Project MUSE®: Journal of Film and Video - Latest Articles
https://muse.jhu.edu/journal/382
Project MUSE®: Latest articles in Journal of Film and Video.daily12026-05-15T00:00:00-05:00text/htmlen-USVol. 60 (2008) through current issueLatest Articles: Journal of Film and VideoTWOProject MUSE®Journal of Film and Video1934-60180742-4671Latest articles in Journal of Film and Video. Feed provided by Project MUSE®A Selection from Award-Winning UFVA Films (2022–2023)
https://muse.jhu.edu/article/982985
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reflecting the creative practices of the University Film and Video Association (UFVA) membership, this spotlight piece showcases an award-winning film from the 2023 UFVA conference. Ora Et Labora is a beautiful film that explores the efforts of the Trappist monks of St. Joseph's Abbey as they strive to introduce European monastic-style beer brewing into the US craft beer market. In the following essay that accompanies an excerpt from the film, filmmakers Jena Burchick, Mark Burchick, and Adam Schwartz take readers on a fascinating production journey, sharing their nuanced approach to collaborative documentary film-making. Inspired by the monks' insistence that the filmmakers practice ongoing consent throughout the
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallA Selection from Award-Winning UFVA Films (2022–2023)2026-02-17text/htmlen-USA Selection from Award-Winning UFVA Films (2022–2023)2026-02-172026TWOProject MUSE®579652026-05-15T00:00:00-05:002026-02-17Sharing Stories: Melinda Levin Receives UFVA Life Member Award
https://muse.jhu.edu/article/982984
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melinda levin never stands still for long. She is full of ideas and energy, with a compelling enthusiasm for her work as an educator, a documentary filmmaker, and a longtime member of the University Film and Video Association (UFVA).In 2023, Levin received a Life Member Award for her continuing dedication to the organization, which has included positions as a board member, conference host, conference vice president, and president. She also has served as president, academic vice president, and secretary of the associated nonprofit University Film and Video Foundation. She recently retired from her role as professor of documentary media at the University of North Texas and holds emerita faculty status at that
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallSharing Stories: Melinda Levin Receives UFVA Life Member Award2026-02-17text/htmlen-USSharing Stories: Melinda Levin Receives UFVA Life Member Award2026-02-172026TWOProject MUSE®199422026-05-15T00:00:00-05:002026-02-17Editor's Introduction
https://muse.jhu.edu/article/982983
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journal of film and video 78.2 features material to engage readers interested in documentary filmmaking, labor dynamics, and free speech. The issue opens with Nick Smith's "Sharing Stories: Melinda Levin Receives UFVA Life Member Award," which offers an overview of Levin's filmmaking philosophy and contributions as a documentarian. "A Selection from Award-Winning UFVA Films (2022–2023)," curated by Michelle Glaros and written by Jena Burchick, Mark Burchick, and Adam Schwartz, describes the subject-centered process of their work making Ora Et Labora (2023), which brings audiences into the world of St. Joseph's Abbey, a monastery in Spencer, Massachusetts. A five-minute excerpt conveys the film's beauty and its
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallEditor's Introduction2026-02-17text/htmlen-USEditor's Introduction2026-02-172026TWOProject MUSE®36442026-05-15T00:00:00-05:002026-02-17Asanghadithar: Spotlighting Women's Community and Labor Rights Protest in Malayalam Cinema
https://muse.jhu.edu/article/982986
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since the 1960s, women's collectivization in the Indian state of Kerala has been closely linked to labor exploitation dynamics, with women's workforce concerns being ignored in order to firmly establish the status of male (socialist) workers. This article examines the semi-fictional portrayal of the working women's rights movement in the Malayalam-language anthology film Freedom Fight (2022), produced by filmmaker Jeo Baby. It focuses specifically on the Asanghadithar segment by Kunjila Mascillamani, which features Penkoottu, a group of women in Kozhikode (formerly Calicut), Kerala's unorganized labor sector. The analysis aims to illustrate how women's collectivization—a movement that would have otherwise gone
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallAsanghadithar: Spotlighting Women's Community and Labor Rights Protest in Malayalam Cinema2026-02-17text/htmlen-USAsanghadithar: Spotlighting Women's Community and Labor Rights Protest in Malayalam Cinema2026-02-172026TWOProject MUSE®1021852026-05-15T00:00:00-05:002026-02-17The Relevance of the FCC in Contemporary Media Culture
https://muse.jhu.edu/article/982987
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in 1964, supreme court justice Potter Stewart said he could not define pornography, but he famously observed, "I know it when I see it" ("Obscene, Indecent and Profane Broadcasts"). While Stewart was not discussing Federal Communications Commission (FCC) regulations, his statement illustrates the fluidity of the terms used to describe "unwanted" content in ways that still impact content regulation, despite the changing landscape of what constitutes television. The FCC originally crafted its indecency regulations in a time of media scarcity, which limited the amount of material broadcast and allowed networks to gatekeep content more easily, even though such content would be protected by the First Amendment in other
