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Journal articles on the topic 'Artist's Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Adriaensens, Vito, and Steven Jacobs. "Celluloid Bohemia? Ken Russell's Biopics of Visual Artists." Journal of British Cinema and Television 12, no. 4 (2015): 479–95. http://dx.doi.org/10.3366/jbctv.2015.0281.

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Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts

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Kernbauer, Fanny. "The Aesthetics of Decay: An Homage to the Beauty of Transience." Journal of Extreme Anthropology 1, no. 2 (2017): 84–87. http://dx.doi.org/10.5617/jea.4890.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay contemplates the nature of art utilizing an interesting case of an artwork without an artist, an amateur film from the 1960s found at the Film Archive in Vienna, which has decayed, the signs of demage turning it into an artwork in its own right, touching and beautiful to watch.

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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history

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Tyree, J. M. "The Return of Miserabilism: Richard Billingham's Ray & Liz." Film Quarterly 73, no. 1 (2019): 33–41. http://dx.doi.org/10.1525/fq.2019.73.1.33.

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This essay discusses Richard Billingham's debut feature film, Ray & Liz (2018), through the lens of miserabilism as both an historical art movement and as an endemic feature of British film culture. The film provides both continuity and innovation in Billingham's work, connecting with his 1990s photographs of his family (originally displayed alongside the work of other Young British Artists [YBAs] at the London Sensation exhibition in 1997), and introducing new formal aspects of narrative cinema into his career in the visual arts. Called a “cine-memoir” by Billingham, Ray & Liz portray

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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.

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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essen

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Hauke, Christopher. "‘A cinema of small gestures’: Derek Jarman's Super 8 – image, alchemy, individuation." International Journal of Jungian Studies 6, no. 2 (2014): 159–64. http://dx.doi.org/10.1080/19409052.2014.905969.

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The Super-8 films of Derek Jarman (1942–94) are discussed in the light of the artist's involvement with gay politics and his sense of being an outsider. This led him to identify with elements in Jung's psychology, especially his work on alchemy. Jarman's manipulation of Super-8 film images was comparable to an alchemical processing of the material contributing to his personal development – a process that Jung called individuation. The author argues that Jarman's radical approach to filmmaking is not only an active challenge to the assumption of film images as representative of reality but, in

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Levin, Erica. "American as Apple Pie." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (2021): 145–49. http://dx.doi.org/10.1215/02705346-9052872.

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Abstract This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactme

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Connolly, Maeve. "Excluded by the Nature of Things? Irish Cinema and Artist's Film." Circa, no. 106 (2003): 33. http://dx.doi.org/10.2307/25564051.

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Scanner. "Remembering How to Forget: An Artist's Exploration of Sound." Leonardo Music Journal 11 (December 2001): 65–69. http://dx.doi.org/10.1162/09611210152780700.

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This article is an introduction to the work of electronic sound artist Scanner, which explores the place of memory, the cityscape and the relationship between the public and the private within contemporary sound art. Beginning with a historical look at his CD releases a decade ago, the article explores his move from his cellular phone works to his more collaborative digital projects in recent times. With descriptions of several significant performance works, public art commissions and film soundtrack work, the piece explores the resonances and meanings with the ever-changing digital landscape

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Borja-Villel, Manuel, Benjamin H. D. Buchloh, Christophe Cherix, Rachel Haidu, Rosalind Krauss, and Trevor Stark. "The Moment of Marcel Broodthaers? A Conversation." October 155 (January 2016): 111–50. http://dx.doi.org/10.1162/octo_a_00245.

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On the occasion of Marcel Broodthaers's first retrospective in New York at the Museum of Modern Art and forty years after his death in 1976, October presents a roundtable discussion on the Belgian artist's career and legacy. Exhibition curators Christophe Cherix and Manuel Borja-Villel join Benjamin H. D. Buchloh, Rachel Haidu, Rosalind Krauss, and Trevor Stark for a conversation on Broodthaers's work, his artistic development, and his reception. Topics include the indeterminacy between language and visuality; the status of film in his work; his meditations on the commodity, the art market, an

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Eisner, John, and Alison Sharrock. "Re-Viewing Pygmalion." Ramus 20, no. 2 (1991): 149–82. http://dx.doi.org/10.1017/s0048671x00002745.

