Academic literature on the topic 'Cinéma non-commercial'

Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.

Cinematography is one of the least studied and emerging areas of research in public administration. The main principles of state policy in the field of cinema are support for domestic cinema and providing access to Kazakhstani film products. The purpose of the article is to analyze the topical problems of domestic cinematography, taking into account the principles of state policy in the field of cinematography. The methodological basis of the research is based on scientific works on the issues under consideration, regulatory legal acts. The work used the official statistics of services in the field of cinema. A factorial analysis of the current state of the film industry was carried out using the analytical tool PEST-analysis. In addition, a discursive analysis of the representation of ideas of state policy in modern Kazakhstani cinema was carried out. Modern Kazakhstani films of the last 10 years were considered as additional materials. The study showed that the support of national films is an important direction in the public administration in the field of cinematography. Socially significant films have non-commercial, spiritual and artistic value. Financial profit belongs to commercial films of private companies. The sharp decline in industry statistics confirms that the global pandemic in 2020 was a tough time for the film industry. Further development of the industry should be a common task not only of the state, but also of all interested parties.

Straipsnis skiriamas pastangai peržengti pramoginio apokalipsės kino ribas. Tekste konstatuojama, kad nekomerciniai apokalipsės kino kūriniai neplėtojami pagal vieną formulę, todėl neįmanoma rasti juos vienijančio teminio pagrindo. Vis dėlto nekomercinį apokalipsės kiną suvienytų ne turinys, bet pati pastanga radikalizuoti kinematografines apokalipsės vizijas, kurias komercinis kinas produkuoja kaip standartinių prekių seriją. Radikalizavus pasaulio pabaigos vizijas, nekomerciniai apokalipsės kino kūriniai ima funkcionuoti kaip kapitalistinės pasaulio pabaigos industrijos kritikos įrankiai. Straipsnyje parodoma, kaip komercinis apokalipsės kinas vaizduoja mirtį ir prekiauja žiūrovo nemirtingumu. Tokiai komercinei strategijai priešstatomas santykis į mirtį Šekspyro „Hamlete“ ir Kurosawos „Rashomone“.Atskleidžiamos paralelės tarp „Hamleto“ skaitytojo ir „Rashomono“ žiūrovo. Argumentuojama, kad „Rashomonas“ gali būti interpretuojamas kaip žiūrovo aklumo demaskavimo įrankis. Jo analizę papildžius Žižeko ir Baudrillard’o nuostatomis, fiksuojamas žiūrovo aklumas pramoginiame apokalipsės kine.The Deconstruction of Apocalypse Genre Cinema in Kurosawa’s “Rashomon”Nerijus Milerius SummaryThe paper deals with the effort to go beyond the boundaries of commercial apocalypse film. It is argued that as non-commercial apocalypse films are not based on the single formula it is impossible to find one unifying thematic base for them. Nevertheless, non-commercial apocalypse films are not united not by their content, but by the effort to radicalize the cinematic visions of the apocalypse. Having radicalized the visions of the end of the world, non-commercial apocalypse film begins to function as a critical tool for the analysis of the capitalist end of the world industry. This paper shows how the commercial apocalypse film depicts death and sells immortality to a viewer. Such commercial strategy of the apocalypse film is opposed to the relation with death in Shakespeare’s “Hamlet” and the Akira Kurosawa’s “Rashomon”. In the paper the parallels between a reader of “Hamlet” and a viewer of “Rashomon” are revealed. It is argued that “Rashomon” can be interpreted as a tool to unmask the blindness of the viewer. The analysis of “Rashomon” leads to the notions of Slavoj Žižek and Jean Baudrillard which allow discovering the analogous blindness of the viewer in the commercial apocalypse film.

Karya(2017), a debut feature film from Abror Rivai, takes a highly personal approach in the telling of its story -a marked contrast to the usual, popular and prevalent genres. It is Abror's expression of his concerns for the future of Malay film storytelling and its filmmakers, who he sees as continuing the tradition of the village storytellers of ancient times. Abror also indulges in intertextuality by referencing many films wherein he sees narrative and stylistic similarities with his own approach. This paper explores some of Abror's concerns about Malay film storytelling as well as that of the state of the mainstream film industry which keeps churning out inane films which only appeal to a commercial, non-thinking audience. It is this that is preventing the rise of young, formally-trained filmmakers, who like himself, are eager to give voice to new, alternative and meaningful narratives. Abror has taken it upon his shoulders to initiate a long-awaited change in the state of affairs, come hell or high water, and to bring Malay cinema to be at par with world cinema.

Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory and a media industries methodology, I shed new light on Romero’s efforts to cultivate a boundaryless independent cinema unbeholden to institutional norms, demonstrating challenges to leadership roles, market orientation, financing and genre. While Romero’s typecasting as a horror auteur was ultimately delimiting, I also consider the filmmaker’s complicity in this codification, scrutinizing his knowing attempts to parlay brand-name recognition into a lasting platform for non-Hollywood production. This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation while complicating our understanding of both Wood’s seminal writings and one of the genre’s totemic ‘masters’.

