62.1 Fall 2022


Spotlight: Fan and Audience Studies Scholarly Interest Group

Mel Stanfill and Ross Garner

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Spotlight: Elizabeth Patton

Interview by TreaAndrea M. Russworm

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Research Articles

Picture Pain: Anti-Heteronormative Female Fandom in Early Hollywood

Diana W. Anselmo

Abstract: The early Hollywood star system provided templates for young women to negotiate struggles with heteronormative femininity and attendant notions of sacrifice, romance, and recovery. Focusing on the movie scrapbook and diary of one white, rural, working young woman, I recover an unknown history of US female reception wherein one heartbroken spectator harnessed film ephemera of movie star divorces, deaths, and diseases to articulate formative queer feelings of difference, dissidence, and defiance.

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Emotional Point of View in The Texas Chain Saw Massacre

Eliot Bessette

Abstract:The Texas Chain Saw Massacre (Tobe Hooper, 1974) forcefully demonstrates an unusual technique for conveying characters' emotions, which I call emotional point of view (POV). This is a means of depicting emotions enmeshed with elements of film form, such as cinematography or mise-en-scène. Reading for emotional POV allows us to witness the distortive effect of characters' emotions on their perception. I examine three episodes of emotional POV in The Texas Chain Saw Massacre: those of fear, horror, and anger.

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To Educate and Inform: A History of Television for Deaf Audiences on the BBC

Ilana R. Emmett

Abstract: This article examines the BBC's long history of producing programming designed for and accessible to deaf audiences. Although efforts to speak with deaf and hard of hearing communities have been ongoing, the broadcaster's track record of producing inclusive, culturally accessible content has been inconsistent, sometimes creating innovative content such as Vision On (BBC1, 1964–1976) and See Hear (BBC1/BBC2, 1981–) and sometimes providing little or no content for deaf audiences. The BBC has often been thwarted by its own limitations as a public service broadcaster and a hearing-run organization, at times leaving it with only traces of creative minority media.

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Seeing in Circles: Narrative Circularity, the Cosmetic Gaze, and the Fusion of Self and Other in Kim Ki-duk's Sigan

Stella Soojin Kim

Abstract: This article examines the connections between narrative circularity, cosmetic surgery, and the circular nature of the cosmetic gaze in South Korean auteur Kim Ki-duk's film Sigan (Time, 2006). I argue that the cosmetic gaze, which allows the human body to act as both subject and object to the self, also mirrors the looping circularity of Kim's film. By formally and narratively (con)fusing the film's male and female protagonists, Sigan enacts the interconnectedness of male and female, subject and object, and, consequently, self and other while offering a critique of how Korean subjects have literally embodied the burdens of the male-identified, Eurocentric gaze.

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"Designing Sets for a Living—Painting Landscapes for the Joy of Living": Warren Newcombe, a Painter in Hollywood

Dimitrios Latsis

Abstract: Warren Newcombe was a little-known landscape painter and special effects technician who pioneered the use of the matte shot. Newcombe's innovations in screen landscape design reveal an understanding of spatial verisimilitude as an actively contested terrain during Hollywood's heyday. Newcombe was motivated by a constant experimentation with scenery and the ways that painted landscapes could be deployed in motion pictures for visual and narrative effect. His career as an exhibiting artist on the margins of the film industry provides a rare opportunity to study landscape as a category at the intersection of fine art and its more pragmatic visualizations found in some of the best-known studio features.

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A Prism of Censorship and Ambivalence: Chronique d'un été and Algérie, année zéro

Nicole Beth Wallenbrock

Abstract:Chronique d'un été (Chronicle of a Summer, Edgar Morin and Jean Rouch, 1961) fails to make a clear statement concerning the controversial Franco-Algerian War (1954–1962) and its associated torture, terrorism, and draft. This article explores the reasons for Chronique d'un été's ambivalence before unearthing Algérie, année zéro (Algeria, year zero, 1962), a virtually unknown documentary filmed two months after the war by an activist couple featured in Chronique d'un été, Marceline Loridan and Jean-Pierre Sergent. Using Jacques Derrida's term différance, I argue that the films overlap, contradict, and parallel each other to reveal the French Left's evolving relationship with Algeria.

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