Project MUSE®: Canadian Journal of Film and Media Studies / Revue canadienne d’études cinématographiques et médiatiques - Latest Articles
https://muse.jhu.edu/journal/727
Project MUSE®: Latest articles in Canadian Journal of Film and Media Studies / Revue canadienne d’études cinématographiques et médiatiques.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 24 (2015) through current issueLatest Articles: Canadian Journal of Film and Media Studies / Revue canadienne d’études cinématographiques et médiatiquesTWOProject MUSE®Canadian Journal of Film and Media Studies / Revue canadienne d’études cinématographiques et médiatiques2819-47562819-4748Latest articles in Canadian Journal of Film and Media Studies / Revue canadienne d’études cinématographiques et médiatiques. Feed provided by Project MUSE®Palestinian Presence in Urban Space in Kamal Aljafari’s Recollection and An Unusual Summer
https://muse.jhu.edu/article/989626
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A wide frame captures a large open square, populated by several concrete and brick buildings, a clothesline with garments hanging motionless, abandoned cars, and piles of rubble. We cut closer in and meander around the square—perhaps aimlessly, perhaps scanning for signs of life. We pass over rooftops, terraces, walls, and foundations. Cut to a medium shot of an alleyway, perhaps off this square, where we take in a cobblestone walkway and doorways before we suddenly close in on a balcony; after a second, the reason for the quick zoom-in becomes clear as several blurry human figures move around the balcony.Later, the dusty ground is littered with rocks, where a telephone pole stands and, further back, where a stone
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallPalestinian Presence in Urban Space in Kamal Aljafari’s Recollection and An Unusual Summer2026-05-07text/htmlen-USPalestinian Presence in Urban Space in Kamal Aljafari’s Recollection and An Unusual Summer2026-05-072026TWOProject MUSE®832022026-05-11T00:00:00-05:002026-05-07Cinéma indépendant et trilogie accidentelle : Le rôle de la Young Girls Trilogy dans l’établissement de l’« auteur brand » de Sofia Coppola
https://muse.jhu.edu/article/989627
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Le palmarès des Oscars du meilleur film semble suivre, année après année, une tendance à attribuer les prix principaux aux films « stand-alone » et aux productions indépendantes. C’est ainsi que, au cours de la dernière décennie, Parasite (Bong Joon Ho, 2020), Nomadland (Chloé Zhao, 2021), Coda (Sian Heder, 2022), Everything Everywhere All at Once (Robert Kwan et Robert Scheinert, 2023), Oppenheimer (Christopher Nolan, 2023) et plus récemment Anora (Sean Baker, 2025) ont obtenu la prestigieuse récompense, là où les productions hollywoodiennes issues de sagas ou de franchises se voient généralement cantonnées aux récompenses techniques (mixage du son, décors, maquillages, effets visuels)1. En effet, la cérémonie
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallCinéma indépendant et trilogie accidentelle : Le rôle de la Young Girls Trilogy dans l’établissement de l’« auteur brand » de Sofia Coppola2026-05-07text/htmlen-USCinéma indépendant et trilogie accidentelle : Le rôle de la Young Girls Trilogy dans l’établissement de l’« auteur brand » de Sofia Coppola2026-05-072026TWOProject MUSE®1057802026-05-11T00:00:00-05:002026-05-07“We’ll Puppet from Behind”: Mainframe Entertainment, Americanization, and Canadian Children’s Media’s Twenty-First Century Service Turn
https://muse.jhu.edu/article/989628
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In the 1990s, the Canadian computer animation company Mainframe Entertainment—now Mainframe Studios—emerged into the English–North American media landscape with the cutting-edge animated science fiction series ReBoot (1994–2001). The sprawling cyberpunk saga was one of the most popular Canadian series ever broadcast on YTV, Canada’s first dedicated children’s television network. The show was also a global hit, eventually broadcast in 51 countries, while winning three straight Gemini awards for Best Animated Program or Series from 1995 to 1997.1 By the mid-2000s, however, after the company had undergone multiple restructurings, its core business had shifted from creating original series to performing service work
