makes you furious. And your senses are activated again. Why is it taking so long' Why are you leaving us here to die'’11 PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae019 Issue No:Vol. 65, No. 2 (2024)
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Pages: 233 - 257 Abstract: General Research FundHong Kong Research Grants Council14617322University of Idaho10.13039/100012326Society for Hong Kong Studies 2019Hong Kong Institute for the Humanities and Social SciencesUniversity of Hong Kong10.13039/501100003803 PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae020 Issue No:Vol. 65, No. 2 (2024)
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Pages: 258 - 277 Abstract: In a study of the Spaghetti Western, Bert Fridlund states that his research subject does not conform perfectly to Rick Altman’s influential hypothesis about the dyadic form of generic terms. Altman posits the ‘adjective-to-noun progression in the creation of genres’, whereby descriptive adjectives within generic terms detach from the categorical nouns they modify to transform into new categorical nouns in their own right.11 To use one of Altman’s examples, ‘Before the Western became a separate genre […] there were such things as Western chase films, Western scenics, Western melodramas, Western romances, Western adventure films’.22 Fridlund notes that, unlike the terms cited by Altman, ‘Spaghetti’ ‘refers to an institutional fact’ instead of describing content or form.33 However, he segues into discussions on the definition, corpus and themes of the Spaghetti Western, leaving underexplored the formation and connotations of this type of generic term and its inconsistency with Altman’s formula. These issues form the point of departure of my essay, which focuses on the Eastern Western – a rising category that resembles that of the Spaghetti Western inasmuch as ‘Eastern’ alludes to an institutional or geographical fact, and one whose ambiguous status as a cycle or a (sub)genre, even a faux genre,44 warrants reflection. PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae017 Issue No:Vol. 65, No. 2 (2024)
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Pages: 278 - 297 Abstract: The power granted to the process of listening in Sukkar banat/Caramel (Nadine Labaki, 2007) and Three Centimetres (Lara Zeidan, 2018), two female-directed Lebanese co-productions, tends to pass unnoticed by critics, despite the important role it plays in the depiction and reception of the lesbian character, and in the production and expression of lesbian desire. Caramel is set predominantly in a Beirut hair and beauty salon called Si Belle – So Beautiful – run by its head stylist, Layale (played by Labaki). The narrative centres on the lives of five women (Layale, Nisrine, Rima, Jamale and Rose), all facing dilemmas that relate to social taboos, including illicit romance, premarital sex, lesbian desire, divorce, the menopause and disability. The film was included in Samar Habib’s list of Arab films that feature Arab lesbian, gay, and bisexual characters, and its inclusion rests on one character alone, the salon shampooist, Rima.11 Whilst the focus of critics tends to be on the visual representation of the lesbian character, my proposition is that her overlooked role as a listener determines the film’s staging of lesbian experience and complicates wider discussions of lesbian (in)visibility in cinema. Indeed, Rima’s sexuality is performed most strikingly through her listening, through her agency (both active and passive) as a listening-desiring subject. PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae018 Issue No:Vol. 65, No. 2 (2024)
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Pages: 298 - 300 Abstract: LiJie, Cinematic Guerrillas: Propaganda, Projectionists and Audiences in Socialist China. New York: Columbia University Press, 2023, 342 pp. PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae022 Issue No:Vol. 65, No. 2 (2024)
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Pages: 300 - 302 Abstract: HarrodMary, LeonardSuzanne and NegraDiane (eds), Imagining ‘We’ in the Age of ‘I’: Romance and Social Bonding in Contemporary Culture. Abingdon and New York: Routledge, 2021, 242 pp. PubDate: Fri, 21 Jun 2024 00:00:00 GMT DOI: 10.1093/screen/hjae021 Issue No:Vol. 65, No. 2 (2024)
Hybrid journal (It can contain Open Access articles)
[425 journals]
