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This article offers a reading of Mike Mills's 2016 film 20th Century Women (US), arguing that the film's aesthetic and ethical project is cognate with practices of surface reading, while also offering necessary points of friction and departure. Surface reading makes a compelling argument against the excavation of so-called deeper meaning; however, its claims to objective truthfulness cannot adequately account for the multiplicity of the surface itself — that which ultimately resists the stability that proponents claim it confirms. Instead, as I will argue, we might turn to a method like surface reading not as a tool with which to diagnose true meaning or claim certainty but to think about the surface as a zone that voids knowability, as a site where we find not the transparent but the opaque, and where we encounter fundamental forms of alterity. Drawing primarily on the aesthetic properties of the film, including color, mise-en-scène, cinematography, and editing, I argue that 20th Century Women recuperates the surface, but the surface does not clarify or confirm meaning; rather, as Mills attests, it remains a zone of lasting mystery. This is at the heart of the film's ethical intervention, which resists the possibility of total, appropriative knowledge and coordinates other forms of attention premised on openness and nonmastery instead. [ABSTRACT FROM AUTHOR]

Virtual production, a filmmaking technique that seamlessly merges virtual and real cinematography, has revolutionized the film and television industry. However, traditional virtual production requires the setup of green screens, which can be both costly and cumbersome. We have developed a green screen-free virtual production system that incorporates a 3D tracker for camera tracking, enabling the compositing of virtual and real-world images from a moving camera with varying perspectives. To address the core issue of video matting in virtual production, we introduce a novel Boundary-Selective Fusion (BSF) technique that combines the alpha mattes generated by deep learning-based and depth-based approaches, leveraging their complementary strengths. Experimental results demonstrate that this combined alpha matte is more accurate and robust than those produced by either method alone. Overall, the proposed BSF technique is competitive with state-of-the-art video matting methods, particularly in scenarios involving humans holding objects or other complex settings. The proposed system enables real-time previewing of composite footage during filmmaking, reducing the costs associated with green screen setups and simplifying the compositing process of virtual and real images. [ABSTRACT FROM AUTHOR]

A substantial amount of literature has shown that the input flooding and enhancement (Textual enhancement, TE) technique helps learners to perceive and acquire target features implicitly. Previous studies explored the efficacy of computer-assisted TE interventions in Second Language Acquisition with diverse techniques, but animation has not yet been sufficiently taken into consideration. In this paper, we developed an animation-based TE intervention to promote the primary school children' acquisition of the linguistic features of English question sentences. The results suggested that learners in experimental group improved their performances in producing questions and statements with a large effect size, as they were found to spontaneously put extra efforts in exploring the related knowledge of the visually enhanced forms. The study presumed that the animation-based TE intervention would stimulate participants' awareness and curiosity of the target forms, which consequently led to improved performance in tasks both involving precursor knowledge and newly acquired knowledge. [ABSTRACT FROM AUTHOR]

Modern education, in particular cinematographics, is not possible without the use of modern information technologies. Virtual reality technologies significantly expand the possibilities of cinematographic education. Digital tools make it possible to create any special animated effects that appeal to more viewers. Therefore, by addressing this problem, the study identifies the relationship between education in cinematography and VR- technologies and their impact on film perception. The authors were the first to compare the perceptions of the stories of popular cartoons by viewers of different age groups (younger students and adults – parents and instructors). Children and adults were shown fragments of cartoons. Then an interview was conducted using a semi-structured questionnaire and a psychodiagnostic study based on A.N. Bernstein's technique of story-driven pictures and Kunin's physiognomy test. The study revealed differences in perception of animated films, which were animated using virtual reality applications. The findings theoretically explain the factors of psychological impact of animated movies and understanding of their meaning, which can be used in the animation industry, to create story-driven animated films of educational value. [ABSTRACT FROM AUTHOR]

