Vanessa Zarm, Author of FM 13.2 (2022) Article “How Ordinary People Breaks the Stigma of Manila’s Street Children”

Surveillance camera footage of a sidewalk, overhung by the building above it, strewn with garbage and newspapers and buckets; people who appear Asian, in extreme long shot, look toward a car that seems to have crashed into an auto rickshaw.
“Hit-and-run Incident.” Ordinary People (Cinemalaya, 2016). Screen Capture, Netflix.

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

Vanessa Zarm: My article centers around Eduardo W. Roy Jr’s 2016 Filipino film Ordinary People, which explores the central issue of street children and baby-snatching in Manila, the capital of the Philippines. Through a stylistic examination of the film, namely the use of surveillance footage and its long takes, I particularly highlight many thematic questions throughout the article. These include the prejudice and media exploitation of street children, the vulnerability and abuse experienced amongst female adolescents, and the ethical dilemma of the baby’s separation from their impoverished environment.

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Jade Courchesne, Author of FM 13.2 (2022) Article “Two Worlds Combined: How Cleverman (2016-2017) Reimagines Indigenous Storytelling”

A straight-on close-up of a person who appears male and 
Indigenous and outside; he is centered in the frame and has three white painted lines, as if done by fingers, down his forehead and nose.
Cleverman (Red Arrow Studios International, 2016-2017). TL;DR Movie Reviews and Analysis.

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

Jade Courchesne: This article discusses the Australian television drama, Cleverman, a show that blends together science fiction, conventions of the superhero genre and influences from Indigenous storytelling to yield an honest critique of modern Australian politics. Tackling Australia’s documented history of Indigenous maltreatment while weaving in elements of the Dreaming, the essay dissects how Cleverman depicts the legacy of intercultural and intergenerational trauma inflicted upon Indigenous populations, provoking a discourse on how government initiatives continue to have serious, negative repercussions on marginalized communities.

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Saveria Amicucci, Author of FM 13.2 (2022) Article “Brechtian Orality in The Journals of Knud Rasmussen

A straight-on medium close-up of a person who appears to be Inuit and male standing in profile to the right of the frame on a snow-covered landscape; he looks downward to the left of the frame and he is wearing a white hooded garment. The sun is either rising or setting in the background to the left of the frame.
The Journals of Knud Rasmussen (Igloolik Isuma Productions Inc., 2006). The Cinematheque.

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

Saveria Amicucci: I’m a big fan of Zacharias Kunuk, and my article began as my attempt to articulate what drew me to his films. I think it’s fascinating how his film style is so tied to his culture, how he’s essentially playing with form to express Inuit culture in a way that defies mainstream representation.

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FM 13.2 (2022) Is Here!

Cover of FM 13.2 (2022)

FM 13.2, jointly edited by Chapman University and the University of North Carolina Wilmington (UNCW), is officially out. Ably introduced by Sophia Bain, “Generation Anxiety: Preface,” FM 13.2 includes the following feature articles, on the theme of “Generation Anxiety,” peer reviewed by Chapman:

And these features peer reviewed by UNCW:

These Chapman featurettes:

This UNCW featurette:

The following book reviews:

A healthy dose of film reviews:

And, finally, these DVD/Blu-ray reviews:

For more information about this issue, please visit: 

https://intellectdiscover.com/content/journals/fm/13/2

Are you an undergraduate author who wants to be published in Film Matters? Then we want to work with you! Please check out all the different ways you can publish with us.

Here is wishing you a happy October!

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Call for Print Reviews

Film Matters is actively seeking book and film/DVD/Blu-ray reviews by current undergraduate students for future print issues.

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Citation Ethics and Inclusive Scholarship: Fostering Equity in Academic Discourse. By Alexis Johnson

A colorful pie chart graph visualizing the gender diversity of source authors in Film Matters feature articles: 0.1% are presumed non-binary, 12.3% are unknown, 25.2% are presumed female, 62.4% are presumed male
Figure 1: Source Authors Gender Diversity.

