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The document discusses the twentieth-anniversary conference of the journal "French Screen Studies," which was held in Lyon in November 2021. The conference marked a significant change in the journal's name and editorial team. The event focused on continuity, change, and perspectives in French cinema and screen media, with a collection of leading international scholars presenting their work. The document highlights the evolution of the journal, thematic issues, and the impact of digital age on publication and research in the field of French and Francophone cinema and media studies. [Extracted from the article]

The Hollywood motion picture industry has been the epitome of our understanding and explanation of the rise and fall of the studio system. However, this study spotlights the Japanese studio system, which was solidly maintained until the late 1960s. Carefully tracing the process through which the major studios outsourced the production sector, this study examines state regulation against monopoly as a crucial factor explaining the reorganisation of the Japanese film industry after studio restructuring. Because anti-monopoly policies such as the Paramount Decree did not exist in Japan, the studios moved toward maintaining affiliate theatres despite reorganisation in the 1960s and 1970s. As a result, independent producers who did not possess their own distribution networks branched into three major categories: theatrical, low budget adult films; social films meant for independent exhibition, and blockbusters supported by external finance. The shifts in the production sector paradoxically highlight the decisive influence of distribution in the film industry. In essence, this study endeavors to present an alternative analytical approach, using Japan as a case study, for comprehending the rise and fall of the studio system and its restructuring. [ABSTRACT FROM AUTHOR]

The history of film as an independent art form begins at the end of the 19th century. But what inventions preceded it and what shaped the youngest audiovisual art form? So let's take a closer look at the beginnings of the functioning of the film industry, or the exciting lawsuits over patents. Let yourself be guided through the world of miracle factories!. [ABSTRACT FROM AUTHOR]

Independent film is rapidly gaining prominence in today's dynamic film industry. The democratization of filmmaking techniques and the progress of digital technology have given independent filmmakers greater opportunities to showcase their distinctive stories on large screens. This study focuses on the role of streaming platforms in the production of independent films and their impact on society. the study uses qualitative approach and interview-based data is collected from 16 experts drawn using purposive sampling technique. Later on, thematic analysis was applied to draw results and findings of the study. Findings of the study suggest that technology played a crucial part in the production and distribution of independent films. Since these films have low production and distribution budget online platforms prove helpful. In terms of social impact such films have a mixed impression on society. Some aspects are appreciated while other greatly discouraged. Despite, all responses it is hard to decline that independent films have earned mass viewership and following among the viewers. [ABSTRACT FROM AUTHOR]

This study critically examines the development of audiovisual and interactive content that draws on Edgar Allan Poe's oeuvre, with a particular focus on the interplay of transmedia storytelling and gothic elements within these narratives. Utilizing summative content analysis and non-participant observation, this research investigates five films and five independent video games that reinterpret Poe's literary themes. The results underscore the necessity of incorporating Mythos, Topos, and Ethos in adaptations to faithfully evoke the profound emotional resonance and explore the psychological and existential dilemmas inherent in Poe's works. Our analysis reveals distinct narrative strategies in cinema and video games: while horror predominates in film, integrating supernatural elements to evoke fear, video games predominantly leverage noir, crafting complex crime narratives infused with cynicism and dark ambiance. Additionally, the study highlights how gothic elements of abjection and sublimity are leveraged to navigate themes of mortality, morality, and the uncanny, thereby ensuring the continued relevance of Poe's legacy in contemporary media landscapes. This adaptation process not only preserves the essence of Poe's narrative but also dynamically engages a modern audience through innovative transmedia platforms, illustrating the enduring impact of his work on popular culture. [ABSTRACT FROM AUTHOR]

