6,451 results on '"FILM studies"'
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2. European screen locations in the Indian film industry: evolutionary, spatial, and collaborative perspectives.
- Author
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Kozina, Jani, Stachowiak, Krzysztof, Ciglič, Rok, Gašperič, Primož, and Urbanc, Mimi
- Abstract
India has long been known for its film industry and remains by far the largest film producer in the world, surpassing other film-producing superpowers like the US and China. A major factor in India’s dominance in the global media landscape is the outsourcing of film production, especially within Europe. Although there are studies trying to explain the context and mechanisms of foreign settings being incorporated into Indian filmmaking, this knowledge remains scattered and unsystematic. The objective of this paper is to comprehensively examine the evolutionary, spatial, and collaborative dynamics of Indian filmmaking in Europe by analysing statistical data from IMDb as the world’s largest film database. Our findings show that Indian filmmakers appeared relatively infrequently in Europe until the mid-1990s. The British Isles and Western Europe, with London and the Swiss Alps as the main centres, became the first and most popular destinations for outsourcing Indian films. However, this trend has changed in the last two decades, with the focus shifting to other areas in Southern, Central, Eastern, and Northern Europe as well in recent decades. The initial wave of Bollywood productions has gradually been followed by other regional cinematographies. The increasing presence of Indian film shooting in Europe has also led to growing co-production between filmmakers on both (sub)continents. The paper provides a solid basis for further exploration of socio-economic linkages between India and Europe, especially in terms of job creation, local economic development, tourism, and cultural exchange. [ABSTRACT FROM AUTHOR]
- Published
- 2024
- Full Text
- View/download PDF
3. Deep Learning-Based Analysis of Emotional and Content Relevance Between Bullet Screens and Subtitles as Movie Narrative Medium.
- Author
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Hanmei, Wang
- Subjects
- *
LANGUAGE models , *MOTION picture subtitles , *SELF-expression , *DEEP learning , *FILM studies - Abstract
This study borrows elements of film text in the field of film studies to develop the potential of data analysis using AI algorithms, while aiming to explore the emotional and content relevances between the two narrative mediums in film, bullet screens and subtitles, as well as the narrative effect variations that they bring about. The film sample Forever Young was analyzed by deep learning, data analysis, and knowledge discovery algorithms and tools. The BERT model was used to quantify the intensity of emotions and conduct fine-grained emotional classification of film characters. Emotion curves are plotted based on time series data. Thematic words are extracted by the LDA algorithm, and text similarity is computed using Word2Vec. The study found differences in emotional expression between bullet screens and subtitles, and they also exhibit strong emotional and content relevances. Yet, this correlation is not only influenced by temporal deviation factors but also by specific emotional types, different stages of story development, and the collective emotions of online views. The conclusion suggests that the effective collection of plot metronomes in film narratives helps reveal crucial plot nodes and emotional trends in films that cause obvious emotional changes, and placing them appropriately is fundamental for continuously attracting and retaining viewers' attention. The interaction between bullet comments and subtitles is not only about emotional expression but also enhances the effectiveness of the film narrative. Overall, this study demonstrates the importance of database logic and technology in understanding and expressing film emotions and meanings, and providing new ideas and methods for enhancing film narrative effectiveness. [ABSTRACT FROM AUTHOR]
- Published
- 2024
- Full Text
- View/download PDF
4. MÁS ALLÁ DE LOS LÍMITES: MEMORIAS, SILENCIOS Y AFECTOS EN SECRETOS DE LUCHA (2007).
- Author
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RIVERO, Elizabeth G.
- Subjects
FILM studies ,MOTION picture studios ,EXILE (Punishment) ,FAMILY history (Sociology) ,DICTATORSHIP - Abstract
Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
- Full Text
- View/download PDF
5. Movilidades, estética de frontera y arqueología prospectiva en la ciencia ficción cosmopolita de Miguel Llansó: Crumbs y Jesus Shows You the Way to the Highway como anarchivos.
- Author
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Sánchez-Navarro, Jordi
- Subjects
SCIENCE fiction ,POLITICAL satire ,AFROFUTURISM ,POPULAR culture ,FILM studies - Abstract
Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
- Full Text
- View/download PDF
6. El cine satírico de periodistas. Personajes y relato de los mass media por la industria de Hollywood (1970-2020).
- Author
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Gascón-Vera, Patricia and Bonaut-Iriart, Joseba
- Subjects
BROADCAST journalism ,PRAXIS (Process) ,SET theory ,MOTION picture industry ,CONTENT analysis - Abstract
Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
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7. "El futuro es de la mujer porque el pasado es del hombre". La recuperación del cine de Nadia Werba en España (1965-1967).
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Cerdán, Josetxo and de Herreros, Lucía Rodríguez García
- Subjects
FILM studies ,PRESERVATION of motion picture film ,FASHION shows ,WOMEN filmmakers ,WOMEN in motion pictures ,DOCUMENTARY films - Abstract
Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
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- View/download PDF
8. Intertextualities between Frank Berry's films, I Used to Live Here (2014) and Michael Inside (2017).
- Author
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Adolpho Martins, Cecília
- Subjects
SOCIAL marginality ,FILM studies ,FILMMAKERS ,SOCIAL skills ,LONELINESS - Abstract
Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
- Full Text
- View/download PDF
9. Fenomenologia i filmoznawstwo. Stefana Morawskiego komentarz do koncepcji Romana Ingardena.
- Author
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Koschany, Rafał
- Abstract
Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
- Full Text
- View/download PDF
10. Cinema Counts: The Computational Turn and Quantitative Methods in Film Studies
- Author
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Miłosz Stelmach
- Subjects
quantitative methods ,digital humanities ,computational turn ,film studies ,data-driven humanities ,Communication. Mass media ,P87-96 - Abstract
The aim of this text is a critical analysis of current developments and potential applications of quantitative methods in film studies. Within its scope, a concise reconstruction of the methodological foundations, historical development, and key achievements of statistical, experimental, and digital humanities tools in relation to audiovisual media research is conducted. This involves a review of the phenomena that have developed so far as well as a philosophical consideration of the sources, consequences, and potential limitations of quantitative thinking in an area traditionally occupied by the humanities. Quantitative methods are not considered here as a replacement for existing paradigms, but rather as their complement, extension, and often inspiration. This allows to understand the current transformations but also integrate them with traditional research approaches, and identify the pitfalls and difficulties associated with this paradigm shift.
