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Animated films are highly popular in society, particularly among children and adolescents. During film production, selecting an adequate colour palette and scene dynamism is crucial for creating a visual impact on the audience. However, the influence of visual aesthetics, such as colour and scene dynamism on visual fatigue remains unexplored. In the present study, visual fatigue was assessed and compared in 30 young participants after viewing two popular films: Spider-Man: Across the Spider-Verse, an active, fast-paced film, and My Neighbour Totoro, a more relaxed film. Both films were viewed twice, once with the original colour palette and once in greyscale. Watching Spider-Man film induced a greater degree of visual fatigue than My Neighbour Totoro in two subjective questionnaires evaluating visual fatigue, and in the vergence facility and binocular accommodative facility tests. Moreover, important differences in the visual dynamics and colour aspects between both films were found. These results demonstrate that the high-paced and high-colour aspects of films directly affect visual fatigue. Future animated film producers should consider these factors that are relevant to their audiences. [ABSTRACT FROM AUTHOR]

Anatole Litvak, a Russian Jew who began his career at Ufa in Berlin, was one of the German émigrés who settled in France after Hitler came to power. His case is little known, yet it is both singular and emblematic of the career of émigré filmmakers in France. Litvak established himself early in France, where he made four films between 1931 and 1935: Coeur de lilas/Lilac (1932), Cette vieille canaille ('This Old Rascal', 1933), L'Équipage/Flight into Darkness (1935) and Mayerling (1936), the triumph of the latter opening the door to Hollywood. Above all, his success was 'curious' compared to the difficulties faced by his colleagues: this first French period was one of the most fruitful of his career. This article looks back at Litvak's career to highlight his unique place in French cinema in the first half of the 1930s. [ABSTRACT FROM AUTHOR]

Because of the Irish border's troubled history and heightened symbolism, filmmakers have since long relied on the border as a setting to thematise issues of national identity, belonging, and trauma. Departing from the concept of border poetics this article takes films featuring the border between the Republic of Ireland and Northern Ireland as its topic of inquiry. Beyond compiling a border film archive in which all cinematic representation of the Irish border is collected, a close reading is conducted of border mobilities in a sample of 43 narrative fiction films (1937–2021). The article's textual analysis makes the distinction between three border mobilities (1) border crossing, (2) border inhabiting, and (3) border (re)visiting, to investigate how filmmakers utilise the Irish border for various narrative, formal, and ideological ends. As such, the border's cinematic legacy can be better understood. [ABSTRACT FROM AUTHOR]

This article approaches first-person filmmaking as a potential home-making practice – a hometactic – that can actively negotiate reality to set forth new modes of belonging. With a focus on negotiating belonging in the context of migration, I turn to Four Journeys (Louis Hothothot, 2022) as a case study, a first-person documentary that explores the relationship between suppressed memories of violence and lived experience of in-betweenness by tracing four separate journeys between China, Hothothot's country of origin, and the Netherlands, his country of residence. My analysis of Four Journeys's home-making efforts as permeated by a praxis of care needed to enact a sustainable mode of belonging in the aftermath of migration is combined with insights from an interview between the filmmaker and the author. On the basis of the case study, the article proposes and elaborates on three forms of home-making practices in relation to cinema: hometactics in film (the documentation of home-making in the film), camera as a hometactic (the act of filmmaking as a home-making process), and cinematic hometactics (the cinematic enactments of home). While this three-part analytic differentiation serves to unpack the diverse forms of cinema and/as hometactics, the article also addresses their overlap. [ABSTRACT FROM AUTHOR]

In this article, I analyse the ambiguous characterisation of the mzungu in Tanzanian films as well as the perception of the mzungu in general. Using the example of several films by Mussa Banzi, Mustafiri West and Kulwa Kikumba in which I acted, I discuss how, through the representation of common wazungu stereotypes, I have become the object of reflections and negotiations that – primarily satirically – process the relationship between Tanzania and Germany, East Africa and the global North. As a mzungu ethnographer and like the many white scholars before me, I was warmly and politely welcomed by the filmmakers to watch their work as well as to add a comical figure to the repertoire of Tanzanian movie characters. My performances in Swahili films opened up extraordinary opportunities to connect, become a scholar and even a “celebrity”. The Tanzanian filmmakers, on the other hand, benefited from the white guest actor as a teaser and especially as a comic extra for the films. I argue that, through this collaborative work, the role of the researcher as expert was challenged and, to some extent, the power relations between researcher and researched were reversed or at least disrupted. [ABSTRACT FROM AUTHOR]

