Journal articles: '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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Mir-Hosseini, Ziba. "Iranian Cinema: Art, Society and the State." Middle East Report, no. 219 (2001): 26. http://dx.doi.org/10.2307/1559252.

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Farquhar, Mary Ann. "Second international Asian cinema studies society conference." Asian Studies Review 14, no. 2 (November 1990): 182–83. http://dx.doi.org/10.1080/03147539008712697.

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Ghosh, Abhija. "Memories of Action: Tracing Film Society Cinephilia in India." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 137–64. http://dx.doi.org/10.1177/0974927618814026.

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The inception stories of early film societies in India from the 1940s to the 1960s reveal how these groups initiated an access to international, art and alternative cinemas through a network of circulation and exhibition created separately from mainstream cinema markets thereby forming a parallel network of societies, foreign consulates, embassies, government institutions and the National Film Archive of India (NFAI). This paper navigates the early history and memories of film societies in an attempt to map the cinephiliac energy of the film society movement through their erstwhile network of film travel. Using experiences, criticism and narratives of nostalgia published in film society journals, this paper reimagines the routes traversed by art cinemas and their cinephiles, enumerating specific activities around the film object. Observing urban film societies where film society cultures were initially conceptualized, thrived and whose histories are relatively renowned but also traces some significant small town societies which made the most of these circuits of film travel reaching out to non-metropolitan centers effectively transforming backyards into screening spaces and widening the scope of community participation around art cinemas.

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Zhabskiy, Mikhail I. "Cinema and Globalization." Journal of Flm Arts and Film Studies 9, no. 1 (March 15, 2017): 8–18. http://dx.doi.org/10.17816/vgik918-18.

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Conditioned by globalization, the process of the planetary integration of humanity is contradictory. Ideally, globalization contains enormous positive possibilities for every society, it contributes to the true international ization of the cinema process therein. But as its actual results are determined with the mechanisms of the world film market monopolized by Hollywood, globalization predominantly takes the form of Americanization. Instead of the internalization of the cinematic life of specific societies, something opposite is occurring: its deinternationalization.

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Lent, John A. "One Recollection of the Beginnings of Asian Cinema Studies Society and Asian Cinema." Asian Cinema 22, no. 2 (September 27, 2011): 1–19. http://dx.doi.org/10.1386/ac.22.2.1_2.

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Afifulloh, M., and Nurvita Wijayanti. "Body Size on Cinema: A Critical Discourse Analysis on Contemporary Indonesian Cinema." Studies in Media and Communication 11, no. 1 (December 23, 2022): 25. http://dx.doi.org/10.11114/smc.v11i1.5790.

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This article discusses how a fat body in a film is used as a metaphor for a deviant, dangerous, and irresponsible personality through the various narratives occupied by the characters in the film. This research is qualitative research with the main data source is Imperfect film released in 2020. The approach used is a combination of film studies and Sara Mills' critical discourse analysis. The results of the study show that although Imperfect promotes gender equality in society, the narrative that is built still position fat bodies and black skin as non-ideal, especially for woman. Furthermore, Imperfect film positions fat women as a subculture group that struggles as well as agents of change. In conclusion, this study provides an understanding of how the cinematic discourse on size and weight in the context of the structure of the wider community is related to gender issues and films as popular media still have not placed a positive side on weight and skin color, especially in Indonesian society.

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Czerkawski, Piotr. "Siła różnorodności. Recenzja książki "Współczesne kino izraelskie 2", red. Joanna Preizner, Kraków 2018, ss. 260." Studia Filmoznawcze 40 (June 27, 2019): 243–48. http://dx.doi.org/10.19195/0860-116x.40.20.

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Power of variety. Review of the book The Contemporary Israeli Cinema 2 ed. by Joanna Preizner, Kraków 2018, 260 pp.Israeli contemporary cinema, according to many critics, is one of the most interesting world cinemas. Such theses can be concluded from the first series of the books on Israeli cinema — Contemporary Israeli Cinema ed. by J. Preizner, Austeria, Kraków 2015. This book was well received by the academic environment. Thus, the authors and the editor of it decided to create a second similar work. It was definitely a good decision. The reader can check it out at the very beginning of lecture, reading the introduction, written by Joanna Preizner. It is a text ardent in tone and elegant in style. A very important quality of the book is its broad spectrum of the themes of the articles it consists of. There are in it presentations of the splendid film accomplishments, touching some difficult motives of the Israeli society: condition of women, homosexual relationships and the situation of the LGBT environment and also the ghetto condition of contemporary Hasidim, which is similar to their condition in the 16th-century Europe.

