Academic literature on the topic 'Cinéma non-commercial'
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Journal articles on the topic "Cinéma non-commercial"
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Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.
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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.
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MANAKBAYEVA, Aigerim, and Serik SEIDUMANOV. "ACTUAL ISSUES OF PUBLIC POLICY IN THE FIELD OF CINEMATOGRAPHY." Public Administration and Civil Service, no. 2-77 (June 29, 2021): 32–40. http://dx.doi.org/10.52123/1994-2370-2021-252.
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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.
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Milerius, Nerijus. "ŽANRINIO APOKALIPSĖS KINO DEKONSTRUKCIJA A. KUROSAWOS „RASHOMONE“." Problemos 83 (January 1, 2013): 145–58. http://dx.doi.org/10.15388/problemos.2013.0.826.
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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.
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Muthalib, Hassan. "Film Review Karya, A Film by Abror Rivai: Calmly Waiting for the Community." International Journal of Creative Multimedia 1, no. 2 (September 30, 2020): 78–92. http://dx.doi.org/10.33093/ijcm.1.2.5.
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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.
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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (March 1, 2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.
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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’.
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Carpio Miranda, Rosa. "Narrativas abiertas en el cine de ficción ecuatoriano." Ñawi 2, no. 2 (July 31, 2018): 65. http://dx.doi.org/10.37785/1002204.
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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
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Carpio Miranda, Rosa. "Narrativas abiertas en el cine de ficción ecuatoriano." Ñawi 2, no. 2 (July 31, 2018): 65. http://dx.doi.org/10.37785/nw.v2n2.a4.
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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
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Ciszewska, Ewa. "Film Education in Poland – Historical Outline and Current State of Research." Panoptikum, no. 18 (December 29, 2017): 10–27. http://dx.doi.org/10.26881/pan.2017.18.01.
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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.
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McKenna, Christopher J. "An invisible operational mortar." AILA Review 34, no. 1 (September 9, 2021): 102–21. http://dx.doi.org/10.1075/aila.20010.mck.
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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.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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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.
Dissertations / Theses on the topic "Cinéma non-commercial"
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Cezar, Mundim Luiz Felipe. "Le public organisé pour la lutte : le cinéma du peuple en France et la résistance du mouvement ouvrier au cinéma commercial (1895-1914)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H046/document.
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La thèse examine la relation entre le mouvement ouvrier français et le cinéma au début du XXe siècle, plus précisément de 1895 à 1914. Elle s'articule autour de l'expérience spécifique de la coopérative Cinéma du Peuple, qui a duré d'octobre 1913 à juillet 1914. La coopérative Cinéma du Peuple participa à l'adhésion d'une partie des militants aux ressources du cinéma, sensible à partir de 1909, date à laquelle le processus d'industrialisation du film en France était déjà très avancé. Transmise au-delà de 1914, l'expérience du Cinéma du Peuple, première tentative ouvrière organisée d'appropriation du cinéma, a posé les fondements d'un nouveau terrain d'intervention en vue d'une hégémonie dans le champ culturel prolongée jusqu'à nos jours. L'hypothèse est que le public -catégorie d'analyse dans une échelle alternative de celle de masse, ou de spectateur -a montré, avec l'expérience du Cinéma du Peuple, qu'il n'est pas, par nature et de façon in-évocable, prisonnier des films commerciaux et des intérêts des distributeurs. À partir des notions de répertoire d'action, et de l'expérience de la domination idéologique par le cinéma commercial, nous nous efforçons de cerner les contours de ce public, pour partie confondu avec celui du mouvement ouvrier, notamment au moyen des trajectoires collectives et individuelles des initiateurs, propagandistes du Cinéma du Peuple et de ses spectateurs. En même temps, nous nous proposons de montrer à partir de l'analyse des films du Cinéma du Peuple le début de la formation d'un nouveau mode de représentation du monde ouvrierThe thesis examines the relationship between the French working class movement and the cinema at the beginning of the 20th century, specifically from 1895 to 1914. 1t focuses on the specific experience of the cooperative Cinéma du Peuple, which lasted from October 1913 to July 1914. The cooperative Cinéma du Peuple took part of militant cinema in France, which was barely begun from 1909 on when the industrialization process of the film in France was already advanced. Transmitted beyond 1914, the experience of the Cinéma du Peuple, first working class movement organized attempt to film appropriation, laid the foundations of a new ground of intervention in a prolonged hegemony in the cultural field until the present days. The assumption is that the public - a category of analysis in an alternative scale than mass or spectator - showed, with the experience of Cinéma du Peuple, that it is not by nature and so irrevocable way a prisoner of the commercial films and the interests of distributors. From the concepts of repertoire of contention, and the experience of the ideological domination of commercial cinema, we strive to identify the contours of that public, partly coïncident with the working class movement, mostly through collective and individual militants' trajectories, propagandists of the Cinéma du Peuple and its public. At the same time, we intend to bring from the analysis of the Cinéma du Peuple's films the beginning of the formation of a new mode of representation of the working class
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Scheppler, Gwenn. "« Je suis le premier spectateur » : l’œuvre de Pierre Perrault ou le cinéma comme processus." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20017.
