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"Schoonover, Karl"
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Brutal Vision
Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. Brutal Vision challenges this orthodoxy by arguing that neorealist films—including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves—should be understood less as national products and more as complex agents of a postwar reorganization of global politics.
eBook
Infinity countdown companion
\"The events of the Infinity Countdown are felt across the Marvel Universe! Carol Danvers holds the Reality Stone - and with it meets the Captain Marvels of many worlds! Daredevil battles to keep Hell's Kitchen safe from the influence of the Mind Stone! And the Champions fight in deep space for...the Chitauri!? All this plus...Black Widow! Don't miss this blockbuster tie-in to the most explosive Marvel event of 2018! \" -- Page 4 of cover.
Book
Sinkholes
[...]the vast reach and submicroscopic effects of the dioxins resulting from trash incineration aren't easily rendered by the moving image.1 Environmental catastrophe doesn't fall into discrete parameters and thus challenges visual media with various phenomena that can't be narrativized in linear time-space trajectories. Crack in the World (Andrew Marton, 1965) follows a mad scientist who sends a nuclear warhead under the earth's surface to mine the magma for a renewable source of energy to replace conventional fuels. The viewer cannot anticipate the sequencing of movement across shots, placing our look momentarily outside of causal time and space. [...]the sinkhole operates as Laura Mulvey defines the aesthetic parameters of spectacle, as that which is outside narrative.7 As in Mulvey's definition, spectacle here slows down narrative time and the naturalistic pacing of the image in relation to the event, and the image loses the narrative spatiality of consequential direction and meaningful depth. [...]the looping of an event's forward movement in time feels not unlike the GIF's \"fugitive temporality\" which McCarthy attributes to its \"endless small acts of reproduction.
Journal Article
What Do We Do with Vacant Space in Horror Films?
If landscapes of vacancy define the spatial terms of the genre in the 1960s and 1970s in Italy, how should we critically approach these sometimes vague, unspecified spaces? In trying to answer this question, this short essay blurs distinctions. It conflates interiors with exteriors, empty frame compositions with barren profilmic locales, uninhabited zones with barren landscapes. This deliberate recombination of types of space is, however, crucial to keep in play when trying to challenge a larger discursive field, one that exceeds the logic of categorical distinctions. My imbrication of diverse and incommensurate kinds of filmic images originates from my desire to undo those discourses that conspire to claim vacancy as emptiness-to insist that the emptiness of unclaimed space is a done deal and that its filling up is a necessity.
Journal Article
Global Cinema Networks
Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection's esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from \"international\" to \"world\" to \"transnational\" to \"global\" frames.
eBook
Hollywood Reborn
As studio and star systems declined in the 1970s, actors had more power than ever, and because many had become fiercely politicized by the temper of the times, the movies they made were often more challenging than before. Thus, just when it might have faded out, Hollywood was reborn-but what was the nature of this rebirth? Hollywood Reborn examines this question, offering new perspectives through the lens of important stars, and illuminating in the process some of the most fascinating and provocative films of the decade.
eBook
SCRAP METAL, STAINS, CLOGGED DRAINS
It is a cliché to title a critical account of horror with a list of things.¹ Things such as those that precede the colon in my title announce the uncanny role given to them and the expressive hyperbole granted objects by horror diegesis. What I find interesting about this titular evocation of horror’s things is that the books and essays they announce rarely address these objects themselves. Instead, horror’s things are pretexts for a discussion of the unique affective registers of horror or its exuberant corporeality. This essay will attempt to account for things in thegialloand horror films
Book Chapter
WASTRELS OF TIME
Across a sixty-year trajectory, many art films have stubbornly confronted viewers with slowness. From the perspective of classical Hollywood, these chunks of fallow film time ‘overspend’, upset, or even foreclose on the continuity system’s prized narrative economy, replacing eventfulness with an unproductive episodic meandering. From Antonioni to Apichatpong, these art films also encourage us to consider how watching wasted screen time differs from wasting time in real life. In doing so, this slower kind of film proposes the possibility that cinema can capture excess as a temporality. Though not all art-house fare can be labelled slow, I speculate here that
Book Chapter