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Ahmed, Akbar S. "Bombay Films: The Cinema as Metaphor for Indian Society and Politics." Modern Asian Studies 26, no. 2 (May 1992): 289–320. http://dx.doi.org/10.1017/s0026749x00009793.

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It is difficult to distinguish between art and life in South Asian society; they no longer imitate each other but appear to have merged. Political philosophies, social values, group behaviour, speech and dress in society are reflected in the cinema and, like a true mirror, reflect back in society. Furthermore, film stars cross over from their fantasy world into politics to emerge as powerful figures guiding the destiny of millions. It is thus possible to view the cinema as a legitimate metaphor for society; this perception helps us to understand society better.

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Arshita Singh, Dr Neeraj Khattri,. "Role of Bollywood Cinema in Shaping Youngerstersfor Social Awareness." Psychology and Education Journal 58, no. 2 (February 10, 2021): 6243–47. http://dx.doi.org/10.17762/pae.v58i2.3145.

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The potential of cinema from thebeginning is used in such a way which benefits the society.The role of Cinema on society has been recognized from the very beginning of Cinema itself. It has been seen that children who cannot get good education but can easily acquire bad habits- buy two anna tickets and watch cinema daily. The society needs to be made aware of the influence of Cinema on the social and moral turnout of the viewers. An attempt has been made to evaluate the social implications of Cinema which is the powerful medium of information, education and entertainment results in the process of opinion building in various social groups. Community is very much influenced by the cinema and they inhale psychological, cultural, sociological changes along with the drastic changes in lifestyle. In recent times cinema often started to show some sensitive issues related to menstruation, women harassment, drug consumption, sexualviolence, etc. Before these movies no one wants to talk about these things they consider it as taboo for society, people never want to talk about erectile dysfunction sanitation, menstrual hygiene etc but some director and actors raise these issue and motivate people to stand for themselves. Movies like Shubh Mangal JaydaSavdhaan,Toilet ek prem Katha, Phullu and soon address such issues and give courage to talk about that.Through this research paper the attempt was made to analyze the effect of cinema on people and how people accept them. This research also tries to show that movies are not just for entertainment purpose or for commercial success but it also tries to raise social issues and stigma.

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Oza, Preeti. "GAGGED NARRATIVES FROM THE MARGIN: INDIAN FILMS AND THE SHADY REPRESENTATION OF CASTE." GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 2, no. 3 (August 16, 2019): 131–34. http://dx.doi.org/10.47968/gapgyan.230021.

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Popular Hindi cinema provides a fascinating account of Indian life history and cultural politics. Hindi cinema is always a mirror of the Indian society but films also have fascinated entertained the Indian public for more than a hundred years and sometimes when we analyze the history of Indian cinema we can get an amazingly interesting but actual history of the contemporary society with all its virtues and vices in different colors. This paper deliberates on the various issues pertaining to the portrayal of specific caste, especially the Dalits in Indian films- both Hindi and regional.

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Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.

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This study will seek to discuss the essential impact of Emile Zola’s naturalism regarding the role of cinema in projecting social issues. To be clear on how cinema has got involved with social issues and has become an effective art form for distributing social messages and encouraging social changes, this study first will give a detailed historical background on the relationship between cinema itself and society. Then, it will elaborate on Emile Zola's naturalistic literature role as the first serious endeavors to raise social awareness through art and literature in the late nineteenth century. Finally, this study will focus on the first cinematic movement with an emphasis on the depiction of the working class' real life and revealing inequalities and injustices in a society based on Zola’s naturalism.

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Wolf, Alexandre Silva, and Denize Correa Araújo. "cinema em movimento." Revista de Estudos Universitários - REU 47, no. 1 (August 4, 2021): 79–95. http://dx.doi.org/10.22484/2177-5788.2021v47n1p79-95.

