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Journal articles on the topic 'Auteurship'

Author: Grafiati

Published: 10 January 2023

Last updated: 29 January 2023

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1

Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.

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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.

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2

Ley, Graham. "Contemporary adaptations of Greek tragedy: auteurship and directorial visions." Studies in Theatre and Performance 39, no. 2 (December 3, 2017): 212–13. http://dx.doi.org/10.1080/14682761.2017.1410306.

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3

Hart, Stephen. "Slick grit: auteurship versus mimicry in three films by Francisco Lombardi." New Cinemas: Journal of Contemporary Film 3, no. 3 (December 1, 2005): 159–67. http://dx.doi.org/10.1386/ncin.3.3.159/1.

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4

Shankar, Arjun. "Auteurship and Image-Making: A (Gentle) Critique of the Photovoice Method." Visual Anthropology Review 32, no. 2 (November 2016): 157–66. http://dx.doi.org/10.1111/var.12107.

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5

Pounds-Williams, Tiffany. "Contemporary Adaptations of Greek Tragedy: Auteurship and Directorial Visions ed. by George Rodosthenous." Journal of Dramatic Theory and Criticism 34, no. 2 (2020): 145–48. http://dx.doi.org/10.1353/dtc.2020.0001.

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6

Mohd Zaki, Nurul Ezzati Aisya, and Wan Hartini Wan Zainodin. "P. Ramlee’s Cinematographic Auteurship of Cultural Values Representation in Antara Dua Darjat and Ibu Mertua-Ku." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 3 (September 29, 2020): 390–407. http://dx.doi.org/10.17576/jkmjc-2020-3603-24.

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7

Ince, Katherine. "Is Sex Comedy or Tragedy? Directing Desire and Female Auteurship in the Cinema of Catherine Breillat." Journal of Aesthetics and Art Criticism 64, no. 1 (January 2006): 157–64. http://dx.doi.org/10.1111/j.0021-8529.2006.00237.x.

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8

Lupitawina, Skolastika, and Agus Mediarta. "Film Pendek Dalam Budaya Populer: Studi Kasus Atas Film Pendek Iklan Di Indonesia 2012 - 2015." ULTIMART Jurnal Komunikasi Visual 8, no. 2 (November 12, 2016): 24–34. http://dx.doi.org/10.31937/ultimart.v8i2.465.

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Penelitian ini bertujuan untuk memetakan film pendek dalam lansekap budaya populer Indonesia. Penelitian dipersempit pada studi kasus untuk melihat pengaruh hegemoni dalam film pendek iklan. Subjek penelitian adalah sepuluh film pendek iklan berupa: 1) fiksi naratif (bukan serial) 2) didistribusikan di kanal YouTube resmi merek dagang 3) oleh sutradara film panjang Indonesia bermodal kebudayaan tertentu, tercantum pada kredit film 4) produksi 2012 – 2015. Film pendek iklan diteliti dengan metode kualitatif menggunakan analisis budaya, melalui observasi film dan kajian pustaka. Hasil penelitian menunjukkan bahwa: 1) film pendek bukanlah bentuk ekspresi steril dari pasar 2) film pendek iklan memiliki konvensi tersendiri dalam bentuk peletakan merek dagang 3) terdapat ekuilibrium kompromi dalam hubungannya dengan target massa karena film pendek iklan menuntut konten lebih umum, sementara keempat sutradara dikenal dengan elemen-elemen dewasa tertentu 4) sutradara dapat mempertahankan gaya visualnya (visual style), tetapi kehilangan arah (internal meaning) dari film-film panjang mereka. Keywords : kepengarangan (auteurship), merk dagang, sutradara film, hegemoni, film pendek

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9

Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.

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10

Rahmawati, Aulia, Syafrida Nurrachmi Febriyanti, Ririn Puspita Tutiasri, Poppy Febriana, and Sumardjijati Sumardjijati. "Transmediation of Local Production in the Global Entertainment." International Journal of Social Science Research and Review 5, no. 10 (October 27, 2022): 481–88. http://dx.doi.org/10.47814/ijssrr.v5i10.676.

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Various streaming entertainment platforms, or often referred to as SVOD, have become entertainment for Indonesian viewers, shifting television as their daily entertainment channel. However, research that raises this issue is still very rare, especially in looking at how the viewers and subscribers of these various streaming services are. This paper aims to see, firstly, how entertainment streaming subscribers respond to this development, and secondly, how streaming subscribers negotiate local Indonesian shows on these various SVOD channels. The research was conducted by distributing questionnaires filled out by 264 respondents and then followed by qualitative interviews through FGDs with 25 participants who identified themselves as heavy viewers. Research shows that Netflix is still the most-subscribed streaming channel, although many also subscribe to it illegally. Regarding local content, participants expect Netflix to imitate similar streaming channels by producing works by local Indonesian directors, not just as a distribution channel. Indonesia as the largest streaming subscribers in Asia deserve recognition not only in terms of audienceship, but also in terms of auteurship by producing netflix originals by Indonesian filmmakers.

