Table Of ContentFilm and Domestic Space
Film and Domestic Space
Architectures, Representations, Dispositif
Edited by
Stefano Baschiera and Miriam De Rosa
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Contents
List of Figures vii
Notes on the Contributors ix
Acknowledgements xiii
Introduction 1
Stefano Baschiera and Miriam De Rosa
1 Architectures of Ubiquity: The Colonial Revival in Film
and Television 16
John David Rhodes
2 No Down Payment: Whiteness, Japanese American
Masculinity and Architectural Space in the Cinematic Suburbs 37
Merrill Schleier
3 Resist, Redefine, Appropriate: Negotiating the Domestic
Space in Contemporary Female Biopics 56
Victoria Pastor-González
4 Liminal Spaces, Lesbian Desire and Veering off Course in
Todd Haynes’s Carol 72
Anna Backman Rogers
5 A Home on the Road in Claire Denis’s Vendredi soir 89
Maud Ceuterick
6 Acoustic Ectoplasm and the Loss of Home 106
Beth Carroll
7 Our House Now: Flat and Reversible Home Spaces in
Post-war Film and Television 118
Adrian Martin
8 From Myth to Reality: Images of Domestic Space in
Post-Soviet Baltic Films 134
Lukas Brašiškis and Nerijus Milerius
vi contents
9 No | Home | Movie: Essay Film, Architecture as Framing
and the Non-house 154
Laura Rascaroli
10 At Home with the Nouvelle Vague: Apartment Plots and
Domestic Urbanism in Godard’s Une femme est une femme
and Varda’s Cléo de 5 à 7 171
Stefano Baschiera
11 Dwelling the Open: Amos Gitai and the Home of Cinema 188
Miriam De Rosa
12 What Is Cult When It’s At Home? Reframing Cult Cinema
in Relation to Domestic Space 210
Iain Robert Smith
13 High-fructose Cinema and the Movie Industrial Complex:
Radicalising the Technology of Representation in a
Domestic Kind of Way 226
Bryan Konefsky
Index 237
Figures
1.1 Oldness-as-newness: the colonial revival as
‘spectacle of property’ and ideological, spatial
container in Christmas in Connecticut (1945) 21
1.2 The expansiveness of the colonial revival in
Holiday Inn (1942) 25
1.3 The ground of national fantasy in Ozzie and Harriet
(1952) 31
2.1 Iko in store window in No Down Payment (1957) 46
2.2 Troy Boone in his garage in No Down Payment (1957) 49
2.3 Iko and family departing the church in No Down
Payment (1957) 53
4.1 Carol (Cate Blanchett) dressed in red in Carol (2015) 78
4.2 The car as a liminal space of lesbian desire in Carol
(2015) 82
5.1, 5.2 Vendredi soir/Friday Night (2002): focus on a
younger woman’s gaze and hands in a cafe 98
5.3 Vendredi soir/Friday Night (2002): Laure’s and Jean’s
faces almost become indistinguishable as they kiss 99
5.4 Vendredi soir/Friday Night (2002): close-up of the
lovers’ erotic encounter 100
8.1 Andrius Blaževičius’s The Saint (2017) 148
8.2 Andrius Blaževičius’s The Saint (2017) 149
8.3 Andrius Blaževičius’s The Saint (2017) 150
9.1 Forming again the already hyperformed:
hyperframing in Alexander Kluge’s and Peter
Schamoni’s Brutality in Stone (Brutalität in Stein,
1961) 158
9.2 Inanimate objects assert their existence in Ila Bêka
and Louise Lemoine’s Barbicania (2014) 162
viii figures
9.3 Fragile order: hyperframing of the family home in
Chantal Akerman’s No Home Movie (2015) 168
10.1 Cléo’s apartment in Cléo de 5 à 7/Cléo from 5 to 7
(1962) 183
11.1 Mole Antonelliana: basement 193
11.2 The Mole Antonelliana during Gitai’s
Architectures of Memory (2011): exterior 193
11.3 The Mole Antonelliana during Gitai’s
Architectures of Memory (2011): interior 195
11.4 Architectures of Memory (2011): a site-specific
installation 197
11.5 The material quality of the image in Architectures
of Memory (2011) 199
Notes on the Contributors
Anna Backman Rogers is Reader in Feminist Philosophy and Visual
Culture at the University of Gothenburg, Sweden. She is the author
of Sofia Coppola: The Politics of Visual Pleasure (2019), American
Independent Cinema: Rites of Passage and the Crisis Image (2015), the
co-editor of Female Agency and Documentary Strategies and Female
Authorship and Documentary Image (both 2019), and the co-founder
and co-editor-in-chief of the experimental journal MAI: Feminism and
Visual Culture.
Stefano Baschiera is Senior Lecturer in Film Studies at Queen’s
University Belfast. His work on European cinema, material culture and
film industries has been published in a variety of edited collections and
journals including Film International, Bianco e Nero, New Review of Film
and Television Studies and NECSUS: European Journal of Media Studies.
With Russ Hunter he is the co-editor of Italian Horror Cinema (2016).
Lukas Brašiškis is a PhD candidate at New York University in the
Department of Cinema Studies. His academic interests include eco-film
(with an emphasis on limits and potentialities of documentation and ani-
mation of the non-human), politics and aesthetics of the Global Cinema
of the twenty-first century, the history of experimental cinema and inter-
sections between moving image cultures and contemporary art scene. He
has taught classes at New York University, Barry R. Feirstein Graduate
School of Cinema, CUNY and Vilnius Academy of Arts. His writings
have been published in academic and film journals including The Cine-
Files, Senses of Cinema, Screening the Past, NECSUS: European Journal
of Media Studies, among others. He is one of the authors of a collective
monograph Film and Philosophy (2013) and contributor to a collection
Short Film History (2013). He has also curated and programmed a num-
ber of film events for various institutions in New York and Europe.