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On 5th February 1989, the review section of The Observer carried a full-page article on a film about Camille Claudel, the sculptress who was Rodin's mistress and who spent the last thirty years of her life in a mental asylum. The iconography of this page, supposedly concerned with the film and the woman, was telling. A large central image of Rodin, arms crossed and staring masterfully forward, is ringed by three, small, peripheral images of Claudel. Each is (of course) a photograph: one of the woman herself, one of the statue of her by her lover Rodin, and one of the actress who represents her

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Cristiano, Anthony. "A Self-Conscious Mise-en-scène: Experimenting with 'Disownment and Appropriation’." Quaderni d'italianistica 28, no. 1 (2007): 151–66. http://dx.doi.org/10.33137/q.i..v28i1.8554.

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While the historical definition of experimental films as highly personal works, marked by unconventional economic and aesthetic norms remains fundamentally unchanged, the context within which they are produced has evolved through the years. This article argues that the contemporary forms of experimental filmmaking are shaped by an artist's personal fears and hopes as dictated by ideologically concomitant and traumatic events. A Self-conscious Mise-en-scène is such a work, and the subject and tools of this investigation: the making of the film amounts to a way of negotiating a communicative cri

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McDonough, Tom. "Human/Capital." October 153 (July 2015): 117–31. http://dx.doi.org/10.1162/octo_a_00229.

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This essay inquires into the vexed place of labor in the work of Cindy Sherman. Noting the curious absence of images of workingwomen among the vast repertoire of feminine types featured in the artist's photographs, it turns to her oft-disparaged film Office Killer (1997) to consider the stakes of representing class and labor within the contemporary regime of neoliberalism. The lead character in this horror film is read as an exemplar of human capital, an “entrepreneur of the self,” and as such, an updated version of the vampire-like tendencies of capital already discussed by Marx a century ago

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Khanwalkar, Smita. "COLORFUL COMBINATION IN INDIAN FILM MUSIC." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3604.

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Along with human civilization, arts developed. In the sixty-four arts, music, painting and poetry have special importance. Music-art is also more influential among them. There is no knowledge as much as music is capable of awakening dormant feelings in the heart of man. The expressions which cannot be expressed through pictures, can be expressed through poetry or language, and the expressions which the language is also unable to express, the music can express it easily. It is to say - "Only music is such an art, which is directly related to the audience. It does not require any medium. "Touche

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Joan Kelly, Elizabeth. "Andy Warhol: documentaries and biographical films." Collection Building 33, no. 3 (2014): 81–85. http://dx.doi.org/10.1108/cb-04-2014-0021.

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Purpose – This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol. Design/methodology/approach – Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online. Findings – Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warho

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Smith, Justin. "Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s." Journal of British Cinema and Television 16, no. 4 (2019): 492–544. http://dx.doi.org/10.3366/jbctv.2019.0497.

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While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which

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Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attributi

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Laine, Tarja. "Art as a guaranty of sanity." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 24–38. http://dx.doi.org/10.33178/alpha.7.02.

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This article examines how the body in Pedro Almodóvar’s The Skin I Live In (2011) is incorporated in artistic creation and vice versa. Drawing upon Paul Crowther’s notion of an internal relation between the artist’s experience and the work of art, it argues that the film communicates a vision of embodied artistic practice as a redemptive strategy used to resolve trauma resulting from the traditional body/soul dualism. A film that outlines how artistic creation can both express fractured inner reality and purge it from negative affect, The Skin I Live In demonstrates how the artist can overcome

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Yaremenko, Elena Georgievna, and Yelena Georgievna Yaremenko. "Digital Technologies and Virtual Worlds: Is Mankind on the Threshold of New Art?" Journal of Flm Arts and Film Studies 2, no. 2 (2010): 192–203. http://dx.doi.org/10.17816/vgik22192-203.

