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- Volume 1, Issue 1, 2010
Short Film Studies - Volume 1, Issue 1, 2010
Volume 1, Issue 1, 2010
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A shot-by-shot breakdown of The War Is Over
More LessN. B. What follows is merely an outline of the film, indicating its overall structure and making it possible to refer to individual shots by number. No indications are provided here concerning movement within each shot (either of the persons filmed or of the camera) or of the reframing of the actors as any given shot progresses, though two moments of the final shot are shown. Images and text are reproduced with the kind permission of Nina Mimica.
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Counterpoint and commentary on war in The War Is Over
More LessThis article explores the juxtaposition of various stylistic and structural elements and suggests that their accretion creates a system of counterpoint showing that although this unidentified war may be over, war as part of the human experience will never end. This discussion will be of significance to film, literature and interdisciplinary scholars.
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From the everyday to the universal: The War Is Over
By Paul SuttonFollowing the tradition of Italian neo-realism, Nina Mimica's poignant The War Is Over captures something of the horror and the emotional suffering of war, in a deceptively simple, yet powerfully expressed and dynamically realized, parable. This article will explore how the film historicizes war to produce a powerfully universal statement.
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Structural completeness in The War Is Over
More LessThis article argues that Nina Mimica's The War Is Over achieves structural completeness on the basis of a number of choices regarding its visual style: shot scale, shot length, editing style and camera movement.
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The way home: concealment and revelation in The War Is Over
More LessThrough an examination of the cinematography and the editing style of the film, the article will show how these elements coalesce to serve both the story and characters, while underscoring the film's themes of loss, uncertainty and fear. The film-maker's mastery of her craft ultimately confronts us with the realization that for Marco and his family the war is far from over.
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War/Homecoming: the social covenant and the body at risk in The War Is Over
More LessThis article deals with the body in war, in particular, the body at risk as well as the gap between the soldier's body and the concept of the 'social covenant' that underpins war. The film begins almost as if it were a Stella Artois ad, and then, with its last shot, makes a powerful point about the body at risk and its invisibility in society.
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The War Is (Not) Over: a re-evaluation in the new era of perpetual war
More LessIn The War Is Over, Croatian director Nina Mimica portrays a disabled veteran of an undefined war announcing his homecoming to his family. In this article I will examine the implications of Mimica's short in a world that seems to posit 'the end of war' as a conceptual and narrative impossibility.
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A shot-by-shot breakdown of Undressing My Mother
More LessNB. What follows is merely an outline of the film, indicating its overall structure and making it possible to refer to individual shots by number. No indications are provided here concerning movement within the shot (either of the person filmed or of the camera), dissolves and fades, the use of music, etc. The images and text are reproduced with the kind permission of Ken Wardrop.
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Balancing responsibilities in Undressing My Mother
More LessAmong the many challenges faced by Ken Wardrop when making Undressing My Mother was a need to meet a number of potentially competing responsibilities that arose in part from the degree of self-revelation to which his mother had agreed. This article will focus on the film-maker's ultimate success in balancing those responsibilities.
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Characters structuring narrative: Undressing My Mother within personal memoir film history
More LessThe film is discussed within the frame of memoir films that explore the body. The relationship between son and mother is discussed in terms of the relationship between voice and image, and the film's structure is analysed in terms of the relationship between the son-and-mother dyad and the spectator. The film is located within a tradition of memoir films.
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Crying over the mother: reading (and feeling) Ken Wardrop's contradictory construction of maternal femininity
By Lee ParpartThis article presents a combined affective and critical reading of Ken Wardrop's 2004 film Undressing My Mother. The author points to contradictions in the way temporally distinct scripts of Irish femininity are accessed and formally represented within Wardrop's film, and traces her own divided emotional and critical investments in the film's representation of Ethel as a socially conditioned subject caught between modern and postmodern constructions of Irish motherhood.
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Dressing the body in memories
More LessUndressing My Mother is a moving portrait of one woman's love of her aging body. The film provides a visual poetics of aging by treating the body as a landscape that embodies the passage of time.
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