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Cette thèse a comme objectif de comprendre comment l’œuvre de Perrault a interagi avec la société québécoise lors de la Révolution Tranquille et de ses prémisses. Nous focalisons en particulier notre attention sur la façon dont la démarche artistique du cinéaste a pu être influencée par la culture populaire québécoise, et comment elle a en retour réinvesti cette dernière. Nous analysons donc les relations entre l’œuvre du cinéaste et trois contextes distincts : les représentations de la nation québécoise et leur historicité au vingtième siècle ; la relation ambivalente entre cinéma et société québécoise depuis la naissance de cet art de masse ; les réminiscences de la tradition orale dans la culture populaire et le cinéma. Pour bien comprendre la démarche de Perrault et son inscription dans la société québécoise, nous proposons de considérer l’œuvre selon une perspective globale, qui embrasserait à la fois les films et les écrits ainsi que le dispositif de production et de diffusion des films, dans l’idée que tous ces éléments formaient en réalité un tout cohérent et indivisible dans l’idée que Perrault se faisait de son cinéma. Nous proposons donc l’idée que le « cinéma de la parole » doit s’envisager d’une façon inhabituelle : son cœur ou son sens ne sont pas spécifiquement localisés dans les films, ni même dans leur réception, mais dans un long « processus » d’échange qui s’initie avant le tournage et est supposé se poursuivre au-delà de la projection du film fini : ce serait ce processus d’échange, d’interrelation et de co-définition qui serait l’objet véritable du cinéma de Perrault, ou du moins est-ce ce que nous allons démontrer. Le concept de « processus », que nous développons tout au long de cette étude, constitue donc le cadre de notre analyse « contextuelle ». Il recouvre également la façon dont le cinéaste concevait son cinéma : notre analyse se place donc dans une perspective herméneutique.Ultimement, le fait de concevoir et d’analyser le cinéma de Perrault en terme de processus permet d’envisager une conception différente du cinéma basée sur l’exemple de ce cinéaste : un phénomène historique et socioculturel complexe intimement relié aux évolutions d’une société donnée, et dont les significations dépendent des contextes où il se déploie et avec lesquels il entretient un rapport d’échangeThis thesis aims to a better understanding of the ways in which Pierre Perrault’s work interacted with Québécois society during the Quiet Revolution and with the ideas on which it was based.Specifically, it will focus on the way in which the filmmaker’s artistic conception might have been influenced by Québécois popular culture and how it has, in turn, reinvested it. I will analyse the relationships between the filmmaker’s work and three distinct contexts: the representations of the Québécois nation and their historicity in the 20th century; the ambivalent relationship between cinema and Québécois society since the birth of this mass media; and the reminiscences of oral tradition in popular culture and cinema.In order to properly understand Perrault’s creative practice an its inscription in the Québécois society, I propose to consider his work from a global perspective, which includes the films and the essays, as well as the film production and distribution, with the idea that all these elements formed in fact a coherent and indivisible whole in the ways in which Perrault thought of his filmmaking. I thus suggest the idea that the “cinéma de la parole” must be considered from a fresh perspective: its core or its meaning are not specifically found in the films themselves, nor in their reception, but in a long “process” of sharing that begins before the film’s recording and that is meant to continue beyond the screening of the finished work: the true aim of Perrault’s cinema is the very process of exchange, of interrelation and co-definition. The concept of “process”, which will be developed throughout this entire study, constitutes a frame for its “contextual” analysis. It also encompasses the way in which the filmmaker conceived his work as cinematographer; my analysis can thus be situated within a hermeneutic tradition.Finally, describing and analysing Perrault’s cinema in terms of process also allows us to consider a different conception of film based on Perrault’s example: a complex historical and socio-cultural phenomenon intimately tied to the evolutions of a given society, and whose meanings depend on the contexts in which it grows and with which it maintains a relationship based on exchange
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Scheppler, Gwenn. ""Je suis le premier spectateur" : l'oeuvre de Pierre Perrault ou le cinéma comme processus." Thèse, 2009. http://hdl.handle.net/1866/6639.