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallThe Relevance of the FCC in Contemporary Media Culture2026-02-17text/htmlen-USThe Relevance of the FCC in Contemporary Media Culture2026-02-172026TWOProject MUSE®1010432026-05-15T00:00:00-05:002026-02-17The Female Avenger, Women's Anger and Rape-Revenge Film and Television by Margrethe Bruun Vaage (review)
https://muse.jhu.edu/article/982988
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Margrethe Bruun Vaage's The Female Avenger, Women's Anger and Rape-Revenge Film and Television offers a fresh and compelling exploration of rape-revenge films through the lens of female anger. Grounded in cognitivist film theory, the book examines how these films engage audiences emotionally and morally. Vaage argues that these films empower women by presenting their anger as a trans-formative force, beyond mere victimization. In doing so, she challenges traditional feminist interpretations of the genre and contributes new insights to the ongoing debate about the ethics of depicting sexual violence. The book fills a significant gap in existing scholarship by offering a cognitivist analysis that centers on anger
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallThe Female Avenger, Women's Anger and Rape-Revenge Film and Television by Margrethe Bruun Vaage (review)2026-02-17text/htmlen-USThe Female Avenger, Women's Anger and Rape-Revenge Film and Television by Margrethe Bruun Vaage (review)2026-02-172026TWOProject MUSE®172572026-05-15T00:00:00-05:002026-02-17Filming Death: End-of-Life Documentary Cinema by Outi Hakola (review)
https://muse.jhu.edu/article/982989
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Outi Hakola's Filming Death: End-of-Life Documentary Cinema includes an impressive array of sources and close readings of films. She articulates that her work has "joined a long line of those who have pondered the relationship between mortality and cinema. For example, theorists such as André Bazin and Laura Mulvey have debated (moving) images' symbolic relationship with temporality and mortality" (2). Thus, Hakola determines that cinema itself has intrinsic links to death: for example, death often narratively acts as the starting point, turning point, or end point in film (cf. Catherine Russell).From the outset, Hakola states that there is a need to consider issues of social justice when discussing death in the
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallFilming Death: End-of-Life Documentary Cinema by Outi Hakola (review)2026-02-17text/htmlen-USFilming Death: End-of-Life Documentary Cinema by Outi Hakola (review)2026-02-172026TWOProject MUSE®156032026-05-15T00:00:00-05:002026-02-17Queer for Fear: Horror Film and the Queer Spectator by Heather O. Petrocelli (review)
https://muse.jhu.edu/article/982990
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In Queer for Fear: Horror Film and the Queer Spectator, Heather O. Petrocelli sets out to "elevate queer horror spectators' voices" and constructs a portrait of their "opinions, habits and tastes" by focusing attention on queer spectatorship of horror film and the relationship that queer people have with the genre (3). Petrocelli argues that while other scholars have established a "sense of queered horror history," this book takes on the challenge of engaging with queer horror spectators, of whom "almost nothing is known" (2). The central argument of the book is that queer people "have a distinctive spectatorial relationship" with horror "unlike any other horror audience demographic" (234). To make this argument
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallQueer for Fear: Horror Film and the Queer Spectator by Heather O. Petrocelli (review)2026-02-17text/htmlen-USQueer for Fear: Horror Film and the Queer Spectator by Heather O. Petrocelli (review)2026-02-172026TWOProject MUSE®123092026-05-15T00:00:00-05:002026-02-17The Sinful Maternal: Motherhood in Possession Films by Lauren Rocha (review)
https://muse.jhu.edu/article/982991
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Possession movies are closely tied to the female form, with most narratives focusing on women being overtaken by demonic entities. This trend reflects cultural anxieties about female autonomy and reinforces gender stereotypes by rarely depicting men as the targets of possession. Possession narratives and motherhood are deeply intertwined in horror cinema and television, with films such as Rosemary's Baby (Roman Polanski, 1968) and The Exorcist (William Friedkin, 1973) using maternal figures to explore themes of fear and control. TV shows such as American Horror Story (FX, 2011–present) and The Haunting of Hill House (Netflix, 2018) also delve into the horrors of motherhood, portraying the maternal body as both a
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/382/image/coversmallThe Sinful Maternal: Motherhood in Possession Films by Lauren Rocha (review)2026-02-17text/htmlen-USThe Sinful Maternal: Motherhood in Possession Films by Lauren Rocha (review)2026-02-172026TWOProject MUSE®117642026-05-15T00:00:00-05:002026-02-17