This article aims to study how historical documentaries handle the development of a tale. The initial premise is that documentaries are not a mere compilation and recounting of data but rather a narration constructed based on the perspective of the audiovisual language. To understand how filmmakers create the story, we studied documentary feature-length films on the Spanish Civil War between 2000 and 2014. The sequence has been taken as the unit of analysis, and a breakdown has been made of the types of images and sounds used according to duration, order, and predominance of plot or characters. The research bears on the concept of narrative strategy, which helps to understand the format's internal mechanism, considering three issues: the production approach, the visual solution, and the narrative decision. The study of the selected corpus detected eleven narrative strategies-eleven ways to portray the same event from the past, with different purposes and intentions. [ABSTRACT FROM AUTHOR]

Documentary cinema is a type of film in which facts are conveyed through the language of film and the director's original approach. The 2022 documentary Love, Deutschmarks and Death tells the story of the immigrants from Turkey to Germany since 1961 and the generations that followed them through their music culture. Migration from Turkey to Germany and its effects have been analyzed in many studies. There are also studies examining how migration is conveyed in fiction films and documentary cinema. However, there is no study that examines how migration is conveyed in documentary cinema with German in particular and music culture. This situation shows the importance of this study. The music culture described reflects realities in an artistic style, just like documentary cinema does. When the music depicting the problems of immigrants is combined with the documentary's depiction of immigrants through this music, a layered and effective narrative emerges. This study examines how the documentary Love, Deutschmarks and Death conveys immigrants and music culture through the elements of documentary cinema. How the music, interviews and archives in the content of the documentary are used, how they are connected or edited with each other, and how the music used reflects social realities are analyzed through content analysis. It has been observed that the documentary Love, Deutschmarks and Death narrates the social effects of migration by blending it with music culture and uses interviews and archives, which are the prominent elements of documentary films, with a subtle editing style. [ABSTRACT FROM AUTHOR]

Although meditating on death has long been a central philosophical practice and is gaining prominence in modern European public discourse, certain misconceptions still persist. The Austrian filmmaker Michael Haneke does not shy away from confronting real and performed images of death, combining a denouncing cinematic approach with no less polemic aesthetic and ethical theories. Certainly, visually shocking and disturbing films can, in their own way, challenge the boundaries of what is thinkable, at times even touching upon the unthinkable. Images of death and death-related themes are particularly pervasive in Haneke's films. His films raise significant philosophical and ethical questions about mortality, violence, death, and ageing. This analysis is a tentative attempt to map how Haneke explores representations of death and dying in Benny's Video (1992) and Funny Games (1997), with particular reference to the rewind gesture depicted in both films. In doing so, it aims to examine the conversation such films prompt between moving images and the audience. [ABSTRACT FROM AUTHOR]

To improve the accuracy and efficiency of box office prediction, this study deeply discusses the application of the optimized eXtreme Gradient Boosting (XGBoost) model in this scenario and its advantages compared with other commonly used machine learning models. By comparing and analyzing five models, involving the Deep Neural Network, Light Gradient Boosting Machine, Random Forest, Gradient Boosting Decision Tree, and CatBoost, several key performance indicators such as accuracy, precision, recall, F1 score, generalization error, stability, robustness, and adaptability score are comprehensively investigated. The research results reveal that the optimization model proposed in this study is superior to the comparison model in most evaluation indicators, especially when the data volume reaches 2500, showing obvious advantages. For example, the accuracy is increased to 0.9, the F1 score is 0.9, the generalization error is reduced to 0.09, and the stability score is as high as 0.98. The robustness and adaptability scores are both 0.97, which proves its strong prediction ability and high stability and robustness on large-scale datasets. Therefore, this study provides scientific data support and a decision-making basis for the film industry in the formulation of marketing and distribution strategies. Moreover, film producers and distributors can reasonably estimate their market performance early in film shooting, optimize investment decisions, and reduce economic risks through accurate box office predictions. [ABSTRACT FROM AUTHOR]