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmall“We’ll Puppet from Behind”: Mainframe Entertainment, Americanization, and Canadian Children’s Media’s Twenty-First Century Service Turn2026-05-07text/htmlen-US“We’ll Puppet from Behind”: Mainframe Entertainment, Americanization, and Canadian Children’s Media’s Twenty-First Century Service Turn2026-05-072026TWOProject MUSE®1255942026-05-11T00:00:00-05:002026-05-07The Origins of Film Technologies and the Cinema Industry in Kuwait
https://muse.jhu.edu/article/989629
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Although the film industries in the Middle East and North Africa (MENA) have demonstrated considerable growth, the Kuwaiti film industry remains relatively undeveloped. A national media reporter described Kuwait as “a country that has no real film industry.”1 Murad suggests that although individual Kuwaiti filmmakers have made ambitious attempts to create a cinema industry, “filmmaking in Kuwait cannot be considered an industry.”2 In comparison to neighbouring MENA countries with transforming media markets and growing film festival and cinema industries, Kuwait’s contributions to film and cinema in the region have been overlooked. Although the industry remains small today, Kuwait was among the first in the region
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallThe Origins of Film Technologies and the Cinema Industry in Kuwait2026-05-07text/htmlen-USThe Origins of Film Technologies and the Cinema Industry in Kuwait2026-05-072026TWOProject MUSE®909742026-05-11T00:00:00-05:002026-05-07Permission to Narrate: Palestinian Women’s Filmmaking in the Wake of the Israel–Hamas War
https://muse.jhu.edu/article/989630
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When the latest escalation of the Israel–Hamas war began in early October 2023, two films by Palestinian women filmmakers were scheduled to begin production in the West Bank: Annemarie Jacir’s Palestine 36 (2025) and Cherien Dabis’s All That’s Left of You (2025). Having completed pre-production, both films were days away from shooting when escalating violence rendered their realication impossible and placed cast and crew in immediate danger. At the same time, the Gaca office of Shashat Woman Cinema, a longstanding organication fostering women’s cinema in Palestine, was destroyed, further destabilicing an already fragile cinematic infrastructure. This article examines the impact of the ongoing war on these
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallPermission to Narrate: Palestinian Women’s Filmmaking in the Wake of the Israel–Hamas War2026-05-07text/htmlen-USPermission to Narrate: Palestinian Women’s Filmmaking in the Wake of the Israel–Hamas War2026-05-072026TWOProject MUSE®575742026-05-11T00:00:00-05:002026-05-07“I’m Still Alive, Thank You for Asking”: On Life, Death, and a Certain History of the Canadian Filmmakers Distribution Centre
https://muse.jhu.edu/article/989631
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The Canadian Filmmakers Distribution Centre (hereafter CFMDC) has been circulating and distributing films from various locations across Toronto since 1967.1 One of Canada’s preeminent non-commercial media arts organizations, the CFMDC specializes in the distribution of independently produced film and video works by both Canadian and non-Canadian filmmakers. In this essay, we construct a non-teleological history of the CFMDC’s origins.2 This project was sparked by a series of impromptu email exchanges with some of the people who were involved with the creation and subsequent operation of the CFMDC in 1967—specifically its first and second Executive Directors: filmmaker, playwright, and professor Robert Fothergill
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmall“I’m Still Alive, Thank You for Asking”: On Life, Death, and a Certain History of the Canadian Filmmakers Distribution Centre2026-05-07text/htmlen-US“I’m Still Alive, Thank You for Asking”: On Life, Death, and a Certain History of the Canadian Filmmakers Distribution Centre2026-05-072026TWOProject MUSE®671782026-05-11T00:00:00-05:002026-05-07The Interactive Documentary in Canada ed. by Michael Brendan Baker and Jessica Mulvogue (review)
https://muse.jhu.edu/article/989632
