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Academic literature on the topic 'Cinema Politica (Firm)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Journal articles on the topic "Cinema Politica (Firm)"

Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.

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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expressi

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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.

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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the C

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Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.

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Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writer

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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.

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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consc

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Dahman, Abdeghni. "Amok (1982): A Pan-African film with transnational aspirations." Journal of African Cinemas 16, no. 2 (2024): 147–68. https://doi.org/10.1386/jac_00115_1.

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This article attempts to foreground the Pan-African concerns in Souheil Ben-Barka’s Amok (1982). This film has been consistently ignored in African cinema scholarship even though it documents one of the most authoritarian political regimes in South Africa, i.e. the Apartheid political system. Although the film was made in the 1980s, a time best known for the establishment of national African cinemas, its primary concern is beyond the notion of nationhood, opening up therefore the possibility of reading and thinking about African films beyond national boundaries. Grounded in the Pan-Africanist

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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 (off

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Косинова, Марина, and Marina Kosinova. "Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”." Servis Plus 9, no. 3 (2015): 59–69. http://dx.doi.org/10.12737/12541.

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The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to pure

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Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.

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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema pr

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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of

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Slattery, James Lawrence. "Matthew Holtmeier (2019) Contemporary Political Cinema." Film-Philosophy 23, no. 3 (2019): 399–402. http://dx.doi.org/10.3366/film.2019.0124.

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Dissertations / Theses on the topic "Cinema Politica (Firm)"

Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.

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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a

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Hanlon, Dennis Joseph. "Moving cinema: Bolivia's Ukamau and European political film, 1966-1989." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/374.

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This study considers the films and writings of Jorge Sanjinés, an influential Latin American filmmaker and theorist known for the collaborative methods of filmmaking he and the Grupo Ukamau created working with indigenous Andean communities, in light of two interrelated but overlooked aspects of his theory and practice: the extent to which his theories intervened in European debates about politics and cinema during the period 1966-1989 (the release dates for his first and last significant features) and his experiments using cinematic form to create a language capable of communicating an altern

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Rosenfeld, Rachel F. "Confrontation Cinema in the Age of Neoliberalism; Where Brazil and the United States Meet." Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/cmc_theses/222.

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Contents: Introduction; The Smell of Revolution and Popcorn; Filling the Gaps: Historical Context; Brazilian Cinema in the Age of Neoliberalism and Political Discourse of the New Brazilian Left; US Films and the Iraq War: This isn’t my America; Epilogue

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Hanlon, Dennis Joseph Newman Kathleen E. "Moving cinema Bolivia's Ukamau and European political film, 1966-1989 /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/374.

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Thom, Maren. "Symptom of the post-political : terrorism in Contemporary German, British and Hollywood Cinema." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8916.

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This thesis investigates the ways representations of terrorism in Hollywood, German and British cinema embody what Slavoj Žižek describes as the postpolitical, that is the current state of denial of alternatives within global politics and a directionlessness within cultural theory, which set in after the apparent defeat of the possibility of a radical alternative to capitalism. Moreover, this thesis proposes that films about terrorism are not only cultural expressions of the post-political, but also show the post-political condition to be problematic, displaying as they do symptoms such as the

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Elder, Keir. "James Barke : politics, cinema and writing Scottish urban modernity." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/0e2e9d04-334e-445a-b1b1-9fa7cbca5fa5.

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This thesis examines the early works of the Scottish novelist, playwright, would-be screenwriter, commentator and political agitator, James Barke, to argue that he was a more significant figure on the Scottish literary scene than his place in the canon would suggest. The purpose in so doing is to suggest that his writing was symptomatic of a modernisation in Scottish society and letters during the 1930s. In prosecuting this endeavour, the research considers four aspects of the author's early output: the political dimension; his aesthetic sensibilities; the impact and representation of the city

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Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.

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Broodryk, Chris Willem. "Absences, exclusivities and utopias: Afrikaans film as a cinema of political impotence, 1994 - 2014." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20299.

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This thesis develops a conceptual and theoretical framework within which to position contemporary Afrikaans cinema as a cinema of political impotence. Afrikaans cinema is first located within the tensions of democratic post-transitional South African society and linked to the identity politics of being identified as 'Afrikaner' or 'Afrikaans speaking'. The thesis provides a critical overview of film scholar Thomas Elsaesser's studies of (New) German Cinema and Hollywood, identifying key notions such as double occupancy to inform the study's vocabulary, and discussing how certain cultures have

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Borges, Rafael de Almeida Tavares 1987. "Poéticas do lago e sua superfície : o cinema de Cao Guimarães." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284498.