This article, based on extensive archival documentation, newspapers, and periodicals, examines the impact upon the Soviet film industry of shifts in top‐level policy relating to representation of the war. It contends that Leonid Brezhnev's May 8, 1965, speech on the eve of Victory Day propounded an inclusive vision of the war (later sections of the speech comprise an exhaustive inventory of different representatives of military and civilian society who had been responsible for victory). Yet, in lending encouragement to participants of all kinds to consider their experience valid, the speech opened up a discursive space in which validity might be contested. Further, the emphasis in the film industry upon innovation and the need to avoid predictability ran directly against the requirement that commemoration of the war should fit highly ritualized and easily recognizable patterns. The article traces the results of these overall contradictions in the arguments about overall policy on the war film between representatives of the High Command, film managers at Goskino, cinema's central bureaucracy, and filmmakers themselves, and the controversies around individual films, including Iurii Ozerov's Liberation (1968–72), Andrei Smirnov's The Belorussian Station (1970), Aleksei German's Operation "New Year" (1971, released as Checkpoint, 1985), and Larisa Shepit'ko's Ascent (1977). [ABSTRACT FROM AUTHOR]

This article argues for the utility of Mikhail Bakhtin's literary theories in developing dialogic and decolonial filmmaking practices. Using the example of our research-led documentary film, All That Is Buried, we challenge traditionally hierarchical structures of film production in which primary authorship lies with the Director/Producer, by implementing dialogic methods of co-creation between filmmakers, researchers and participants. We explain how Bakhtin's work on dialogism, chronotope, transgredience, polyphony and participative thinking provides the production and filmic tools and methods to host the distinct and equal voices of the South African creatives featured in the film – Zizipho Bam, Sindiswa Busuku, Haroon Gunn-Salie, and Dizu Plaatjies – maintaining throughout a sense of shared and equal investment in the project, and ethical responsibility to the collective. All That Is Buried shows the four participants discussing their work, ideas and experiences as they move between their homes, places of work, sites of inspiration, and artistic installations in and around Cape Town over the course of a day. In both process and product, we demonstrate how our co-creative methods support, and are supported by, practices of decolonial filmmaking, and provide a model useful and replicable for capturing Arts and Humanities research on film. [ABSTRACT FROM AUTHOR]

The article is based on İlker Çatak’s contemporary German film The Teachers’ Lounge (2023), which reflects on a society beyond the classroom, raising questions about policing, prejudice, racism, tolerance, hierarchical manifestations. The analysis includes teacher portrayal, talks about cinematic language, directorial choices, visual elements, female coping strategies, highlighting the fact that more and more filmmakers today feel the need to talk about education from a reflexive point of view. [ABSTRACT FROM AUTHOR]

This contribution consists of two new translations of Francesco Pasinetti's essays on documentary filmmaking. In 'The meaning of documentaries' (1934) Pasinetti rhapsodizes on the cinema of Joris Ivens, Dziga Vertov, Robert J. Flaherty, among others, arguing that contemporary Italian documentarians are capable of standing shoulder to shoulder with these remarkable foreign filmmakers. He suggests that the documentary form is an invaluable pedagogical tool and should receive more support from the governing bodies. In 'The sense of documentary' (1941), Pasinetti outlines his poetic and practical principles for documentary filmmaking that truly possesses 'the sense of cinema'. He insists on the need for a central theme, marked figurative continuity, intensive research and planning stages – including best exhibition practices. [ABSTRACT FROM AUTHOR]

In this interview, filmmaker and scholar Simone Brioni talks about the two most recent documentaries which he wrote, Maka (Moutamid 2023) and Oltre i bordi (Beyond the Frame) (Brioni and Sandrini 2023), which share reflections about the visual representation of Africans in media and Italy's colonial legacy. He discusses the similarities and differences between these films and the documentaries he made in 2012 with/about writers Kaha Mohamed Aden and Ribka Sibhatu, respectively, called La quarta via (The Fourth Road) (Brioni et al. 2012b) and Aulò (Brioni et al. 2012a). In particular, Brioni focuses on the collaborative process with director Elia Moutamid and protagonist Geneviève Makaping to make the documentary Maka. Brioni also talks about how the dialogue from which the documentaries have emerged has progressively become the theme of the film themselves. Other topics of the interview include the use of the documentary to produce academic research, the impact of COVID-19 on the making of the films and the circulation and distribution of the films. [ABSTRACT FROM AUTHOR]