In the Vietnamese cinema industry today, state-sponsored (formerly known as revolutionary cinema) and commercial cinema (held by private entertainment groups) are the two cinema mainstreams that dominate the film market. The third, but lesser known, mode is a diverse range of new independent films. With an aesthetics of socialist realism, governmental cinema often shows less “dream” in the ordinary, personal, and secular sense. However, it often turns to grand visions and symbols that impress upon the whole community concepts like “a brighter tomorrow.” Meanwhile, commercial cinema follows the capitalist model of cultural reproduction, presenting pragmatic dreams about a prosperous, successful, and beautiful life to stimulate viewers to work, consume goods and services for tourism and entertainment, and accumulate wealth. Meanwhile, young independent directors of the 1990s generation in Vietnam today are deploying the cinematic language of black comedy and magical realism to resist the pragmatic consumerist and “land of tomorrow” ideologies of the two mainstream tendencies. In the movies of the independents, dreamlike and fanciful elements occupy equally important, essential, organic places. Dreaming becomes a way of escaping the politics of the space or the ideologies embedded in dreams of the future that influence people consciously and subconsciously. This paper also explores the possibility that Vietnamese independent films can create new narrative potentials and interpretations of people’s inner lives in the postsocialist era through a unique and anti-traditional cinematic aesthetic. [ABSTRACT FROM AUTHOR]

This article provides an overview of Quentin Tarantino's career and his film "Pulp Fiction" on its 30th anniversary. It discusses Tarantino's background, his controversial reputation, and his contributions to cinema. The article also explores the narrative structure of "Pulp Fiction" and its impact on the development of puzzle films. It concludes by mentioning a special issue dedicated to analyzing different aspects of the film, including its reception, soundtrack, and themes. [Extracted from the article]

The article offers information on the challenges faced by film festivals, focusing on Sundance and Berlin, as they navigate financial, political, and cultural pressures. Topics include the impact of COVID-19 on festival attendance, the evolving role of festivals in a changing world, and the legacy of Sundance in championing independent films and documentaries.

This study examines the way children are represented and symbolically connected to themes involving boundaries and border-crossings in films directed by Latin American and Latinx filmmakers. The analysis centers on 11 films produced between 1998 and 2022, including critically-acclaimed and independent films with international distribution. Drawing from literature in critical/cultural studies and Latina/o communication studies, and using qualitative text analysis as a methodology, the analysis examines thematic references to physical, social, and symbolic boundaries and borders. Findings suggest that the figure of the child carries complex meanings in Latin American and Latinx cinema, and is connected to narrative tropes that involve a disruption of various boundaries and borders. From an intercultural and international perspective, the films emphasize ethical and humanitarian imperatives, addressing issues such as migration, exile, abandonment, and uprooting. [ABSTRACT FROM AUTHOR]

We use nonequilibrium atomistic molecular dynamics simulations of unentangled melts of linear and star oligomer chains ( C 25 H 52 ) to study the steady-state viscoelastic response under confinement within nanoscale hematite (α − F e 2 O 3) channels. We report (i) the negative (positive) first (second) normal stress difference and (ii) the presence of viscoelastic tension at low W i. With the aim of uncovering the molecular mechanism of viscoelasticity, we link these effects to bond alignment such that absorbed chains near the surface can carry the elastic force exerted on the walls, which decays as the chains become more aligned in the flow direction. This alignment is observed to be independent of the film thickness but enhanced as the shear rate increases or the surface attraction weakens. [ABSTRACT FROM AUTHOR]

This text explores the concept of postnational cinema and its relationship to transnational cinema in the context of French film and television production. It discusses the diversification of offerings and audiences, as well as the connections between different levels in the production and consumption of media. The text includes analyses of various French and francophone productions, examining their strategies for appealing to international audiences and their portrayal of national identity. The authors suggest that the rise of streaming platforms and increasing intercultural literacy may lead to the prominence of less familiar territories and cultures within mainstream cinema circuits. They emphasize the importance of research in understanding our globalized world. [Extracted from the article]

"The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation" is a comprehensive collection that delves into the experimental films created by Laura Mulvey and Peter Wollen starting from the 1970s. The book features newly compiled scripts, analyses of the films by various contributors, and introductions by the editor and Mulvey herself. It explores their working methods and examines their intricate films with depth and innovation. The collection also includes archival materials and outlines of their unrealized collaborative projects. The scripts offer detailed insights into the sounds, images, scenes, and sources utilized in their films, making the book a valuable resource for comprehending the complex discourses and structures present in their work. This article discusses the significance of writing as a tool for thinking and engaging in dialogue. It underscores the role of scripts in retelling stories and how they contribute to the process of generating ideas. The author emphasizes the importance of revisiting text and using it to reinterpret narratives within and about films. Overall, the article encourages readers to consider the value of writing in the creative process. [Extracted from the article]