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O cineasta norte-americano Woody Allen possui uma obra extensa originada nos anos sessenta, que tem sua continuidade até os dias de hoje. Sua obra está situada dentro das características do cinema contemporâneo, pois nela encontramos muitas das práticas do cinema pós-moderno. Em seus filmes, Allen apresenta relações, entendidas neste trabalho como diálogos, que acontecem em dois sentidos, internos e externos, que contribuem para o enriquecimento das possibilidades criativas. A partir da análise comparativa dos filmes Play it again, Sam (1972) (Sonhos de um sedutor (1972)), Casablanca (1942), dirigido por Michael Curtiz, Café Society (2016) e Radio Days (1987) (A Era do Rádio (1987)), buscamos compreender algumas das formas de diálogos propostas por ele.

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Staniulytė, Eivina. "THE CAUSES OF THE COMMERCIAL CINEMA POPULARITY IN THE CONTEXT OF CREATIVE INDUSTRIES." Creativity Studies 9, no. 1 (December 16, 2015): 75–86. http://dx.doi.org/10.3846/23450479.2015.1119212.

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This article deals with the phenomenon of the commercial cinema. The main aim is to analyze one of the creative industries’ products (films) in a perspective of different sociological and philosophical theories in order to answer the question what causes such a rapid growth and popularity of the cinema industry. In other words, the article tries to find out what relation is between the cinema industry and the culture of consumerism. It leads to assumption that the commercial cinema is capable of creating needs, desires or longings and can even enforce meanings and implications which subjects “consume”. Such thesis is analyzed through the concepts of leisure and boredom, society of makers and society of consumers, sequestration of experience and factual/contra-factual levels.

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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.

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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.

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Lent, John A. "The history of the Asian Cinema Studies Society and Asian Cinema - continued: 1994-2012." Asian Cinema 23, no. 1 (August 9, 2012): 105–11. http://dx.doi.org/10.1386/ac.23.1.105_1.

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Welch, D. A. "Cinema and Society in Imperial Germany 1905-1918." German History 8, no. 1 (February 1, 1990): 28–45. http://dx.doi.org/10.1177/026635549000800102.

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University of Texas Press. "Society for Cinema and Media Studies Membership Directory." Cinema Journal 48, no. 3 (2009): 151–210. http://dx.doi.org/10.1353/cj.0.0103.

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Society for Cinema Studies. "Society for Cinema and Media Studies Membership Directory." Cinema Journal 45, no. 3 (2006): 161–222. http://dx.doi.org/10.1353/cj.2006.0026.

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Gottlieb, Sidney. "Review: Shakespeare, Cinema, and Society by John Collick." Film Quarterly 43, no. 4 (1990): 28–30. http://dx.doi.org/10.2307/1212729.

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Welch, D. A. "Cinema and Society in Imperial Germany 1905-1918." German History 8, no. 1 (January 1, 1990): 28–45. http://dx.doi.org/10.1093/gh/8.1.28.

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King, B. "Society for Cinema Studies Conference, Washinghton, May 1990." Screen 31, no. 4 (December 1, 1990): 435–38. http://dx.doi.org/10.1093/screen/31.4.435.

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Jr., Vance Kepley,. ": Cinema and Soviet Society, 1917-1953 . Peter Kenez." Film Quarterly 47, no. 1 (October 1993): 42–43. http://dx.doi.org/10.1525/fq.1993.47.1.04a00090.

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Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.

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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.

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Gegen, Gegen. "Post-war British Cinema: Constructing an Imagined Community Through National Cinema." Advances in Humanities Research 1, no. 1 (December 21, 2021): 6–10. http://dx.doi.org/10.54254/ahr.2021002.

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Benedict Andersons masterpiece Imagined Communities: Reflections on the Origin and Spread of Nationalism has influenced the discipline of national cinema greatly since its publication . This paper aims to decode British national cinema from the late 1940s to early 1960s to rediscover the situation of British society at that time through Andersons conception of imagined communities. Through reading closely on two representative British films A Matter of Life and Death (Emeric Pressburge, 1946) and Saturday Night and Sunday Morning (Karel Reisz, 1960), the paper portrays the great changes happened in Britain from the end of the the Second World War to the beginning of the 1960s.

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Cholodenko, Alan, and Adriano C. A. e. Sousa. "A Animação do Cinema." Galáxia (São Paulo), no. 34 (April 2017): 20–54. http://dx.doi.org/10.1590/1982-2554201729575.