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11

PANNIER JL. "Verantwoord auteurschap." Tijdschrift voor Geneeskunde 55, no. 13 (January 1, 1999): 933–36. http://dx.doi.org/10.2143/tvg.55.13.5000479.

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12

Kotz, Daniel, and Jochen Cals. "Deel 9: Auteurschap." Huisarts Nu 45, no. 2 (April 2016): 90–91. http://dx.doi.org/10.1007/s40954-016-0039-7.

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13

Marinus, Tuur. "Spiegelingen in het unisono." FORUM+ 28, no. 2 (June 1, 2021): 42–49. http://dx.doi.org/10.5117/forum2021.2.006.mari.

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Abstract In dit artikel bespreekt Tuur Marinus de verschillende verschijningsvormen van het unisono in dans. Van affirmatief tot reflexief, van caleidoscopisch tot activistisch: het unisono blijkt vele gedaantes te kennen. De relatie tot machtsstructuren en choreografisch auteurschap staat daarbij centraal. Het gelijktijdig uitvoeren van dezelfde bewegingen wordt politiek wanneer het dominante opvattingen over dans en collectiviteit bevestigt dan wel ondermijnt. Tegen deze achtergrond bespreekt Tuur Marinus zijn choreografisch onderzoek naar de politieke slagkracht van het unisono als assemblage en oxymoron.

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14

Stronks, Els. "De dienende Datheen: het auteurschap van het Wilhelmus opnieuw tekstvergelijkend onderzocht." Neerlandica Wratislaviensia 30 (March 31, 2021): 121–32. http://dx.doi.org/10.19195/0860-0716.30.9.

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In 2016 Mike Kestemont stated the hypothesis that the Dutch national anthem, the Wilhelmus, had been written by psalmist Petrus Datheen. This hypothesis came as a surprise: Datheen’s psalms were only added to Kestemont’s research corpus as control content to test the attribution to known author candidates. In this article, I put Kestemont’s hypothesis to the test, conducting a comparative textual analysis of Wilhelmus, Datheen’s psalm versification and the French psalm versification by Marot and De Bèze that Datheen translated. I focus on the representation of leadership in the Wilhelmus and these psalm versifications. The lyrical ‘I’ promises to be helpful to his people, just like God — whom he serves as an obedient servant — is helpful to him. More so than Marot and De Bèze (and the author candidate most frequently mentioned, Marnix van Sint-Aldegonde), Datheen uses the word ‘servant’ in his psalm versifications. Rather than suggesting that this comparison is proof of Datheen’s authorship, this article aims to investigate the authorship of the Wilhelmus, once again, with the traditional close reading method.

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15

Kestemont, Mike. "Een stylometrisch onderzoek naar Jan van Boendales auteurschap voor de Brabantse yeesten." Revue belge de philologie et d'histoire 89, no. 3 (2011): 1019–48. http://dx.doi.org/10.3406/rbph.2011.8349.

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16

Pierrart, Thomas. "Van buitenwereld tot buitenstaander : Over het auteurschap en oeuvre van Auke Hulst." Internationale Neerlandistiek 58, no. 3 (October 1, 2020): 183–212. http://dx.doi.org/10.5117/in2020.3.002.pier.

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Abstract Despite his growing popularity, the Dutch writer Auke Hulst (1975), whose oeuvre ranges from multimedia travel books to science fiction-like novels, has remained under-researched in academic scholarship. This paper provides an introduction to this author and an analysis of his work, examining Hulst’s self-presentation, his poetics, his (non-)fictional books and his place within contemporary Dutch literature. The image of the outsider, which is of vital importance for Hulst’s authorship, runs as a continuous thread throughout the discussion. The first section uses several assertions made in interviews, public talks and forewords to elaborate on Hulst’s ‘autobiographical’ poetics and to elucidate how the author often presents himself as a ‘literary’ outsider (positioning himself outside the constraints of Dutch literature) and as a ‘social’ outcast (in relation to his traumatic childhood). The second section deals with Hulst’s travel books, in which he conjures up the image of a solitary traveler, who flees from the burdens of home and society in search for freedom, authenticity, insight and connectedness. The third section discusses Hulst’s novels, which are centered on outcasts, the (inner and outer) worlds they find refuge in, and the obstacles they are confronted with. In the final section, Hulst’s outsider position in Dutch literature is critically revisited by connecting his oeuvre with twenty-first-century literary trends.

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17

SCHELLEKENS, J. W. M. "De betwisting van Richard van St.-Victors auteurschap derExpositio in Cantica Canticorum." Ons Geestelijk Erf 64, no. 1 (September 1, 1990): 107–29. http://dx.doi.org/10.2143/oge.64.1.2017701.

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18

Deursen, A. Th van. "A. Maljaars, Het Wilhelmus. Auteurschap, datering en strekking. Een kritische toetsing en nieuwe interpretatie." BMGN - Low Countries Historical Review 113, no. 3 (January 1, 1998): 390. http://dx.doi.org/10.18352/bmgn-lchr.4755.