A filmmaker and trailblazing film distribution entrepreneur, Freude (1942–2009) became a central figure in the San Francisco Bay Area film community in the late 1960s and 1970s. Her Serious Business Company (1972–83) distributed many of the era's most acclaimed independent and experimental films, but its lasting impact created a platform for discovering lesser-known works. Freude's contributions to the experimental film and independent filmmaking communities remain largely unsung. This article will excite further investigation and recognition into Freude's important efforts to support California and national artist-made filmmaking movements as it examines her professional relationships and draws from interviews, correspondence, and ephemera from the Serious Business Company archives at the Bancroft Library at UC Berkeley. It also builds on recent efforts at BAMPFA and San Francisco State University's the Archive Project where authors Antonella Bonfanti and Tanya Zimbardo have recently been involved with public programs about Freude's legacy. [ABSTRACT FROM AUTHOR]

This is Club Des Femmes's messyfesto, in which we propose that learning about radicalism and resistance can happen not through academia but rather through collective experience of watching films together in the dual contextualization of a cinema and a conversation. Club Des Femmes is a queer feminist film curation collective that has been programming at independent venues across London (and beyond) since 2007. Our messyfesto draws primarily on our activities, in person and online, since the beginning of the COVID pandemic in March 2020. It is a polyphonic and eclectic record of the events we curated in that period, from our webzine Culture Club, through the 2020 online weekender Between Us We Have Everything We Need, and then our return to cinemas for live events at the Rio Cinema in London. First, the epic summer 2021 Lesbian Camp: Yes It's F**cking Political weekender, and most recently, the 2022 screening of Leontine Sagan's Mädchen in Uniform (1932). [ABSTRACT FROM AUTHOR]

In this interview, award-winning musical comedian Alex MacKeith and I examine his screenplay for Alice Troughton's new film The Lesson (2023). MacKeith goes over his creative process, from his incorporation of some of his experiences as a tutor following university to his development of individual characters, and from his project's growth and improvement across successive drafts to the kinds of affirmation that he gets from his work in musical comedy in comparison to his work in scriptwriting. We go on to discuss his magnificent central character: the writer J. M. Sinclair (Richard E. Grant). The film follows Liam (Daryl McCormack), a young writer hired to prepare Sinclair's son (Stephen McMillan) for Oxford, but as it unfolds, we learn, alongside Liam, about Sinclair's personal and public lives. Sinclair's wife Hélène (Julie Delpy) hired Liam specifically to investigate him. A living cliché, Sinclair is claiming credit for work that really belongs to his deceased son Felix (Joseph Meurer). For this film, MacKeith was longlisted for a British Independent Film Award. It has been described by Stephen King as being '[c]old, smart, and suspenseful' and it is a New York Times's Critics Pick. In this climate, when conversations about originality, notably the place of artificial intelligence in creative and critical projects, are all the rage, this interview's exploration of authorship, intellectual property and retirement for creatives is especially timely. [ABSTRACT FROM AUTHOR]

Representations of Christianity in contemporary Chinese cinema are very limited, making the scholarship of this subject underexplored. Filmmaker Gan Xiao'er has made three feature-length independent films focusing on Christianity in China. These films, The Only Sons (2003), Raised from Dust (2007), and Waiting for God (2012), are used for case studies, with close analyses of their narratives and formal elements. They are also examined in the social and cultural contexts of postsocialist China. This article argues that Gan's religious features are significant in the context of postsocialist Chinese cinema. They not only depict the religious experience of Chinese Christians, which has been under-represented cinematically, but also provide a religious critique rarely seen in Chinese films. On the one hand, these films critically engage with the experience of underprivileged people during the Reform period, when economic development and materialism became dominant, while the socialist political system remained. Gan's religious features provide an alternative perspective that cares for people's spiritual needs. On the other hand, Gan's later films interrogate the local religious institution in China, questioning the arbitrary separation of the 'holy' and the 'unholy', proposing a more inclusive approach to the religious concept of love. [ABSTRACT FROM AUTHOR]

