Tag Archives: Cinema

Aankondiging boekpublicatie

In October 2017, my book on the history of film policy in Flanders will be published. To be continued …

In de zomercatalogus van uitgeverij Academia Press staat de aankondiging van mijn boek Subsidie, camera, actie!, dat in oktober 2017 zal verschijnen. Het boek is een herwerking van mijn doctoraal proefschrift over de geschiedenis van het filmbeleid in Vlaanderen. Wordt alleszins vervolgd …

 

Academia Press aankondiging Subsidie camera actie

Boekaankondiging in de catalogus

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Day for night

Anke Brouwers

Anke Brouwers introducing Days of Heaven

This weekend, the first edition of Day for night took place, a 24-hour film marathon organized by Cinea, KASKcinema and the Ghent University film club Film-Plateau. With nine films, six introductions, and just very tiny breaks in-between, it may look like a lot of unnecessary suffering for some, but for true cinephiles watching John Ford’s She wore a yellow ribbon, Alfred Hitchcock’s To catch a thief and Terrence Malick’s Days of heaven in a row just feels like… well, like a day and night of heaven.

Dorst naar bloed

French and Dutch-language poster for Daughters of Darkness

I gave an introduction to Harry Kümel’s 1971 Daughters of Darkness, a terrific vampire cult film which succeeds in making the bridge between arthouse and exploitation cinema. Afterwards, the night program continued with Toute une nuit (1982, Chantal Akerman), Night on earth (1991, Jim Jarmusch, 1991), Demoni (1985, Lamberto Bava) and Die hard (1988, John McTiernan). The closing film of the weekend was F.W. Murnau’s beautiful silent film Sunrise (1927).

Wouter Hessels

Wouter Hessels introducing Sunrise

dinner

Appropriate dinner for a film marathon…

Reframing the remake

Rip-Off or Resourceful Creativity? is the title of the latest special issue (edited by Sarah Smyth and Connor McMorran) of the Frames Cinema Journal, focusing on remakes. It features an article called Reframing the remake: Dutch-Flemish monolingual remakes and their theoretical and conceptual implications, by Eduard Cuelenaere, Stijn Joye and myself. The article offers some first theoretical reflections on remakes and the academic field of remake studies, stemming from our recently started research project on Dutch-Flemish remakes (cf. this previous blog post). You can read the article at full length here.

reframing-the-remake-frames

In the article, we explicitly take distance from ‘anti-remake debates’ offering a normative standpoint towards remakes. We instead aim for a more nuanced reading of the remake practice. Our argument is based upon an examination of Dutch-Flemish remakes, which proves to be an original contribution to the field of remake studies, as well as an excellent exemplar in the context of the deconstruction and reframing of discourses about the global remake practice. As a first step, we claim that the non-commercial aura of the European remake should be revisited because the Dutch-Flemish monolingual remakes clearly disclose a similar incentive to the one that often inspires Hollywood remakes: financial gains. Furthermore, our case underlines the need for a more nuanced understanding of intercultural media practices, including the cultural proximity theory. Lastly, we reveal a remarkable discrepancy between the essentialist conception of cultural identity—that is put forward by remake directors—and the constructionist conception, which is dominant in scholarly discussions.

Retour de flamme

‘Retour de flamme’ is a long running film event animated by the French film historian, restorer and producer Serge Bromberg. At the core of the event is the presentation of restored versions of mostly silent films, live accompanied by Bromberg at the piano. Bromberg also provides vivid commentary and context to the films, and to the process of film restoration in general. He always starts his show with an illustration of the vulnerability of nitrate film:


Serge Bromberg and the Cinémathèque’s programming director Jean-François Rauger

At the Retour de flame event I attended at the Cinémathèque française, Bromberg presented three Buster Keaton films from the period 1921-1922 (there’s a Keaton retrospective running at the Cinémathèque). Although I found Hard luck somewhat simplistic and rather disappointing, the ‘great stone face’, or ‘Malec’ (an anagram of the French ‘calme’) as he is often referred to in France, showed in Day dreams and The blacksmith why many a film historian prefers Keaton over Chaplin as the greatest slapstick artist. I find this discussion rather tiring, and prefer to imagine what it would have been if these two geniuses would have played together in a film during their high days! Alas, their only on-screen co-operation can be found in this fragment of Chaplin’s 1952 film Limelight:

(Read a little more about this co-operation here: https://archive.org/details/ChaplinEKeaton)