This article explores the treatment of the face in the work of Palermo filmmakers Daniele Ciprì and Franco Maresco and proposes several considerations regarding the stark nudity of the face, its rawness and strength, and the relationships that the two filmmakers establish between face and mask. Through an analysis of the cinematic fiction of Maresco and Ciprì – Lo zio di Brooklyn (The Uncle from Brooklyn) (1995), Totò che visse due volte (Totò Who Lived Twice) (1998) and Il ritorno di Cagliostro (The Return of Cagliostro) (2003) – as well as their television work on Cinico TV (1989–96), this article demonstrates how the face emerges as a powerful tool that combats aesthetic homogeneity and narrative indoctrination of the media, as well as outlines a grotesquely attractive world. [ABSTRACT FROM AUTHOR]

The extensive, enigmatic, and singular work of the Portuguese filmmaker Manoel de Oliveira (1908–2015) has been analysed from many perspectives, emphasising the importance of literary adaptations and the historical and cultural contexts in which the main characters are situated, as well as the pictorial or visual references. This research, however focuses on ways of integrating and preserving theater within the language of film, particularly those produced in the 1970s and 1980s. This study selects and analyzes some of the characteristics and features of the theatrical forms identified in Manoel de Oliveira's films, and unravels them. These include the use of spaces and frames to denote narratives, the duality between the static and the dynamic, and the importance of the spoken word in his films. [ABSTRACT FROM AUTHOR]

Although numerous theoretical references have been made to subliminal stimuli in filmmaking, no quantitative studies to date have sought to specify their temporal limits. Since the 1920s, several filmmakers have aimed to elicit an emotional impact on the viewer through the inclusion of isolated frames, which supposes the minimum possible temporal extension in films. Through two experiments, this study analysed the threshold between subliminal and supraliminal stimuli in films containing potential subliminal stimuli comprising one to four frames, played at frame rates of 25, 30, and 60 frames per second. The first experiment involved asking participants to view a film excerpt, including these stimuli, and then answer a survey. The second required participants to identify potentially subliminal stimuli whilst viewing a film clip. The stimuli analysed could not be defined as subliminal for 100% of viewers for any number of frames per frame rate, but were predominantly unidentified for one-frame stimuli in films played at 24 or 30 frames per second, and one- to three-frame stimuli in films played at 60 frames per second. Furthermore, three- and four-frame stimuli at 24 and 30 frames per second were found to be supraliminal, whilst the results for two-frame stimuli played at 24 or 30 and four-frame stimuli played at 60 frames per second were inconclusive. Future research is needed to analyse the effect of the nature of the image used as a stimulus and its location within a shot or in a cut between shots. [ABSTRACT FROM AUTHOR]

The adaptation of novels to cinema causes problems between the novelist and the film producer. Although the novelist and the film producer are at the forefront in this relationship, there are also important actors such as the director, script writer, dialogue writer, who are essentially the authors of the film. However, considering the position of the film producer, it is accepted that the film producer is also responsible for the acts and actions of the authors of the cinematographic work. While the author wants that the movie is faithful to the book, the film producer wants to create a film that attracts the attention of the cinema audience, and the owners of the cinematographic work want to create a cinema work that bears their own characteristics within the scope of freedom of creation. In order to prevent disputes between the parties, a detailed assignment agreement must be concluded between the producer and the author of the novel, and the author of the novel must clearly specify the changes to be permitted by the author. Changes made without the author's authorisation will violate the right to make changes to the work. If the author has not given explicit permission to change the plot, characters, basic thoughts and feelings of the book within the scope of loyalty to the work, changing them is a violation of moral rights. [ABSTRACT FROM AUTHOR]

