Allegheny College, Meadville, PA 16335






 


Adam O'Brien

Nonindifferent Mountains: Ecocriticism, The Thin Red Line and the Conditions of Film Fiction

Adam O'Brien is a Teaching Fellow in Film and Television at the University of Bristol. He has published articles in Movie: A Journal of Film Criticism, Interdisciplinary Studies in Literature and the Environment, and the Journal of Media Practice. His ecocritical study of New Hollywood cinema is forthcoming from Berghahn Books.







Amy Lai

Reconfiguring the Japanese Melodrama: Crying and Return in Crying out Love, In the Center of the World

Amy Lai recieved a Ph.D. in literature from Cambridge University and a law degree from Boston College. She has published in Tsing Hua Journal of Chinese Studies, Mosaic, Wasafiri, Connotations, Perspectives: Studies of Translatology, and Michigan Journal of Gender and Law. She is currently working on a book about women prisoners and the criminal justice system in nineteenth-century English literature to be published by Rodopi.






Festival Reviews

The 51st New York Film Festival

by Lloyd Michaels





Ecocritical film study has been developing towards greater theoretical complexity, but relatively little work has been done with sustained close readings of form and style. This paper takes an ecocritical approach to such study by proposing “conditions” as an alternative to “mise–en–scène,” and attending to the ways in which particular natural features — in this case, mountains — can have a discernible influence on point of view, character development and performance. Following through this approach in relation to The Thin Red Line and North by Northwest, the essay explores how environmental conditions can prove to be meaningful common features shared by deeply distinct films.
 




This article examines Crying Out Love, In the Centre of the World (2004), a major junai(pure love) film, through a historicized and theoretical approach to examine how the traditional melodrama genre is reconfigured in twenty-first century Japan so that it no longer targets the female audience but appeals to spectators of both sexes.   Analysis of its crying scenes reveals how they articulate spectatorial desires and fantasies.  Through its strong motif of return, the film suggests that “pure love” is possible after marriage.



Book Reviews

Eds. Peter J. Bailey and Sam B. Girgus, A Companion to Woody Allen

by Lloyd Michaels


Paul Coates, Screening the Face

by Leah Anderst

Lisa Purse, Digital Imaging in Popular Cinema

by David Sidore

Daniel Morgan, Late Godard and the Possibilities of Cinema

by David Sidore

Christopher Pavsek, The Utopia of Film: Cinema and its Futures in Godard, Kluge, and Tahimik

by Daniel Fairfax

Aga Skrodzka, Magic Realist Cinema in East Central Europe

by Alison Frank