Framework

Framework is a magazine focusing on Movies

Articles from Vol. 53, No. 1, Spring

Belabored: Style as Work
Style, then, is a verb, not as grammar alone might mislead us, a noun.-Berel Lang1The world is labor.-Michael Hardt and Antonio Negri2What or where is style? Is it everywhere in a work of art? Surely not, for then it would be merely a tautological designation...
Cinema, the Post-Fordist Worker, and Immaterial Labor: From Post-Hollywood to the European Art Film
This article examines the relations between film and work under the conditions of post- Fordist modes of production as they have emerged since the 1970s. This necessarily involves engaging with the recent po liti cal theories of post- Fordism, and immaterial...
French Film and Work: The Work Done by Work-Centered Films
This article is driven by my initial perception that, when dealing with workrelated fi lms, it may be more interesting to ask what they do (how they seek to change the way we look upon the world) than what they show.1 Limiting my scope to Franco- Belgian...
"Heroes of the Working Class"? Work in Czechoslovak Films of the New-Wave and Postcommunist Years
If we are to believe the pop u lar ste reo type, embraced domestically as well as abroad, Czechoslovak culture and the theme of work make for an incongruous and unhappy mix. In a 1992 survey investigating the Czech public's perceptions of the Czech national...
Introduction
This dossier addresses a twin set of commonplaces. The first one is that work and its figuration are ambiguously central to the history of cinema, from Louis Lumiere's Workers Leaving the Factory (FR, 1895) onward. The Lumiere film begins with the end...
Introduction: Cinema and the Realities of Work
Despite being a staple of most of our daily lives, work has received surprisingly little coverage in critical studies of cinema. This scarcity can be explained by two seemingly competing hypotheses. According to the fi rst one, presented at length by...
Picturing the Postmaster: Tagore, Ray, and the Making of an Uncanny Modernity
The true image of the past flits by. The past can be seized only as an image that flashes up at the moment of its recognizability and is never seen again.-Walter Benjamin, "On the Concept of History"1People also complain that I have never treated a really...
Rending the Veils of Illusion: W. Somerset Maugham's the Letter and Its Two Definitive Film Interpretations
Between the idea/And the reality ... [f]alls the Shadow.-T. S. Eliot, "The Hollow Men"1It can be said without undue exaggeration that the British writer W. Somerset Maugham (1874- 1965) represents the modern- day cinematic equivalent of Jane Austen....
Retelling Polish History through the "Soft Avant-Garde" Films of the 1960s
When discussing avant- garde in the context of Polish cinema, several factors should be taken into account. One is the very understanding of this term. I list two main approaches to this concept. According to the first, which is closer to my own use...
The Body's Failed Labor: Performance Work in Sexploitation Cinema
We see four women posed and positioned in front of a chain- link fence. Two are sitting on a concrete ledge and the other two standing. Behind them is a pier in New York City in the mid- 1960s, the water's waves providing refracting reflections through...
The State of Labor and Labor for the State: Syrian and Egyptian Cinema beyond the 2011 Uprisings
On April 8, 2011, swifton the heels of several Arab insurrections and very much in the midst of others, the International Monetary Fund (IMF) issued an economic assessment of the region. Given the prior "strong overall growth" of countries like Egypt...
Wastrels of Time: Slow Cinema's Laboring Body, the Political Spectator, and the Queer
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...
What Happened to the Polish Multitude? Representation of Working People in Polish Postcommunist Cinema
To my mind, 1989 corresponds to 1968. While 1968 had broken down the walls that closed our society, 1989 broke down the wall that defended "real socialism," from the world market.-Antonio Negri1Some of the main changes brought about by the collapse of...

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