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Journal articles on the topic 'Alternative cinema'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Keller, Sarah. "“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema." rythmer, no. 16 (April 11, 2011): 129–43. http://dx.doi.org/10.7202/1001959ar.

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This essay examines the connection between modern poetry and cinema through their mutual emphasis on rhythm. It argues that rhythm provides both an alternative mode for structuring non-narrative cinemas as well as an explanatory device for how filmmakers in the modernist milieu believe the cinema works.

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Karolina, Cut Meutia, Eni Maryani, and Dian Wardiana Sjuchro. "Developing an alternative media for visually impaired audiences: ‘Bioskop Harewos’ Bandung." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 1 (2021): 134. http://dx.doi.org/10.25139/jsk.v5i1.2451.

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Bioskop Harewos is a cinema in the Bandung, West Java, intended for visually impaired audiences. This research focused on efforts to uncover the existence of Bioskop Harewos for the visually impaired and the model of watching films of visually impaired audiences in Bioskop Harewos. The research method was a qualitative case study using several theories and concepts for alternative media. This research collected various data from cinematographers, cinema managers, and Bioskop Harewos team and audiences through interviews. The results showed that Bioskop Harewos is an alternative media for visua

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Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptab

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4

Smith, Jo. "Book Review: Cinema, cross-cultural collaboration, and criticism: Filming on an uneven field." AlterNative: An International Journal of Indigenous Peoples 12, no. 1 (2016): 101–3. http://dx.doi.org/10.20507/alternative.2016.12.1.8.

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Aditama, Muhammad Reza. "BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998." Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, no. 1 (2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.

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This article aims to answer the following 3 questions: 1) How is the development of cinema in Palu City?; 2) How is the influence of cinema on the people of Palu City?; and 3) Why does the presence of cinema produce a new cultural identity in the people of Palu City? The problems in this article are solved using historical methodologies and anthropological approaches. The results of this study indicate that: 1) In the period between 1951-1990 the development of cinema was only in the form of an increase in number, then in 1991 there was one cinema that was different from previous cinemas so th

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Lee, Chan-Bok. "Suggesting Korean Cinema's Alternative - 3D Cinema." Journal of the Korea Contents Association 10, no. 4 (2010): 123–32. http://dx.doi.org/10.5392/jkca.2010.10.4.123.

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Van Heuckelom, Kris. "An alternative history of Polish cinema." Studies in Eastern European Cinema 9, no. 3 (2018): 286–88. http://dx.doi.org/10.1080/2040350x.2018.1494910.

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NWANKWọ, IZUU. "An Alternative Cinema for the People." Matatu 39, no. 1 (2011): 696–701. http://dx.doi.org/10.1163/9789401200745_038.

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Lyra, Bernadette. "Cinema periférico de bordas." Comunicação Mídia e Consumo 6, no. 15 (2009): 31–47. http://dx.doi.org/10.18568/cmc.v6i15.145.

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Resumo O cinema de bordas é produzido por realizadores autodidatas, moradores de cidades pequenas ou de arredores das grandes capitais. Os filmes periféricos têm um público específico e apresentam características alternativas que estão voltadas para o entretenimento. Esses filmes são produtos adaptados às regiões, ao modo de vida e ao imaginário popular e massivo das comunidades envolvidas no processo de sua produção. Palavras-chave: Cinema de bordas; filmes periféricos; paracinema; estilo cinematográfico; consumo alternativo.  Resumen El cine de bordes es p

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10

Yaqub, Nadia. "The City in Early Alternative Arab Cinema." Telos 2021, no. 197 (2021): 57–78. http://dx.doi.org/10.3817/1221197057.

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Woolland, Brian, Lisa S. Starks, and Courtney Lehmann. "The Reel Shakespeare: Alternative Cinema and Theory." Modern Language Review 99, no. 3 (2004): 743. http://dx.doi.org/10.2307/3739010.