This work aims to identify and propose a functional pipeline for indie live-action films using Virtual Production with photorealistic real-time rendering game engines. The new production landscape is radically changing how movies and shows are made. Those were made in a linear pipeline, and now filmmakers can execute multiple tasks in a parallel mode using real-time renderers with high potential for different types of productions. Four interviews of professionals in the Spanish film and television market were conducted to obtain the whole perspective of the new paradigm. Following those examples, a virtual production set was implemented with an Antilatency tracking system, Unreal Engine (version 5.3), and Aximmetry (version 2023.3.2) as the leading software applications. Results are commented on, presenting how all the work is currently closely connected between pre-production, shooting, and post-production and analyzing its potential in different fields. [ABSTRACT FROM AUTHOR]

This article provides a case study of a groundbreaking yet hitherto overlooked transnational coproduction experience on European broadcasting: the South series (1991–93). An ambitious initiative led by Channel 4's Independent Film and Video Department (IFVD) and the South Productions company, headed by Argentine producer Ana de Skalon, the South series was widely conceived and promoted as the first magazine programme in the world to be directed by film and video makers from Asia, Africa, and Latin America. Focusing on Latin America, this article reconstructs this unique experience of transnational collaboration on a global scale while also examining the shifting relationship between European broadcasting and the cinema of this region. Drawing on the internal production files of South Productions and using interviews with filmmakers, commissioning editors, and producers as well as the valuable information contained in Channel 4's press packs, this article sheds light on this major effort of transnational coproduction. South not only constitutes the peak of the transatlantic collaborations developed between British television and Latin American cinema, but also embodies the conceptual shift from the Third World to the Global South through its broadening of film- and video-making practices, as is made clear through the series' title. [ABSTRACT FROM AUTHOR]

Olivier Marboeuf is a writer, performer, independent curator and film producer of Caribbean origin. He founded the independent art centre Espace Khiasma, which he ran from 2004 to 2018, in Les Lilas on the outskirts of Paris. At Khiasma, he developed a program addressing minority representation through exhibitions, screenings, debates, performances and collaborative projects across the North-East of Paris. He is an educator and has taught visual arts in several European Fine Art schools. He is a member of the cinema and performance collective 'The Living and The Dead Ensemble' and recently presented, as an artist, the first part of his sonic collective project 'The Museum of Breath' in the context of the Berlin Biennale 12. He currently produces films within Spectre Productions, a production company he founded in 2013 in Rennes (France). In 2022, Marboeuf published the collection of essays, "Suites décoloniales: s'enfuir de la plantation" (Decolonial Suites: Fleeing from the Plantation) as well as the poetry book "Les matières de la nuit" (Matters of the Night) (both published by Éditions du commun, Rennes, France). In 2023, two new books will be published: L'emeutier et la sorcière' (The Rioter and the Witch) in French and Vers un cinéma déparlant (une hypothèse caraïbe) (Towards a De-speaking Cinema: A Caribbean Hypothesis) in French, English, German and Spanish. Many of his texts are available to read on his blog, Toujours Debout. [ABSTRACT FROM AUTHOR]

More than half a century after their discovery in the Ionian Sea near Riace Marina (Italy, 1972 CE), the Riace Bronzes continue to fascinate and interest. They are a pair of statues most likely sculpted in Greece in the mid-5th century and are considered masterpieces of Classical Greek sculpture. Many studies have been conducted, yet there are no morphometric studies that delve into their facial features. The aim of this study is to determine dentofacial characteristics and the presence of golden ratios in the so-called "young-man" warrior statue, equipped with a silver foil to represent the upper teeth. The interpupillar, interalar, intercanthal distances and mesio-distal diameter of the upper central incisors were subjected to virtual photogrammetry (GIMP-GNU Image Manipulation Programme). The presence of vertical and horizontal golden ratios between different landmarks (intercanthal distance: centre of the nose; centre of pupils: base of nose: base of upper incisors; centre of pupil-base of nose: base of upper incisors-base of chin; centre of pupils- base of upper incisors: base of the chin) were analysed using a dedicated software (PhiMatrix). The face and teeth satisfy most of golden canons, as also corroborated by the one-way ANOVA-statistic test (p < 0.05) for repeated measurements by independent expert operators. The virtual golden facial grid should confirm an ovoid face, which should match the same dental shape. The statue design stems from the search for beauty as divine proportion, and a relatively small detail such as teeth seems to have been carefully programmed. [ABSTRACT FROM AUTHOR]