Starting from the hypothesis that the verbal component of a cinematographic production, long apprehended as non-authentic and not spontaneous enough, can constitute a verbal material capable of being the object of a scientific study by applying the same methods as for any verbal component of a so-called "ordinary" interaction. We have endeavoured, in this article, to show that the mainspring of comedy, in Salut Cousin! by the Algerian filmmaker Merzak Allouache, is essentially based on linguistic interferences, a dynamic related to the linguistic contacts between Algerian Arabic and French. [ABSTRACT FROM AUTHOR]

This introduction to the Special Focus section on the Senegalese filmmaker Ousmane Sembene argues that the fiftieth anniversary of Xala (1974) provides a timely opportunity to revisit and reengage with his work as a whole. This is due not only to the availability of new, digitally restored versions of Sembene's features like Xala, but also to the establishment of new archive collections of both Sembene and his longtime producer, Paulin Soumanou Vieyra. It is argued that the archive provides a springboard for fresh modes of critical enquiry that move beyond the standard framings and periodizations of Sembene and recapture his experimental drive and visionary energy. After outlining the main themes of the three contributions to the section, the introduction suggests further ways in which one might productively open up Sembene's work, including a focus on its documentary forms, greater acknowledgment of its complex formal and conceptual challenges, and a celebration of its aesthetic "imperfections" which elude the well-worn tropes and templates of engaged African cinema. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas 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.)

Film and television coverage of the “Little Hungarian World” following the Second Vienna Award remains incomplete. The media products, mostly funded by Hungary, usually portray the period between 1940 and 1944 in a one-sided manner, resulting from the lack of an unvarnished and honest confrontation with our own history. The question arises: if we try to understand this phenomenon based on the available audiovisual productions, how distorted will our perception become? Is it possible to create a media product about this subject without nationalistic overtones and, if so, how? In this paper, I begin to reflect on this question primarily as a filmmaker who has produced a documentary on this subject. In 2015, in our film Sweet Transylvania, We Were Here, we attempted to reconstruct the brief period of Northern Transylvania's return to Hungary based on oral history collections. I now aim to examine this phenomenon through the lens of available audiovisual products, complemented by the interviews collected for our documentary. This examination will focus on the following keywords: Second Vienna Award, the relationship between Hungarians from the Homeland and those from Transylvania, anti-Semitism, regime change, and sense of identity. [ABSTRACT FROM AUTHOR]

Considering comfort women as both a contested object of knowledge and a productive figure, this article examines the representational endeavours undertaken by Chinese filmmakers in the past three decades. Specifically, it analyses three fictional films – How Many Levels are Hells (1992), Zhenzhen (2002), and City of Life and Death (2009) – which were produced in disparate socio-political and historical circumstances. Central to this article is a careful examination of women's violated bodies on screen that have aroused nationalistic sentiments and concomitantly unsettled the very nationalism produced under the rubric of an ingrained masculinist public culture. The article highlights how these cinematic representations address the thorny problems of commodification and objectification of women's sexuality, the crisis of survival faced by former comfort women, and the universal suffering of comfort women regardless of their nationalities. In a broader sense, by interrogating the comfort women issue as a purveyor of knowledge, the article contributes to the film studies of female sexuality and the memorialisation of World War II in contemporary China. [ABSTRACT FROM AUTHOR]

This essay combines autoethnographic narratives along with the films of U.S. film director Wes Anderson to provoke and unlock a buried grief of serving as a pediatric hospital chaplain. Anderson is one of the most well-known U.S. film directors. Even if an individual has not seen one of his eleven feature-length films, his aesthetic, eccentricity, and production design are well known and have reached meme status on social media platforms such as TikTok and Instagram. Buried within the pastel pastiche are themes of grief and trauma. The author moves through these themes alongside Anderson's cinematic universe and offer possibilities for communal care in an Andersonian manner. [ABSTRACT FROM AUTHOR]

The article examines the concept of heterochrony in Wes Anderson's films, focusing on how the director manipulates time to create a unique cinematic experience. It specifically analyzes Anderson's use of past and future elements, particularly in "The French Dispatch," to explore different temporal layers and their narrative implications.