Is it possible for today's man to return to the historical past several centuries or millennia and find himself among his ancestors as shown in various science fiction films such as the cult British series "Outlander" when the main heroine enters the hollow of the tree and returns in the middle ages. Is it possible to travel into the future several centuries or millennia into the future as shown by Herbert George Wells in the science fiction novel Time machine or the French film "Les Visiteurs" when the heroes of the Middle Ages travel to the future. Are there parallel worlds or multiverses in which one day future generations will travel only with advanced technologies at the speed of light like in the cult TV series Wars or Dr.No? For now, these impossible feats are possible only on movies, but scientists like Albert Einstein, Nikola Tesla, and especially Everett Hughes, Stephen Hawking, theoretically explained the probability of such hypotheses. The concepts of time travel and parallel worlds are phenomena that are mutually related and interdependent both in literature and cinema, and in other scientific cultural-artistic or entertainment works. They complement and enhance each other because the phenomenon of time travel cannot be effected if there is no other world, even assuming that it is simply a return to the past or travel to the future. In this review, we will only focus on the phenomenon of time travel. This paper is part of the research dedicated to the project Time Travel and Parallel Worlds in Cinema integrated in my doctoral thesis with the same title. [ABSTRACT FROM AUTHOR]

The article looks into the representation of family and family education in Russian feature films during 1955–1960 when Soviet filmmakers began to explore the complexities of family life, often reflecting the broader social and political changes of the time. Thus, the family became a microcosm for examining issues of identity, personal struggle, and societal expectations. Soviet feature films of the Thaw era offer a rich tapestry of family images that reflect a complex interplay between personal and societal changes during that period. By focusing on individual experiences and emotional depth, these films provide a critical lens through which to understand the evolving of Soviet family life and the broader cultural transformations of the era. They are valuable in the media education context for their nuanced portrayal of human relationships and their subtle critique of the socio-political context of the time. Soviet feature films of the Thaw era represent a rich and transformative period in cinematography, reflecting broader socio-political changes and contributing to the evolution of film as a medium. From a media studies perspective, these films provide valuable insights into the cultural production of the period, the negotiation of ideological boundaries, and the power of narrative and representation in shaping societal values, family values and historical memory. [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]

During the second half of the 1940s and into the 1950s, attendance at French films at the French box office was at its peak. The genre spectrum of the leaders of the “golden ten” of the French film distribution was diverse, but in general it was based on films of entertainment genres, which starred the favorites of the French public. Beginning in the mid-1960s, attendance at French films began to gradually decline (largely due to competition from television and Hollywood productions). An even greater decline in cinema attendance in France began to be felt in the 1980s. This was affected not only by strong competition from Hollywood products and television, but mainly by the massive distribution of household video equipment, which riveted millions of French people to their home screens, who previously preferred to watch films in cinemas. In the second half of the 1940s, there were very few French films in Soviet film distribution. This was largely due to the fact that it was during this period that so-called trophy films (mainly American and German) were shown on USSR screens. Due to the fact that by the mid-1950s the screening of so-called trophy films (mainly American and German) in the USSR was completed, in the second half of the 1950s more new European films, including French ones, began to be released in Soviet cinemas. The “thaw” that came to the USSR brought significant changes to procurement policy. For example, of the top ten leaders in French film distribution in 1958, exactly half were shown on USSR cinema screens. The work of the Soviet film purchasing commission in the 1960s was quite liberal, which (especially after the start of the “Prague Spring” of 1968) could not escape the conservative wing of the “ideological front”: a number of articles were published in the Soviet press with sharp criticism of the distribution policy regarding Western film products, “promoting the bourgeois way of life.” Among the reasons why French films were not included in Soviet film distribution are the following: – Taboos on erotica, accentuated religious and Jewish themes; – The fear that Soviet viewers might somehow misunderstand shocking plot twists from the point of view of official Soviet morality, which were often found even in artistically significant films; – Exclusion from candidates for the purchase of films with an interpretation of Russian and Soviet themes (and accordingly, Russian and Soviet characters) that is unacceptable for Soviet ideology; – The struggle of Soviet censorship with incorrectly (from its point of view) ideological accents on military topics; – Undesirability for Soviet censorship of films “promoting the bourgeois way of life”; – The undesirability of images of charming criminals appearing on Soviet screens; – The unacceptability of purchasing new films with the participation of famous actors who publicly criticized the policies of the USSR; – Too high prices offered by copyright holders; True, in the Soviet film distribution in the second half of the 1980s and early 1990s, French films began to increasingly appear, one way or another violating former censorship taboos. This was due to the fact that with the advent of perestroika, the work of the purchasing commission of the USSR State Cinema Committee became more liberal and in many ways began to focus on the purchase of highly artistic foreign films, and the former strict ideological and moral prohibitions ceased to apply.... [ABSTRACT FROM AUTHOR]

