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Journal articles on the topic 'Cinema screens'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Kulkarni, Damini. "Screening Bodies." Interactive Film & Media Journal 2, no. 3 (2022): 23–38. http://dx.doi.org/10.32920/ifmj.v2i3.1507.

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As the COVID-19 pandemic continues to violently underscore the pre-eminence and precariousness of corporeality, the audiences’ bodily engagement with the screens on which they watch cinema is apt to undergo a range of shifts. When India implemented one of the strictest shutdowns in the world to control the spread of COVID-19, a population renowned for its fervent film fanbase, was forced away from film theatres. A privileged minority, however, was able to continue their pursuit of cinema by turning to the screens within their possession. This study engages with Indian women who have access to

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C. Pathak, Charu. "Feature Films in Theatres and OTT Platforms: A Study into Viewing Habits and Preferences." MediaSpace: DME Media Journal of Communication 3, no. 01 (2023): 20–22. http://dx.doi.org/10.53361/dmejc.v3i01.04.

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Films in theatres and on OTT platforms is a very different kind of an experience. The coming of OTT has transformed the audience preferences and ways of consumption of the media content and cinema to be specific in this case (Pandit, 2020). Before the advent of OTT cinema has undergone many other types of changes as well. These changes of the past have had a lot of influence on how the people perceived cinema and its contents. From the single screen to multiplex, audience has been witness to plenty of transformations. From black and white films to colour and from big screens to TV screens via

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3

Patronis, Eugene T. "Cinema sound system for unperforated screens." Journal of the Acoustical Society of America 93, no. 2 (1993): 1223. http://dx.doi.org/10.1121/1.405474.

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Dadar, Taraneh. "Screens and veils: Maghrebi women’s cinema." Transnational Cinemas 5, no. 1 (2014): 87–89. http://dx.doi.org/10.1080/20403526.2014.897890.

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5

Catalan, Cristobal. "Silver screens: cinema comes of age." Lancet Psychiatry 3, no. 5 (2016): 410–12. http://dx.doi.org/10.1016/s2215-0366(16)30049-9.

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Muhammad Yaqoub, Zhang Jingwu, Zhang Xuyao, and Raheela Firdous. "Future of Video Streaming Platforms and Mainstream Cinema: A Case Study of Fujian Province, China." Journal of Peace, Development & Communication V06, no. 02 (2022): 1–21. http://dx.doi.org/10.36968/jpdc-v06-i02-01.

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The pandemic has dramatically changed the current film-viewing landscape from cinema to streaming services. Video streaming platforms (VSPs) are hailed as the future of the Chinese Film & Entertainment industry. The COVID protocols, such as biometric surveillance and quarantine-driven isolation after a coronavirus scare, forced the cinema-goers to stay safe at home and enjoy the films, web series, and shows on mini-screen. In the time of streaming services, the cinema theatre is grappling with doing business. This study explores post-pandemic prospects, explaining why movie-lovers access a

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Bergen-Aurand, Brian. "Screening Expectation." Screen Bodies 3, no. 2 (2018): v—xii. http://dx.doi.org/10.3167/screen.2018.030201.

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Screen Bodies 3.2 engages with a wide variety of topics—fat studies, contemporary queer cinema, (pre)posterity, puzzle films, grief and truth in filmmaking, feminist materialism, digitized bodies, food and horror, and Maghrebi cinema. As well, the selection of articles in this issue represents studies of several media—tv programs, films, publicity stills, and photographs—from a number of locations around the globe—North America, Europe, Africa, and Asia. What holds this general issue together, though, is a concern over expectation, assumption, and supposition: what we suppose screens and bodie

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Widharma, Raya Dipodiputro, Huseini Martani, and Sakapurnama Eko. "Elasticity of Investment Financing Policy towards the Growth of Film Distribution Networks as an Effort to Redesign the Film Industry." International Journal of Current Science Research and Review 07, no. 03 (2024): 1804–13. https://doi.org/10.5281/zenodo.10846456.