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12

Heriana, Tutik, Bobur Sobirov, Anton Subagyo, Rahmad Kurniawan, and Ayu Oktavia Lestari. "Business Feasibility Study Analysis of 3D Cinema in Tourism Park." American Journal of Economics and Business Management 8, no. 1 (2025): 331–40. https://doi.org/10.31150/ajebm.v8i1.3241.

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3D cinemas can be a unique and iconic tourist attraction, so they have the potential to attract more visitors to tourist parks. The author uses a case study research method to focus attention directly and conduct a more specific exploratory analysis to understand the situation. The case study approach can also be used to research cases in the past, but the effects or consequences of the case can still be felt today. From the analysis, the 3D cinema business in tourist parks has promising market potential with the use of appropriate marketing strategies based on case studies of tourist parks in

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13

Yu, Jiayin. "Chinese Reception of Magic Lantern During the Late Qing Dynasty: Study of the Name Change from Huandeng to Yingxi." Communications in Humanities Research 1, no. 1 (2021): 57–62. http://dx.doi.org/10.54254/chr.iceipi.2021216.

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This paper illustrates the changing of Magic Lanterns Chinese name after its landing in China. Magic Lantern, as an ancient precursor of the modern cinema, experienced a long-term development that plays an increasingly important role in our modern life. The change of its Chinese name shows the Chinese perception of this apparatus. People neglected the alternative paths of cinema when the cinema becoming into an entertainment stereotype for the public. This paper will look back to the beginning of the perception history of this apparatus, rethink the history writing method, and try to discover

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Yu, Jiayin. "Chinese Reception of Magic Lantern During the Late Qing Dynasty: Study of the Name Change from Huandeng to Yingxi." Communications in Humanities Research 1, no. 1 (2021): 57–62. http://dx.doi.org/10.54254/2753-7064/1/iceipi_216.

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This paper illustrates the changing of Magic Lanterns Chinese name after its landing in China. Magic Lantern, as an ancient precursor of the modern cinema, experienced a long-term development that plays an increasingly important role in our modern life. The change of its Chinese name shows the Chinese perception of this apparatus. People neglected the alternative paths of cinema when the cinema becoming into an entertainment stereotype for the public. This paper will look back to the beginning of the perception history of this apparatus, rethink the history writing method, and try to discover

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15

Parvathy, N., and Priyanka Tripathi. "‘Breaking’ the Silence and ‘Fighting’ Back: Changing Representations of Female Response to Gender-Based Violence in Select Malayalam Films." Gender Studies 23, no. 1 (2024): 120–39. https://doi.org/10.2478/genst-2024-0008.

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Abstract Representation, particularly mediated forms such as cinema, has always been a powerful tool to enable social change. On the one hand, cinema functions as an instrument that reinstates hegemonic patriarchy, but on the other, it also becomes “a tool for political resistance and subversion” (Lauret, 1991, p. 66). Recently, South Asian cinema and, more specifically, the corpora of Malayalam cinema1 has emerged as an empowering platform that addresses structural and institutionalised inequalities of gender. Broadly, the paper discusses the shift in the representational praxis of gender-bas

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Berzosa, Alberto, and Jaime Vindel. "Militant cinema as an energetic alternative in the 1970s in Spain." Moving Image Review & Art Journal (MIRAJ), The 11, no. 2 (2022): 166–88. http://dx.doi.org/10.1386/miraj_00093_1.

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This article will examine the significance of the alternative film scene, as seen in the Spanish militant cinema of this period, through an analysis of the film Les energies (‘The energies’) (1979–80) by the Cooperativa de Cinema Alternatiu (CCA – Alternative Cinema Cooperative) that helped to trigger the debate on the energy question in Spain in the late 1970s and early 1980s. The militant Spanish cinema of that time was produced in some exceptionally precarious conditions as well as had limited access to financial resources and remained marginal to official film industry systems. The article

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de Vargas, Ferran. "Japan’s New Left and New Wave. An Ideology’s Perspective as an Alternative to That of National Cinema." Arts 8, no. 1 (2018): 1. http://dx.doi.org/10.3390/arts8010001.