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The digital special effects industry is constantly in development and in search of new expressive means. The more and more popular 3D computer graphics can mold characters and objects similar to puppet animation but more detailed and convincing. Computer software makes it possible to fix human movements and create virtual characters. By means of the motion capture technology reflecting the subtlest shades of human plastique the computer catches the movements of the sensors fixed to the actor's face and body, analyzes the data and applies it the 3D model. As a result, screen characters behave l

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Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.

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Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, cri

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Jones, Robert A. "The scientist as artist: a study of The Man in the White Suit and some related British film comedies of the postwar period (1945-1970)." Public Understanding of Science 7, no. 2 (1998): 135–47. http://dx.doi.org/10.1177/096366259800700203.

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The Man in the White Suit is perhaps the major representation of a scientist in mainstream British films of the postwar period. The film was immensely popular at the time of its release in 1951 and continues to be influential today. This paper, which is part of an ongoing study of the image of scientists presented by the cinema during this period, analyzes The Man in the White Suit by comparing it with another film of the period, The Horse's Mouth, which presents an image of an artist, and two related film comedies. Many similarities can be seen between the characters of the scientists and the

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Gemaque, Maria Pinho. "Livro de Artista: Processo de Criação em Performance e Poéticas Visuais em uma Escola Amapaense." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (2021): 51. http://dx.doi.org/10.18542/arteriais.v6i10.10576.

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ResumoA lógica da pesquisa desenvolvida intercambia vivências dentro do espaço escolar nas aulas de arte com processos de criação, intervenção artística/educativa desenvolvidas na Escola Estadual Raimunda Virgolino, Macapá/AP/Brasil. Trata-se de um trabalho coletivo que envolveu estudantes do Ensino Médio, professoras de Arte e artistas amapaenses. Procurou compreender os enlaces dos processos de criação em arte por meio de ações em performances de alunos e professores. O estudo possui caráter qualitativo por entender as relações entre os indivíduos, e, por isso, de intenção etnográfica, inspi

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Sivri, Melis Tanik. "Establishing an Authentic Artistic Identity." Romanian Journal of Psychoanalysis 11, no. 2 (2018): 27–40. http://dx.doi.org/10.2478/rjp-2018-0015.

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Abstract Shirin Neshat is an Iranian contemporary female artist who is in exile by choice. Born in Qazvin, Iran, in 1957, the artist moved to the United States in 1974 in order to study arts. Due to the Islamic Revolution in 1979, she was prevented from going back to her country. In 1990, after almost 12 years, Neshat visited Iran for the first time after the revolution, which transformed her artistic life into a productive one, full of prizes. The aim of this article is to reflect on the impact of Neshat’s homecoming experience in developing an authentic artistic identity. The emphasis of the

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Lipsyc, Nadja, Camilla Jaller, and Frederick Howard. "Axes of Tension: Navigating craft, institution and industry as an art-researcher in film and new media." International Journal of Film and Media Arts 5, no. 2 (2020): 9–26. http://dx.doi.org/10.24140/ijfma.v5.n2.01.

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Artistic Research (AR) in collective, industrial arts can find itself to be an intense balancing act: film and new media are expensive forms that rely on commercial expectations and industrial integration, while artistic experimentation flourishes in independence and creative freedom. Transposing the model of the independent artist to large-scale collective productions challenges our vision of art, affiliation and integrity. AR researchers in film and new media can have radically different practices: from industrial creative producers to one-person camera documentarists, from VR designers to s

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Kletowski, Piotr. "Filmowe powidoki Andrzeja Wajdy." Studia Filmoznawcze 39 (July 17, 2018): 145–61. http://dx.doi.org/10.19195/0860-116x.39.10.