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Miranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Dissertação, 2020. https://hdl.handle.net/10216/129647.
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Miranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Master's thesis, 2020. https://hdl.handle.net/10216/129647.
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Ferreira, António Maria Teixeira Cardoso. "Os festivais de cinema em Portugal: estudo de caracterização e o seu contexto no panorama português." Master's thesis, 2018. http://hdl.handle.net/10071/17552.
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A presente dissertação procede a uma caracterização dos festivais de cinema
em Portugal, à luz da evolução dos apoios operacionalizados pelo Instituto do Cinema e
do Audiovisual (ICA) no período 1997 - 2017. Os festivais de cinema constituem
dispositivos locais de promoção, diversidade e democratização cultural, num espaço
global, marcado por redes nacionais e internacionais, e é nesta condição justificada a
importância das políticas públicas de apoio a este veículo de exibição não comercial. O
panorama dos festivais de cinema em Portugal exibe continuidades e descontinuidades,
as quais são lidas à luz dos dados fornecidos pelo ICA e do contexto sociopolítico e
económico em que ocorrem. Identificados os traços gerais desta paisagem, procede-se a
um enquadramento sobre os festivais que foram alvo de apoio para o triénio 2015 – 2017,
procurando aferir alguns dos elementos principais que os caracterizam (e distinguem) na
atualidade: localização geográfica, entidades organizadoras, espaços utilizados, linhas
programáticas, duração e número de espectadores da última edição, e ainda parceiros
internacionais relevantes, quando existentes.This dissertation undertakes a characterization of Portuguese film festivals, informed by the evolution of the public funding, following the operationalization by the Institute of Cinema and Audiovisual (ICA) between 1997 and 2007. Film festivals are important local vehicles for cultural promotion, diversity and democratization, operating globally through national and transnational networks. Under this context, it is arguable the importance of public financial aid to this form of noncommercial film screenings. The analysis of the data provided by ICA, framed within its sociopolitical context, reveals the continuities and discontinuities of the Portuguese film festivals landscape. Once outlined the traits of this landscape, the study closes its framing upon the festivals themselves, by determining some of the main elements that characterize (and distinguish) the festivals supported for the triennium 2015 - 2017: location, organizing entities, venues, programming, duration, audience numbers for the last edition and relevant international partnerships, when available.
Books on the topic "Cinéma non-commercial"
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Anne, Conser, and Silverman Stephen M, eds. The last remaining seats: Movie palaces of Tinseltown. Los Angeles, Calif: Balcony Press, 1997.
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Anne, Conser, and Silverman Stephen M, eds. The last remaining seats: Movie palaces of Tinseltown. Santa Monica, CA: Hennessey & Ingalls, 2004.
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Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.
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This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
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Berger, Robert, and Anne Conser. The Last Remaining Seats: Movie Palaces in Tinseltown. Princeton Architectural Press, 1999.
Find full textBook chapters on the topic "Cinéma non-commercial"
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Colmeiro, José. "Made in Galicia: Making the Invisible Visible." In Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.003.0005.
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Chapter 4 focuses on new conceptual approaches to the study of peripheral cinemas, and Galician cinema in particular. It examines the conditions that have shaped the development of Galician cinema historically and it explores different cinematic modes, from the cinema of migration or the folkloric “gallegada”, to the post-Franco boom in Galician cinema with the emergence of a viable commercial cinema, the establishment of an auteur tradition, and the appearance of new non-conventional experimental cinema trends.
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"Survival in the Independent–Non-Commercial–Avant-Garde– Experimental–Personal–Expressionistic Film Market of 1979." In Canyon Cinema, 329–38. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940611-094.
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Bohlmann, Julia. "Early Municipal Cinema." In Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0006.