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Starting from the perspective that national cinema is not a neutral concept, but rather a film expression with ideological implications, in this article I will argue that what should be analysed in films is not what connects them to certain nations, but with certain ideologies. Rather than claiming the national nature of a film, it is more accurate to identify for instance elements of a national ideology underlying the film. It can be more enriching to analyse different film trends that are based on their connections with different ideologies, thus stressing their political nature, and then hi

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18

Anderegg, Michael A. "The Reel Shakespeare: Alternative Cinema and Theory (review)." Shakespeare Quarterly 54, no. 4 (2003): 471–73. http://dx.doi.org/10.1353/shq.2004.0023.

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Mortari, Virgilio. "Les Preliminari a una storia del cinema de Guido Oldrini. Contribution à une méthode historiographique marxiste." 1895 98 (2022): 83–116. https://doi.org/10.4000/1394h.

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Dans un contexte où l’on s’interroge de plus en plus sur les limites de l’histoire du cinéma, deux ouvrages ouvertement polémiques du philosophe marxiste Guido Oldrini, Preliminari a una storia del cinema (2004) et Il Cinema nella cultura del Novecento (2006), entendaient prolonger la perspective de cette « révision critique » que Guido Aristarco avait promue dans la revue Cinema Nuovo – à laquelle Oldrini a assidûment participé. Cet article s’attache au premier d’entre eux, les Preliminari a una storia del cinema qui se voulaient un essai de méthodologie de l’historiographie devant « suggérer

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Erris RF Wijaya, Andre N Rahmanto, and Albert Naini. "Resilience Theory: Adaptation and Transformation of the Film Community due to the Pandemic." Formosa Journal of Social Sciences (FJSS) 1, no. 4 (2022): 467–84. http://dx.doi.org/10.55927/fjss.v1i4.2218.

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The Covid-19 pandemic had forced cinemas to close and the film industry to dim. Cinema closures are a serious issue for moviegoers and the film community. This research tries to find out how the film community is surviving amidst a pandemic. Qualitative methods are used to develop the research. Data collection is done through interviews. The analysis was carried out by adopting resilience communication theory to find out how the film community deals with pandemic situations. The results of the study show that 1) moviegoers adopt subscription video services (over-the-top) as an alternative to c

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Askari, Kaveh, and Marc S. Bernstein. "Locating Muslim Cinema(s)." Journal of Religion and Popular Culture 33, no. 3 (2021): 123–25. http://dx.doi.org/10.3138/jrpc.2020-0002.

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The four essays collected here raise a series of questions that unsettle and reconfigure some of the most persistent boundaries in studies of world cinema. In “Hollywood’s Bad Muslims: Misrepresentations and the Channeling of Racial Violence,” Imed Ben Labidi highlights the potential pitfalls of such an attempted mapping, focusing on Hollywood’s essentialized and essentializing portrayal of Muslims and Arabs. Conversely, while remaining within the confines of a small national industry, in “The Poetics of Tajik Cinema,” Sharofat Arabova transcends the implicit distortions of schematic periodiza

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Boonsri, Sasawat, and Wikanda Promkhuntong. "Historiography of Cinephiles in Thailand." Plaridel 16, no. 2 (2019): 143–60. http://dx.doi.org/10.52518/2020.16.2-06bonsri.

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Amongst film audiences in Thailand, there is a group that follows the new releases enthusiastically. They watch many films in the course of a week and do not only focus on films in the cinema but also search for places to watch alternative movies. Forming in the 1970s, these people are now known as “Thai Cinephiles”. They started off as regular audiences at screening events before becoming film critics, programmers and curators. This practice significantly expands the awareness of alternative cinema in Bangkok and other parts of Thailand. This paper traces the activities of Thai cinephiles fro

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Nuria, Pradilla. "El cine móvil. ¿Ficción o realidad?" ASRI. Arte y Sociedad. Revista de Investigación en Arte y Humanidades Digitales, no. 18 (July 1, 2020): 134–46. https://doi.org/10.5281/zenodo.7654954.