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Abstract : This research aims to analyze the influence of investment financing policies on the growth of film distribution networks. Investment financing policy is seen from the aspect of setting investment credit interest rates in banking. Meanwhile, the growth of the film distribution network can be seen from the aspect of the number of cinema screens in Indonesia. This research uses several variables, such as: Investment Credit Interest Rates at Bank Persero, Regional Development Banks, National Private Banks and Foreign and Joint Venture Banks. The time range used in this research is from

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Fortuna Jr., Grzegorz. "Kino Bliskiego Wschodu na polskich ekranach." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 36, no. 45 (2024): 113–26. https://doi.org/10.14746/i.2024.36.45.6.

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In the article Middle Eastern Cinema on Polish Screens Grzegorz Fortuna Jr. analyzes the presence of films from the Middle East in Polish cinemas in 2002–2022. The author takes into account major productions from all Middle Eastern countries that have appeared on Polish screens in the last twenty years. The aim of the article is to check to what extent film criticism and research interest in cinematography in this area translates into the actual box office success of individual titles and what factors determined the possible success of Middle Eastern films in Polish cinemas. The author primari

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Lovatt, Philippa. "Cinema as Weather: Stylistic Screens and Atmospheric Change." Screen 56, no. 3 (2015): 387–90. http://dx.doi.org/10.1093/screen/hjv037.

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Virginás, Andrea. "On the Role of Diegetic Electronic Screens in Contemporary European Films." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (2018): 87–102. http://dx.doi.org/10.1515/ausfm-2018-0005.

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Abstract Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (Odin 2016), while focusing, in a hypnotic manner, the viewers’ attention (Chateau 2016) on traumat

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NARITI, NI LUH, IDA BAGUS IDEDHYANA, and SILUH PUTU NATHA PRIMADEWI. "PERANCANGAN CINEMA CENTER DI JEMBRANA." GANEC SWARA 18, no. 4 (2024): 2382. https://doi.org/10.35327/gara.v18i4.1052.

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Cinema Center namely the building which is the center of film activities. In January 2023 Indonesia has 500 cinema units with an increase in the number of viewers by 15.4% from year to year previously. However, the distribution of screens is still considered uneven, because it is not affordable reaching small towns in every existing district/city, including on the island of Bali. Jembrana became strategic location for building construction cinema new, apart from due to public interest strong towards film, Jembrana also does not have entertainment facilities such as cinemas. The purpose of This

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Smagina, S. A. "«There Is No Flame, Only Smoke Lingers»: the Image of a Rock Musician in Modern Russian Cinema." Vestnik VGIK 16, no. 2(60) (2024): 80–94. http://dx.doi.org/10.69975/2074-0832-2024-60-2-80-94.

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The article analyzes the image of a rock musician in modern Russian cinema. Having developed a cult status in the mid-80s - early 90s, this kind of character reappeared on the screens in the first decade of the 21st century. One after another, the sequels to the Perestroika hits «2-Assa-2» by S. Solovyov and «The Needle Remix» by R. Nugmanov are released, a number of other notable films featuring this image are produced, but they fail to repeat the success of their predecessors. The author analyzes the cultural codes behind the image of a rock musician in Russian cinema, traces its changes and

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Zarza, Zaira. "‘I want to watch movies’: Film activism and Cuban screens." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 383–95. http://dx.doi.org/10.1386/slac_00028_1.

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The notion of independent cinema has generated conversations and controversies around the world as scholars have attempted to demarcate what kinds of productions fit – or do not – into the category. In the absence of major private film companies, independent cinema in Cuba includes those films made without or with minimal support from the state-run Cuban Film Institute (ICAIC). Since its foundation in 1959, ICAIC has been the main and only programmer of all films screened in theatres across the country. This article offers a brief account of the relationship between Cuban independent cinema an

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Kealhofer, Leslie. "Screens and Veils: Maghrebi Women’s Cinema by Florence Martin." French Review 86, no. 2 (2012): 375–76. http://dx.doi.org/10.1353/tfr.2012.0085.