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- 2024
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11. Új Szem
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philosophy ,literary studies ,film studies ,critical theory ,arts ,political science ,Philosophy. Psychology. Religion ,Fine Arts - Published
- 2024
12. The cinema of Ken Russell : social class, spatial analysis and the long sixties
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Fullerton, Kevin, Hoyle, Brian, and Hartford, Jason
- Subjects
Ken Russell ,Cinema ,Film Studies ,British Cinema ,1960s Cinema ,Architecture ,Spatial Analysis ,Habitus ,Urban Depth - Abstract
Ken Russell's relationship with buildings, cityscapes and interior spaces remains an underexplored topic. This is despite many of his early segments for the BBC arts programme 'Monitor' (1958-1965) regularly discussing architecture; his Oscar-winning feature 'Women in Love' (1969) helping to establish the aesthetics of British 'heritage' cinema, and its fascination with stately homes; and the imposing, deliberately anachronistic brutalist structures he created for 'The Devils' (1971) in collaboration with set designer Derek Jarman. This thesis aims not only to redress this balance, but to show how Russell's use of architecture, cityscapes, interior spaces, and the pastoral is vitally linked with a more commonly discussed theme in his work, the class system. It will focus on close analyses of Russell's work during the long 1960s and provide a precis of social class and architectural history up to the 1960s. In doing so, this project will demonstrate how Russell sometimes echoed, but mainly deviated from the prevailing orthodoxies in Britain, particularly those which were also being challenged by his peers utilising Britain's then-dominant mode of filmmaking, social realism. Using urban depth theory and habitus as its core theoretical frameworks, it will explore how Russell's use of space emphasises themes of freedom, alienation and class turmoil. Each chapter will examine Russell's approach to the class system through buildings and space, beginning with the working classes, the middle classes, and then upper classes. The final chapter will then synthesise this research into an analysis of Russell's 'The Devils', viewing it as the apotheosis of his use of architecture to examine the intricacies of the class system. By shedding new light on this hitherto underexplored element of Russell's work, this thesis will demonstrate how his films are intricately related to the class structures of their era, and how his love of architecture informs his films' 'mise-en-scène' in a manner comparable to the Weimar-era silent cinema he revered.
- Published
- 2023
13. Styles with substance : the semiotics of traditional Chinese martial arts within Hong Kong Kung Fu cinema
- Author
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Richards, Stephen, Hubner, Laura, Varndell, Daniel, and Grist, Leighton
- Subjects
Kung Fu ,Martial arts ,Hong Kong cinema ,Semiotics ,Film studies ,Sign system ,Martial arts cinema ,Chinese cinemas - Abstract
This thesis constructs a semiotic model to examine the contribution made by traditional Chinese martial arts styles to the meaning constructed by Hong Kong Kung Fu film texts. It asserts that the historical significance of such styles renders them complex cultural and social signifiers and employs semiotics to examine their function in creating specific ideological meanings. This thesis consists of three parts which each contain several chapters. Part 1, Establishing a Historical Overview, contextualises the following parts through examination of the general historical significance of Chinese martial arts within Chinese and Hong Kong culture as well as within the latter's film industry. Part 2, Methodology, initially introduces the semiotic approaches which will be utilised in this thesis before deploying them to ascertain the structure of Chinese martial arts as a sign system. Part 2 then examines the processes by which this system is incorporated into the Hong Kong Kung Fu genre, and in doing so establishes a methodology for the analysis of its contribution to the creation of ideological meaning. Part 3, Semiotic Textual Analysis, explores the functionality of this methodology through a series of detailed analyses. These analyses examine the depiction of the kung fu style of Hung Gar across several texts in order to ascertain how its various signifieds are utilised in the expression of different ideological meanings. Prominent texts examined include The Story of Wong Fei Hung (1949), Challenge of the Masters (1976), and Rise of the Legend (2014). The concluding chapter of this thesis consolidates, compares, and contrasts the findings of these analyses. It concludes that the employment of the signifiers of Hung Gar within the texts examined generally functions to promote various traditionalist values. The chapter also explores where else this thesis's functioning methodology might be productively employed in the future.
- Published
- 2023
14. Radical feminist heroines: Gender philosophy in Joko Anwar’s three films
- Author
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Anton Sutandio
- Subjects
Joko Anwar ,radical feminism ,horror ,Indonesian cinema ,Filmmaking and Postproduction ,Film Studies ,Fine Arts ,Arts in general ,NX1-820 ,General Works ,History of scholarship and learning. The humanities ,AZ20-999 - Abstract
This article discusses three films directed by Joko Anwar between 2015 and 2019: A Copy of My Mind (2015), Satan’s Slave (2017), and Impetigore (2019) within the context of gender philosophy to address the gender issues in the film. Joko Anwar is a well-known Indonesian director whose works are box-office hits and range from horror to drama, but typically feature marginalized members of society, especially women. Impetigore was the first horror film to receive Citra Award, the highest film award in the Indonesian film industry, as the best film of 2020. He was also the winner in the Best Director category based on the same film. These three films were chosen for qualitative analysis, as each features a major female character struggling against societal norms. This issue is examined by closely focusing on the films’ cinematography and mise-en-scène, including the shot types, camera angles, framing, and dialogue. The obtained findings reveal Joko Anwar’s gender philosophy that champions non-normative female characters willing to challenge the accepted norms and closely aligns with the concepts promoted by radical feminism. While his work emphasizes the universal value system of patriarchy as the source of oppression and subordination toward women, the main female protagonists’ performance continuously reproduces double meaning in the context of challenging patriarchal and societal norms.
