58.1,2
CONTENTS
Drake Stutesman
Editorial
ESSAY
Rosalind Galt
The Animal Logic of Contemporary Greek Cinema
DOSSIER:
French Cinema at the Margins: Forgotten Sites, Practices, and Discourses, 1920–1960
Eric Smoodin, Guest Editor
Introduction: French Cinema at the Margins
Annie Fee
Cinephiles, Criminals, and Children: Discourses and Practices of Cinema Education in 1920s Paris
Brian R. Jacobson
Toward a History of French Ecocinema: Nature in Dimitri Kirsanoff’s Modernity
Jennifer Wild
For a Concrete Aesthetics: Against Avant-Garde Films c. 1930
Sabine Haenni
“To Show the People in Paris How We Live Here”: Working-Class Representation, Paul Carpita, and Film History
Eric Smoodin
“The Last Amateurs of Pure Cinema”: Ciné-Clubs and French Film Culture, 1930–1945
ESSAY
Priyadarshini Shanker
Star Gazing via Documentary
DOSSIER:
The Fan as Doppelgänger
Anupama Kapse and Meheli Sen, Guest Editors
Introduction
Monika Mehta
Fan and its Paratexts
Neepa Majumdar
Embodiment and Stardom in Shahrukh Khan’s Fan
Nilanjana Bhattacharjya
Doubling Offscreen and Onscreen: Queering the Star and the Fan in Fan
Meheli Sen
The Mirror of Desire: Queerness, Fan, and the Riddles of Paheli
Anupama Kapse
Double Trouble: SRK, Fandom, and Special Effects
Priyadarshini Shanker
Interview with Manu Anand, Director of Photography of Fan
INTERVIEW
Jenelle Troxell
Neither Day Nor Night: Peggy Ahwesh’s Palestinian Essays
EDITORIAL
This double volume, Framework 58 1 & 2, houses a collection of essays and interviews that looks at issues that may seem peripheral but, in fact, are shown to have a dynamic place in culture. The opening essay, Rosalind Galt’s “The Animal Logic of Contemporary Greek Cinema,” argues that the use of animals, either real or enacted, in a number of current Greek films reflects, as she describes it, “subjectivity, power, and social relations.” In many ways the separate parts of Framework 58 look at culture in the same light. French cinema’s active “margins” are discussed in electrifying detail, in the dossier French Cinema at the Margins: Forgotten Sites, Practices, and Discourses, 1920–1960, guest edited by Eric Smoodin, covering subjects around cine-clubs, education, documentary, and more. A second dossier, The Fan as Doppelgänger, guest edited by Anupama Kapse and Meheli Sen, centers on a single film, 2016’s Fan, directed by Maneesh Sharma and starring India’s superstar, Shah Rukh Khan. The film is situated as a mirror, as is Khan, of India, and the Indian fan is revealed, in many ways, as a special part of Indian culture. An interview with Fan’s cameraman, Manu Anand, brings an insider’s point of view. This dossier is preceded by Priyadarshini Shanker’s close examination of Khan, known as SRK, in her “Star Gazing Via Documentary,” helping the reader to understand him in a broader light. Jenelle Troxell’s in-depth, long interview with video artist and filmmaker Peggy Ahwesh, replete with images from her work, reveals ways in which Ahwesh sees the practice of art and politics.
– Drake Stutesman