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Welch, Rhiannon Noel. "Imperial Screens: Ruth Ben-Ghiat's Italian Fascism's Empire Cinema." Postcolonial Studies 18, no. 4 (2015): 459–61. http://dx.doi.org/10.1080/13688790.2016.1161583.

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Nossery, Névine El. "Screens and Veils: Maghrebi Women’s Cinema by Florence Martin." Women in French Studies 21, no. 1 (2013): 107–9. http://dx.doi.org/10.1353/wfs.2013.0005.

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18

Hendrykowski, Marek. "Ekran i kadr." Przestrzenie Teorii, no. 1 (February 15, 2007): 137–48. http://dx.doi.org/10.14746/pt.2002.1.9.

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Among the contemporary media through which to communicate images, human consciousness is still the most important manner of viewing reality. As it is no technology will replace perception of the world by means of the senses. Consciousness is a peculiar screen, because like any other screens, known for a long time (rock paintings, cinema and TV screens and the like) it always performs the separating function. An important problem is the distinction of a screen from a frame. The screen is the object of perception, and the frame is an imagined object - a conventional framework of a message. The s

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Lysne, Anders, and Christa Lykke Christensen. "Introduction: Youth cultures in Nordic cinema." Journal of Scandinavian Cinema 14, no. 1 (2024): 25–29. http://dx.doi.org/10.1386/jsca_00107_2.

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Youth cultures have had a ubiquitous presence on Nordic screens for more than seven decades and are currently experiencing a surge in visibility across streaming platforms. However, studies pertaining to the production, representation and reception of youth film in Nordic cinema have been scarce. This introduction to the In Focus section ‘Youth cultures in Nordic cinema’ provides background and context for the section and presents its four contributing articles.

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Garcia, Yuri. "Comic Books in Silver Screens." Comunicação & Informação 26 (June 28, 2023): 115–39. http://dx.doi.org/10.5216/ci.v26.73828.

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O presente trabalho apresenta um mapeamento das transposições de Histórias em Quadrinhos no Cinema. Foi utilizado um recorte que procura esse levantamento fílmico, assim como alguns dados relativos à sua repercussão – suas bilheterias e indicações às premiações do Oscar – em obras norte-americanas, live-action e longa-metragem. Ao delimitar o corpus da pesquisa a esses casos, procuramos um enfoque ao imaginário mainstream de nossa cultura contemporânea. Essas produções cinematográficas tornam-se um fenômeno mundial, dominando um grande mercado atualmente. Esse artigo procura demonstrar esse pr

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Lauwrens, Jenni. "(INTER)FACING EMPATHY:." Persona Studies 9, no. 2 (2024): 68–82. http://dx.doi.org/10.21153/psj2024vol9no2art1915.

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Screen technologies, ranging from the cinema to the smartphone, are taken for granted in the contemporary screen landscape. This landscape has been referred to as the “screen-sphere” (Sobchack 2014) owing to the fundamental ways screens affect how people understand and relate to the world around them. It is particularly their structural and operative functioning as interfaces that influence not so much how we use screens, but, more importantly, how they affect our communication with and feelings towards others. In so doing, the screen as an interface profoundly transforms people’s capacity for

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Ham, Jong Ho. "A Cinematic Understanding of Poetry Images." Liberal Arts Innovation Center 16 (November 30, 2024): 113–41. https://doi.org/10.54698/kl.2024.16.113.