- Published
- 2024
- Full Text
- View/download PDF
15. Cinematic TV drama
- Author
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Erlend Lavik
- Subjects
Television aesthetics ,cinematic ,American TV drama ,television studies ,film studies ,aesthetics ,Arts in general ,NX1-820 ,Aesthetics ,BH1-301 - Abstract
ABSTRACTSeveral television scholars have objected to the frequently made claim that TV drama in recent decades have become “more cinematic”, partly because cinematic-ness is such an ill-defined concept. This article seeks to make the concept less ambiguous and more useful by offering some basic distinctions between different meanings invoked by “cinematic”. I propose two meanings associated with production values, which are moderately evaluative, and two where “cinematic” serves as a higher compliment, one related to craft/skill, the other to notions of medium specificity. I also relate these meanings to the idea that TV series have grown increasingly cinematic. Here I argue that “film” and “television drama” are far too voluminous and heterogeneous categories to bear comparison in general, but that they can be meaningfully studied when framed as contingent creative practices grounded in time and place. The particular context for my discussion of “cinematic television” is American TV drama since the turn of the millennium. The article does not merely seek to clarify the connotations of “cinematic”, but to use cinematic-ness as a prism to through which important stylistic shifts in American TV drama can be examined. As such, the conceptual-theoretical discussion also serves historiographic purposes: The different meanings of “cinematic” highlight different industrial developments, which offer complementary perspectives on the aesthetics of American TV drama since the late-1990s.
- Published
- 2024
- Full Text
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16. The cloud-capped star = (Meghe dhaka tara)
- Author
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Dass, Manishita
- Subjects
Meghe ḍhaka tara (Motion picture) ,Film studies - Abstract
Summary: "Ritwik Ghatak's 1960 film The Cloud-Capped Star (Meghe Dhaka Tara) has been hailed as "a modern masterpiece" and "one of the great classics of world cinema", "an extraordinary, revelatory work" (Adrian Martin), and "one of the five or six greatest melodramas in cinema history" (Serge Daney). It is arguably the best-known of Ghatak's films, and its striking blend of modernist aesthetics and melodramatic force has intrigued audiences for decades. Its focus on a family uprooted by the Partition of India and its powerful exploration of displacement and historical trauma give it a renewed relevance in the midst of a global refugee crisis. Manishita Dass's study of the film situates it within Ghatak's film-making career and in its historical and cultural contexts: the Indian Partition of 1947 and its corrosive effects on everyday life in Bengal; the influence of Calcutta's incipient film society movement and the Indian left cultural movement of the 1940s on Ghatak; and the shaping of his cosmopolitan cinematic sensibility through eclectic encounters with world cinema, film theory, Marxism, and Indian music. Dass offers a close reading of the film, locating its emotional and intellectual force in what she describes as its "cinematic theatricality," bringing into focus Ghatak's modernist experiments with melodramatic devices, and his deliberate jettisoning of cinematic realism, as well as discusssing the film's unconventional use of music and its distinctive soundtrack. Her detailed textual analysis draws on archival research and connects the film to Ghatak's work in the theatre and his writings on film and theatre. Lastly, Dass provides an overview of the film's reception, internationally and in India, at the time of its release and afterwards. It also points to the relevance of the film for debates about melodrama, cinematic modernism, and global art cinema, and its haunting resonance for the present period of mass displacements"-- Provided by publisher.
- Published
- 2020
17. Selling Toxic Masculinity Through Regional Cinema: A Case Study of the Film Arjun Reddy.
- Author
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N., Arunesh Babu
- Subjects
MASCULINITY in motion pictures ,PATRIARCHY in motion pictures ,GENDER inequality ,INDIAN films - Abstract
This article explores toxic masculinity in Indian cinema through an analysis of Arjun Reddy. It examines how film perpetuates patriarchal norms and reinforces gender inequality. By examining the portrayal of the protagonist and society's reactions, it reveals the impact of film representations on real-life attitudes. The study highlights the need for alternative narratives that challenge traditional gender norms and promote diversity in masculinity. It advocates a critical analysis of film discourse to promote a more inclusive portrayal of gender identities in Indian cinema. [ABSTRACT FROM AUTHOR]
- Published
- 2024
18. Transformation of Melodrama in Turkish Cinema from Yeşilçam to the Present: The Films Innocence and Destiny.
- Author
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ÇELİK, Kemal
- Subjects
MONODRAMAS (Musical form) ,CONTENT analysis ,FILM studies ,MUSICAL films ,HUMAN behavior - Abstract
Copyright of Journal of Selcuk University Social Sciences Institute / Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Journal of Selcuk University Social Sciences Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
- Full Text
- View/download PDF
19. Reflections on Researching Cinema Memory and the (R)evolution of Digital Archiving.
- Author
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Kuhn, Annette, Llinares, Dario, and Neely, Sarah
- Subjects
MASS media & culture ,PODCASTING ,CINEMATOGRAPHY ,AUDIENCE research ,MOTION picture audiences - Abstract
Cinema Culture in 1930s Britain (CCINTB) is a pioneering inquiry into memories of 1930s cinemagoing conducted in the 1990s by Annette Kuhn. Its research design, incorporating questionnaire surveys and interviews involving male and female participants in various parts of Britain, has become a benchmark for methods of exploring everyday practices during a golden age of cinemagoing. CCINTB's successor project, Cinema Memory and the Digital Archive (led by Professor Richard Rushton), has facilitated the creation of an accessible online infrastructure that has opened up CCINTB's data and findings for further research possibilities. CMDA's co-Investigators Annette Kuhn and Sarah Neely spoke to Dario Llinares, host of the Cinematologists Podcast, about the scope and objectives of the two projects, reflecting on questions of methodology in historical audience research; on the uses and value of digital tools in gathering, recording, analysing and presenting the findings of this kind of investigation; on strategies for making these findings accessible for a range of users; and on the future of cinema memory. [ABSTRACT FROM AUTHOR]
