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Relevant bibliographies by topics / Cinema and society

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Academic literature on the topic 'Cinema and society'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 February 2023

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Journal articles on the topic "Cinema and society"

1

Rothwell, Kenneth S., and John Collick. "Shakespeare, Cinema and Society." Shakespeare Quarterly 42, no. 1 (1991): 116. http://dx.doi.org/10.2307/2870669.

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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Wade, Diana. "Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 203–21. http://dx.doi.org/10.7202/1027448ar.

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Digital image technology facilitates the production and distribution of images, and at the same time, instills doubt as to the integrity of those images. As a result, spectators today trust and doubt the image while still retaining a need to see a double of the world on screen. Edgar Morin’s work on cinema permits us to speak of cinema in the digital age because he recognizes that from its origins cinema has been a “mirror-machine” that reflects the spectator’s imaginary and practical relationship with images as experienced through new technologies. I will explore Morin and Christian Metz’s writings on cinema to analyze cinema’s foundational element : the ability to satisfy the besoin de cinéma throughout changes in technology. Cinema persists as digital moving images because by evolving technologically it responds to the spectator’s need to see a double of the world on screen in order to negotiate the demands of society and personal desires.

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von Geldern, James, and Peter Kenez. "Cinema and Soviet Society, 1917-1953." Russian Review 53, no. 1 (January 1994): 122. http://dx.doi.org/10.2307/131301.

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Mally, Lynn, and Peter Kenez. "Cinema and Soviet Society, 1917-1953." American Historical Review 98, no. 4 (October 1993): 1298. http://dx.doi.org/10.2307/2166744.

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Nollan, Valerie Z., and Peter Kenez. "Cinema and Soviet Society, 1917-1953." Slavic and East European Journal 38, no. 1 (1994): 191. http://dx.doi.org/10.2307/308568.

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Hoare, Stephanie, Victor Caldarola, and Carol Slingo. "Asian Cinema Studies Society 1992 Conference." Asian Cinema 5, no. 1 (September 1, 1993): 8–9. http://dx.doi.org/10.1386/ac.5.1-2.8_7.

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Hoare, Stephanie, Victor Caldarola, and Carol Slingo. "Asian Cinema Studies Society 1992 Conference." Asian Cinema 6, no. 1 (September 1, 1993): 8–9. http://dx.doi.org/10.1386/ac.6.1-2.8_7.

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Gottlieb, Sidney. ": Shakespeare, Cinema, and Society . John Collick." Film Quarterly 43, no. 4 (July 1990): 28–30. http://dx.doi.org/10.1525/fq.1990.43.4.04a00150.

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Brazzoduro, Andrea. "Il nemico interno. La guerra d'Algeria nel cinema francese." PASSATO E PRESENTE, no. 76 (March 2009): 127–42. http://dx.doi.org/10.3280/pass2009-076007.

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- Starts from France, that established the state of emergency according to an act dating back to the Algerian war (1955) to cope with the revolt which set on fire the banlieues in 2005. Siri's L'Ennemi intime, which came out in cinemas shortly afterwards, brought to the big screen exactly the French Algerian conflict. Contextualizing the film in the plentiful French production about this issue, the A. wonders whether we are faced with a new stage of "the Algerian syndrome" 50 years after the event or whether the Algerian war, caught up in a complex device of censorship and self censorship (official as well as by authors, producers, public), still remains the major repressed experience of French society (and its cinema). Keywords: Algeria, War, Memory, Cinema, History. Parole chiave: Algeria, Guerra, Memoria, Cinema, Storia.

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Dissertations / Theses on the topic "Cinema and society"

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Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.

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Mendes, Maria Teresa Silva Guerreiro. "Cinema e experiência moderna." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29929.

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Lehin, Barbara. "Cinema and society : Thatcher's Britain and Mitterand's France." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.

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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about society was the predominance of the realist vein in Britain and the comedy genre in France. This generic discrepancy was highly influential in the way the two national cinemas referred to social issues in the 1980s and most scholars have argued that British cinema widely discussed the state of its society whereas, on the whole, French cinema avoided to do so. What this research hopefully demonstrates is that, despite different generic approaches, British and French cinemas equally contributed to depict their contemporary societies. To analyse how these two societies were represented on screen, three main areas are studied thematically: first people in power (public institutions and individuals), second the world of work, and third the family. After a brief summary of social issues in Britain and France in relation with the aforementioned themes, discussions of their filmic representations are based on the films themselves, the textual analysis of films taken as case studies and their critical reception. I will argue that in the 1980s, British cinema offered the overall image of a class-bound society where individuals - living side by side - were unable to escape their social fate. The paradox of this cinema made by a majority of left-wing filmmakers was that ultimately it favoured a rather traditional view of society. By contrast, my research shows that the idea of friendship and solidarity prevailed over economic and social hardship in French cinema. Although this depiction of society was largely consensual, it nevertheless opened the debate for social alternatives.

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Shail, Robert Simon. "Constructions of masculinity in 1960s British cinema." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248479.