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This study attempted to examine the development of poetry images and their structure by utilizing the unique characteristics of the cinema genre. This shows a different approach from the attitude of discussing modernist poetry by limiting it to the level of painting. If a painting is structured as a single overall screen, a cinema has the characteristic of assembling fragmentary screens to structure the whole. Therefore, the attitude of understanding poetry images cinematically requires appropriate use and analysis of free viewpoint changes that allow the screen to be divided into several part

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23

Borden, Amy E. "Shadows, Screens, Bodies, and Light." Screen Bodies 5, no. 1 (2020): 1–17. http://dx.doi.org/10.3167/screen.2020.050102.

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Considering how American publications wrote about x-ray, still, and photochemical motion pictures as shadows reveals a discursive bridge among the three varieties from the performance practice of ombromanie (shadowgraphy). This process produced shadows of performing bodies where the bodies were accompanied by the impression created by the interaction of the bodies and the light source. That organization of bodies and technology, as complex as a body and a fluoroscope or as low-tech as hands, a candle, and a screen, can help historians contextualize popular narratives of early cinema that sugge

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Truckenbrod, Joan. "Physicalizing the Image, Physicalizing the Digital." International Journal of Art, Culture and Design Technologies 2, no. 1 (2012): 1–9. http://dx.doi.org/10.4018/ijacdt.2012010101.

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Radically shifting personal experience of the visual image from virtual worlds like Second Life, from flat screens, cinema, and paper to physical forms, subverts the predominance of the digital realm. Living on the surface of the screen minimizes the tactility of materials and the resonance of memory and meaning embodied in objects. Digital 3D cinema, 3D television, and 3D cameras are precursors at the threshold of transforming digital into physical. The image flexes from screen to object with 3D printers and CNC machines. In the medical profession, computer 3D images from CT scans are transfo

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Kaushik, Rajiv. "Mauro Carbone, Philosophy-Screens: From Cinema to the Digital Revolution." Philosophy Today 66, no. 3 (2022): 663–68. http://dx.doi.org/10.5840/philtoday2022663445.

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Long, Brian, Roger Schwenke, Peter Soper, and Glenn Leembruggen. "Further Investigations into the Interactions between Cinema Loudspeakers and Screens." SMPTE Motion Imaging Journal 121, no. 8 (2012): 46–62. http://dx.doi.org/10.5594/j18247xy.

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Coleman, Dave, and Gary Sharp. "54.2:Invited Paper: High Efficiency Polarization Preserving Cinema Projection Screens." SID Symposium Digest of Technical Papers 44, no. 1 (2013): 748–51. http://dx.doi.org/10.1002/j.2168-0159.2013.tb06322.x.

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McNeil, M. "Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema." Screen 52, no. 1 (2011): 131–33. http://dx.doi.org/10.1093/screen/hjq056.

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Naiboglu, G. "Turkish German Cinema in the New Millennium: Sites, Sounds and Screens." Screen 56, no. 2 (2015): 286–89. http://dx.doi.org/10.1093/screen/hjv020.

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Stadler, John Paul, and Brian Bergen-Aurand. "Reviews." Screen Bodies 4, no. 2 (2019): 126–33. http://dx.doi.org/10.3167/screen.2019.040210.

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Damon R. Young, Making Sex Public and Other Cinematic Fantasies (Durham, NC: Duke University Press, 2018). 301 pp. ISBN: 978-1-4780-0167-6 / 978-1-4780-0133-1 (hardback, $104.95; paperback, $27.95)Mauro Carbone, Philosophy-Screens: From Cinema to the Digital Revolution (Albany: State University of New York Press, 2019). 166 pp., ISBN: 9781438474656 / 9781438474649 (hardback, $80.00; paperback, $20.95)

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Krivosheev, Mark Iosifovich, and Mark I. Krivocheev. "Screen in the new time." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 4–10. http://dx.doi.org/10.17816/vgik214-10.