This article explores the relationship between film and cities, focusing on how cities have influenced cinema and how cinema has shaped our understanding of urban spaces. It reviews four books that examine different aspects of this relationship, including censorship debates in early twentieth-century urban America, Black filmmaking in Los Angeles, location shooting in San Francisco, and the global circulation of urban imagery in film. The books highlight the intersections of regulation, race, and capital in the construction of cinematic representations of cities. The article provides a detailed analysis of each book's contributions to the field of film and urban history. It also discusses the representation of cities in Hollywood films, contrasting the depictions of San Francisco and Los Angeles in films from the late 1960s and early 1970s. The emergence of the L.A. Rebellion filmmakers, a group of Black independent filmmakers who focused on South Central Los Angeles, is also explored. The article mentions the book "Noir Urbanisms," which offers a global perspective on cinematic urban history by examining the portrayal of cities in film noir. Overall, the article emphasizes the importance of considering the political and economic factors that shape the representation of cities in film. [Extracted from the article]

Many indie films made between 2010 and 2021 like I Meghadhanushya i in 2013 (a Gujarati film), I Unfreedom i in 2016, I Dear Dad i in 2016, and I Evening Shadows i in 2018 address several LGBTQ+, religion, gender, caste-based themes which mainstream Bollywood films conveniently avoid. At a time when most mainstream Bollywood films are being used to further the agenda of those in power in constructing an idea of India that suits their vision, these new indie films are resisting the same by reflecting on the hard-hitting realities of the time. In Chapter 6 (Essential indies: concise case studies; conclusion), the author concludes by reiterating the parameters that make the new indie films different from mainstream Bollywood films and dwells on the possibilities they bring for the future of Indian cinema. Having deliberated at length the concept of Indian indies and their growing numbers after 2010, the author concludes by reiterating the parameters that make new indie films different from mainstream Bollywood films. [Extracted from the article]

The Ethiopian film industry has faced challenges in terms of growth and development compared to other African countries. Despite an increase in film production, the industry has not seen corresponding improvements in revenues or job opportunities. The industry operates outside an established formal structure, leading to issues with production facilities, market organization, regulations, and international relationships. The government's unwillingness or inability to support the industry has hindered its growth, with high taxes on imported equipment and a lack of understanding of the industry's potential contributions. Additionally, the industry relies on individuals with little professional training, which limits its long-term success. The industry also faces challenges such as a lack of formal training institutions, limited distribution channels, and inadequate cinema halls. These issues result in poor quality films, plagiarism, copyright infringement, and piracy, leading to significant revenue loss. To address these challenges, stakeholders should raise awareness about the cultural and economic importance of film, establish film production programs, and create dedicated spaces for events and programs. The Ethiopian International Film Festival (EARTHOPIAN) provides opportunities for filmmakers to showcase their work and learn from industry peers, but other events like the Guma Film Award have been criticized for their inconsistency and lack of support for the film community. Ethiopia needs a more formal industry structure, including a national film policy, to address issues such as education, funding, and distribution. The lack of resources and reliable data on film revenue further complicates the industry's development. Despite these challenges, the Ethiopian film industry has the potential [Extracted from the article]