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En este artículo se abordan las posibilidades de realizar cine con el móvil a través de la exposición de los casos más relevantes de largometrajes realizados con teléfonos móviles en los últimos años. Esta tecnología ha experimentado cambios de tal calibre que, actualmente, se presenta como una alternativa a la cámara convencional muy interesante. Y es en el cine independiente, donde promete obtener su mayor desarrollo en los próximos años, pudiéndose consolidar, en un futuro próximo, como

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Ponzanesi, Sandra, and Verena Berger. "Introduction: Genres and Tropes in Postcolonial Cinema(s) in Europe." Transnational Cinemas 7, no. 2 (2016): 111–17. https://doi.org/10.1080/20403526.2016.1217641.

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Transnational migration and questions of identity are amongst the most powerful forces of social transformation in contemporary Europe. Over the past three decades, representations of migrant and diasporic experiences and the dynamics of postmodern multiculturalism have assumed a prominent position in European mainstream and art house cinema (Berger 2010; Berghahn 2010; Loshitzky 2010; Ponzanesi 2011a, 2011b). This proposal explores new ways of unpacking Europe by analyzing conventional as well as experimental cinema genres through postcolonial lenses. It furthermore offers alternative reading

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Roque, Rosemarie O. "Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil." Plaridel 15, no. 2 (2018): 71–112. http://dx.doi.org/10.52518/2018.15.2-03roque.

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Sineng Bayan (People’s Cinema) is a salient part of Philippine alternative cinema, which is in stark contrast to the dominant commercial cinema. It is an important aspect in the pursuit of a more serious Philippine cinema. Political film collectives that arose in the early 1980s and flourished during the Marcos dictatorship gave way to Sineng Bayan. This article focuses on the archival audiovisual works of AsiaVisions Media Foundation (AVMF), a non-government organization which primarily utilized film documentaries in its propaganda-education work, and Alternative Horizons (AlterHorizons), the

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Belot, Sophie. "Nathalie...: An Alternative Enunciative Position in Popular French Cinema." New Readings 8 (January 1, 2007): 1. http://dx.doi.org/10.18573/newreadings.56.

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Harmanpreet Kaur, Harmanpreet Kaur. "Contemporary Alternative Indian Cinema, Towards a New Film Language." International Journal of Communication and Media Studies 9, no. 3 (2019): 91–100. http://dx.doi.org/10.24247/ijcmsjun201910.

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Stepanova, Elena. "Echo of Reformation: Alternative Christianity in Literature and Cinema." Theological Reflections: Euro-Asian Journal of Theology, no. 19 (September 4, 2017): 128–49. http://dx.doi.org/10.29357/issn.2521-179x.2017.19.128.

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Lurie, Peter. "Everybody’s Protest Cinema." James Baldwin Review 7, no. 1 (2021): 115–37. http://dx.doi.org/10.7227/jbr.7.7.

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This article uses Baldwin’s 1949 essay “Everybody’s Protest Novel” to consider that literary mode’s corollary in the 1990s New Black Cinema. It argues that recent African American movies posit an alternative to the politics and aesthetics of films by a director such as Spike Lee, one that evinces a set of qualities Baldwin calls for in his essay about Black literature. Among these are what recent scholars such as Ann Anlin Cheng have called racial melancholy or what Kevin Quashie describes as Black “quiet,” as well as variations on Yogita Goyal’s diaspora romance. Films such as Barry Jenkins’s

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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History." Journal of British Cinema and Television 13, no. 2 (2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.

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It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especial

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Barton, Ruth. "Cultural baggage – Pirjo Hokkanen’s Matka." Short Film Studies 4, no. 1 (2014): 35–38. http://dx.doi.org/10.1386/sfs.4.1.35_1.

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Discussing the place of the short film within a national cinema, Martin McLoone asks whether this art form is uniquely placed to explore questions of the national. I ask the alternative question: how imperative is familiarity with a national cinema to an understanding of a short film such as Matka?