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The rapidly developing interactive digital technologies in the field of sharper TV pictures and modern displays are actively invading the socio-cultural space, opening a new era of information visualization, as well as affecting the model of the society functioning. They also increase the economic effect. The article is devoted to the development of «outside» television and «outside» day cinema, digital technologies that form a special kind of screen culture due to video information system screens that are fixed both in open space of cities and settlements and in the interiors of the crowded b

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Enyedi, Delia. "Body, Voice and Noise: Acting for Sound Films as Debated in the Interwar Romanian Press." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (2023): 71–85. http://dx.doi.org/10.24193/subbdrama.2023.1.03.

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"Sound cinema arrived on Romanian screens in 1929 to a moderate response. Critics and artists alike pondered over their status as an altered version of silent cinema, filmed theatre or a new art form. All three alternatives were further confronted to the status of the actor, as delineated by theatre, in an attempt to clarify the uncertain future of the film actor who used both his body and voice. This paper conducts a survey of articles on these issues published by Romanian interwar newspapers. Their authors reached various conclusions, from predicting the imminent failure of sound cinema and,

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Cheung, Tammy, and Michael Gilson. "Gender Trouble in Hongkong Cinema." Cinémas 3, no. 2-3 (2011): 181–201. http://dx.doi.org/10.7202/1001198ar.

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The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male characters in them. Today's Hongkong films, society and culture are just now taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is al

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Whitmoyer, Keith. "Review of Mauro Carbone, Philosophy-Screens: From Cinema to the Digital Revolution." Chiasmi International 22 (2020): 449–57. http://dx.doi.org/10.5840/chiasmi20202239.

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In this text, my aim is to provide a reading of Mauro Carbone’s Philosophy Screens: From Cinema to the Digital Revolution in the context of his other writings. My claim is that in this most recent work, Carbone makes a decisive step from being an original interpreter of the work of Merleau-Ponty and Proust to making an original contribution to what I describe, following Merleau-Ponty and Carbone, the history of “a-philosophy”: an historical attempt to reverse the “official philosophy” that has been with us since at least Plato. This reversal is staged through a series of concepts, created by C

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Bancou, Leo, and François-Xavier de Vaujany. "Remote Work as Deleuzian Cinematography: Organizationality Beyond the Frame." puntOorg International Journal 8, no. 1 (2023): 96–113. http://dx.doi.org/10.19245/25.05.pij.8.1.6.

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Increasingly, work and management happen in remote and decentered ways. The Covid-19 crisis has both made visible and amplified this trend. While they are in front of their computers, trapped between the frames of their screens, workers are more and more part of a cinematographic experience they do not choose or become mere activities in a broader assemblage of images. In the latter situation, work and management become signs, flows, activities at the surface of screens. How to describe this cinematographic experience? Here, we come back to the philosophy of cinema offered by Merleau-Ponty and

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Gueydan-Turek. "Screens and Veils: Maghrebi Women's Cinema by Florence Martin." Research in African Literatures 44, no. 1 (2013): 195. http://dx.doi.org/10.2979/reseafrilite.44.1.195.

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Furstenau, Marc. "Fluid Screens, Expanded Cinema. Edited by Janine Marchessault and Susan Lord." Canadian Journal of Film Studies 17, no. 2 (2008): 99–102. http://dx.doi.org/10.3138/cjfs.17.2.99.

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Banks, Michael. "Hawking in the movies: The Theory of Everything hits cinema screens." Physics World 27, no. 12 (2014): 8. http://dx.doi.org/10.1088/2058-7058/27/12/14.

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De Breuker, Johannes. "Turkish German Cinema in the New Millennium: sites, sounds, and screens." Historical Journal of Film, Radio and Television 35, no. 1 (2015): 197–98. http://dx.doi.org/10.1080/01439685.2014.997521.

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Rietuma, Dita. "MODERNIST INFLUENCES IN ROLANDS KALNIŅŠ’ FILM “FOUR WHITE SHIRTS” (ČETRI BALTI KREKLI ,1967)." Culture Crossroads 19 (October 11, 2022): 44–54. http://dx.doi.org/10.55877/cc.vol19.38.