- Published
- 2024
20. Objects of the Mind: using film to explore the entangled histories of media and mental health.
- Author
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Snelson, Tim, Booth, Toni, Macauley, William, Jamieson, Annie, McEnroe, Natasha, Hurley, Selina, and Dabin, Katie
- Subjects
- *
SCIENCE museums , *MENTAL health , *FILM excerpts , *MUSEUM studies , *SHORT films - Abstract
This article presents the findings of an Arts and Humanities Research Council (AHRC) project, Objects of the Mind: engaging publics in the material cultures of media and mental health (AH/W002140/1), which was co-investigated by academics at the University of East Anglia and the University of Manchester and curators from across the Science Museum Group (SMG). Through this coinvestigation we sought to tap into public interest in the SMG object collections and the accessibility of popular films (supplied by partners StudioCanal) to engage new audiences for our research on the interactions of psychiatry and cinema. From the museum perspective, we sought to use this research to ask new questions and tell new stories about the SMG objects, and to foster crosscollection dialogue between medicine (Science Museum) and media (National Science and Media Museum) collections. We discuss a range of events, activities and outputs we delivered towards these aims, but focus particularly on three new films we produced that (re)combined museum objects, feature film clips and expert interviews to tell new, enhanced or entangled stories about and across the collections. We will use these three short films to demonstrate three dialogues the project fostered: between museum collections; between histories; and between academic disciplines. [ABSTRACT FROM AUTHOR]
- Published
- 2024
- Full Text
- View/download PDF
21. Touching the Millennium: The Nostalgic Impulse of Tsai Ming-liang's The Hole.
- Author
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BRAZÃO, HENRIQUE
- Subjects
AUTHORSHIP in literature ,ART ,FILM studies ,CULTURAL studies ,SOCIOLOGY - Abstract
By taking a close look at the forms and cinematic strategies of Tsai Ming-liang's 1998 film The Hole, this article intends to identify the nostalgic subtext that emerges from the tensions generated by different temporal/diegetic levels of representation. Using proper citation mechanisms, the film dialogues with the memory of the century that ends, while projecting into the near future--the overly symbolic year 2000--the anxieties of the present, ultimately proposing a way out through human unmediated connection. Relying on scene analysis, the text will invoke thinkers from cultural studies, film studies, politics, history, philosophy and sociology as well as objects from the visual arts and fiction literature, to create an ample mesh of references that can help contextualize Tsai's gesture as a filmmaker of its time. [ABSTRACT FROM AUTHOR]
- Published
- 2024
22. Richard Green in South African Film: Forging Creative New Directions (Keyan G. Tomaselli and Richard Green)
- Author
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Chris Broodryk
- Subjects
South African cinema ,film studies ,African languages and literature ,PL8000-8844 - Published
- 2024
- Full Text
- View/download PDF
23. Architecture, Film, and the In-between: Spatio-Cinematic Betwixt, edited by Vahid Vadat and James F. Kerestes
- Author
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Shannon C. Weidner
- Subjects
film studies ,architecture ,lliminal spaces ,spatial design ,in-between ,Visual arts ,N1-9211 - Abstract
In the foreword to Architecture, Film, and the In-between: Spatio-Cinematic Betwixt, Mark Foster Gage opines that the architectural discipline has reached an ideological and creative “wall”. Devoid of a dominant ideological force in architecture to subvert or rebel against, and competing for the attention of an increasingly overstimulated public, he asserts that modern architecture lacks a taboo, set of building materials, language, or style that is revolutionary enough to make people pay attention to innovative design. However, Gage and the book’s editors Vahid Vahdat and James F. Kerestes suggest that the future is not entirely bleak: one simply needs to look inside the liminal spaces—whether between literal walls or academic disciplines—to find meaningful and engaging solutions. The central organising theme of this collection is “the betwixt”, a concept first coined by the Scottish cultural anthropologist, Victor Turner. Originally used as a term to explicate his theory of liminality, particularly as used to describe rites of passage within different cultural systems, the editors and contributors of this volume find numerous challenging and insightful ways of applying “the betwixt” to both architectural and cinematic design.
- Published
- 2024
- Full Text
- View/download PDF
24. Journal of the Austrian Association for American Studies
- Subjects
american studies ,literary studies ,cultural studies ,media studies ,humanities ,film studies ,American literature ,PS1-3576 ,America ,E11-143 - Published
- 2024
25. Studia Filmoznawcze
- Subjects
film studies ,film theory ,culture studies ,visual anthropology ,film history ,cinema ,Visual arts ,N1-9211 ,Arts in general ,NX1-820 - Published
- 2024
26. Sofia Coppola : a cinema of girlhood.
- Author
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Handyside, Fiona
- Subjects
Film studies ,Coppola, Sofia, 1971- -- Criticism and interpretation - Abstract
Summary: She has received numerous accolades including an Academy Award and two Golden Globes, and in 2004 became the first ever American woman to be nominated for a Best Director Oscar. From The Virgin Suicides to The Bling Ring, her work carves out new spaces for the expression of female subjectivity that embraces rather than rejects femininity. Fiona Handyside here considers the careful counter-balance of vulnerability with the possibilities and pleasures of being female in Coppola's films - albeit for the white and the privileged - through their recurrent themes of girlhood, fame, power, sex and celebrity. Chapters reveal a post-feminist aesthetic that offers sustained, intimate engagements with female characters. These characters inhabit luminous worlds of girlish adornments, light and sparkle and yet find homes in unexpected places from hotels to swimming pools, palaces to strip clubs: resisting stereotypes and the ordinary. In this original study, Handyside brings critical attention to a rare female auteur and in so doing contributes to important analyses of post-feminism, authorship in film, and the growing field of girlhood studies.
- Published
- 2016
27. India on the Western screen : imaging a country in film, TV and digital media.
- Author
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Mitra, Ananda
- Subjects
Film studies ,India -- In mass media ,India -- In motion pictures - Published
- 2016
28. Documentary case studies : behind the scenes of the greatest (true) stories ever told.
- Author
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Swimmer, Jeff
- Subjects
Documentary films -- History and criticism ,Documentary films -- Production and direction -- History and criticism ,Film studies - Abstract
Summary: Documentary students and fans revel in stories about filmmakers conquering extraordinary challenges trying to bring their work to the screen. This book brings vividly to life the sometimes humorous, sometimes excruciating-and always inspiring-stories behind the making of some of the greatest documentaries of our time. All of the filmmakers and films profiled are Oscar-nominated or Oscar-winning. Documentary Case Studies walks readers through the fixes and missteps that today's documentary leaders worked through at all stages to create their masterworks-from development, fundraising and pre-production, through production and then post. There are plenty of "how to" documentary filmmaking books in circulation, but this book will instead deploy a personal, intimate, and candid approach to unlocking the secrets of the craft and the business by meeting filmmakers who tackle production challenges in the most resourceful and unconventional ways.