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In the last five years, the Spanish audio-visual industry has been shaped by the expansion of transnational on-demand audio-visual services as well as by the COVID-19 pandemic. In this context, characterized by opportunities and challenges, such as an increase in production agreements, popular hits and critical acclaim, alongside industry concentration and inadequate financial support, the international market offers hope while promising strategic opportunity. This article portrays the strengths and weaknesses of Spanish cinematography and television on the global stage between 2016 and 2021. Although the industry has witnessed a discernible increase in international recognition, this does not make up for its limited circulation and modest export numbers. [ABSTRACT FROM AUTHOR]

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Based on the content analysis (in the context of the historical, socio-cultural and political situation, etc.) of the texts published during the "perestroika" period of the Soviet Screen magazine (1986--1991), the authors came to the conclusion that materials on the subject of Western cinema on this stage can be divided into the following genres: -- ideologized articles emphasizing criticism of bourgeois cinema and its harmful influence on the audience (1986-1987); -- articles on the history of Western cinema; -- biographies and creative portraits of Western actors and directors (as a rule, with positive ratings); -- interviews with Western filmmakers (as a rule, with those who came to Moscow film festivals); -- reviews of Western films (here we can note a violation of the old tradition: if in 1986-1987 the magazine still often negatively evaluated some "politically harmful bourgeois" films, then later Western film production was evaluated without regard to ideological stereotypes, moreover, even received a positive interpretation films that were previously rejected for ideological reasons); -- articles about international film festivals and weeks of foreign cinema in the USSR, reviews of the current repertoire of Western national cinematographies (no longer divided into "progressive" and "bourgeois" cinematography); -- short informational materials about events in Western cinema (from neutral reports to "yellow" gossip). [ABSTRACT FROM AUTHOR]

The implementation of development programs of the second Pahlavi is analyzed from an economic or political view, while they are implied in the field of culture. The Iranian woman's identity has undergone changes under the influence of these cultural development policies. In this article, we study the representation of female identity in the movies of this period with the aim of investigating the changes of that. Considering that this representation was made under the programs of capitalist development, the theoretical framework of Adorno and Horkheimer's cultural industry from the Frankfurt school was used to critically show the representation of the implications of capitalist development on the cultural industry in the cinema of this period. In accordance with the framework of the Frankfurt school, the critical discourse analysis method of Laclau and Mouffe was used to identify the discursive changes of this representation in different periods of production and distribution of cinematographic works. Based on the findings of the research, four discourses have been identified from the beginning of the second Pahlavi period to 1327, the implementation of the construction program (1327-1343), the Ministry of Mehrdad Pahlabad (1343 to 1357) and the emerging discourse of the "new wave of Iranian cinema" (1340-1357). The analysis of these discourses shows that the representation of female identity in the cinema of this period has gradually changed from the traditional veiled identity to a more naked western identity, and the latter identity has been represented as the identity of the progressive and developed class. [ABSTRACT FROM AUTHOR]