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ANDRZEJ WAJDA'S AFTERIMAGESThe text: Andrzej Wajda’s Afterimages is an analysis of the last film made by the creator of Ashes and Diamonds. This motion picture is a film vision of the last years of Władysław Strzemiński’s life. Strzemiński was an outstanding Polish, avant-garde artist, destroyed by the communist authorities in the 1950s. The situation of the artist in the trap of enslavement is transferred by Wajda into his film, and into the figure of Strzemiński himself — created by Bogusław Linda — who becomes a “medium” throughout Wajda talks about himself — both as a human and as an artis

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Pelofsky, Stan, and Raina Pelofsky. "The voice of art and the art of medicine." Journal of Neurosurgery 97, no. 6 (2002): 1261–68. http://dx.doi.org/10.3171/jns.2002.97.6.1261.

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✓ Vincent van Gogh's life, letters, and art are the framework for this existential speech about the nature of alienation, as well as its threat to humanity and to the artful practice of medicine. The honest, human voice expressed in van Gogh's art stands in opposition to alienation, which occurs when we divide the world into two parts: the “perfect” world of science versus the “flawed” world of human experience. Bridging this divide allows for an “authentic” life, one which honestly defines itself and faces difficult human truths. The most difficult truth relates to our own mortality, but it m

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Maire, Benoît, and Anne-Françoise Schmid. "Le sens-sans-signe: Pour une éthique de la création." Labyrinth 19, no. 2 (2017): 132. http://dx.doi.org/10.25180/lj.v19i2.99.

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The meaning-without-sign: For an ethics of creationThe following article is the result of a collaboration between a painter and a woman philosopher. They worked previously on an experimental documentary film about objects and art objects, which was realized at Palais de Tokyo. The painter had illustrated in black and white fictions of philosophy, written during a festival on lost films organized by UNdocumenta in South Korea, and then he made photographs of oil paintings of the English translation. This article about painting and philosophical ethics is their first common text. It aims to show

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Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.

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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inn

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Swinnen, Aagje. "‘The roses are long gone but the chrysanthemums are magnificent’: Late-life Creativity inQuartetandYouth." Journal of British Cinema and Television 14, no. 2 (2017): 162–78. http://dx.doi.org/10.3366/jbctv.2017.0361.

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This article employs Boden's (2004) understanding that creativity can be defined in terms of both ‘big C creativity’ associated with high culture and ‘small c creativity’ concerned with constructive, life-affirming strategies in its comparative study of the films Quartet (2012) and Youth (2015) focusing on their representations of ageing artists and musicians and the ways in which each film suggests that life experience informs artistic endeavour and vice versa. With each film based on varying scenarios of late-life ‘big C creativity’, the article explores the contrasts with ‘small c creativit

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Lamberti, Claudia. "La cittŕ degli espressionisti: scenografie cinematografiche." STORIA URBANA, no. 122 (September 2009): 47–67. http://dx.doi.org/10.3280/su2009-122003.

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- The essay compares the images of the city defined by the Expressionist movement and the city images in the films of the time. Expressionist architects discovered that film-set design gave them a chance to experiment with their artistic skills. At the same time, film studios could not shoot outdoors easily and so were forced to rely on constructed sets. All this worked out as an incentive for architectural invention. Sets became an apt proving ground for the new expressiveness of the architects as well as a way to experiment with the use of space without limits and constraints. This essay exa

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Ruiz, Paula Arantzazu. "The Van Gogh Enigma: Re-Mythifications of the Artist’s Genius in "Loving Vincent" and "At Eternity’s Gate"." Comparative Cinema 9, no. 16 (2021): 93–110. http://dx.doi.org/10.31009/cc.2021.v9.i16.06.

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Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel’s At Eternity’s Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of thi

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a

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DURKIN, HANNAH. "Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)." Journal of American Studies 47, no. 2 (2013): 385–403. http://dx.doi.org/10.1017/s0021875813000121.

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A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritu

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Juszkiewicz, Piotr. "Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u." Artium Quaestiones, no. 26 (September 19, 2018): 149–69. http://dx.doi.org/10.14746/aq.2015.26.7.