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Mendes da Silva, Bruno, Mirian Nogueira Tavares, and Vítor Reia-Baptista. "Interactivity, Cinema, and Experimentation." International Journal of Creative Interfaces and Computer Graphics 7, no. 2 (2016): 68–85. http://dx.doi.org/10.4018/ijcicg.2016070106.

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Based on the triad film-interactivity-experimentation, the applied research project The Forking Paths, developed at the Arts and Communication Research Centre (CIAC), endeavours to find alternative narrative forms in the field of Cinema and, more specifically, in the subfield of Interactive Cinema. The films in The Forking Paths invest in the relationship between the spectator and the film narrative, which is intended to be more active and engaged, and at same time they propose a research on the development of audio-visual language. The project is consubstantiated at an online platform that ai

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Melo, Ana Cláudia. "História e cinema LGBTQ+: entre memórias e esquecimentos." Revista USP, no. 145 (June 16, 2025): 105–18. https://doi.org/10.11606/issn.2316-9036.i145p105-118.

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This article presents a reflection on the history of LGBTQ+ (lesbian, gay, bisexual, transgender, and/or queer, etc.) representation, through facts and events, in films and beyond. For this purpose, the connection between cinema and history will first be examined, as it has been constituted since the beginnings of cinematography. Subsequently, drawing upon Jacques Rancière’s notions of cinema as multiplicity, an alternative educational approach to the relationship between cinema and history will be put forward, one that more inclusively addresses the LGBTQ+ issue.

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Gledhill, Christine. "Worlding Cinema." Studies in World Cinema 1, no. 1 (2021): 6–13. http://dx.doi.org/10.1163/26659891-0000b0002.

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Abstract Against the narrowly commercial and homogenising term ‘world cinema’ that lumps together a diversity of ‘foreign’ films as a category, the notion of ‘the local’ relativizes the idea of the ‘national’ as a singular entity. It suggests the pivoting around each other of ‘there’ and ‘here,’ thereby avoiding precisely fixed locations and calling on the dynamism of their relationship. The local, captures not only particular geo-political locations but historical relationships, which, interacting with changing conditions, produce the shifting frameworks of thinking, feeling, experience, and

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González de León, Fernando. "BUÑUEL, POE AND GOTHIC CINEMA." SIGLO DIECINUEVE (Literatura hispánica), no. 18 (May 7, 2012): 299–314. http://dx.doi.org/10.37677/sigloxix.vi18.135.

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The films of Luis Buñuel have almost always been studied within the critical framework of Surrealism. This essay proposes an alternative perspective and reveals the Gothic aspects of his cinema through an exploration of his involvement in the 1928 filming of The Fall of the House of Usher under the tutelage of Jean Epstein. It then goes on to trace the lasting and fruitful impact of this formative experience on some of his most important works, especially Viridiana.

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Harp, Gabriel A. "Deconstructing the Genome with Cinema." Leonardo 40, no. 4 (2007): 376–81. http://dx.doi.org/10.1162/leon.2007.40.4.376.

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Evidence from language, history and form suggest an analogy between the cinema and the genome. The author describes some of the relationships between cinema and the genome and points to opportunities for discovering unmarked categories within the genome and new methods of representation. This is accomplished by evaluating existing metaphors presented for the understanding of genetics and revealing how current scientific understanding and social concerns suggest a cinematic alternative. The formal principles of function, difference and development mediate discussion and serve as heuristics for

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Emanuel Omedetho Jermias and Abdul Rahman. "INTERAKSIONISME SIMBOLIK PADA KOMUNITAS CINEMA APPRECIATOR MAKASSAR DI KOTA MAKASSAR." Jurnal Pendidikan dan Kebudayaan (JURDIKBUD) 2, no. 3 (2022): 253–62. http://dx.doi.org/10.55606/jurdikbud.v2i3.596.

