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| Allegheny College, Meadville, PA 16335 |
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Asbjørn Grønstad Kiarostami's Shirin and the Aesthetics of Ethical Intimacy Asbjorn Gronstad is the professor of visual culture in the Department of Information Science and Media Studies, University of Bergen, where he is also the founding director of the Nomadikon Center for Visual Studies. His most recent books are Ethics and Images of Pain (co-edited with Henrik Gustafsson, Routledge 2012) and Screening the Unwatchable: Spaces of Negation in Post-Millennial Art Cinema (Palgrave Macmillan 2011) Ursula Böser A Film Unfinished: Yael Hersonki's Re-Representation of Archival Footage from the Warsaw Ghetto Ursula Böser lectures in Audiovisual Translation and Interpreting in the Department of Languages and Intercultural Studies at Heriot-Watt University, Edinburgh. Her research interests include alternative film modes in fiction film and the use of archival footage in non-fiction film. She has been publishing on a variety of uses of archival footage in filmic presentation of history. Her earlier research addressed the work of Jean-Marie Straub and Daniel Huillet. Neil Archer The Girl with the Dragon Tattoo (2009/2011), and the New "European Cinema" Neil Archer is a Lecturer in Film Studies at Keele University UK. His publications include The French Road Movie (Berghahn, 2013), Studying the Bourne Ultimatum (Auteur, 2012), and Adaptation (Peter Lang, 2011) |
This article examines Abbas Kiarostami's 2008 film Shirin with a special emphasis on the ways in which aesthetics and emotion are made to intersect within the spaces of the film. Through an interdisciplinary approach, the study offers a reading of Shirin in light of the director's previous work, the literary and art historical contexts in which the film is embedded, cinematic form and cinephilia, and, finally, the cultural and social specificity of its exhibition space. Abstract Forthcoming The Girl with the Dragon Tattoo, David Fincher's 2011 English-language adaptation of Stieg Larsson's best-selling novel, revived the debate concerning Hollywood remakes of European films. The politics of this debate often occludes more detailed analysis and a nuanced view of film origin and authorship. Close analysis of this film and the 2009 Swedish version provides a case study through which the contemporary Europe-Hollywood relationship, and the wider discourse of popular world cinemas, can be better explored. The promotion, reception, and aesthetics of the earlier Swedish film, the essay suggests, promote "European" notions of quality and literary respectability, but that these same qualities are founded in classical (Hollywood) stylistic values. By contrast, Fincher's film is emblematic of Hollywood's contemporary integration of "European" characteristics. Looking at these two films enables us to re-think both contemporary European cinema of "quality" and the historical Hollywood-Europe binary. |
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| Book Reviews Paul Coates, Screening the Face by Zach Anderst Kendall R. Phillips, Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film by Gordon Sullivan Timothy Corrigan, The Essay Film: From Montaigne, After Marker by Zoran Samardzija Colin MacCabe, True to the Spirit: Film Adaptation and the Question of Fidelity by Matt Tierney Florence Martin, Screen and Veils: Maghrebi Women's Cinema by Laura Reeck |
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