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Zhang, Li-Fen. "After Mao : cinema and Chinese society : a sociological analysis of the Chinese cinema (1978-92)." Thesis, University of Leicester, 1995. http://hdl.handle.net/2381/34617.

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This theses, of primarily a sociological nature, aims to examine the emergence of post-Mao Chinese cinema and its embodied political culture, in responding, or adjusting, to the sweeping and sometimes rather turbulent process of the "open door" reform movement. The transformation of Chinese cinema, as a whole, is an area of relatively minor importance, when compared with other major agenda items on the reform programme (i.e., economic growth, financial and fiscal stability, etc.). Nevertheless, the case of Chinese cinema does provide us with a unique setting and perspective so as to reach a better understanding of the interrelationship of economic development, political evolution and the advent of cultural pluralism in post-Mao China. This study aims, in other words, to show how the economic and political changes are themselves manifested in the changing reality of the Chinese screen. Author has argued throughout this theses that the emergence of post-Mao Chinese cinema could be seen as a unique process of rehabilitating the notion of "every day life" and "civil society", both of which were heavily suppressed under Mao. This theses has paid special attention to the changing relations of film-makers audience and political authorities in China. The examination of how film censorship works has revealed the complexity of China's political and economic situation and dilemma. Market forces have helped the film-making to be able to sever its ties with the party without seeming politically offensive or provocative. The legitimate and politically favourable "market forces" have made the Chinese film-making equally legitimate to rehabilitate and revive the notion and fundamental elements of human life that a market economy could not survive without.

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Bamford, Kenton. "Conflicting images : film, class and society in Britain 1919-1939." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386467.

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Donald, Stephanie Jane. "Chinese cinema and civil society in the post-Maoist era." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320224.

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Sadegh-Vaziri, Persheng. "Iranian Documentary Film Culture: Cinema, Society, and Power 1997-2014." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/363567.

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Media & Communication
Ph.D.
Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant to their society. To focus this topic, my research explores media institutions, their filmmaking practices, and the strategies they use to produce and distribute their films. This research is important because it explores the inherent contradictions in the existence of a vibrant documentary film community in a country that is envisioned as uniformly closed and oppressive in the West. The research is also personally motivated, because I have close connections to the Iranian documentary film world, where I previously made films and produced television programs. I conduct the study with a multi-faceted approach, utilizing participant observation in the field in a four-month period, in-depth interviews with key players, personal reflections, and textual analysis of the films. I focus on about twenty filmmakers and their films, chosen from a pool of more than 500 documentary filmmakers, giving a cross section of this community based on their age, sex, and their professional history and success within Iran and internationally.
Temple University--Theses

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Lobo, Maria da Graça. "Formação de público para o cinema." Master's thesis, Instituições portuguesas -- -Universidade do Algarve, 1999. http://dited.bn.pt:80/29140.

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Mendes, João Paulo de Oliveira Cruz. "O cinema de Tarkovski-apresentação da realidade e infinito ético." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa, 2001. http://dited.bn.pt:80/29402.

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Books on the topic "Cinema and society"

1

Collick, John. Shakespeare, cinema, and society. Manchester: Manchester University Press, 1989.

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Another cinema for another society. Calcutta: Seagull Books, 1985.

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editor, Saxena Ambrish, and Vivekananda School of Journalism and Mass Communication, eds. Indian cinema society and culture. New Delhi: Kanishka Publishers, Distributors, 2014.

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Cinema and Soviet society, 1917-1953. Cambridge [England]: Cambridge University Press, 1992.

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1948-, Davies Philip, and Neve Brian, eds. Cinema, politics and society in America. Manchester: Manchester University Press, 1985.

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Froggatt, Beverley J. Born yesterday: Cinema - history and society. [Derby: Derbyshire College of Higher Education, 1987.

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Mora, Carl J. Mexican cinema: Reflections of a society. Berkeley: University of California Press, 1989.

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University, Open, ed. Cinema & society: Britain in the 1950s & 1960s. Milton Keynes: Open University, 1992.

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Landy, Marcia. British genres: Cinema and society, 1930-1960. Princeton, N.J: Princeton University Press, 1991.

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Foster, David William. Gender and society in contemporary Brazilian cinema. Austin: University of Texas Press, 1999.

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Book chapters on the topic "Cinema and society"

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Ricciardelli, Lucia, Jenny Olin Shanahan, and Gregory Young. "Cinema, Culture, and Society." In Undergraduate Research in Film, 147–57. New York ; London : Routledge, 2019. | Series: Routledge undergraduate research series: Routledge, 2019. http://dx.doi.org/10.4324/9780429485596-16.

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Millington, Gareth. "Introduction: Cinema and Urban Society." In Urbanization and the Migrant in British Cinema, 1–18. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47399-8_1.

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Pamerleau, William C. "The Nietzschean Free Spirit in Dead Poets Society and Harold and Maude." In Existentialist Cinema, 193–217. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230235465_9.

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Rosen, Stanley. "Film and Society in China." In A Companion to Chinese Cinema, 197–217. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch11.