Through its mixture of similarities to and differences from typical slow cinema practices, Roy Andersson's Songs from the Second Floor (2000) offers a unique perspective on what slow cinema can be. This is apparent in the film's mise en scène and cinematography. While the use of long takes, minimalist performances and deep focus fit comfortably within slow cinema tradition, Songs from the Second Floor differentiates itself with its expansive mise en scène, vast set designs and stationary camera. The film further expands on slow cinema with its inclusion of tragicomic humour, which complements slow cinema's modernist re-appropriation. [ABSTRACT FROM AUTHOR]

From perceptions that weave and are woven by narratives in performance, the article proposes drift that move through diachronic and synchronic temporalities. The storyteller's breath rubs thresholds between reality and fiction, signals synchronicities and operates the proposed pilgrimage, checking anachronies and meanings in the contemporary times of her gestures. Theater history, personal memories, cinematographies and the shamanic perspective of Davi Kopenawa intersect to pack the insinuated pulse of a dancing historic panorama crossed by physicality, ethnocentric avoidance and comparative mythology. Faced with the collapse that hangs over the present, shamanically translated as "the falling sky", it is verified when dance turns into battle and how rhapsodic perception can interact or translate cosmic dances and battles. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 de Arqueologia is the property of Revista de Arqueologia 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.)

This article attempts an analysis of Akira Kurosawa’s 1990 Yume (Dreams) based on the idea that each one of the eight episodes that the film depicts have got a group of people (or animals) that seems to be the equivalent of the ancient Greek theatre chorus. Thus, the article is an effort to establish a basis upon which the film may be understood differently that it is until now. Moreover, as the last sentence of the article declares, the actual intention of the article is to create a basis upon which further academic research may be conducted.

The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composition, psychological depth, and more. Cinematic expressiveness is realized through a system of modalities (real time, memories, dreams, imagination, altered consciousness, etc.), description of character movements, and “visual sound.” The study suggests that the genre of screenwriting in silent cinema fundamentally differs from subsequent eras and tends towards the epic rather than the dramatic genre. Discrepancies between directorial and literary scripts occurred early in the genre’s formation. A comprehensive examination of original realized screenplays could be key to understanding the reasons for the unsatisfactory results of writer-filmmaker interactions.

The author of the article notes the influence of the research of Russian folklorists and cultural historians on the interpretation of the 20th century art and captures the humanitarian trend towards searching for primarily archetypal situations and images in contemporary art, Soviet film comedy included. The article highlights the importance of the concepts by V. Propp and M. Bakhtin for the current perception of works of art and urges us not to limit ourselves to this, but to place new accents — to look for differences between the ancient and modern worldviews, between the impersonal solutions to dramatic situations and characters types, on the one hand, and the author’s aesthetics and individual interpretations of the world and man, on the other hand. Based on the material of the comedy films by L. Gaidai and E. Ryazanov, the fairy tale film An Ordinary Miracle by M. Zakharov, the author shows how far the artistic messages of these directors are from the archaic concepts of laughter and comedy, from the ideas of carnival freedom and harmony, which, however, does not deny the use of satire drama structures, palliata, and paired archetypical characters. This refers to the cultural layering of the images of Shurik, Nina, Saakhov, and the comical trio of the Coward, the Fool and the Pro. In addition, the article analyses the role of the water element in the comedy The Irony of Fate... and gives a detailed interpretation of the non-normative behaviours of Zhenya Lukashin and Ippolit possessing only external signs of carnivality. Conclusions are drawn about the dramatic heuristicity of laughter in the comedy films by Gaidai and Ryazanov, which had adaptive psychological functions and also contributed to the internal self-reflection of the Soviet audience.