This article provides an overview of the development of New Pakistani Cinema, which has been influenced by technological advancements and global industry changes. It examines the impact of political and social factors, including religion, on the evolution of Pakistani cinema. The article discusses the challenges faced by the industry, such as censorship and the closure of cinemas during the pandemic. It also explores the historical context of cinema in Pakistan, including the influence of political events and the dominance of regional languages. The article highlights the class segregation in cinema attendance, the emergence of Pakistani films addressing social and political issues, and the influence of Bollywood and Hollywood on Pakistani cinema. It addresses the impact of political tensions between India and Pakistan on the film industry, including bans on Pakistani artists in India and restrictions on Indian content in Pakistan. The article also discusses censorship issues faced by Pakistani filmmakers and the role of streaming platforms in providing alternative distribution channels. It examines the challenges and restrictions faced by filmmakers in Pakistan, highlighting the contrasting responses to different films, such as the government support for the popular drama Ertuğrul and the banning of the film Joyland, which explores transgender issues. The article compares the proactive and reactive measures of censorship in Pakistan and Iran and their impact on filmmakers. It concludes by discussing the uncertain future of Pakistani cinema and the potential role of platforms like YouTube in reaching audiences. [Extracted from the article]

The article focuses on celebrating B. Ruby Rich's ten-year tenure as editor-in-chief of Film Quarterly, highlighting her diverse and extensive contributions to the field. Topics discussed include Rich's background, her impact on independent cinema and documentary politics, and her innovative approach to expanding the journal's reach through live events and online content.

The article focuses on A24's role in shaping the narrative of Asian American prestige films, particularly in the context of their recent success at the Oscars. Topics discussed include the studio's blueprint for the "Asian American prestige film," its distribution strategies, and the tension between shaping authenticity and finding it in independent cinema.

This article examines whether sustainability concerns play and should play any role in EU merger control. While competition authorities have commenced exploring pathways to excuse prima facie anticompetitive mergers on sustainability grounds, little progress has been made in setting out whether and under which conditions mergers that adversely affect sustainability parameters can be found anticompetitive. Under the EU merger control regime, the adverse effects of mergers on sustainability are only cognizable as innovation-related issues, as recently evidenced in Dow/Dupont and Bayer/Monsanto. In these cases, the Commission pioneered a novel approach aimed at predicting the impact of a merger not only on prices but also on innovation competition. This theory of harm, although a welcome improvement to the current framework of merger analysis, fails to accommodate all competition-relevant sustainability concerns because of its exclusive focus on innovation capabilities, efforts, and output. On this basis, we argue that innovation competition should not be understood only as an output-maximizing device but also as a polycentric process under which independent decision-makers pursue various innovation paths. Such an approach gives prominence to the diversity, quality, and direction of innovation and constitutes an alternative to the predominant output-centred understanding of innovation. To operationalize this notion of innovation competition as a polycentric process we explore four pathways: adopting quality-related and sustainability-sensitive innovation metrics; using indicators of industry-wide structural effects; endorsing a structural filter; and protecting nascent competitors. Adding such an approach to the existing analytical framework would, arguably, enable the Commission to deal with all sustainability concerns related to the notion of innovation competition. [ABSTRACT FROM AUTHOR]

Their high tunability of electronic and magnetic properties makes transition‐metal oxides (TMOs) highly intriguing for fundamental studies and promising for a wide range of applications. TMOs with strong ferrimagnetism provide new platforms for tailoring the anomalous Hall effect (AHE) beyond conventional concepts based on ferromagnets, and particularly TMOs with perpendicular magnetic anisotropy (PMA) are of prime importance for today's spintronics. This study reports on transport phenomena and magnetic characteristics of the ferrimagnetic TMO NiCo2O4 (NCO) exhibiting PMA. The entire electrical and magnetic properties of NCO films are strongly correlated with their conductivities governed by the cation valence states. The AHE exhibits an unusual sign reversal resulting from a competition between intrinsic and extrinsic mechanisms depending on the conductivity, which can be tuned by the synthesis conditions independent of the film thickness. Importantly, skew‐scattering is identified as an AHE contribution for the first time in the low‐conductivity regime. Application wise, the robust PMA without thickness limitation constitutes a major advantage compared to conventional PMA materials utilized in today's spintronics. The great potential for applications is exemplified by two proposed novel device designs consisting only of NCO films that open a new route for future spintronics, such as ferrimagnetic high‐density memories. [ABSTRACT FROM AUTHOR]