- Published
- 2015
29. Learning to Speak Chinese: Defining the Sino-American Film Paradigm.
- Author
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Fong, Benjamin Ruilin
- Subjects
FILM studies ,CHINESE language ,ASIAN Americans ,CHINESE films ,AMERICAN films - Abstract
This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms. [ABSTRACT FROM AUTHOR]
- Published
- 2024
- Full Text
- View/download PDF
30. Hans Namuth's Photographs and Film Studies of Jackson Pollock: Transforming American Postwar Avant-Garde Labor into Popular Consumer Spectacle.
- Author
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Mohan, Joseph
- Subjects
FILM studies ,ABSTRACT art ,ART appreciation ,POPULAR culture ,ART movements ,ABSTRACT expressionism - Abstract
Abstract Expressionism is often regarded as the first purely American art movement and the first to gain mass cultural recognition. Prior to the 1940s, the consideration and appreciation of abstract art belonged to a certain intellectual elite, but the intimidating complexity of Abstract Expressionism, the daring allure of its artists, and the particularities of mid-century American culture converged to transform the avant-garde into consumer spectacle. This shift represented, and was symptomatic of, a larger societal rearrangement: information and commodity superseded industrialized labor as the core of American culture. Jackson Pollock, America's first avant-garde superstar, stood at the center of this shift, at once representing both active creative labor and the commodification of the idea of that labor. Hans Namuth's photographs and films of Pollock placed him and his art firmly in the realm of consumable popular spectacle, underlying further connections to Hollywood film and prominent print media. This article examines how Pollock became a paradigmatic figure in the avant-garde's proliferation into mass culture and asserts that mass culture did not simply subsume the avant-garde. Rather, the two realms engaged in a mutual construction that pushed the avant-garde across numerous social boundaries. The artistic, critical, and popular receptions that grew out of this convergence erased distinctions between 'high' and 'low' culture. [ABSTRACT FROM AUTHOR]
- Published
- 2024
- Full Text
- View/download PDF
31. Female Collaboration at Regional Junctions: Traveling Pakistani Cinema and Unmoored Militarism in the 1980s.
- Author
-
NIYOGI DE, ESHA
- Subjects
- *
CULTURAL production , *MOTION picture industry , *FILM studies , *MEDIA studies , *ISLAMIZATION - Abstract
This article examines the material culture of Urdu action heroine films released in the era of Pakistan's Islamization (late 1970s through 1980s) by a woman-led company called Shamim Ara Productions, which was headed by the illustrious female star, director, and producer of the Urdu screen Shamim Ara. With titles such as Miss Hong Kong (1979), Miss Colombo (1984), Miss Singapore (1985), Lady Smuggler (1987), and Lady Commando (1989), the action films released by Shamim Ara Productions bear the imprint of a traveling culture of production roving through urban South and Southeast Asia. Not only do we find here a mobile industry, headquartered in Lahore, fostering collaborations between smallscale film and tourism entrepreneurs strewn across South and Southeast Asian cities (Colombo, Dhaka, Manila, Hong Kong), but we also encounter a hybrid cinema led largely by women and cross-fertilized by global images of female action and public mobility flowing into Pakistani cities with the video trade and its piracy, and satellite television (video and VCR having come to the country in the late 1970s). In this article, I situate the gender politics of the ensemble heroine narrative Lady Smuggler (1987) in its material culture of production and reception, with attention to the diverse locations of that culture. [ABSTRACT FROM AUTHOR]
- Published
- 2024
32. Rostros afectivos como paisajes (rostros-paisaje) en las películas peruanas Rosa Chumbe (2015) y Magallanes (2015).
- Author
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Moscoso-Garay, Marcos
- Subjects
SOCIAL impact ,FILM studies ,NARRATION ,POLITICAL change ,FILMMAKERS - Abstract
Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2023
- Full Text
- View/download PDF
33. Genealogie polskiego filmoznawstwa: od Juliusza Kleinera do Bolesława W. Lewickiego.
- Author
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Koschany, Rafał
- Abstract
Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2023
- Full Text
- View/download PDF
34. Refashioning difference : costume and the materiality of African and Afro-diasporan cinemas
- Author
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Grieve, Alexandra and Conde, Maria
- Subjects
African arts ,African cinema ,Afro-diasporan arts ,Claire Denis ,costume ,fashion ,film studies ,Gender ,Julie Dash ,material culture ,Race ,textiles ,video art ,visual culture ,Wanuri Kahiu ,Zina Saro-Wiwa - Abstract
Feminist film scholarship has rehabilitated costume by correcting the view that it is a frivolous, feminized element of filmmaking, arguing instead that dress establishes historical and geographic context. Despite these interventions, little research has explored costume from non- Western cinemas, nor have scholars addressed how both the intersections of gender and race have influenced the 'fashioning' of onscreen subjectivities. These are not irrelevant considerations, given the historical link between the expansion of Western textile production and the extraction of resources from formerly colonised territories, particularly the African continent, which remains an attractive destination for cheap, often female manufacturing labour. My doctoral thesis brings these geopolitical and feminist concerns into interdisciplinary conversation with film studies, by taking up the complex imbrications of clothing, race and gender, and considering the unexamined possibilities that material culture presents for African postcolonial cinematic authorship. Comprised of analyses of the work of female filmmakers Claire Denis, Julie Dash, Wanuri Kahiu and Zina Saro-Wiwa, I argue that their richly haptic, textillic works highlight the filmic image as a materially 'fashioned' medium, through which African/Afro-diasporan peoples' entanglements with globalized (neo)coloniality have been sensually remediated for the screen. Combatting the marginalization of African women in cinema studies, as well as the broader devaluation of women's aesthetic practices, I demonstrate that the neglected cultural contributions of African/Afro-diasporic female filmmakers should be reconsidered, with an eye turned towards the highly politically expressive field of dress and its material cultures.