During my senior year of undergrad, I was assigned to peer review papers for a film studies class I was taking. Usually, this process is pretty uneventful, with the biggest offense typically amounting to a couple of comma splices and a sentence fragment here or there. This time, however, I was baffled by what I read. Around halfway through the text, the author vividly described a violent rape scene while paradoxically suggesting the rapist’s actions were justified. Reading the paper from start to finish made me wildly uncomfortable, but what turned my stomach even more was the barely occupied bibliography with only a few sources– all written by white men. At this discovery, I became defeated and angry. It was hard to imagine that someone could detail a topic so horrific and intrusive without even considering a female perspective.

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Sound and Image in Psycho: An Analysis of Herrmann and Hitchcock’s Affective Methods of Evoking Horror. By Lena Streitwieser

A close-up of Marion (Janet Leigh) in Psycho, immediately after her murder in the shower; her lifeless eye is the central focus of this shot.
Figure 1: Psycho (Paramount Pictures, 1960).

Alfred Hitchcock has long been considered the “master of suspense,” most commonly because of how he used cinematography to instill fear in the audience. Yet, Hitchcock made distinct use of other elements of filmmaking along with visuals to induce horror. Together with composer Bernard Herrmann, Hitchcock crafted a visceral atmosphere for his thriller Psycho (1960). In order to captivate audiences and ensure their fright, Hitchcock and Herrmann intertwined sound and image to achieve the desired effect. Along with sound and the lack thereof, an analysis of Affect Theory and Dr. Paul Ekman’s six basic emotions is useful when examining the emotional impact of the famed shower scene. Herrmann claimed he believes music and film are inseparable, which is evident in Psycho’s storytelling through sound (Sullivan 26). In Psycho, Hitchcock integrates sound and scoring into the film as part of its visual world; the space he creates becomes all-encompassing through his conjoining sound, music, and visuals to amplify and escalate suspense.

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Open Call for Papers 16.1

Film Matters is pleased to announce our open call for papers from current undergraduates, authors who have been invited to revise and resubmit previous submissions (including authors who did not make it past our prescreening for a previous call), and recently graduated undergraduates for consideration in issue 16.1 (2025).

The deadline is March 1, 2024.

Please note, starting with this call, Film Matters is now requiring a contributor intake form with submissions. Please download the form (DOCX) here:

As a reminder, Film Matters is now using MLA 9th edition style, although we will still accept MLA 8th edition formatting — so please prepare your submissions accordingly. Purdue OWL’s MLA Formatting and Style Guide is an excellent resource to consult for help with this.

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

Submissions should include the mandatory contributor intake form, which collects author and essay metadata, as well as your essay; all other identifying information should be removed from the body of the text and the headers/footers in order to aid the blind peer review process.

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.

Submit your film- and media-related research papers today! We look forward to receiving and reviewing your work!

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Uncanny Details: Coraline’s Gothic Horror and Its Visual Narration. By Costanza Chirdo

A screenshot from Coraline of a pink cake, centered and high-angled; the cake says "welcome home!"

Figure 1: Coraline’s “welcome home” cake, Henry Selick (dir.), Coraline, 2009. USA © Focus Features.