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Resumo Este ensaio procura reavivar o nome, a obra e as realizações do mais significante pioneiro animador do filme, na melhor das hipóteses, marginalizado e, na pior, apagado pelos Film Studies e Animation Studies de língua inglesa: Émile Reynaud. Ele ganhou o Prêmio McLaren-Lambart da Society for Animation Studies (SAS) de melhor ensaio. E continua seu trabalho autoral sobre teorizações da animação, iniciado em 1991, quando organizou A Ilusão da Vida: Ensaios sobre Animação, a primeira antologia do mundo com ensaios acadêmicos teorizando animação.

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S., Mishra,, and Chaudhari, M. "Why Maithili Cinema is Struggling Hard to Find Its True Identity: a Critical Study." CARDIOMETRY, no. 24 (November 30, 2022): 686–91. http://dx.doi.org/10.18137/cardiometry.2022.24.686691.

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When people ignore their cinema, there is a danger of disappearance of it with the times. At such bad times for Maithili Cinema, it is worth struggling for this small regional language cinema through academic discussions. Despite having its diverse art and literature, Maithili cinema strives hard to tackle all those indifferences. People and government are solely responsible for this directionless journey of Maithili cinema, and the ignorance is majorly coming from their cultural etiquettes. The ignorance on the part of the government adds an unfamiliar condition for the cinema to sustain itself independently in Bihar. This study explores the root causes of the suffering of Maithili Cinema in its land and the financial discrimination between Bhojpuri language Cinema and Maithili language Cinema. Maithili Cinema is badly influenced by Bhojpuri Cinema in terms of content, losing its originality and independent identity. As the researcher did not find any scholarly documentation regarding Maithili Cinema, this fresh research is undertaken using a qualitative research methodology taking in-depth interviews of the experts in Maithili society.

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Dr. Rakesh Prakash, Umang Gupta,. "Women in Bollywood." Psychology and Education Journal 58, no. 1 (January 15, 2021): 4856–63. http://dx.doi.org/10.17762/pae.v58i1.1646.

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Cinema Industry is a popular form of mass media believed to entertain. This experience helps the audience to skip to the world that is ascetically different from the real world, the land which helps them to escape from the daily drudge of life. Cinema is a popular form of art medium which plays a vital role in reinforcing dominant cultural values, constructing images and molding opinion. This research article deals with the portrayal of women in mainstream cinema “Bollywood”. It is important to examine this issue as women are the large part of country’s population and therefore their representation on screen is essential for determining the existing stereotypes in society. This paper will investigate about how mainstream Hindi cinema is restricted with limited defined sketches of womanhood. It will also examine about whether the mainstream Hindi Cinema has been successful in representing women’s different shades through celluloid screen in a society with patriarchal values. The data collected for the research work is secondary. This study is exploratory and the method used for research is qualitative.

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Thissen, Judith. "Understanding Dutch film culture." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 23–36. http://dx.doi.org/10.33178/alpha.6.02.

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In terms of cinema attendance, the Netherlands has always differed from other European countries. During the first decade of permanent film exhibition "a crucial phase in cinema's development as a mass medium" the movies failed to gain a firm foothold in Dutch society. After a discussion of the prevailing explanations for the low provision of cinemas in the Netherlands, this article develops a comparative analytical framework to better assess the regional dynamics at work within Dutch film culture. In particular, it looks at cinemagoing in the industrialised countryside, combining a qualitative examination of the local social and cultural infrastructure with a quantitative analysis of census data. The agro-industrial North Eastern part of Groningen and the mining district in the South of Limburg are singled out because in both regions we witness a very high density of film venues, suggesting metropolitan patterns in cinema attendance.

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Zhuravleva, O. V., and A. S. Lobacheva. "Main marketing trends in the Russian cinema market in the current realities." Vestnik Universiteta, no. 9 (October 31, 2022): 90–95. http://dx.doi.org/10.26425/1816-4277-2022-9-90-95.

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The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programmes were analysed. The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. The results of the study can serve as a basis for evaluating the effectiveness of marketing strategies.

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Ivanova, Dina D. "The dialogue of the viewer and cinema: hermeneutical understanding." Aspirantskiy Vestnik Povolzhiya 21, no. 7-8 (December 15, 2021): 49–53. http://dx.doi.org/10.55531/2072-2354.2021.21.4.49-53.