- Published
- 2022
- Full Text
- View/download PDF
35. 'Face value' in the moving image practices of Harun Farocki, William Kentridge, and Hito Steyerl
- Author
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Alexander, Lawrence and Webber, Andrew J.
- Subjects
archaeology ,colonialism ,cosmetics ,critical race theory ,Entstellung ,essay film ,face value ,faciality ,Fe´lix Guattari ,film philosophy ,film studies ,film theory ,German film ,Gilles Deleuze ,Harun Farocki ,Hito Steyerl ,installation ,interface ,media archaeology ,metalepsis ,moving image art ,political art ,video art ,William Kentridge - Abstract
This thesis examines the face as a central topos in contemporary moving image art. Specifically, it investigates how the face simultaneously figures as a locus of capture and resistance in the essay films and installations of Harun Farocki, the performance and video art of Hito Steyerl, and William Kentridge's intermedial productions for gallery and stage. Gilles Deleuze and Félix Guattari's articulation of the face as a site of political struggle in A Thousand Plateaus (1987) provides a guiding theoretical framework for this analysis. I place this post-structuralist model in dialogue with contemporary discourses of media archaeology and critical race theory in order to interrogate these artists' confrontations with the crimes of European and, in particular, German colonialism. In this vein, I also consider their opposition to the enduring racial and environmental violence reproduced by contemporary systems of capital and control. Central to this analysis is the correlation of the face to both the surroundings of landscape and the managing function of the hands in the production of moving images mediated across various networks of circulation and exchange. Considering aesthetic production as a kind of metonymic hand(i)work, meanwhile, establishes a chain of connections between these practitioners and their works using a range of image-making technologies. The tripartite structure of the thesis accordingly explores three main thematic foci: the manual treatment of the face in cosmetics, the organizational management of the interface, and the work of the hands in archaeological practice. I contend that faciality provides a model for thinking about or against systems of representation, figuration, and inscription that also encode the domination of bodies and territories by intertwining systems of corporate and state control both historically and in the contemporary moment. This analysis thus demonstrates the central importance of the face to scholarship that engages with the related aesthetic and political strategies active in staging resistance and solidarity in contemporary moving image practices.
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- 2022
- Full Text
- View/download PDF
36. A theory of multimodal translation for cross-cultural viewers of South Korean film
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Kim, Loli and Kiaer, Jieun
- Subjects
Translation ,Semantics ,Korean studies ,Semiotics ,Film studies - Abstract
Foreign film research presents a unique situation in which the researcher is placed in the role of a multimodal translator, finding themselves responsible for interpreting multifaceted mean-ings using their own semiotic repertoire (Kiaer and Kim, 2021a; 2021b). Some aspects of film-ic discourse are inevitably going to be untranslatable, resulting in the risk of inferences being naturalised and the analysis ultimately ineffective in its goals (Willemen, 2006., Higson, 2000). Although this is an issue that effects even closely situated languages and cultures (Venuti, 2009), it is severe between those with vast disparities, as between Korean and English (Kiaer, 2020; 2019; 2017). In foreign film studies, a lack of cultural and linguistic knowledge and the cross-cultural gap this presents is often identified as a short-coming (e.g., Matron, 2010., and Kaplan, 1993), and with much of textual film research being conducted in Europe, many textual frameworks are Eurocentric too (Kiaer, 2017., Bhabha, 1994). This means that not only are cross-cultural gaps not addressed by Western researchers, but that non-European films aren't being analysed in the context of their own culture and language to begin with. The aim of this thesis is to develop a logical framework for the textual analysis of South Korean film (K-film), that provides a means for Anglophone (Western) researchers to interpret K- filmic discourse within its own cultural and linguistic context. This will be achieved by imple-menting and developing Kiaer and Kim's (2021a) framework for identifying common forms of Korean socio-pragmatic expression, and their meaning potentials in K-films (a set of Korean 'socio-pragmatic primitives'), which often create this cross-cultural gap (Kiaer, 2017; 2019; 2020), within the framework of multimodal film discourse analysis 'Segmented Film Discourse Representation Structures' (SFDRS) (Wildfeuer, 2014); a combination which is proposed as a potentially significant advance in the analysis of K-films (Kim and Kiaer, 2021).
- Published
- 2022
37. Silencing, liminality, and containment in contemporary cinema in Ireland
- Author
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Kelly, Emma, Lehner, Stefanie, and McLaughlin, Cahal
- Subjects
Contemporary Irish Cinema ,film studies ,Irish history ,trauma studies - Abstract
From the box office successes of Philomena (2013) and Calvary (2014) to the social media driven viral success of short films such as We Face This Land (2015) and Terminal (2018), the emergence of trauma as an area of interest for Irish filmmakers indicates its popularity as a topic within Irish society. Recent social, political, and legal changes have provided a new space in which the telling of unheard stories on both a personal and societal level has become possible. Contemporary cinema in Ireland has developed a means through which these previously marginalised and obscured voices may be heard. Despite this, until recently, scholars have neglected to examine cinema's usefulness as a tool for the excavation and unearthing of personal and societal trauma in Irish history and culture. Drawing on Kristeva's notion of the abject as that which 'disturbs identity, system, order. What does not respect borders, positions, rules,' this thesis considers how cinema's examination of the abject in cultural and personal contexts enables it to assume a significant role in the process that leads from traumatic rupture to reconciliation (Kristeva 4). Key to this exploration of the representation of trauma in cinema in Ireland is the notion of liminal space. Liminal, stemming from the Latin word 'limen', meaning 'a threshold', may be broadly defined as a transitional place or period, a state of flux between two different states of being. It can refer to spatial and physical thresholds, such as borders, shorelines, and doorways, and rites of passage and transition. Through an examination of the representation and intersection of physical liminal spaces, such as Magdalene Laundries, Mother and Baby Homes, Industrial Schools, Reformatory Schools, and Direct Provision Centres, the liminal legislative spaces in which such architectures of containment operate, and the othering and scapegoating mechanisms that constitute rites de passage whilst also perpetuating cyclical and transgenerational trauma, this thesis engages with contemporary cinema in Ireland to order to explore the ways in which liminal space has been used to both silence and restore voices to Ireland's marginalised 'Others'.