When the eleven-year-old Coraline Jones discovers a small door in her new house to be a portal to an “Other World,” she is welcomed by two exact copies of her parents into an exact replica of her house. Throughout her visit, she is seduced by a warm, colorful environment and a delicious dinner, where at the end her “Other Mother” serves her a “welcome home” cake (Figure 1). With a closer look, the letter “o” in the word “home!” on the cake is double-looped. According to graphology, the analysis of handwriting, the letter “o” is said to be the most indicative of lying. In particular, the double-looped “o” has been noticed in almost every pathological liar’s handwriting (Dolen). Thus, one small graphic detail may hold enormous meaning: it seems to suggest that Coraline is “welcome,” but she is not at “home.” The choice to include this subtle detail is indicative of how director Henry Selick worked to create one of the uncanniest horror animation films in cinema history. Coraline (2009) is based on a novel by British author Neil Gaiman, published in 2002. Though the book is intended for children, the story is incredibly dark, and, especially after the animated adaptation, it often led adults to question whether it is appropriate for such a young audience. Coraline (voiced by Dakota Fanning) has just moved to a new place with her family, the Pink Palace Apartments in Ashland, Oregon – or what looks like an isolated mansion in the middle of nowhere. Because both of her parents (voiced by Teri Hatcher and John Hodgman) are too busy with their jobs to pay attention to her, Coraline spends most of her time alone, wandering in and out of the house. The place’s aura is gloomy and mysterious from the beginning, especially as strange things start to manifest. Among these, her neighbor Wyborne (voiced by Robert Bailey Jr) gives her a button-eyed ragdoll he has found, because it looks exactly like her. In fact, it is the doll that leads Coraline to discover the portal to the Other World, which seems to offer everything that her real world is lacking – including attentive parents. However, even in the Other World something seems to be off from the beginning. Beyond the fact that, like the doll, Coraline’s other parents have black buttons instead of eyes – an incredibly unsettling detail that makes them distorted copies of her real parents – the Other World is permeated by an eerie atmosphere. Like the presence of doppelgängers, the story features typical traits of gothic horror: isolated and decadent locations, gloomy weather, mystery, an evil creature, and ghosts. All these elements contribute to evoking unnerving feelings, in both Coraline and the audience. Gaiman’s novel incorporates this aesthetics to further embody trauma, feelings of uncertainty, and loneliness in a neglected child and plunges them into a fantasy world that, despite seeming to comfort Coraline’s internal conflicts, appears to function in the exact opposite direction. In this regard, the attention given to small details in the film serves as a crucial factor in perpetuating the sense of uncanny, as everything in Coraline generates fear through subtlety. Among the many cinematic tools that would need to be analyzed in this frame, in this article I focus on the elaborate use of colors, the employment of stop-motion animation, and the omnipresence of insects throughout the film, to show the importance of details in the creation of the anxiogenic climax that characterizes one of the most unsettling, yet elegant, animated films in cinema history.

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Dream Projects Unveiled: An Interview with Author Yehuda Moraly. By Alexis Johnson

A drawing that Fellini himself drew while confined to his hospital bed, near his death. You can recognize a violinist, like Mastorna was.
Figure 1: A drawing that Fellini himself drew while confined to his hospital bed, near his death. You can recognize a violinist, like Mastorna was. The drawing is taken from Il misterioso viaggio di Federico Fellini, a film by Maite Carpio (2003).

Alexis Johnson: Please tell us about your latest book in your own words.

Yehuda Moraly: The idea for writing my book Dream Projects in Theatre Novels and Films: The Works of Paul Claudel, Jean Genet and Federico Fellini (Liverpool University Press, 2021) started with my discovery of the then unpublished letters from Jean Genet to his agent Bernard Frechtman. The letters dealt with “The Death,” a fascinating project that Genet worked on from 1949 to 1964. This unique project, both a novel and a philosophical treatise, was intended to destroy its author, its reader, and itself. Genet never completed his project, but the analysis of the goals he set himself throughout the creative process may give us the key to understanding all his work, particularly his theater. I then realized that this phenomenon of an uncompleted work shedding light on the essence of the artist’s work is a kind of general creative law. Often, an artist dreams of a project, starts working on it, and then abandons it, taking it up again only for his dream project to remain forever out of reach. The purpose of my research presented in this book is to show that it is precisely these uncompleted projects (that one must reconstitute with the help of drafts and descriptions) that constitute the key to the opus. It sheds light on what is essential in the work. For example, at the center of Fellini’s work, there is this extraordinary project, “The Journey of G. Mastorna,” a journey to the Land of the Dead, abandoned during preparations for filming in 1965 but constantly rethought and reworked. In 1993, on his hospital bed, Fellini drew the mysterious figure of Mastorna [Figure 1], this violinist who travels in the Land of the Dead, a story he has not given up to tell. Within this, Mastorna sheds a completely new light on Fellini’s work.

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