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The article deals with the dialogue of the viewer and the cinema, in which the cognition of the surrounding world, the social and ontological changes taking place in it, the persons appeal to himself is carried out. The purpose of the study is to identify the basic principles of this process, its current trends in modern society. The dialogue is analyzed through such categories as understanding, interpretation, and meaning. The study notes two spaces for the implementation of dialogue: society, spectator and cinema, identified their common characteristics. The hermeneutic approach was chosen as a methodology. The author concludes that the modern dialogue between the viewer and the cinema finds its expression through a remake, which is a combination of the actual social, value attitudes of society at a given time and previously formulated life guidelines, creates a contrast on the movie screen, which is considered to be a challenge to a person himself yourself and his spiritual world.

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Çalışkan, Özgür. "TECHNOPHILE INDIVIDUAL IN SOCIETY: EXAMPLES FROM CINEMA TO TECHNIUM*." Intermedia International e-journal 1, no. 3 (June 30, 2016): 96. http://dx.doi.org/10.21645/intermedia.2016319250.

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Gottdiener, Marc. ":Images of Postmodern Society: Social Theory and Contemporary Cinema." Symbolic Interaction 17, no. 4 (November 1994): 465–66. http://dx.doi.org/10.1525/si.1994.17.4.465.

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Schaff, Rachel. "Society for Cinema and Media Studies 2021 Virtual Conference." Afterimage 48, no. 3 (September 1, 2021): 4–8. http://dx.doi.org/10.1525/aft.2021.48.3.4.

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Agger, Ben, and Norman K. Denzin. "Images of Postmodern Society: Social Theory and Contemporary Cinema." Social Forces 71, no. 1 (September 1992): 252. http://dx.doi.org/10.2307/2579991.

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Lembo, Ron, Norman K. Denzin, and Barry Smart. "Images of Postmodern Society: Social Theory and Contemporary Cinema." Contemporary Sociology 22, no. 6 (November 1993): 883. http://dx.doi.org/10.2307/2076019.

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Harper, Douglas. "Cinema and fascism: Italian film and society, 1922–1943." Visual Studies 24, no. 1 (March 19, 2009): 87–89. http://dx.doi.org/10.1080/14725860902733056.

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Giles, Paul. ": British Genres: Cinema and Society, 1930-1960 . Marcia Landy." Film Quarterly 46, no. 4 (July 1993): 31–32. http://dx.doi.org/10.1525/fq.1993.46.4.04a00090.

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Lensing, Leo A. "Cinema, Society, and Literature in Irmgard Keun'sDas kunstseidene Mädchen." Germanic Review: Literature, Culture, Theory 60, no. 4 (October 1985): 129–34. http://dx.doi.org/10.1080/00168890.1985.9934167.

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Bezruchko, Oleksandr, and Nataliia Kachmar. "Master's Photo Art Project ‘Development of Ukrainian film distribution in Lviv region as a component of film production in Ukraine’." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 104–21. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257185.

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The author's idea. The idea of this Master’s Photo Art Project was to draw attention to the development and decay of cinemas in the Lviv region. Cinema, since its inception, has had a great impact on people, his development, formation, more than once has returned the course of history. Cinemas are a place where you can meet its miracle face to face, touch it. However, what is the current state of Ukrainian cinemas? Who still goes there? Can we say, that at the beginning of the internet era, the cinemas are a relic of the past, which now play only a symbolic role? Having watched the cinemas of the Lviv region, communicating with employees and visitors, I tried to answer these questions, first of all for myself. Research on the development of Ukrainian film distribution is very important in modern conditions, as it is an integral component, the basic basis of cinema, which in turn is a priority of public policy in the humanitarian sphere and determined by the Laws of Ukraine ‘On Culture’, ‘On Cinematography’, etc. Successful, profitable film distribution is a financial platform for the development of film production. Therefore, in-depth analysis of ways and directions of film distribution, research of formation conditions and successful realization of its potential, study and coverage of effective principles of film network existence, construction of forecast models of its further functioning are actual and necessary for the social and economic and political development of society.

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Elgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.

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Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.

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Journal articles on the topic 'Cinema and society'

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