Skip to content
1981
Volume 13, Issue 2
  • ISSN: 2042-7824
  • E-ISSN: 2042-7832

Abstract

The article analyses the hierarchical visual compositions and framing of Marco Calvani’s and argues that its carefully structured compositions create a metaphorical imbalance in power between the two main characters, an American housewife and a Syrian refugee. The repeated use of low-angle camera positions and the claustrophobic framings adds a connotative layer to the film that emphasizes the subaltern refugee’s inferior status in the view of the American.

Funding
This study was supported by the:
  • Eötvös Loránd Research Network (ELKH)
Loading

Article metrics loading...

/content/journals/10.1386/sfs_00101_1
2023-12-22
2026-04-22

Metrics

Loading full text...

Full text loading...

References

  1. Batori, Anna (2018), Space in Romanian and Hungarian Cinema, New York: Palgrave Macmillan.
    [Google Scholar]
  2. Bhabha, Homi K. (1996), ‘Unsatisfied: Notes on vernacular cosmopolitanism’, in L. Garcia-Moreno and P. C. Pfeiffer (eds), Text and Nation: Cross-Disciplinary Essays on Cultural and National Identities, Columbia, SC: Camden House, pp. 191207.
    [Google Scholar]
  3. Felando, Cynthia (2023), ‘Interview with Marco Calvani about The View from Up Here (2017)’, Short Film Studies, 13:2, pp. 13943.
    [Google Scholar]
  4. Said, Edward W. (1978), Orientalism, New York: Random House.
    [Google Scholar]
  5. Spivak, Gayatri Chakravorty (1998), ‘Can the subaltern speak?’, in C. Nelson and L. Grossberg (eds), Marxism and the Interpretation of Culture, Urbana, IL: University of Illinois Press, pp. 271313.
    [Google Scholar]
/content/journals/10.1386/sfs_00101_1
Loading
/content/journals/10.1386/sfs_00101_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test