It Is All an Illusion: Perfect Blue on Social Media and Celebrity Culture. By Jasper Chen

This video essay analyzes the similarities between modern-day self-imaging via social media and celebrity culture within the framework of Satoshi Kon’s 1997 masterpiece Perfect Blue. In vacillating between reality and hallucinatory fantasy, the protagonist Mima becomes unable to distinguish between the two, leading to a loss of self not unlike what one experiences through social media. Facades and fronts are put on in these virtual hubs, belying true natures and enticing others, too, to lose themselves in false fantasies. Beyond forecasting a grim tale of modern-day media culture, however, Perfect Blue proposes a solution.

Author Biography

Jasper Chen is a senior at USC’s School of Cinematic Arts studying Cinema & Media Studies. Beyond writing about film and TV, he has a deep passion for storytelling, particularly on a worldwide and universal platform.

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Visual Motifs of Fate in Andrzej Wajda’s Ashes and Diamonds. By Olivia Outlaw

Figure 1. We see Maciek stretched out across the bar as the shots blaze on behind him. Wajda, Andrzej. (1985). Ashes and Diamonds (film). Retrieved from https://www.youtube.com/watch?v=F-wAZuj1REM&t=163s

The film Ashes and Diamonds (Andrzej Wajda, 1958) is chock-full of visual motifs that display the movie’s main theme of fate. The film follows Maciek (Zbigniew Cybulski), a young man who is part of the Polish resistance in post-WWII Poland, as he battles with his responsibilities to the Polish resistance versus his desire to live and love. We see several motifs with the use of the cross, fire, and Maciek’s glasses. These elements visually show the audience Maciek’s inability to pursue the life he longs for as fate takes control and determines his ultimate destiny at the end of the film.

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The Disability Narrative in Indian Cinema. By Harsh Mahaseth

Koshish (Sippy Films, 1972)

Disability has been widely misunderstood by Indian society due to constant social marginalization and a lack of sensitization and awareness amongst the general public. While several entities have tried to bring about this awareness, their reach has been rather limited. Given this lack of awareness amongst the general public, media representation can provide a powerful medium for dissemination. Given the wide reach of the Bollywood industry, it can prove to be an effective tool for changing people’s perceptions and uprooting social stereotypes.[1]

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FM 9.2 (2018) Now Out

Film Matters is pleased to announce the release of issue 9.2 (2018), a guest-edited issue on neglected cinemas & post-global politics by Kelli Fuery and students, Chapman University.

In this issue, you will find:

  • Neglected Cinema and Post-Global Politics Preface by Cedric Bobro

These peer-reviewed feature articles:

  • Budget Sex: The Neglected Perspective of Youth in Contemporary Cinema by
    Shaye Guillory
  • The Underrepresented Nature of Mixed-Race Identity in British Cinema: Prejudice and Parentage in The Girl with Brains in Her Feet by Lauren Ekene Nwenwu
  • Ivan Sen and Mabo, the Aboriginal Tracker, Genre, and Accessibility by Nick Bugeja
  • Gorehounds: Reconsidering the Study of Splatter Narrativity by Matthew Cohen
  • Contorted Bodies: Women’s Representation in Japanese Horror Films byKatelyn Terry
  • Political Revelations in Detail: The Close-Up in Patricio Guzmán’s The Battle of Chile by Stephen N. Borunda

The following featurettes:

  • Aurora Guerrero on Mosquita y Mari: “My experience is just a fraction of what we’ve lived [and] what our community goes through” by Diana Alanis and Verónica González Kompalic
  • Fatherland and Death: An Interview with Mariana Rondón on Her Work, the Ethics of Filmmaking, and the Voice of the Neglected by Verónica González Kompalic

And book, DVD/Blu-ray, and film reviews by: Luke Batten, Caleb Camrud, Drew Pisano, Eduard Saakashvili, Jesse Schlotterbeck, Kimberly Mariah Smallwood, Emmett Williams, K. M. Wise, Jonathan Wright.

For more details about this issue, please visit: https://www.ingentaconnect.com/content/intellect/fm/2018/00000009/00000002

If you are an undergraduate writing about film and media, we want to celebrate your voice, too — so please get in touch with us today!

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Circular Storytelling in Arrival. By Nathan Simms

A video essay — by Nathan Simms — curated by Fabrizio Cilento and students, Messiah College, to coincide with their guest-edited dossiers on contemporary science fiction in issues 8.3 (2017) and 9.1 (2018).

