Tecmerin. Journal of Audiovisual Essays
“Still Lives of Jeanne Dielman,” an audiovisual essay
Viktoria Paranyuk (Pace Unversity) – 15:00
This video essay revisits Chantal Akerman’s seminal feminist film and removes all the shots that feature the physical figure of Jeanne Dielman. Without the protagonist, the mise-en-scène of the interiors in particular takes on menacing qualities, hinting at potential undercurrents of violence that are inscribed in the images of domesticity.
Keywords: feminist cinema; domestic labor; mise-en-scène; mothers; violence
The Sacred Text: Adapting Bordwell’s Cinephilia
Will DiGravio (Universidad de Amsterdam) – 7:10
This video essay is a videographic tribute — and an adaptation of — an essay written by David Bordwell on Rio Bravo Published on Bordwell’s co-authored blog Observations on Film Art, the written essay is an example of what Bordwell himself called “cinephile criticism.” Drawing on the shared admiration of Hawks’ film between Bordwell and the video essayist, this video is an experiment in videographic adaptation.
Keywords: David Bordwell, Rio Bravo, cinephilia, videographic criticism
La dictadura chilena en pantalla: Nostalgia de la luz (2010) & No (2012)
Mariana Cariñena Machado, Paula Díaz Santos y Gabriel Villaveces Galofre (Universidad Carlos III de Madrid) – 08:15
This audiovisual essay analyzes how two contemporary Chilean directors portray Augusto Pinochet’s dictatorship. Both Nostalgia for the Light (Patricio Guzmán, 2010) and No (Pablo Larraín, 2012) revisit a period that many seem to forget, emphasizing the importance of remembering to prevent its recurrence.
Keywords: History, Cinema, Augusto Pinochet, Dictatorship, Latin America
家
Colleen Laird (University of British Columbia) – Duración: 06:00
This video is the story of an experiment in adapting the ideas expressed previously in print scholarship to the audiovisual affordances of the videographic essay. Comprised of two parts bridged by the visualization of text as image, the making of it amplified the potential of editing, of meaning-making through transition, and finding the familiar in what is fundamentally a highly repetitive process.
Keywords: home; Japanese cinema; repetition; editing; female filmmakers
Gazes into the Abyss
Antonio M. Villalba (Universitat Pompeu Fabra; Escuela Universitaria de Artes TAI) – 10:25
La presente investigación aborda desde el estudio del gesto actoral la transición entre el relato clásico y el relato manierista cinematográfico. Se propone una contraposición crítica entre tres interpretaciones de Deborah Kerr: Mesas separadas (1958), Sombra de sospecha (1961) y Suspense (1961).
Palabras clave: cine comparado, Deborah Kerr, gestualidad, manierismo, modernidad.
Dynamics of Sensemaking
dalpofzs (Mihai Băcăran, Darie Nemeș-Bota, Bogdan Dumitrescu, Alexandra Dumitrescu), Independent Art Collective – 08:53
This research approaches the transition between the classical narrative and the mannerist narrative from the study of the acting gesture in the cinema. It proposes a critical comparison of three of Deborah Kerr’s performances, namely—Separate Tables (1958), The Naked Edge (1961), and The Innocents (1961).
Keywords: Comparative Cinema, Deborah Kerr, Gesturality, Mannerism, Modernity.
From the Archive
Inma de Santis and horror cinema: the two sides of the mirror
Recovering and revisiting Inma de Santis and her short film Eulalia (1985) aims to frame her career in the specific development of Spanish cinema during the Transition and the early years of democracy.
By Asier Gil Vázquez (UC3M)
Screen Stars Dictionary
Screen Stars Dictionary includes:
- Cary Grant, by Charlotte Crofts, University of West England, Bristol.
- Tom Hollander, by Wickham Flannagan, Bilkent University.
- Thelma Ritter, by Viktoria Paranyuk, Pace University.
- Dar Robinson, by Adnan Şahin, Bilkent University.
- Lázsló Szab, by Maksim Selezniov.
- Lázsló Szabó, by Irina Trocan, UNATC Bucharest.
Tecmerin. Revista de Ensayos Audiovisuales
ISSN: 2659-4269
© Grupo de Investigación Tecmerin
Universidad Carlos III de Madrid