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Released in the fall of 2024, Michael Brendan Baker and Jessica Mulvogue’s The Interactive Documentary in Canada is a collection (and a labour of love) that was a long time in the making. As explained by the co-editors in their Acknowledgments, the project was first dreamed up in 2014 when it became apparent at a number of conferences in Canada and the United States that quality work was being produced on “the still-emerging interactive documentary form” (xiii). As the editors make clear, “the collegial space of the Film and Media Association of Canada’s [FMSAC] annual conference” became a laboratory for this work, and many readers of this review will likely remember with fondness some of the conference panels
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallThe Interactive Documentary in Canada ed. by Michael Brendan Baker and Jessica Mulvogue (review)2026-05-07text/htmlen-USThe Interactive Documentary in Canada ed. by Michael Brendan Baker and Jessica Mulvogue (review)2026-05-072026TWOProject MUSE®181632026-05-11T00:00:00-05:002026-05-07The Cinema of Extraction: Film Materials and Their Forms by Brian Jacobson (review)
https://muse.jhu.edu/article/989633
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The concept of extractivism has emerged with force within recent film and media scholarship, particularly in environmental media studies. Moving image scholarship on extractivism typically takes one of two approaches: scholars examine the material, infrastructural, and environmental impacts and inputs of moving image cultures—from the raw materials needed to create and power film technologies to the creation of waste by production studies and media disposal—or cinema’s representational and aesthetic capacities to mediate, depict, and contest resource cultures. This extractive turn responds to the urgency of contemporary climate crisis, often paired with insights into the long view of this industrial and imperial
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallThe Cinema of Extraction: Film Materials and Their Forms by Brian Jacobson (review)2026-05-07text/htmlen-USThe Cinema of Extraction: Film Materials and Their Forms by Brian Jacobson (review)2026-05-072026TWOProject MUSE®242512026-05-11T00:00:00-05:002026-05-07Tales of Militant Chemistry: The Film Factory in a Century of War by Alice Lovejoy (review)
https://muse.jhu.edu/article/989634
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Alice Lovejoy’s Tales of Militant Chemistry: The Film Factory in a Century of War is an archivally rich account of how “safe” (non-flammable) cellulose acetate film stock positioned Kodak in the United States and Agfa in Germany as vanguards of chemistry that influenced wars and shaped industries, institutions, and international relations in the twentieth century.The book argues that film factories and geopolitics are not incidental to one another: fused together, they caused the chemical reactions that defined the twentieth century. Parsing through government and film-factory documents, histories of factory towns, and memoirs and interviews with factory workers, officials, town planners, scientists, and
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallTales of Militant Chemistry: The Film Factory in a Century of War by Alice Lovejoy (review)2026-05-07text/htmlen-USTales of Militant Chemistry: The Film Factory in a Century of War by Alice Lovejoy (review)2026-05-072026TWOProject MUSE®210802026-05-11T00:00:00-05:002026-05-07Transnational Cinema Solidarity: Chilean Exile Film and Video After 1973 by José Miguel Palacios (review)
https://muse.jhu.edu/article/989635
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In recent years, the concept of “transnational solidarity” has returned to the fore. The suffering caused by wars in Africa (Congo, Sudan) and Europe (Ukraine) and the genocide perpetrated by Israel against Palestinians have mobilized countless groups and communities worldwide around protests, consciousness-raising events, political activism, and artistic initiatives that have emphasized the need for solidarity across borders. The screening of films is often at the centre of these gatherings, leading to a renewed interest in recovering and screening classic films, and a demand for more contemporary productions despite many instances of censorship and hostility from powerful mainstream media, artistic, and
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/727/image/coversmallTransnational Cinema Solidarity: Chilean Exile Film and Video After 1973 by José Miguel Palacios (review)2026-05-07text/htmlen-USTransnational Cinema Solidarity: Chilean Exile Film and Video After 1973 by José Miguel Palacios (review)2026-05-072026TWOProject MUSE®168382026-05-11T00:00:00-05:002026-05-07