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Mason, Fran. "Outside Society, Outside the Gang: the Alienated Noir Gangster." In American Gangster Cinema, 72–96. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230596399_4.

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Mann, Craig Ian. "America, Down the Toilet: Urban Legends, American Society and Alligator." In Animal Horror Cinema, 110–25. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496393_7.

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Seggi, Alessandra. "Youth, Film, Culture, and Society." In Youth and Suicide in American Cinema, 37–71. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08686-1_2.

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Celli, Carlo, and Marga Cottino-Jones. "The 1980s and 1990s: A Changing Society." In A New Guide to Italian Cinema, 127–42. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230601826_9.

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Burns, James. "The Birth of the Cinema Age." In Cinema and Society in the British Empire, 1895–1940, 13–54. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137308023_2.

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Jernudd, Åsa, and Mats Lundmark. "Cinemagoing in Sweden in the 1940s: Civil Society Organisations and the Expansion of Rural Film Exhibition." In Cinema Beyond the City, 67–86. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-848-1_5.

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Conference papers on the topic "Cinema and society"

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Huang, Shu-Hui. "The Lost Cantonese Identity: An Organizational Society Approach to Hong Kong Cinema." In Annual International Conference on Journalism & Mass Communications. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2301-3710_jmcomm14.17.

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Lu, Fang. "A Research on Compliant Digital Cinema Playback System." In International Conference on Education, Management, Commerce and Society. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/emcs-15.2015.40.

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Lu, Fang. "Research on Transforming 3D Cinema to 3DTV Method." In International Conference on Education, Management, Commerce and Society. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/emcs-15.2015.44.

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Xiaokang, Chen. "Nationality and Intersubjectivity of Transnational Chinese Cinema." In 2020 5th International Conference on Humanities Science and Society Development (ICHSSD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200727.181.

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Hang, Bo. "Design and Implementation of Cinema Online Booking System." In 2011 International Symposium on Computer Science and Society (ISCCS). IEEE, 2011. http://dx.doi.org/10.1109/isccs.2011.61.

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Lu, Fang. "A Study on Key Delivery Message System of Digital Cinema Design." In International Conference on Education, Management, Commerce and Society. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/emcs-15.2015.42.

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Toto, G. A. "POST-FEMINISM AND CINEMA: COMPARISONS BETWEEN IDENTITY AND GENDER DISCRIMINATION." In III International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iii-conf-canada-3-15-19.

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SKVARCIANY, Viktorija, and Kristina ASTIKĖ. "THEORETICAL ASPECTS OF CULTURAL ECONOMICS CONCEPT." In International Scientific Conference „Contemporary Issues in Business, Management and Economics Engineering". Vilnius Gediminas Technical University, 2021. http://dx.doi.org/10.3846/cibmee.2021.626.

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Abstract. Purpose – the aim of the article is to present the concept of cultural economics upon analysing the scientific literature and to single out the factors that influence the development of cultural economics. Research methodology – analysis and synthesis of scientific literature. The articles published in CA WoS were analysed in order to extract high-quality information on the topic of cultural economics. Findings – after analysis of the scientific literature, the factors of cultural economics have been determined. They are as follows: creativity; new technologies; consumer society; public authorities; artistic forms; media, information, digitisation; local cultural identity; public sector approach to culture; theatre, cinema, museums, crafts; media, social networks; the needs for a consumer society and culture; public sector funding for culture. Research limitations – the main limitation of the current research is that the factors of cultural economics are distinguished from the scientific literature. For more precise identification, the experts should be interviewed as well. Practical implications – the distinguished factors could be used for measurement of the level of a country’s cultural economics level. Originality/Value – the article summarises

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Salnikova, Ekaterina. "The Reflection on the War and Violence as the Impulsion of the Development of the Western Cinema Aesthetics in 1900-1920." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.105.

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Mira Rico, Juan Antonio. "Defensive architecture and heritage education: analysis of the National Park Service and Parks Canada actions." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15263.

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Defensive architecture is a heritage typology of great interest for society due to various reasons, such as its monumentality, history, beauty or ability to fascinate thanks to cinema, literature or television. Like other cultural assets, its management is based on research, preservation, restoration, didactics, dissemination and participation following current approaches. In this sense, heritage education plays a fundamental role since it is a tool that connects cultural heritage with people. This fact becomes a key aspect to guarantee its knowledge, preservation, use and enjoyment over time. This paper will analyse the actions on heritage education of the National Park Service (United States of America) and Parks Canada which are focused on defensive architecture. Both offices have been chosen because they manage examples of defensive architecture and are world leaders in heritage education. Therefore, the main purpose is to know their actions and make proposals for the Spanish context. This is an interesting fact because Spain has a rich and varied defensive architecture but heritage education still has little presence, which is surprising because heritage education favours society commitment when preserving cultural heritage. To this end, the qualitative work methodology will be used, specifically the analysis technique applied to the contents of the National Park Service and Parks Canada web pages.

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