Circular Storytelling in Arrival from Cinemablography on Vimeo.

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Open Call for Papers 11.3

Film Matters is officially announcing our open call for papers from undergraduates and recent graduates for consideration in issue 11.3 (2020).

The deadline is September 1, 2019.

Film Matters has officially adopted MLA 8th edition style (and is moving away from 7th edition guidelines) — so please prepare your submissions accordingly.  Purdue OWL’s MLA Formatting and Style Guide (https://owl.english.purdue.edu/owl/resource/747/01/) is an excellent resource to consult, in this regard.

For more information about this call for papers, please download the official document (PDF):

Submissions should include a cover sheet, which includes the author’s name, title of essay, institutional affiliation, and contact information; all other identifying information should be removed from the body of the text, in order to aid the blind peer-review process.

And submissions and questions should be directed to:

  • futurefilmscholars AT gmail.com

Please note that Film Matters does not accept submissions that are currently under review by other journals or magazines.

Undergraduates and recent graduates, please submit your film-related research papers today!  We look forward to receiving your papers!

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Jake Martin Graves, Author of FM 9.1 (2018) Article “‘We’re Just Cinema Thugs’: A Documentary Critique on Cultural Exploitation”

Jake Martin Graves

Film Matters: Please tell us about your article that is being published in Film Matters.

Jake Martin Graves: The paper, “‘We’re Just Cinema Thugs,’” explores how the controversial documentary The Act of Killing portrayed the Indonesian Massacre of 1965-6, where millions were killed in response to an alleged failed coup. In order to explore this, the thesis explores the history and politics surrounding that era, as well as analyzing the production process and the editing of the film itself. 

In Indonesia, many of the perpetrators from the 1960s remain in positions of authority and are celebrated as heroes. In the documentary, director Joshua Oppenheimer asks perpetrators to reenact their killings in the form of their favorite Hollywood genres. This paper explores the killer’s infantilization with cinema and how it can be viewed as their coping mechanism for their atrocities. For me, exploring this thesis combined my interests in documentary, editing, and political history.

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Kyle Stanley, Coauthor of FM 9.1 (2018) Article “What Makes HAL 9000 a Character in 2001: A Space Odyssey?”


HAL 9000’s (Gary Lockwood) corporeal form. 2001: A Space Odyssey (MGM, 1968)

Film Matters: Please tell us about your article that is being published in Film Matters.

Kyle Stanley:  The article is titled “What Makes HAL 9000 a Character in 2001: A Space Odyssey” and was written for Dr. Todd Berliner’s Aesthetic Pleasure in Hollywood Cinema class. The paper explores how audiences recognize characters in movies. The paper uses an “artificially intelligent” character to analyze how audiences can emotionally engage with characters that are not depicted as human.

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Linnea Warburton, Author of FM 9.1 (2018) Article “I Ain’t Afraid of No Ghosts: Positive Female Representation in the Ghostbusters (2016) Remake”

Film Matters: Please tell us about your article that is being published in Film Matters.

Linnea Warburton: My article looks at the new Ghostbusters (2016) movie and examines the positive ways in which the movie represents women. The action movie genre can be very misogynistic, and it’s rare to see a movie like Ghostbusters with four female leads. In my article, I look at the many different ways that Ghostbusters rejects the traditional characterizations of the female action hero. For example, it’s really unusual to see female action heroes that are not hypersexualized, or to see female characters that hold jobs in STEM. In many ways, the Ghostbusters movie presents new possibilities for women in action movies, which is very exciting.

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The Subliminal Influence of Ninety-Degree Angles in 2001: A Space Odyssey. By David Flaherty

Figure 1. Long shot of Dave Bowman (Keir Dullea) reaching for the black monolith in 2001: A Space Odyssey (MGM, 1968); 2:18:39

One of the most influential films in cinematic history, Stanley Kubrick’s 1968 science fiction masterpiece, 2001: A Space Odyssey, is as mysterious as it is inspiring. Who can forget the amazing shots of space shuttles flying peacefully through the cosmos accompanied by beautiful classical music? Nobody had seen anything like it before and we still haven’t seen anything like it since. One element of this film that makes it so powerful is the reoccurring motif of ninety-degree angles that can be seen in its props, set designs, and cinematography. There have been many analyses and interpretations of 2001 but, to this day, Kubrick and writer Author C. Clarke have made critics and viewers scratch their heads over what the film really means, and have influenced us subliminally with this ninety-degree-angle motif through props, set designs, and specific camera movements and placements.

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