Growing up in Ireland, Ted Carroll came of age during the rock 'n' roll boom of the late 1950s, and ultimately moved to London where he set up the Rock On record stall near Portobello Market in 1971. Rock On, which later opened as a shop in Camden, would play a huge role in the underground music scene throughout the 1970s and 1980s, and the record label that grew out of it, Chiswick Records, was one of the first independent labels in the United Kingdom to release punk records by a number of key bands. Carroll and his partners would go on to expand and diversify their output, particularly on the enduringly successful reissue label, Ace. Carroll has opened a new Rock On shop in the last year, and here discusses collecting, punk rock and independent labels with Michael Connerty. [ABSTRACT FROM AUTHOR]

This essay examines the impact of the contemporary praise and worship music industry on the songs available to worship leaders. It focuses on the dominance of a few church groups, including Bethel Music, Elevation Worship, Hillsong Worship, and Passion, in contributing a significant number of top songs in this genre. The study analyzes data from the CCLI and PraiseCharts top song lists, which provide insights into the songs used in evangelical, charismatic, and Pentecostal churches. The authors find that a small number of church bands and artists have a strong influence on the industry, with 95% of the top 25 songs being linked to four church bands. The article also highlights the challenges faced by independent songwriters in gaining recognition in this industry. Overall, the study provides valuable insights into the mechanisms and trends that shape the contemporary praise and worship music landscape. [Extracted from the article]

Au début des années 1990, malgré un contexte sociopolitique difficile, une relève du cinéma turc était signalée par la naissance d'un cinéma d'auteur qui se décrivait comme un « nouveau cinéma indépendant ». Ces jeunes réalisateurs n'étaient pas tout à fait liés les uns aux autres et créaient plutôt une « alluvion », selon les mots de Dervis Zaim. Suivant le succès de Nuri Bilge Ceylan aux festivals de Cannes à compter de 2003, le nombre de ces cinéastes « indépendants » a considérablement augmenté, et le style minimaliste de Ceylan est devenu un modèle à imiter pour les jeunes artistes. La présente étude vise essentiellement à analyser le contexte du « nouveau cinéma turc » des années 2000 (jusqu'en 2010) afin de déterminer si les préférences esthétiques de cette nouvelle génération ont marqué la naissance d'un nouveau « mouvement cinématographique ». À cet égard, la présente étude propose de redéfinir les théories contemporaines du cinéma national, surtout dans la sphère anglo-américaine, qui remettent en question l'homogénéité de la nation tout en conservant l'importance de l'indépendance financière. Le présent article, donc, fusionne certains concepts théoriques comme le cinéma national, le cinéma indépendant et le « festivalisme » pour mettre en évidence l'influence du système néolibéral globalisé sur les milieux intellectuels auxquels les jeunes cinéastes appartiennent. In the early 1990s, despite a difficult sociopolitical context, there was a revival of Turkish film as auteur films emerged, described as new independent cinema. These young directors were not entirely connected to one another and created more of an "alluvion," according to Dervis Zaim. Following the success of Nuri Bilge Ceylan at the Cannes Festivals starting in 2003, the number of these independent filmmakers increased considerably, and Ceylan's minimalist style became a model to imitate for young artists. The present study aims to analyze the context of "new Turkish cinema" of the 2000s (until 2010) to determine if the esthetic preferences of this new generation marked the birth of a new "film movement." In this respect, the present study proposes to redefine contemporary theories of national cinema, especially in the Anglo-American context, which call into question the homogeneity of a nation while preserving the importance of financial independence. This article therefore merges certain theoretical concepts such as national cinema, indpendent cinema and "festivalism" to demonstrate the influence of the globalized neo-liberal system on the intellectual communities to which these young filmmakers belong. [ABSTRACT FROM AUTHOR]

In 1972, the Japanese entertainment listings magazine Pia was established, providing information on film screenings, theatre and concert events happening in Tokyo each month. It quickly cultivated an engaged readership of teenagers and young adults. Among this readership were participants of a burgeoning nationwide phenomenon of do-it-yourself film production, referred to in Japanese as jishu seisaku eiga (meaning 'self-made films'), which typically saw young, aspiring filmmakers produce short and feature-length narrative works using 8 mm (and sometimes 16 mm) film cameras. This article contextualises the emergence of Pia magazine and its role in centralising and providing opportunities to Japan's growing 'self-made' filmmaking community throughout the 1970s, 1980s and beyond. This can be viewed on two fronts: firstly, from within the pages of the magazine itself and its strategies to stimulate reader-to-cinema engagement; and, secondly, through the magazine's organisation of an annual self-made film screening event in the late 1970s that would come to be known as the Pia Film Festival (PFF). PFF remains an essential national showcase for new Japanese filmmakers to this day, but, more importantly, it would herald its own system of independent film production in the form of the PFF Scholarship. This article concludes with a discussion about the PFF Scholarship, and its importance at a time when early career filmmakers were struggling within the Japanese film industry. [ABSTRACT FROM AUTHOR]