El presente artículo busca evidenciar la evolución del cine ecuatoriano desde el 2006 al 2016 a través del análisis de narrativas abiertas. Para ello, estudiaremos tres films representativos de su época: Qué tan lejos (2006), Pescador (2011), Alba (2016); abordando principalmente las teorías de narratividad, psicología del personaje y el guion. Esto nos permite poner en práctica conceptos de dichos campos de estudio en el análisis comparativo realizado. En el que se demuestra que la cinematografía del Ecuador deja atrás los cánones del cine clásico y se sumerge en un cine no comercial, evolucionando por el uso de las nuevas tecnologías, recursos narrativos y expresivos. Finalmente, lo que se pretende es configurar una tipología de los finales abiertos, que unas veces permiten al espectador cuestionarse y otras imaginar o recordar.
 Abstract:This article seeks to show the evolution of Ecuadorian cinema from 2006 to 2016 through the analysis of open narratives. For this, we will study three representative films during this time: How Much Further (2006), Pescador (2011), Alba (2016). This inquiry allows us to put into practice concepts of these fields of study in the comparative analysis carried out. It shows that the cinematography of Ecuador is leaving behind the canons of the classic cinema and immerses itself in a non-commercial cinema, the use of newtechnologies, narrative and expressive resources, evolving every year. Finally, what is intended is to configure a typology of open endings, which sometimes allow the viewer to question and others to imagine or remember.
 Keywords:
 Ecuadorian films; open end; narrativity; script; character psychology

El presente artículo busca evidenciar la evolución del cine ecuatoriano desde el 2006 al 2016 a través del análisis de narrativas abiertas. Para ello, estudiaremos tres films representativos de su época: Qué tan lejos (2006), Pescador (2011), Alba (2016); abordando principalmente las teorías de narratividad, psicología del personaje y el guion. Esto nos permite poner en práctica conceptos de dichos campos de estudio en el análisis comparativo realizado. En el que se demuestra que la cinematografía del Ecuador deja atrás los cánones del cine clásico y se sumerge en un cine no comercial, evolucionando por el uso de las nuevas tecnologías, recursos narrativos y expresivos. Finalmente, lo que se pretende es configurar una tipología de los finales abiertos, que unas veces permiten al espectador cuestionarse y otras imaginar o recordar.
 Abstract:This article seeks to show the evolution of Ecuadorian cinema from 2006 to 2016 through the analysis of open narratives. For this, we will study three representative films during this time: How Much Further (2006), Pescador (2011), Alba (2016). This inquiry allows us to put into practice concepts of these fields of study in the comparative analysis carried out. It shows that the cinematography of Ecuador is leaving behind the canons of the classic cinema and immerses itself in a non-commercial cinema, the use of newtechnologies, narrative and expressive resources, evolving every year. Finally, what is intended is to configure a typology of open endings, which sometimes allow the viewer to question and others to imagine or remember.
 Keywords:
 Ecuadorian films; open end; narrativity; script; character psychology

The text explores traditions of film education, understood as education through film, in Polish film studies. Although film education has been a de facto part of informal education, we can trace many initiatives aimed at making it an element of formal schooling. Hence the attempt to incorporate film education into school curriculums at various levels of education, undertaken mainly by academic film experts (B. W. Lewicki, E. Nurczyńska-Fidelska). School film education has been fraught with numerous technological obstacles, as well as a lack of available materials to use as a foundation for educational practice. It has also been a challenge to develop appropriate competences of teaching staff. Film education has not found its place as a subject within formal education until today. The current fragmentation of entities responsible for it, and the lack of a coherent strategy means that film education becomes the domain of commercial and non-commercial programmes implemented in cinemas for the purposes of school education.

Abstract The contribution seeks to apply the principles of J. L. Austin’s speech-act theories to the study of local business segregation in the Jim Crow South. In particular, it borrows the notions of illocutionary and perlocutionary force when examining the seemingly bland and prosaic statements that are often used to normalise segregation within the business of commercial entertainment. For purposes of expanding the complexity of typical Manichaean (i.e., Black vs White) ethnic studies, this analysis was developed within the context of tri-racial segregation as applied to rural moviegoing within Robeson County, North Carolina during the first half of the twentieth century. Notably, the development of Robeson’s historical cinema-exhibition spaces eventually resulted in a highly unusual venue – i.e., the three-entrance theatre – whose physical architecture reflected tensions between local ethnic demographics and desired social hierarchies. Yet even in the face of these unusual physical constructs, this study contends that seemingly everyday objective/descriptive and non-demonising language remained an essential component in enforcing segregation.

The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.