Intellect is delighted to announce that the new issue of New Cinemas: Journal of Contemporary Film (13.2) is now available.

For more information about this issue, please click here or email [log in to unmask].

Articles within this issue include (partial list):

Remembering objects in the essay film: Andrés di Tella as heir, archaeologist and collector

Authors: Gustavo Procopio Furtado

Page Start: 123

Although Andrés di Tella is among the leading documentary filmmakers in South America, his work has received scant attention in the Anglophone world. Di Tella’s essayistic films mix personal and intimate perspectives with public and historical concerns, crafting a tentative filmic voice that is articulated on the borders between the public and the private. In his subjective explorations of personal and collective pasts, di Tella calls on material objects to play a vital role. Subjective recollections are accompanied by the constitution of collections of objects, material items that are the remainders from and the keys to the past. Remembering is remembering with and through things and senses of self and identity are forged and questioned in dialogue with constellations of objects. This article examines the interaction between subjects and objects in di Tella’s work with special attention to Fotografías (Photographs, 2007) and Hachazos (Ax Blows, 2011).

Inglourious Basterds: Satirizing the spectator and revealing the ‘Nazi’ within

Authors: Andrew Chrystall

Page Start: 153

This article presents Tarantino’s Inglourious Basterds as a ‘masterpiece’ of metacinema that satirizes its audience(s) directly. The particular focus is how Tarantino creates and leverages a network of analogical relations and/or resonances to reflect and/or fold spectators back upon themselves and make us (the viewing audience) the butt or (Private) ‘Butz’ of his joke. This article also argues that Tarantino attacks and manipulates the viewer’s sensibilities and perceptions with a view to affording them a shock of recognition − exposing audiences to their enjoyment (and, by extension, complicity in the co-production) of on-screen violence and their willingness to be manipulated by the director into a position that parallels that of the in-film Nazi audience − and, thereby enabling spectators to see themselves and their relations to film more clearly.

Non-affirmative time-images in Nuri Bilge Ceylan’s Three Monkeys (2008) and the political aesthetics of New Turkish Cinema

Authors: Vuslat D. Katsansis

Page Start: 169

This article reads Nuri Bilge Ceylan’s award-winning 2008 feature, Three Monkeys, which marks a significant maturity in the political aesthetics developed in New Turkish Cinema over the past fifteen years. Drawing from Deleuze’s theory of the cinematic time-image, and situating the film within Turkey’s particularly turbulent political climate, I try to show how stillness, non-reciprocal sound, ambiguous plot time and extensive long takes in Three Monkeys showcase New Turkish Cinema’s potential to articulate political critique.