The purpose of the article is to study the stage word, in particular its intonation component in acting works of the 40s and 50s in the noir genre, as well as the influence of the US ideology on cinematography of that period. The research methodology consists in the application of the method of historical retrospection, which is used to analyse the stage word in acting works in Hollywood cinematography of the 40s and 50s in the noir genre; the culturological method is used to study the influence of the US ideology of the 40s and 50s on the sociocultural environment through the stage word; the using of the method of role analysis makes it possible to analyse the work of actors on the speaking component of the roles created in the 40s and 50s in the noir genre. The scientific novelty is that, for the first time, a comprehensive study of the features of stage speech in acting works of the 40s and 50s in the noir genre was conducted, as well as their dependence on the current ideology of the US government. Conclusions. The intonation component of acting works, in particular male and female images in Hollywood cinema of the 40s and 50s in the noir genre, is considered. The influence of the US ideology on the artistic and aesthetic component of Hollywood cinematography, in particular on the stage word, is revealed. The features of the intonation image of the femme fatale in Hollywood cinematography in the noir genre are considered. The features of the intonation portrait of antagonists and protagonists in the Hollywood cinematography of the 40s and 50s of the noir genre are analysed. [ABSTRACT FROM AUTHOR]

The purpose of the article is to examine the innovation of comics in the real space of spectacular forms, in particular the impact of comics and graphic stories on cinema, anime, and video games as a global component of contemporary screen spectacle culture. The research methodology is based on the use of semiotic, analytical and cultural methods in revealing the peculiarities of the innovative influence of comics on various types of media in the space of modern spectacular forms. The scientific novelty of the study consists in carrying out an analysis of the evolution of the influence of comics on the development of modern screen spectacular forms, as well as the first cultural research of the innovative features of the synergy of comics and modern forms of screen spectacular culture. Conclusions. Comics provide a wide range of visual and narrative models that can be successfully used in the culture of screen forms of entertainment. Comics are capable of creating multimedia universes that open wide perspectives for the creation of cinematic universes that expand into various media formats. Such universes can become the basis for the creation of franchises, series and video games, expanding the audience and creating new opportunities for media convergence. In addition, the innovation of comics in the culture of screen spectacle forms is manifested in their influence on visual practices, aesthetics and experiments with structure and genres. This makes it possible for sketching to be the very medium that is able to create completely new and unique strategies of narrative constructions, which allows the creators of screen spectacular forms to experiment with many aspects of the composition of the work. [ABSTRACT FROM AUTHOR]

This article provides a compressed examination of sound studies, wherein the author explores the nexus of sound and listening as pivotal junctures intersecting semiotic and phenomenological discourses. At the same time, sound and listening are clarified as perplexing lacunas in the philosophical realm of sound. The study focuses on sound studies as a subject of inquiry to scrutinise its ontological underpinnings. Additionally, the article delves into the conundrum of why investigations into sound-related issues have predominantly occurred within the realms of science and art, often remaining confined within the purview of technology. In addressing these questions, the author seeks to elucidate the limitations of the current discourse on sound. The article explores the dimensions of representational sound, soundscape, and sound installation, thereby broadening the scope of inquiry within the field of sound studies. [ABSTRACT FROM AUTHOR]

Sergei Eisenstein's Paris Diary, a fragment of which is presented here for the first time in translation, traces two months of the filmmaker's sojourn in Paris between December 1929 and February 1930. It captures the singular way in which he interwove theoretical reflections with free associations, political remarks, and random observations. Containing drawings and notes, these pages also bear witness to significant encounters with the biologist and micro-cinematographer Jean Painlevé, the ethnographer Georges-Henri Rivière, and, the subject of speculation for many decades, the philosopher and cultural theorist Georges Bataille. Critical discussions of Surrealism, including Luis Buñuel's and Salvador Dalí's film Un chien andalou, are also reported. The diary's fragmentary notes and metamorphic associations perform Eisenstein's transposition of experimental Surrealist techniques, such as free association, onto his own autotheoretical writing. [ABSTRACT FROM AUTHOR]