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ABSTRACT  Cinema Appreciator Makassar is a community that was formed because of the common interest in film appreciation. The activities that are usually carried out by the community are conducting film screenings and actively participating in creative spaces or activities in Makassar City. The context of cinema in the Makasar Cinema Appreciator room is a film that is not screened in theaters and tends to have educative themes. This community is characterized as alternative cinema, film and photography, as well as literacy and creativity. In maintaining its existence, Cinema Appreciator

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Güngör, Arif Can. "From Past To Present A Cognitive Work On “New Turkish Cinema”." CINEJ Cinema Journal 4, no. 1 (2015): 122–53. http://dx.doi.org/10.5195/cinej.2014.121.

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In recent years, “new” concept has become very consumable especially within the context of politics in our country. Generally, after certain periods in Turkey, “new”, representative of political changes and emphasizing reconstruction process, has been a concept that frequently used in paralel with political, social, economic and cultural use, from past to present. Turkish cinema has had many periods from its constructive years to present; some of which have been in diffuculties and crisises. Having been overcome after every crisis, Turkish Cinema has always recovered itself. After this recover

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Oroz, Elena, and Mar Binimelis. "Who counts? The presence of women directors in Spanish independent cinema through a data analysis of film circulation (2013-2018)." Communication & Society 33, no. 3 (2020): 101–18. http://dx.doi.org/10.15581/003.33.3.101-118.

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This article examines the presence of women filmmakers in Spanish independent cinema by assessing the national circulation of their works in the alternative distribution and exhibition circuit where gender studies are almost inexistent. Along with other neighboring countries, independent filmmaking enjoys a growing cultural weight within a national cinema conditioned by digitalization and the domination of multinational corporations in the aftershock of the economic crisis. The study, based on a representative sample to quantify female directors, carries out a cross-sectional examination in th

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Lingui Yang. "Shakespeare in Alternative Cinema: Sherwood Hu’s Tibetan Adaptation of Hamlet." Shakespeare Review 50, no. 5 (2014): 971–91. http://dx.doi.org/10.17009/shakes.2014.50.5.010.

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41

Beugnet, Martine, and Elizabeth Ezra. "Traces of the modern: an alternative history of French cinema." Studies in French Cinema 10, no. 1 (2010): 11–38. http://dx.doi.org/10.1386/sfc.10.1.11/1.

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42

Standish, Isolde. "Women in Japanese Cinema: Alternative Perspectives by Tamae K. Prindle." Journal of Japanese Studies 44, no. 2 (2018): 453–57. http://dx.doi.org/10.1353/jjs.2018.0060.

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Mazzara, Federica. "Performing post-migration cinema in Italy:Corazones de Mujerby K. Kosoof." Modern Italy 18, no. 1 (2013): 41–53. http://dx.doi.org/10.1080/13532944.2012.743740.

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Following consideration of the most common representations of migrants in Italian cinema, where they are often portrayed as victimised and minor subjects, this article analyses a film by Davide Sordella and Pablo Benedetti,Corazones de Mujer(2008) as a ‘post-migration alternative’. This film considers a different way of depicting ‘foreigners’, and addresses the complex issues of gender and sexuality as they emerge at the interface between Western and Arab cultures. Within the conceptual framework of Judith Butler's ‘gender performativity’ and Rosi Braidotti's ‘nomadic subject’, this article ai

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BEUGNET, MARTINE. "Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This article is part of a larger research project published in 2007 by Edinburgh University Press as a monograph entitled Cinema and Sensation: French Film and the Art of Transgression." Paragraph 31, no. 2 (2008): 173–88. http://dx.doi.org/10.3366/e0264833408000187.

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One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of

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Khanjani, Mehrnaz. "Beyond Propaganda and Politics: Resistance in Iranian Post-Revolutionary Cinema." Journal for Interdisciplinary Middle Eastern Studies 11, no. 1 (2025): 75–101. https://doi.org/10.26351/jimes/11-1/4.