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Artists’ studios turned into museums are always specific representations of thepast – spatial images reflecting some idea of art and the artist, as well as his or herworks, and even the position of the spectator imagined as a visitor, admirer, insider,outsider or pilgrim.When a studio is shown through a film, its status of representation comes to theforeground very distinctly just because of the properties of the medium. A filmic representationof the studio is a result of combining images into a sequence, while individualimages attract the spectator’s attention to particular places, areas or a

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Alegría Alegría, Alfredo. "Preferencias Artes visuales en Trujillo: Reflejos en silencio." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 50–57. http://dx.doi.org/10.31381/illapa.v0i12.1918.

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El texto se refiere a la problemática del desarrollo de las artes visuales en la ciudad de Trujillo. A partir de una presentación histórica sobre el desarrollo artístico contemporáneo trujillano en las Bienales de Arte se presenta una serie de creadores tanto en la pintura, como la escultura, la fotografía y el cine. Se plantea un reclamo a los artistas: rechazar el individualismo extremo y aceptar el desafío de la realidad como forma de expresar y orientar realmente a la sociedad. Palabras Clave: Artes Visuales, Arte Contemporáneo, Expresión Estética  Abstract This ess

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Chapman, Llewella. "‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away." Journal of British Cinema and Television 18, no. 2 (2021): 176–97. http://dx.doi.org/10.3366/jbctv.2021.0565.

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From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Kare

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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.

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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybri

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Wolfram, Barbara, Christina Wintersteiger, Elena Meilicke, Nina Kusturica, and Claudia Walkensteiner-Preschl. "Confronting Realities – First Steps Working on Cinematic Autosociobiographies." International Journal of Film and Media Arts 5, no. 2 (2020): 100–123. http://dx.doi.org/10.24140/ijfma.v5.n2.06.

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This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of soc

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Machado, Júlia. "O CORPO FEMININO NA TELA: DESAFIOS POLITICO-AFETIVOS E OS SENTIDOS POÉTICOS NA REALIZAÇÃO DE UM CURTA-METRAGEM / The female body on-screen: political-affective challenges and poetic meanings in the making of a short film." arte e ensaios 26, no. 40 (2020): 31–43. http://dx.doi.org/10.37235/ae.n40.3.

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O artigo apresenta uma reflexão sobre a vitalidade político-afetiva do corpo feminino na tela a partir da realização de um curta-metragem, Femme (2016). Minha aspiração artística com o filme foi de transmutar os significados afetivos usualmente associados ao corpo feminino e trabalhar com sua visualidade extrema no limiar estético entre o belo e o abjeto. Ao lidar com a exibição de certos conteúdos do corpo visceral, a artista pode enfrentar um desafio duplo: se há o risco de se ser meramente apelativo aos sentidos, há também o risco de se repetir uma certa poética da abjeção que se tornou pad

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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE." Northern Archives and Expeditions 5, no. 2 (2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.

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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of n

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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distan

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Ronduda, Łukasz. "Film fabularny jako narzędzie kuratora i badacza sztuki." Artium Quaestiones 31, no. 1 (2020): 209–36. http://dx.doi.org/10.14746/aq.2020.31.8.

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In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work

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Bell, Jennifer Lyon. "Empathy and Pornography." Film Studies 18, no. 1 (2018): 84–105. http://dx.doi.org/10.7227/fs.18.0006.

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Filmmaker Jennifer Lyon Bell (Blue Artichoke Films) has made empathy the centre of her practice as an alternative porn filmmaker. This blend of artist manifesto and academic essay illuminates the three ways in which empathy is a driving force at every level of her artistic efforts. 1) Structure: Using a foundation of cognitive film theory and specifically the work of Murray Smith, she builds empathy into the structure and content of her films themselves. 2) Production: She prioritises empathy in her production process on the set with cast and crew 3) Society: By creating and spreading empathet

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Mocarz-Kleindienst, Maria. "Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji." Acta Polono-Ruthenica 4, no. XXII (2018): 57–68. http://dx.doi.org/10.31648/apr.1238.