This introductory text unfolds and interprets some key elements from Eisenstein's Paris Diary, contextualizing his encounters and providing further details for understanding the filmmaker's fragmentary and sometimes cryptic diary as an autotheoretical practice. Written from the perspective of one immersed in the artistic and intellectual Paris of 1929 and 1930—as evidenced by Eisenstein's encounters with Colette, Tristan Tzara, Gertrude Stein, André Malraux, Filippo T. Marinetti, Abel Gance, Jean Cocteau, Louis Aragon, Paul Éluard, Kiki de Montparnasse, Darius Milhaud, and others—the diary highlights the importance of his exchange with the avant-garde micro-cinematographer Jean Painlevé, as well as his theoretical and political kinship with the heterodox Surrealist group around the journal Documents. The introduction investigates the way in which Eisenstein's Paris Diary both documents daily events and serves as an ephemeral depository for the author's theoretical ideas on filmmaking and montage, seeing these in terms of such late works as Method, Montage, and Disney. [ABSTRACT FROM AUTHOR]

The new edition of Kafka's Drawings adds new material to the well-known fact that, in addition to his interests in both art history and the art of his own time, Kafka was a highly original draughtsman himself. Yet, it also shows that he stopped practicing these skills well before time of what he called his breakthrough to "the only way writing could be done." Nonetheless, the pictorial arts kept playing a decisive role not only in his writings, but also for his writing. In his novel The Trial, caricatures, paintings, photographs, and even cinematographic techniques interrupt and divert the written word revealing hidden layers of the story. While still firmly rooted in the tradition of alphabetic writing, his work registers—like a seismograph—the effects of new media of data storage and transmission. [ABSTRACT FROM AUTHOR]

The domain of cinematography pedagogy surpasses technical camera skills, delving into visual storytelling's creative essence. This study aims to explore methodologies facilitating effective implementation of outcome-based education (OBE) within China's educational system. Adhering to PRISMA guidelines, this research conducted a comprehensive narrative literature review, analyzing 135 relevant articles. The study focuses on identifying barriers impeding the successful integration of OBE in cinematography education. The findings highlighted that obstacles hindering OBE integration include inadequate educator and curriculum developer preparedness, limited resources, and challenges stemming from cultural and linguistic diversity. Successful OBE applications highlight the need for tailored strategies in the curriculum, emphasizing student-centered teaching and continual teacher training. Aligning cinematography education with industry standards and employing student-focused teaching methods fosters the development of proficient professionals. This study underscores the pivotal role of strategic curriculum practices in cinematography education's theoretical and practical realms within China. In contributing to the literature on OBE in cinematography, this study emphasizes strategic approaches' significance, illuminating successful applications in the Chinese educational context. [ABSTRACT FROM AUTHOR]

Copyright of Araucaria is the property of Araucaria-Revista Iberoamericana de Filosofia, Politica y Humanidades 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 Filmmuseum in Düsseldorf has opened a new research and exhibition space called "Ed. Liesegang. Projektionsgeschichte(n) aus Düsseldorf" to showcase over 150 years of photographic and cinematographic technology history. The collection includes around 300 devices, film and photo materials, and company documents. The museum has been working on digitizing the collection, making it accessible to the public and researchers. The museum also organized a series of events called "Leuchtende Freude mit Liesegang" to strengthen the connection between the museum and its collections. The events included lectures on topics such as the history of slide shows, cinematography, and the use of image bands. [Extracted from the article]

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]

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Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

This paper examines the construction of a dominant discourse criticized by parody in film. The construction of Javanese cultural discourse has been the dominant discourse since the beginning of the Indonesian state; even the meanings born from the construction of the discourse remain to this day. Javanese cultural discourse refers to all forms of discussion related to cultural aspects in Java, including values, norms, traditions, art, language, and local wisdom of the Javanese people. Nagabonar's film deconstructs Javanese discourse with historical parody in its story. This research is expected to open up another way of thinking from the dominance of Javacentric thinking. Two approaches are used to recite and criticize Nagabonar's film as text: cinematographic theory and deconstruction. First is the mise-en-scene approach and staging in cinematographic theory, while the second is the theory of deconstruction to see what history hides or forbids and recasts a discourse construction of thinking that was previously marginalized or even alienated. This study aims to show the meaning of criticism in Nagabonar films against Javacentric dominant discourse through the deconstruction of film texts. Critics of this film tend to open questions about the concept of Indonesian nationalism. [ABSTRACT FROM AUTHOR]