- Published
- 2022
38. Imagining the home : a practice based critical investigation into the Western Frontier domestic space and its mediated form
- Author
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Dryden, Sarah
- Subjects
Film studies ,Fine Art ,Film & Video ,Photography - Abstract
This practice-based enquiry questions the narrative positioning of the home within Western films created between 1920 and the early 1960s. It seeks to juxtapose the reality of the home in the construction of the US West with its subsequent mediated representation through film and popular cultural narratives. The interdisciplinary practice engages these concerns using archive material, film stills and the researcher's own photographic images in the medium of the quilt, breaking the traditional frame and opening up tactile avenues for visual storytelling. The quilt reflects pre-industrial methods of construction. The use of expanded photography - the construction of a mutual relationship between photography and other art or craft practices in order to shift cultural perceptions of the discipline - removes film from its linear narrative and highlights the tropes and conventions of domestic space in the Western film and the historical landscape. Focusing on narratives that reflect the period of US expansion and settlement in the second half of the nineteenth century, the thesis argues that the frontier home was fundamental not only to the historical mapping and settlement of the US West, but also to the re-enactment of that settlement within the Western film. Importantly, the research leads to the development of a discourse that highlights how the re-presentation of the home in Western film engages ideological imperatives at the time of the film's production, such that these films draw upon mythological and technological constraints that reflect current and prevalent attitudes and prejudices. Reflecting upon the home as a gendered space, the work engages with codes relating to the cinematic role of women within such films to identify and reveal stylistic tropes and filmic conventions used within the interior mise-en-scène, where female characters are placed in roles that typically act as a support for the male protagonist. This body of work therefore seeks to question the populist perception and importance of the home in the 'Wild West'. The accompanying written thesis presents practice and theory as distinct but interwoven concerns, which are manifest as parallel discourses: one written in the first person, and one written in the third person. The reader is left to negotiate these personal and academic voices, both of which reflect a critical understanding of the importance of the domestic space in Western films.
- Published
- 2022
39. Nasty, brutish & tall : the utilisation & representation of Brutalist architecture in British cinema post 1970
- Author
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Smith, Jonathan, Wildman, Charlotte, and Lowe, Victoria
- Subjects
Brutalsit Architecture ,Post-war British History ,Film Studies ,British Cinema ,Brutalism ,Modernist Architecrture - Abstract
Brutalism, the post-war Modernist architectural trend centred on rough-hewn, monumental concrete structures and often seen as the architecture of the Welfare State, is one of the most significant architectural movements in twentieth-century Britain. Despite suffering from a pervasive narrative of failure and widespread derision since the style fell out of fashion during the late 1970s and 1980s, Brutalism has again become a source of cultural fascination over the past fifteen years. This revival has been multifaceted in its scope, yet there has been no concerted effort to seriously assess Brutalism's utilisation and representations within British cinema. Taking cultural and architecture writer Owen Hatherley's argument that the 'camera has always loved to hate Brutalism' (2018) as a starting point, this thesis uses textual analysis to explore how Brutalism has been represented and utilised in British cinema. This thesis is the first analysis to explicitly address Brutalism in British cinema over a longitudinal period, from the 1970s up to the present day, drawing on its visual, socio-political, and ethical dimensions. By focusing on representations since 1970, this thesis explores the interplay between Brutalism, the establishment of neoliberalism and historical narratives around the failure of post-war Keynesian politics. This ties into the fact that discussions of Brutalism in British Cinema are dominated by A Clockwork Orange (1971) and Get Carter (1971). These two films have been uncritically accepted as authentic historical depictions of Brutalism, reducing the architectural style to dystopian, violent and malevolent associations. There is then a tendency in British film scholarship to either replicate long-standing right-wing and neoliberal narratives that have discredited Brutalism's post-war vison of social housing, or only discuss Brutalism in terms of its ability to reflect notions of authenticity in social realism. This thesis then aims to explore the resonance of cinematic Brutalism in relation to an emergent neoliberal hegemony in Britain. This thesis finds that Brutalism in British cinema is consistently situated as a uniquely outsider space, a distinctive, extra-ordinary architectural tool for critiquing the 'present' through its anomalous presence. While this can expose the limitations and failings of British society, such as hidden poverty or territorial stigmatisation, the overwhelming trend is that cinematic conceptions of Brutalism function as a key cultural touchstone to justify neoliberalism. In obscuring and diminishing the viability of post-war social housing through Brutalism, alternatives to neoliberalism are discredited. Brutalism in British cinema does not just reflect the much wider political establishment of neoliberalism, but should also be seen as an active agent in its shaping discourses around its continued viability. This thesis is a significant contribution to understanding Brutalism as a cultural construct, but more specifically how British cinema has processed, endorsed and resisted the advent of neoliberalism.
- Published
- 2022
40. La Cifra Impar
- Subjects
cinema ,cinema studies ,audiovisual arts ,audiovisual studies ,film studies ,media studies ,Visual arts ,N1-9211 - Published
- 2024
41. 'Life Would Never Feel This Good Again': The Use of Pastiche in Edgar Wright’s The World’s End (2013)
- Author
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Diana Ortega Martin
- Subjects
film studies ,comedy ,national identity ,englishness ,nostalgia ,pastiche ,English language ,PE1-3729 ,English literature ,PR1-9680 - Abstract
This article explores the ways in which pastiche, the past, and national iden- tity are portrayed and navigated in the concluding film of Edgar Wright’s The Cornetto Trilogy: The World’s End (2013). By focusing on the relationship between the use of the past and pastiche, it will be considered how they are employed to negotiate the notion of national identity. Through its comedic strategies and tropes, the film rebels against a homogenised version of Englishness based on mythical assumptions of the past and striving toward perfection. The dissection of the cinematic structure of pastiche will reveal a temporal framework questioning contemporary narratives of national identity. Moreover, the exploration of nostalgia and the past as places of retreat, as well as pastiche as a device of comedic criticism, enable Wright to offer a portrait of Englishness as struggling to recover its identity amidst a turbulent and apocalyptic time.