This study discusses the current Turkish women's cinema through the films, Mavi Dalga (2013, Blue Wave) and İşe Yarar Bir Şey (2017, Something Useful) by exploring the definitions of women's cinema. This article aims to examine the point of women's films in contemporary Turkish cinema by referring to the previous discussions on women's cinema and addressing the portrayal of women in films that fall under women's films. The films Mavi Dalga and İşe Yarar Bir Şey, depict women as the saviour and as active, self-sufficient, economically independent, not dependent on men, and following their wishes instead of becoming passive, harmonious, and stuck in the narrow patterns of life in this world, although they want to get rid of the practices of the male world. These films define the woman as a vital, independent, helpful subject in solidarity with her fellows discussed by Smelik's definition of women's cinema. The films comply with Johnston's claims that women are included in the narrative of women's films by the audience. Moreover, these films identify with the main character, and they stand at an essential point in Turkish cinema with their independent and powerful depiction of women. [ABSTRACT FROM AUTHOR]

This study examines the complexities of the social problems of Pakistan explained by Pakistani independent filmmakers in their films. Four independent films that were produced in the past two decades by two Pakistani filmmakers, Shoaib Mansoor and Sabiha Sumar, were analyzed for their discourses. The findings show that the directors articulated the dynamics of women’s oppression and the sociopolitical climate of Pakistan by using their own distinctive approaches. The films centered mainly on a critique of Islamic fundamentalism and patriarchal culture as the main driving forces of social problems that determine women’s status in Pakistan. In the process of articulating the complexity of social problems, it was evident that Mansoor represented the problem in a cultural context by placing certain ethnic identities as the causal agents while Sumar framed the problem to be driven mainly by certain ideological forces. Furthermore, Mansoor's movies portrayed a more optimistic viewpoint, suggesting that women's rights could be advanced through current legal measures and economic changes within the country. Sumar’s films, on the other hand, were more realistic, representing the prevailing status of women in Pakistani society. Her films suggest that women’s empowerment in the existing social system and state institutions is improbable. [ABSTRACT FROM AUTHOR]

Throughout its history, Thai cinema has been entangled with institutions of state power. Through invasive systems of censorship and discursive regulation, the state not only regulates public expressions but also sculpts particular forms of national identity, silencing other forms of remembrance and identification. Against these pressures, independent filmmakers in Thailand creatively negotiate the boundaries of state censorship through silences, narrative discontinuities and elliptical plot structures to simultaneously evade state censorship and renegotiate national systems of memorialisation under military rule. This paper investigates how the Thammasat University Massacre is remediated through Anocha Suwichakornpong's 2016 film Dao khanong (By the Time It Gets Dark), and finds that the film intentionally evades direct representation of the massacre to instead disarticulate national memory cultures and reimagine unconsolidated futures disentangled from institutions of authoritarian power. [ABSTRACT FROM AUTHOR]

The essay discusses engaged documentary cinema in independent Slovenia. It focuses on the aspects of political engagement that address the deprived, underprivileged or oppressed communities and groups in contemporary Slovenian society. In the most unenviable position among them are members of the Roma community, the administratively erased inhabitants stripped of all their civil rights, exploited seasonal workers, representatives of the LGBTQIA+ community and the like. The discussion devotes its main attention to the operation of the informal collective Newsreel Front and its latest project “If the Forests Could Talk, They Would Dry Up with Sadness”, which documents the tragic situation of the refugees on the so-called “Balkan route” and their attempts at crossing the border between Croatia and Slovenia, fenced off with a razor wire. [ABSTRACT FROM AUTHOR]