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In 2019, BBC Persian released a documentary about the 40 best films made and screened legally in Iran after the 1979 Revolution. These films were chosen based on the votes of experts and individuals involved with Iranian cinema. The present study analyzes the three best movies on the list and argues that post-revolutionary Iranian cinema demonstrates some resistance and opposition to the ideology of the Islamic Republic and the government’s official narrative. The three movies investigated in this paper – Bashu, the Little Stranger; The Tenants; and The Runner – each show a unique account of r

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Weik von Mossner, Alexa. "Empathy, Emotion, and Environment in Alternative Australian Landscape Cinema: The Case of Rabbit-Proof Fence." Emotions: History, Culture, Society 3, no. 2 (2019): 245–65. http://dx.doi.org/10.1163/2208522x-02010059.

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Abstract The article aims to complement contextual analyses of the political, ideological and commercial uses of natural environments in Australian landscape cinema by exploring from a cognitive perspective exactly how such environments are foregrounded in ways that affect viewers’ emotional relationships to both characters and the environments themselves. Phillip Noyce’s Rabbit-Proof Fence (2002) serves as an example of a film that aims for a realistic portrayal of the physical hardship of the Australian outback, while also using that cinematic environment strategically to reinforce viewers’

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Arong, Maria Rose, and Jeneth Borlasa. "Alternative Modes of Distribution and Exhibition: Cebuano Cinema from the Perspective of Cebuano Filmmakers." Plaridel 17, no. 2 (2020): 43–60. http://dx.doi.org/10.52518/2020.17.2-03arobor.

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Although historically detached from the films of the so-called golden ages of Cebuano cinema in the 1950s and the 1970s, a new breed of Cebuano filmmakers have emerged in the 21st century. Through a series of interviews with Cebuano filmmakers, this article will map the alternative modes of distribution and exhibition in contemporary Cebuano cinema. In order to do this, the article begins with a discussion culled from a fresh interview with one of the brains behind the 1970s Cebuano blockbuster, Ang Manok ni San Pedro, Domingo Arong. Ang Manok provides a valuable roadmap for contemporary Cebua

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Steila, Daniela. "Knowledge as Film vs. Knowledge as Photo: Alternative Models in Early Soviet Thought." Cultural Science Journal 13, no. 1 (2021): 211–22. http://dx.doi.org/10.2478/csj-2021-0017.

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Abstract While Lenin considered human knowledge to be similar to a mirror-like reflection of the object, Aleksandr Bogdanov emphasized the creative role of the subject in organizing the world. On the basis of some textual evidence, it is possible to describe the epistemologies of the two most influential Russian Marxists at the beginning of the twentieth century using the two metaphors of photography, on the one hand, and cinema, on the other. In particular, while discussing Einstein’s relativity, Bogdanov considers sense organs, memory, and all the apparatus of human knowledge ‘as a certain k

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Finnemore, Daniel. "The Caravan Of Hate: The Cautionary Tale of Ben Wheatley’s Sightseers and Alternative Spaces for Masculinity On-Screen." International Journal of Creative Multimedia 4, no. 1 (2023): 58–69. http://dx.doi.org/10.33093/ijcm.2023.4.1.4.

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Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage

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Murphy, Cáit. "The Complexities of Exile, the Other, and the Postcolonial Predicament in Beau Travail (Claire Denis, 1999)." Film Matters 12, no. 2 (2021): 9–21. http://dx.doi.org/10.1386/fm_00151_7.

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Cáit Murphy argues that Beau Travail (Claire Denis, 1999) expresses an “accented style,” citing Hamid Naficy’s theorization of accented cinema in his 2001 study, An Accented Cinema: Exilic and Diasporic Filmmaking. Drawing on Denis’s own exilic background, Murphy analyzes the depiction of contradictory exile in Denis’s film. Working from Naficy’s criteria for accented cinema, such as epistolarity, cultural hybridity, and Bakhtinian chronotopes, Murphy argues that the film’s protagonist Galoup (Denis Lavant) and the French Foreign Legion in Djibouti are paradoxical representations of belonging

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