Film Matters Magazine

Film Matters: Please tell us about your article that is being published in Film Matters.

Ashley R. Spillane: “Iranian Essay Film Practice: A Blind Spot in Film History” aims to prove, through research and analysis, that essay film practice is present in Iranian cinema, using Taxi Tehran (2015), Persepolis (2007), Close-Up (1990), A Moment of Innocence (1996), and The House is Black (1963) as case studies. The article focuses on the essayistic tendencies of these films and investigates the ways in which these traits are reapplied in Iranian contexts, influenced by Iranian culture, history, social norms, and politics.

Film Matters: Please tell us about your article that is being published in Film Matters.

Lauren Mattice: My article focuses on starlet Clara Bow and her once lost film It (1927) and demonstrates how both stars and studios have navigated the sexual identities of women. The essay looks to the original release of It and its reevaluation after a single surviving copy was discovered in Prague in the 1960s to illustrate how scholars have explored beyond its initial commercial and critical success to examine how Bow’s embodiment of the young, vivacious flapper girl uncovers the ideal image of the 1920s new woman as desired by growing female audiences.

Film Matters: Please tell us about your article that is being published in Film Matters.

Mohsina Shafqat Ali: Yes, the picture is HAL’s eye. However, the red eye not only resembles HAL’s eye, but also a demon’s eye. Is the computer a demon in this age? How and why did humans let it control us so much? These are the questions that are the foundation of my article, especially for 2001,when HAL has control over the whole ship. But also, for Blade Runner, when Deckard uses and misuses the computers.

Film Matters: Please tell us about your article that is being published in Film Matters.

Lubna Umar: My article explores Sanjay Leela Bhansali’s films, Bajirao Mastani and Padmaavat, to show how aesthetics in Bollywood films play a major role in “re-Orientalizing” India. The article uses postcolonial theory to critically analyze how the politics of aesthetics positions societal groups in a strict hierarchy, based on morality and nationalism. While watching these films, I recognized the recurring theme of demonizing and otherizing Muslim characters, and upon initial research, I found out that more film scholars discovered the same. I felt the need to explore this idea even further and showcase how it affects the Muslim spectator.

Film Matters: Please tell us about your article that is being published in Film Matters.

Sarah Mae Fleming: In this article, I analyze Jordan Peele’s Get Out in terms of both the horror genre and Hollywood conventions. My essay argues that the film subverts both generic conventions specific to horror and broader cinematic traditions to create a film that expresses a Black fear and anxiety toward whiteness, in direct conflict to Hollywood’s long history of portraying a white fear of Blackness.