5 The Mise-en-Scène of Memory: Film Festivals’ Curation of Space

2020 ◽  
pp. 182-225
Keyword(s):  
Film Festivals ◽  
Mise En Scene

On the Path to Becoming

2020 ◽  
Vol 13 (1) ◽  
pp. 78-97
Author(s):  
Niloo E. Sarabi
Keyword(s):  
Social Mobility ◽  
Critical Analysis ◽  
Gender Socialization ◽  
Close Reading ◽  
Film Festivals ◽  
Visual Aesthetics ◽  
Mise En Scene ◽  
The Veil ◽  
Social Message ◽  
Film Language

Abstract In this article, I undertake a critical analysis of Marzieh Meshkini’s 2000 directorial debut, The Day I Became a Woman, which won multiple awards at the Toronto and Venice Film Festivals, and I investigate the manner in which Meshkini’s visual aesthetics enable her to enrich vital debates about the veil, gender socialization and social mobility as well as female pleasure and jouissance in contemporary Iranian society and abroad. Through a close reading of the figurative film language and innovative cinematography in Meshkini’s film, including its novel play with different temporalities and its artistic approach to mise-en-scène and framing of various shots, I examine the extent to which Meshkini succeeds in conveying her compelling social message in terms of Iranian women’s experiences, more than two decades after the Islamic revolution.

Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)

2020 ◽  
Vol 9 (1) ◽  
pp. 26-45
Author(s):  
Sarah J. Adams
Keyword(s):  
Eighteenth Century ◽  
Denis Diderot ◽  
Middle Classes ◽  
Late Eighteenth Century ◽  
German States ◽  
Political Sources ◽  
Mise En Scene ◽  
Peripheral Position ◽  
Histoire Des Deux Indes ◽  
Political Leverage

Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

Transitions Within Queer North African Cinema

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 64-77 ◽  
Author(s):  
Walter S. Temple
Keyword(s):  
Social Media ◽  
Middle East ◽  
North Africa ◽  
Film Festivals ◽  
Global Awareness ◽  
Critical Factors ◽  
North African ◽  
Mena Region ◽  
African Cinema ◽  
Queer Cinema

In recent years, North African queer cinema has become increasingly visible both within and beyond Arabo-Orientale spaces. A number of critical factors have contributed to a global awareness of queer identities in contemporary Maghrebi cinema, including the dissemination of films through social media outlets and during international film festivals. Such tout contemporain representations of queer sexuality characterize a robust wave of films in the Middle East and North Africa (MENA) region, inciting a new discourse on the condition of the marginalized traveler struggling to locate new forms of self and being—both at home and abroad.

La mise en scène de la parole dans le cinéma ethnographique

2006 ◽  
Vol 80 (1) ◽  
pp. 77-87
Author(s):  
Jean Arlaud
Keyword(s):  
Mise En Scene
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