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Orientador: Francisco Elinaldo Teixeira<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T12:59:07Z (GMT). No. of bitstreams: 1 Borges_RafaeldeAlmeidaTavares_D.pdf: 2009389 bytes, checksum: eda91704dd3d7352465ae0473264dbbc (MD5) Previous issue date: 2013<br>Resumo: Pesquisa sobre a obra do artista plástico e cineasta Cao Guimarães, considerando, em especial, os aspectos estéticos de seus trabalhos e as implicações políticas latentes provenientes da forma ensaística assumida por suas obras. O artista contemporâneo parte da es

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Russell, Michael. "Soviet montage cinema as propaganda and political rhetoric." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4084.

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Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more n

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Books on the topic "Cinema Politica (Firm)"

William, Davis Darrell, ed. Cinema Taiwan: politics, popularity, and state of the arts. Routledge, 2007.

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Bruna, Franco. Franco Bruna: Il cinema della politica. Museo della satira e della caricatura, 2010.

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Cesare, De Michelis, ed. L' estremista moderato: La letteratura, il cinema, la politica. Marsilio, 1993.

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Buchsbaum, Jonathan. Cinema engagé: Film in the Popular Front. University of Illinois Press, 1988.

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Stephanie, Dennison, Lim Song Hwee 1965-, and World Cinemas: Identity, Politics, Culture (2002 : University of Leeds), eds. Remapping world cinema: Identity, culture and politics in film. Wallflower Press, 2006.

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Hamid, Naficy, ed. Home, exile, homeland: Film, media, and the politics of place. Routledge, 1999.

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Sitney, P. Adams. Vital crises in Italian cinema: Iconography, stylistics, politics. Oxford University Press, 2013.

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1968-, Velayutham Selvaraj, ed. Tamil cinema: The cultural politics of India's other film industry. Routledge, 2008.

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1968-, Velayutham Selvaraj, ed. Tamil cinema: The cultural politics of India's other film industry. Routledge, 2008.

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Martin, Adrian. Mysteries of Cinema. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre,

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Book chapters on the topic "Cinema Politica (Firm)"

Stanković, Vladan. "Oliver Stone’s Political Cinema." In Film and Politics. Institute for Political Studies, 2024. http://dx.doi.org/10.18485/ips_film_politics.2024.ch20.

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Marrone, Gaetana. "The Political Film." In The Italian Cinema Book. British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_24.

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Windisch, Anna K., Claus Tieber, and Phil Powrie. "From Unheard to Meaningful: When Music Takes Over in Film." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_1.

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AbstractThis introduction lays out the focus of the book on moments in film when ‘unheard melodies’ become heard and meaningful. These filmic instances where music ‘takes over’ and the surreal often becomes the accepted filmic reality are examined in reference to two recent theoretical approaches: ‘musical moments’ (Amy Herzog) and ‘crystal songs’ (Phil Powrie). Divided up into four parts, the book’s chapters apply these two differing but overlapping theoretical concepts to their case studies and discussions. What the Musical Moment Can Do—Theoretical Approaches covers the books’ theoretical f

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Perić Diligenski, Tijana. "Abuse of Power Through the Prism of Contemporary Political Cinema." In Film and Politics. Institute for Political Studies, 2024. http://dx.doi.org/10.18485/ips_film_politics.2024.ch21.

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Cioffi, Angelo Emanuele. "Film as thought experiment." In Philosophical Theories of Political Cinema. Routledge, 2021. http://dx.doi.org/10.4324/9780367816872-7.

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Stošić, Sanja. "Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema." In Film and Politics. Institute for Political Studies, 2024. http://dx.doi.org/10.18485/ips_film_politics.2024.ch27.

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Chan, Kim-mui E. Elaine. "Film Noir, Crisis and Politics of Identity." In Hong Kong Dark Cinema. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28293-6_2.

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Nazario, Luiz. "Nazi Film Politics in Brazil, 1933–42." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_6.

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Peredo-Castro, Francisco. "Inquisition Shadows: Politics, Religion, Diplomacy, and Ideology in Mexican Film Censorship." In Silencing Cinema. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_5.

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Loiperdinger, Martin. "Film Censorship in Germany: Continuity and Change through Five Political Systems." In Silencing Cinema. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_6.

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Conference papers on the topic "Cinema Politica (Firm)"

Boonnimitra, Sopawan, and Peerachai Kerdsint. "The Rise of the Documentary Film Movement in Thai Cinema During the Current Political Conflict." In The Asian Conference on Media, Communication and Film 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.16.

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Rahayu, Dwi, and Farah Oktafani. "The Effect of Online Customer Review on Trust and its impact on Purchase Intention in Cinema Films on Subscribers of YouTube Channel Review Film Cine Crib." In Proceedings of the 5th International Conference on Indonesian Social and Political Enquiries, ICISPE 2020, 9-10 October 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.9-10-2020.2304779.

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Chakim, Sulkhan, Nawawi, Uus Uswatussolikah, and Moh Roqib. "Intersectionality of Gender and Religious Politics in the Humanitarian Discourse of Ayat-Ayat Cinta Film." In 1st Borobudur International Symposium on Humanities, Economics and Social Sciences (BIS-HESS 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200529.211.

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