If Gaelic has been symbolically appropriated to represent Scotland, then it follows that we need to look more closely at the part played by documentary film both of and from the Scottish Hebrides, in furthering the dissemination of what is an idealised and contested identity. As documentary is a negotiated contract between the producer and those they 'represent', the discussion needs to consider whether the representation of a Hebridean identity, and by extension a mythical Scottish identity, is constructed by the filmmaker, and if so, how filmic constraints and practices inform this representation. Within this framework is an acknowledgement of the extent to which Hebridean identity has been mediated by books, photographs and films for the past 300 years. This article will deliver the findings of a research project undertaken in the in the Outer Hebrides (also known as the Western Isles and Lewis & Harris). The research investigates the extent to which interviewees themselves collude with documentary makers in presenting a view of the Gael that reflects the Gaelic-speaker's own self-assigned role as guardian of the land and traditions. As this research marries practice with research, it will present it in a semi-autobiographical style. [ABSTRACT FROM AUTHOR]

Filmmakers have established editing rules that aim to create cinematic continuity across filmic cuts, thereby avoiding viewers' confusion despite the abrupt changes in perception. In our present project, we investigated the impact of 3D films, as opposed to 2D films, on the salience of filmic cuts. We employed a cut detection task and focused on within-scene cuts with mere changes in camera perspective. We presented short video clips to our participants and asked them to press a key whenever they noticed a filmic cut, and we measured their cut detection performance. In addition to viewing mode (2D vs. 3D presentation), we considered cross-modal auditory influences (visual vs. audiovisual presentation) on the salience of filmic cuts. Participants detected cuts more accurately and faster when the video clips were presented in 3D rather than in 2D and when the video clips were presented only visually (without soundtrack) rather than audiovisually (with soundtrack). Both factors influenced cut detection performance independently. We conclude that while the regular audiovisual presentation of films supports the filmmakers' mission to achieve cinematic continuity, filmmakers should also be aware of the additional salience of cuts that comes with 3D film presentation and consider its effects on cinematic continuity. [ABSTRACT FROM AUTHOR]

Over the last decade, several professionalising amateur Australian content creators making popular web series distributed on multiple open platforms broke into the television industry and have since developed promising professional careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look processually and empirically at the career trajectories of 26 creators following their first publicly funded web series between 2011 and 2020. The creators' pathways are varied, but web series facilitated a pathway to career sustainability for roughly three quarters of the cohort. Web series functioned as (1) a calling card for native online creators, (2) a format facilitating career consolidation or acceleration for television professionals and (3) a format enabling career diversification for filmmakers. Overall, they can be a market-tested talent training ground for television, especially broadcaster-video-on-demand or subscription-video-on-demand services. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata 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.)

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 article examines Suha Arın's auteur identity in documentary cinema and his contributions to Turkish documentary cinema. The aim of the study is to examine the original narrative language, thematic diversity and cinematographic mastery in Arın's films and to reveal his position as a "cultural ambassador" and why he has become infinite as a storyteller through examples. The study, which is a qualitative research, will also project Suha Arın's production in Turkey during the period in which he was in production, based on the idea that directors who are considered auteurs present a personal approach to cinema as well as addressing the era they witnessed within the framework of their originality; it will be stated that he is a creative documentary film director whose films have been recognized in Turkey and internationally. The study, which is based on a historical analysis, finds that Suha Arın, one of the most important figures of Turkish documentary cinema, brought a breath of fresh air to the field in terms of form and content, and changed the flow of Turkish documentary cinema. Suha Arın evaluated documentary cinema not only as an informative tool but also as a form of aesthetic and artistic expression. In terms of the development of documentary cinema in Turkey and the limited interest of the audience compared to fiction cinema, it is foreseen that a detailed examination of the films of a pioneer in this field with a historical perspective will make a significant contribution to the literature. [ABSTRACT FROM AUTHOR]