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Eldar Ryazanov directed films including The Irony of Fate, Station for Two, Carnival Night, Beware of the Car, and Office Romance. These films, regarded as cult classics in Russia (the former Soviet Union), are also known to Polish fans of Russian films. This paper takes account of two periods of reception of Ryazanov’s films in Poland: primary reception (1960s – 1980s) and secondary reception (beginning of 2000s). The reception analysis was conducted based on the following materials: press articles, collective monographs, Polish Television archival material and internet forums. Consequently,

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Day, Tom. "Andy Warhol Eating a Hamburger and the Pop Cinema portrait." Short Film Studies 10, no. 2 (2020): 153–56. http://dx.doi.org/10.1386/sfs_00007_1.

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Abstract The film is placed in an under-explored lineage of Pop Cinema ‐ experimental films concerned with the themes and aesthetics of Pop Art. Specifically, the work is read as a Pop portrait film which shares the formal characteristics of stasis and duration that mark Warhol's and other artists' Pop portrait films.

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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.

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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film cost

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Camargo, Fernanda Barini. "Visita ou Memórias e Confissões: o filme-testamento de Manoel de Oliveira / Visit or Memories and Confessions: Manoel de Oliveira’s film-testament." Revista do Centro de Estudos Portugueses 40, no. 64 (2021): 95. http://dx.doi.org/10.17851/2359-0076.40.64.95-110.

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Resumo: Entendendo a representação do espaço doméstico como o abrigo da identidade do sujeito na obra de Manoel de Oliveira, este artigo pretende analisar o filme Visita ou memórias e confissões (1982) sob duas perspectivas: abordar brevemente a escolha programática de sua exibição post mortem e refletir sobre o espaço da casa enquanto domínio íntimo, o qual revela o homem e o artista. Ambos os aspectos são cruciais para que consideremos esse longa-metragem um filme-testamento. Apontamos ainda semelhanças entre esse filme e outros dois, os quais também mostram casas de vivência do cineasta por

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Klauß, Cornelia. "New Horizons and Disruptions. East-German Female Directors of the DEFA-Studios and from Underground." Panoptikum, no. 23 (August 24, 2020): 43–50. http://dx.doi.org/10.26881/pan.2020.23.03.

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On the occasion of a publication Sie – Regisseurinnen der DEFA und ihre Filme, Berlin, Schriftenreihe der DEFA-Stiftung, 2019, all female directors who worked for the DEFA studios in the GDR were identified for the first time. More than sixty women directors worked for DEFA between 1946 and 1992. They made feature films and documentaries, worked in advertising film and in the animation studio. Particularly among the smaller formats, there is a striking number of female directors who were able to accommodate their preferred themes in the slipstream of the major productions. They problematized t

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Pietrzak, Maciej. "David Avidan’s Message from the Future. Nuclear fantasies of the galactic poet." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 127–39. http://dx.doi.org/10.14746/i.2020.37.07.

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   David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative struc

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Leão, Howardinne Queiroz. "ARTE E DELÍRIO: INTERSECÇÃO ENTRE ARTE, POLÍTICA E ECONOMIA NO AMAZONAS." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (2021): 73. http://dx.doi.org/10.18542/arteriais.v5i9.9816.

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ResumoO presente artigo visa discutir, a partir do livro Arte e delírio - reflexões sobre a cultura no Amazonas, escrito em 1985, pelo Diretório Universitário da Universidade do Amazonas (UA), pilares importantes que geraram uma reflexão acerca do pensamento artístico no Amazonas. O livro é composto por cinco ensaios, e cada escritor correspondeu a sua verve: Antônio Paulo Graça discutiu a literatura no Amazonas pela dialética da dependência; Aldísio Filgueiras retratou a relação entre a literatura e poder; Narciso Lobo propôs um diálogo sobre representação de identidade através do filme de Bo

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