- Published
- 2023
- Full Text
- View/download PDF
42. Zélie Asava. Mixed-Race Cinemas: Multiracial Dynamics in America and France
- Author
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Cortana, Leonard
- Subjects
film studies ,mixed race studies ,mixed-race identity ,multiracial identity ,France ,United States neitt - Abstract
A transnational film studies and mixed race studies analysis comparing French and American cinemas, which have had significant international exposure and have constantly strengthened exchanges between their national talents.
- Published
- 2022
43. World cinema and the ethics of realism.
- Author
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Nagib, Lúcia
- Subjects
Film studies ,Motion pictures -- Moral and ethical aspects ,Realism in motion pictures - Abstract
Summary: Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation.
- Published
- 2011
44. Romancing Yesenia : How a Mexican Melodrama Shaped Global Popular Culture
- Author
-
Salazkina, Masha and Salazkina, Masha
- Published
- 2024
45. ReFocus: The Films of Agnieszka Holland
- Author
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Ostrowska, Elżbieta and Ostrowska, Elżbieta
- Published
- 2024
46. To Be an Actress : Labor and Performance in Anna May Wong's Cross-Media World
- Author
-
Wang, Yiman and Wang, Yiman
- Published
- 2024
47. I wish we could grab your image and touch you
- Author
-
Valentina Bartalesi
- Subjects
Laure Prouvost ,Immersion ,New media ,Haptic perception ,Film studies ,Visual arts ,N1-9211 ,History of the arts ,NX440-632 - Abstract
This contribution investigates the notion of immersiveness in Laure Prouvost’s production, critically questioning the relationship between the environments designed by the French artist and the short film projected in them. More specifically, an attempt will be made to demonstrate how the activation of a sense of immersion depends on the fact that Prouvost’s hypermedia installations act as both environments (ambiente) and settings (ambientazione). This study demonstrates how the immersive condition that the artist’s film performance activates, while undoubtedly relating to the environmental context in which they appear, springs from a spectrum of strategies that Prouvost’s moving images orchestrate. These include the layered and plastic quality of the moving image; the relationships between word and image within intermediary storytelling; the montage as a critical tool; and, more precisely, bodies that are not necessarily human as the locus of sensitive knowledge. A theoretical framework that intersects the notion of the “system aesthetic,” Hugo Munsterberg’s prodromal psychological theory and multiple forms of haptic vision-resonance will define the guidelines of the argumentation, in parallel with tracing an inseparable art-historical genealogy to comprehend Laure Prouvost’s research.
- Published
- 2023
- Full Text
- View/download PDF
48. Convergence médiatique ou champ cinématographique élargi. Ce que les séries télévisées font à la discipline des « études filmiques »
- Author
-
Ariane Hudelet
- Subjects
post-television ,post-cinema ,media convergence ,film studies ,television studies ,Visual arts ,N1-9211 ,Communication. Mass media ,P87-96 - Abstract
This article examines the epistemological value of an intermedial approach to TV series: should TV series be associated to the discipline of film studies? Without taking the notion of the “cinematic” for granted, and without limiting the use of this adjective to mere cultural legitimation, the article briefly explores how TV series connect to the discipline of “film studies”, and how this can lead us, in a mutating, unstable cultural and media context, to reconsider the logic of our disciplinary structures, at the university as well as, more generally, in our imagination. After a brief overview of the history of the disciplines of film and television studies, the emphasis is placed on the joint evolution of technology, media landscape and academic disciplines.
- Published
- 2023
49. Language, Power and Intercultural Communication: The Policies and Politics of Translation
- Author
-
Ran Yi
- Subjects
Romania ,language ,culture ,film studies ,Alexandru Praisler ,Philology. Linguistics ,P1-1091 - Published
- 2023
- Full Text
- View/download PDF
50. The destigmatization of 'evil woman': Hulijing as a modern Sphinx in the 'Good Hunting' of Love, Death & Robots (2019)
- Author
-
Anqi Peng and Shilong Tao
- Subjects
hulijing ,“evil woman” ,modern Sphinx ,“Good Hunting” ,Love, Death & Robots (2019) ,film studies ,Fine Arts ,Arts in general ,NX1-820 ,General Works ,History of scholarship and learning. The humanities ,AZ20-999 - Abstract
AbstractThe hulijing (狐狸精) is a typical stigmatized example of “evil woman” in the history, religion, and culture, which serves as a scapegoat of man under the traditional patriarchy in China. This paper aims to explore the image of hulijing and the destigmatization of “evil woman” in the episode “Good Hunting” of TV series Love, Death & Robots (2019) from the perspective of feminism and ethical literary criticism, so as to provide ethical reflections on women”s gender and identity in contemporary society. In the “Good Hunting”, the hulijing is presented as a modern Sphinx to destigmatize the “evil woman”: (1) being a half-human and half-animal Sphinx, the hulijing Yan, hunted by Taoist priests, is forced into prostitution for survival; (2) being a half-human and half-machine Sphinx, she, transformed by the colonial governor, is forced to be a sex slave, but with the power of modern technology, the hulijing becomes the hunter from the hunted, asserts the sovereignty of her body, and finally realizes both economic and spiritual independence. By setting the story in Hong Kong under colonial rule and depicting such a modern Sphinx, the “Good Hunting” subverts the stereotype of hulijing in traditional myths, breaks the gender and power relation between the man and the woman, and answers the way out of contemporary women. Besides, as a resistance towards racialism and colonialism, the metamorphosis of hulijing’s identity and image in the “Good Hunting” reflects the original writer Ken Liu’s identity consciousness as a Chinese American and shows his attempts to move from the margin to the center.
- Published
- 2023
- Full Text
- View/download PDF
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