I recut an observational documentary about a woman called Bekti into a more conventional hero's journey for a broadcaster. The hero's journey narrative requires large obstacles to be overcome by the hero in their search for their ego. In this documentary the obstacle is connecting experimental science with communities with the aim to reduce dengue fever, and the hero's 'ego' is to be an effective communicator. Using the hero's journey style of narrative reduced the importance of the domestic aspects of Bekti's life because these scenes did not contribute to overcoming obstacles or finding ego. To explore these changes use feminist critique of the influence of the hero's journey on narrative structure and character creation. Alongside this, I use a decolonising lens to challenge the universality of the monomyth. I then bring into this debate work on value in the economy to explore how the hero's journey used in the recut documentary corresponds to neoliberal values. This critique adds to the current debates around heroic characters and story structures in non-fiction films via rethinking story in practice. [ABSTRACT FROM AUTHOR]

From the very beginning of film history, the moving image has exerted a fascination. The Russian filmmaker Andrei Tarkovsky (1932-1986) called it "sealed time". This already captures an essential dimension of films. Like no other medium, film can tell and, above all, preserve a person's life story in two hours. How is this possible? What characterizes a good story and why is a well-filmed story fascinating? Is there a specific knowledge, an insight that we can only learn from stories? The first part deals with the connection between storytelling and self-knowledge. Then we ask about the film's claim to truth and how films work. Is there a recipe for a good story? The last part deals with the topic of "Film and Imagination" - how the dramaturgy of film helps us to live authentically. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Electrónico de Estudios en Comunicación Social 'Disertaciones' is the property of Colegio Mayor de Nuestra Senora del Rosario 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.)

The collaboration between director Evald Schorm and stage designer Jan Dušek dates back to the critical period of the 1970s and 1980s, which in former Czechoslovakia became known as normalization. Normalization meant that the situation after the Warsaw Pact invasion of Czechoslovakia in August 1968 and the subsequent occupation would return the relaxed atmosphere of the communist regime to an unfree, rigid form. As a result of the purges that took place after 1968, many citizens who did not agree with the occupation could not practice their original profession. One of them was the film director Evald Schorm (1931-1988) who was forbidden to make films for a long time but was able to work in the theatre. In 1976 he began working at the Theatre on the Balustrade in Prague and created a total of 13 productions there until 1987. The vast majority of them were performed in collaboration with the scenographer Jan Dušek (1942), a leading representative of the peak phase of Czechoslovak action scenography. The study will focus mainly on two of them, productions of Shakespeare's Hamlet (1978) and Macbeth (1981), which are intrinsically related to each other, in their interpretation, and through which both creators expressed themselves very succinctly on the socio-political situation. The study will describe how the seemingly different personalities of these creators managed to create a harmonious creative duo whose joint works established a distinctive style in their time and resonate in the memories of the audiences and experts of the time to this day for their courage, distinctive poetics, and unity of all production components. [ABSTRACT FROM AUTHOR]

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal 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.)

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal 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.)

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.)

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.)

Software development projects face significant risks of going over budget, over schedule, and of failing to deliver expected benefits. These risks have endured despite methodological changes within the industry, such as the rise in popularity of Agile. This research looks outside of the software industry and seeks inspiration from film production, which has developed different management strategies to address challenges similar to those faced by software development projects. First, an analysis of film production project management reveals four principles, each evidenced by a set of practices used throughout the industry. Next, we identify sets of practices that would enable software development projects to also align to those same four principles. The synthesis of each principle from its set of supporting film production practices is then validated through structured interviews with veteran film producers. Lastly, the derivation of each principle to a parallel set of supporting practices within the context of software development is validated in a second series of interviews with experienced software development project managers. In total, this research identifies a set of software development project management practices that mirror film production practices. These practices offer a framework for software development project managers to consider when seeking to tailor existing methodologies, particularly in scenarios that present challenges similar to those encountered in film production. [ABSTRACT FROM AUTHOR]