The emergence of novel AI technologies and increasingly portable wearable devices have introduced a wider range of more liberated avenues for communication and interaction between human and virtual environments. In this context, the expression of distinct emotions and movements by users may convey a variety of meanings. Consequently, an emerging challenge is how to automatically enhance the visual representation of such interactions. Here, a novel Generative Adversarial Network (GAN) based model, AACOGAN, is introduced to tackle this challenge effectively. AACOGAN model establishes a relationship between player interactions, object locations, and camera movements, subsequently generating camera shots that augment player immersion. Experimental results demonstrate that AACOGAN enhances the correlation between player interactions and camera trajectories by an average of 73%, and improves multi‐focus scene quality up to 32.9%. Consequently, AACOGAN is established as an efficient and economical solution for generating camera shots appropriate for a wide range of interactive motions. Exemplary video footage can be found at https://youtu.be/Syrwbnpzgx8. [ABSTRACT FROM AUTHOR]

According to elite and mass surveys, the late-Soviet sociopolitical and economic order was largely perceived as the only viable alternative to domestic political and economic status quo in Russia before 2022. Political elites invested significant efforts and funds into deliberative promotion of a complex of ideational legacies through different tools (including cinematography). This complex, labeled a "Good Soviet Union," is an imagined sociopolitical and economic order, which somehow resembles that of the late-Soviet past, while lacking its inherent flaws. Elements of the Soviet legacy were selectively chosen for the sake of preservation of the politico-economic status quo. They include the hierarchical mechanism of governance, low circulation of elites and their privileged status, state control over media, and repressions toward organized dissent. Meanwhile, other elements of the late-Soviet past, such as relatively low inequality and certain state social guarantees, have been discarded. A "Good Soviet Union" model includes not only market economy and no shortages of goods and services, but also a lack of institutional constraints on rent-seeking and legalization of wealth and status of elites. In this article, we consider a "Good Soviet Union" as a socially constructed legacy of the past and focus on mechanisms of translation of this legacy into Russia's current agenda through the use of modern Russian cinematography and analysis of policy preferences on the part of political elites. We further consider its effects on politics and policy-making, as well as its limitations and constraints. Some implications of the social construction of Soviet legacies are discussed in the conclusion. [ABSTRACT FROM AUTHOR]

This article aims to reinstall the understated significance of female auteur Agnès Varda in French New Wave cinema. By analyzing distinctions in cinematography and characterization between Varda's film Cléo from 5 to 7 (1962) and Jean-Luc Godard's oeuvre from the same period, I argue that Cléo from 5 to 7 advanced a vision of female subjectivity that controverted the construction of silenced female characters in Godard's films. With her feminist pen of cinécriture, or "film-writing," Varda challenged the prevalent androcentrism in the New Wave and pioneered second wave feminism in France. [ABSTRACT FROM AUTHOR]

The article focuses on a Bakhtinian analysis of the representation of sound in Iranian cinema, authored by Behnaz Heydari, published in the Quarterly Review of Film & Video. It provides bibliographic details including volume, issue, pagination, publication date, and DOI, highlighting scholarly discourse on the interpretation of sound as a narrative element in Iranian films.

The article focuses on the pragmatic analysis of nicknames in films, authored by Kristina Šekrst, published in the Quarterly Review of Film & Video. It provides bibliographic details including volume, issue, pagination, publication date, and DOI, highlighting scholarly discourse on the use and significance of nicknames in cinematic narratives.

The article focuses on a semiotic analysis of camera movement in Disney animation, co-authored by Seyed Mohammad Jamasbi, Mohammad Ali Safoora, and Mostafa Goudarzi, published in the Quarterly Review of Film & Video. It provides bibliographic details including volume, issue, pagination, publication date, and DOI, highlighting scholarly discourse on the use of camera techniques in Disney's animated works.