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In this chapter, Julia Bohlmann considers the ways in which different Scottish agencies tried to utilise early cinema for non-commercial purposes and so created an alternative social role for it. She offers a case study of the development of the municipal cinema in Kirkintilloch as part of a socialist experiment instigated by Labour councillor Thomas Johnston, following the principles of Keir Hardie, and seeking to establish cinema as a contributor to the Common Good. The chapter is significant in noting a commitment to promoting cinema as ‘rational entertainment’ with a positive social role.
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Rhodes, Gary D., and Robert Singer. "Editing." In Consuming Images, 129–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460682.003.0006.
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Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature filmmaking. This chapter also explores the ways in which the TV commercial has approached cutting on camera movement, or, in not using any editing, letting a single image remain onscreen for the entire running time, a practice associated with 19th century cinema and reinvigorated for product sales. The chapter also examines the TV commercial’s ability to eschew standard Hollywood editing practices, opting for decidedly non-classical approaches, as in the exclusive use of close-ups to tell a story.
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Martin, Daniel. "From the Margins to the Mainstream: Asia Extreme in 2004." In Extreme Asia, 142–62. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.003.0007.
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This chapter examines cult Asian cinema in the UK at the very peak of its critical acclaim and commercial success, and the drastically altered context for Asian film reception will be discussed. This chapter argues that the proliferation and high visibility of a wider range of Asian cinema than critics had ever experienced before has allowed them to finally construct their own canons of quality within national Asian cinema industries and genres. The frames of reference used by British critics to assess meaning and value have changed dramatically. At this point, too, Tartan’s brand had been transformed, achieving mainstream visibility, yet finding itself in danger of expanding to the point of losing authenticity and fracturing into meaninglessness. Nonetheless, 2004 was the peak year for Tartan, and a wide range of their releases and promotional (and self-congratulatory) activities are examined: the acclaimed release of bold new Hong Kong crime thriller Infernal Affairs (2002); the unprecedented success of Oldboy (2003), hot off its award from the Cannes International Film Festival; the critical debate inspired by the uncategorisable cult hit Save the Green Planet! (2003); and finally the scandalous (non-)release of Battle Royale II (2003).
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Tierney, Dolores. "‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0004.
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Chapter 2 explores the cinematic transnationality of Alfonso Cuarón arguing that genre contestation, and the Hollywood vector in his career are key to understanding the ways in which his avowedly personal films – Sólo con tu pareja, Y tu mamá también and Children of Men – intervene in Mexican/Latin American/ counter mainstream politics. It begins by analysing how Cuarón’s first feature Sólo con tu pareja defines the sexy comedia/ comedia light/romantic comedy genre. It goes on to explore how Y tu mamá también film adopts and adapts two Hollywood genres – the road movie and the teen or youth movie – to Mexico’s political and social transition of 2000. Finally, it explores how Children of Men, subverts the narrative and textual conventions of the Hollywood disaster film and critiques the geopolitical ideologies which underpin the genre’s presentation of disaster and destruction. Throughout the chapter’s analysis of Sólo con tu pareja, Y tu mamá también and Children of Men (Gravity is explored in the Epilogue) it focuses on his contestatory use of genre as a key marker of auteurist practice. The chapter also complicates a non-commercial perspective on auteurism by looking at how, in the case of Cuarón, the auteur as a commercial category is most firmly underlined.
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Ulfsdotter, Boel, and Mats Björkin. "The Gothenburg International Exile Film Festival in Context." In Nordic Film Cultures and Cinemas of Elsewhere, 94–102. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0008.
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This chapter explores how in 1993 two Iranian immigrants to Sweden, Hossein Mahini and Hassan Mahini, launched a film festival in Sweden’s second largest city Gothenburg for films related to exile and refugee experiences, the Exile Film Festival. The programming of the festival represents the large range of exilic, diasporic, ethnic, immigrant, and refugee communities that are part of the contemporary public sphere. The festival also constitutes an overlooked elsewhere of cinematic programming outside of the main commercial, art house, or mainstream film festivals. It is also part of local, national, and international “ecology” of exhibition of non-Western films in general, and exile or diaspora film festivals in particular, including through the festival’s intervention into Gothenburg suburbs that rarely otherwise see this kind of cinematic programming. The chapter also discusses exilic cinephilia cultures in Sweden and the kinds of films that are screened at the festival. By so doing, it introduces a range of cinematic elsewhere.