The article reflects the results of a comparative hermeneutical analysis of Soviet feature films of the second half of the 1950s – first half of the 1980s, including the study of cultural and historical contexts in order to consider their possible influence on the author's views, reflected in the specifics of the depiction of characters and reality, in the choice of plot motifs and other structural components of the film. Based on the results of the analysis, we described and systematized film images, types of movie characters and plot motives reflecting the prevailing “points of view” about cultural values and traditions, and characterizing stereotypical models of social interaction of characters in accordance with the five types of cinematic discourse (interpersonal, artistic-aesthetic, religious-ideological, historical-cultural, mythological), which constitute the content of the structural-functional model of cultural identity developed by us, which is represented in the domestic cinema. The analysis of research on the topic of the article has shown that the problem of cultural identity in the period under consideration was gaining relevance. This was due to the beginning of the weakening of the ideological press, which contributed to the revival of interest in culture. Filmmakers increasingly began to turn to folk culture, the peasant world, the history of prerevolutionary Russia and noble culture. The characters' interpersonal relations were characterized by sincerity and frankness, mutual understanding and mental closeness. The images of nature embodied the feelings of despondency and longing, born of the boundlessness of Russian expanses and contemplation of fading nature. Images of mythologemes of Russian culture – river, tree, house – appeared on the screen. [ABSTRACT FROM AUTHOR]

Anime is widely known and has a numerous army of admirers all over the world. It originated in Japan almost 70 years ago, but, as time went by, this style of animation has won the audience, become recognised worldwide and still has not lost its appeal. The authors of the article aim to discover whether it continues to be popular today among the students of one particular Russian university and indicate the reasons for that. The methodology used in the paper involves literature analysis and synthesis, generalization, comparative analysis, statistical analysis, and a survey. The sample of the study consisted of 170 undergraduate students aged 17 to 20 from the Northern (Arctic) Federal University named after M.V. Lomonosov (Arkhangelsk, Russia). The received results demonstrated that most students got acquainted with this genre while being at school but hitherto favour it. Anime, being an incentive for many young people, inspires them to study the history, traditions and culture of Japan and compare it with other countries, thus, being a part of the global anime community. The survey also revealed the main reasons of anime popularity such as a fascinating plot, variety of genres, bright images of the characters and identified the filmmaker with the highest number of votes. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

Copyright of Materiales para la Historia del Deporte is the property of Polytechnic University of Madrid 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Nigeria's oil-rich Niger Delta region has continuously been conceived as a context of terror and political violence. However, this representation of the Niger Delta is deemed too schematic and misleading since it does not account for oil production's complicated local and human issues. In fact, violent mining geographies like the Niger Delta are always permeated by various forms of subtle and imperceptible violence that, if overlooked, may lead to misrepresentations. Rob Nixon has theorized such invisibilized forms of violence as "slow violence." Building on this concept of slow violence as long emergencies that are hard to harness and turn into dramatic stories, this article examines how Black November : Struggle for the Niger Delta (Jeta Amata, 2012) and Oloibiri (Curtis Graham and Samantha Iwowo, 2016), two films set in the vulnerable ecosystem of the Niger Delta oil-producing enclaves, take on the representational challenge posed by the slow violence of ecological destruction. It studies how the filmmakers conceptualize slow violence and explores their strategies to make visible subtle forms of harm that resist representation. More specifically, it analyzes how spatiotemporal relations, images, and narrative sequences are combined to witness the slow violence of oil production and ecological destruction. [ABSTRACT FROM AUTHOR]

This article examines the history of silent film production in south Florida with a focus on production context. Interest in south Florida as a site for film production increased around 1919 and flourished for several years. Production activity in south Florida in the early 1920s centered around Miami Studios in Hialeah, built in the summer of 1921. Within four short years, the facility had become virtually unutilized for film production. By reconstructing the events and processes surrounding the production of motion pictures filmed in south Florida—utilizing contemporaneous newspaper and magazine reports, business records and correspondences, and other extant archives—this study questions why film producers were interested in Florida and seeks to elucidate why this interest shifted by the end of the silent era. Focus will center around the production of D.W. Griffith's The White Rose, filmed at Miami Studios during the 1922–23 winter season. This investigation demonstrates that the seasonality of Florida film production, despite the presence of industry heavyweight Griffith, ultimately led to the failure of Miami Studios to sustain long term operations. [ABSTRACT FROM AUTHOR]

The article focuses on Gen-X filmmakers and stars, including reflections on middle age and handling aging. Topics include Nicole Holofcener's portrayal of upper-middle-class anomie in her latest film, "You Hurt My Feelings," the evolution of film and television in the digital age, and Arnold Schwarzenegger's podcast and recent public statements.