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19

Martin, Fred, and Abraham Maljaars. "Het Wilhelmus: Auteurschap, datering en strekking. Een kritische toetsing en nieuwe interpretatie (Das Wilhelmuslied: Verfasserschaft, Datierung und Tendenz. Eine kritische Prufung und Neuinterpretation)." Jahrbuch für Volksliedforschung 43 (1998): 211. http://dx.doi.org/10.2307/848130.

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20

Pecic, Zoran Lee. "Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers." IAFOR Journal of Media, Communication & Film 3, no. 1 (June 2016). http://dx.doi.org/10.22492/ijmcf.3.1.03.

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21

Deng, Bingying. "Self and Other in post-2002 China-Hong Kong co-productions – Johnnie To’s Drug War." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 30 (July 21, 2020). http://dx.doi.org/10.2218/forum.30.4482.

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The cinematic landscapes of both China and Hong Kong were significantly changed after CEPA, the Mainland and Hong Kong Closer Economic Partnerships Arrangement, was formed in 2002, which saw Chinese and Hong Kong co-production films become domestic rather than foreign films. This change calls for a new theoretical framework in reading ‘nationhood’ in co-productions. ‘Nationhood,’ or identity, is usually articulated in masculine terms which are constructed as an ideal Self through an evil Other in both China and Hong Kong. Using Hong Kong director Johnnie To’s co-production Drug War (2012) as an example, this article argues that through his auteurship, To deconstructs this cinematic representation of masculinity in both China and Hong Kong. By doing so, To points out the problems inherent in the nationhood/identity of both China and Hong Kong and further offers a subtle critique of the state narratives of China.

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22

Vink, Ester. "‘Ik zal u/ons helpen met Justitie’." Bulletin KNOB, December 9, 2022, 76–89. http://dx.doi.org/10.48003/knob.121.2022.4.770.

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Het departement van Justitie aan het Plein in ’s-Gravenhage kwam tussen 1876 en circa 1885 tot stand na een turbulente ontwerp- en bouwgeschiedenis, waarbij ruzies, achterklap en mannetjesgedrag aan de orde van de dag waren. Traditioneel wordt het ontwerp toegeschreven aan Cornelis Peters, al roept de voor hem ongebruikelijke stijl vragen op. Bekend was dat architect Pierre Cuypers en ambtenaar Victor de Stuers betrokken waren. Op basis van nieuw archiefonderzoek kon hun rol worden vastgesteld en de onduidelijkheid over het auteurschap van het ontwerp worden verklaard. Nadat een ontwerp van J.F. Metzelaar voor de nieuwbouw van Justitie was afgekeurd, tekende L.H.J.J. Mazel, hoofdingenieur van de afdeling Waterstaat van Binnenlandse Zaken, in 1875 samen met zijn rechterhand J. Singels een opzet en plattegronden. Voor het ontwerp van de beeldbepalende gevels was de bekende architect Hugo Pieter Vogel aangetrokken. De plannen werden in april 1876 besproken in het door Cuypers en De Stuers gedomineerde College van Rijksadviseurs. Na veel discussie keurden de rijksadviseurs de plattegronden van Mazel en Singels af. Vervolgens schetste Cuypers achter de schermen twee varianten van nieuwe plattegronden, die door Mazel en Singels werden uitgewerkt. Vogel moest zijn gevelontwerpen aan de gewijzigde plattegronden aanpassen. Hij voelde zich daarbij door De Stuers gedwongen te werken in de oud-Hollandse bouwstijl. Vogel, man van de classicistische traditie, nam dit niet en vertrok met ruzie. Dat maakte voor Cuypers en De Stuers de weg vrij om vanaf oktober 1876 via Cuypers’ pupil Peters – die begin 1876 door hun toedoen bouwkundige bij het departement van Financiën was geworden – hun eigen gevelontwerpen door te drukken. Peters signeerde zijn tekeningen en nota’s aanvankelijk met het pseudoniem ‘Nemo’ (‘niemand’). Voor de buitenwereld waren De Stuers en Cuypers niet bij het ontwerp betrokken. Nadat Peters in februari 1877 de leiding over de uitvoering van het Justitiegebouw had gekregen hoefde hij niet langer geheimzinnig te doen, maar de twee anderen bleven op de achtergrond bepalend voor het ontwerp. Het Justitiegebouw is zodoende onder een dekmantel ontworpen, een kunstgreep die de bijdrage van De Stuers en vooral de verregaande betrokkenheid van Cuypers moest verhullen. Dat zij Peters als ontwerper naar voren schoven lag met name aan de ernstig verstoorde verhoudingen na de omstreden aanstelling van Cuypers als architect van het Rijksmuseum in Amsterdam, in 1876. Cuypers kon zich niet nog een schandaal permitteren. Al uitten enkele tijdgenoten hun verdenkingen en ongenoegen, de machinaties van de drie heren hadden het gewenste effect: een ministerie van Justitie in de door hen gepropageerde ‘nationale’ stijl.

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