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The 1950s and 60s in European film history is considered to be modernist period that was most explicitly manifested in the cinema of West European countries (France, Italy and others). Fragmentation of the narrative, loosening of linkage between events, innovative approaches in editing, foregrounding of subjectivity are only some of formal techniques characterizing the modernist aesthetics in cinema. In the soviet period of Latvian film history there are merely a few films in which one can identify modernist features. Basically, those are films by Rolands Kalniņš and in particular his feature

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Aveyard, Karina. "Film consumption in the 21st century: engaging with non-theatrical viewing." Media International Australia 160, no. 1 (2016): 140–49. http://dx.doi.org/10.1177/1329878x16642851.

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Film consumption has changed dramatically in recent decades. The rise of the multiplex has reconfigured the public experience of cinema. At the same time, movie viewing has grown exponentially in domestic and mobile spheres, driven by increasingly flexible access to content and the diversity of screens this material can now be delivered to. While the history of movie watching in theatres has been relatively well traversed, the more recent and highly popular practice of viewing outside cinemas remains significantly under theorised. This article takes up the issue of this critical neglect. It su

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Neves, Joshua. "Cinematic Encounters in Beijing." Film Quarterly 67, no. 1 (2013): 27–40. http://dx.doi.org/10.1525/fq.2013.67.1.27.

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Contemporary film exhibition in the PRC is undergoing a host of striking changes. Shifts from rural to urban sites, collective to individualized viewing, communal to commercial exchange, signal the transition of cinema going from the thing to do, to a thing to do—part of a ‘day’s outing.’ This essay investigates cinema, as a social space and practice in contemporary Beijing, China, and seeks to understand a spatial aesthetics that links particular sites of viewing (e.g. the cineplex, outdoor theater, art house, informal screens) to specific developmental time zones and social imaginaries. Thes

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Çakır, Erdinç, Mahmut Sami Öztürk, and Mevlüt Ünal. "Interpainting as a Creating Method in Digital Illustration: Reinterpretations from Movie Scenes." Bilim, Eğitim, Sanat ve Teknoloji Dergisi (BEST Dergi) 3, no. 2 (2019): 78–88. https://doi.org/10.46328/seat.v3i2.32.

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Interpainting is used to quote a contemporary artwork or to describe reinterpreted works of art. It is inevitable that the interaction is in every field as well as in the field of art. Photography has changed our art and perception style in IXX. Century. As the photography gives birth to the cinema, digital illustrations are a good example of the relationship between technology and art in the meaning that new artistic works will be produced from the cinema. Even though the canvases are not replaced by computer screens yet fully benefit greatly from the computer or technology when designing the

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Tarasov, К. A. "We motif of social violence in the space of cinematic communication." Moscow State University Bulletin. Series 18. Sociology and Political Science 27, no. 3 (2021): 167–86. http://dx.doi.org/10.24290/1029-3736-2021-27-3-167-186.

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Social violence traditionally has been a constituent in the information flow of artistic communication, of the cinematic one especially. With the language specific to cinema it is easier, than with the languages of other arts, to attract and command the attention of a broad public with the spectacle of violence. Also, as a rule, it is more economical because of the relatively low cost of embodying violence on the screen considering the overall expensiveness of film production. In the West, the filming of practices of violence aimed at entertaining the public, as well as the public concern at t

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Prado, Ignacio M. Sánchez. "Carlos Fuentes, the Cinephile." Film Quarterly 69, no. 2 (2015): 81–82. http://dx.doi.org/10.1525/fq.2015.69.2.81.

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This essay is an introduction to the first English-language publication of a chapter from Carlos Fuentes's Spanish-language book Pantallas de Plata (Silver Screens). Fuentes, one of Mexico's most widely read novelists abroad and one of the leading Latin American writers of the twentieth century, had a long and passionate relationship with cinema.

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Saraskina, Liudmila I. "Dostoevsky’s Crime and Punishment on Foreign Screens: Transformations of the Chronotope." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 192–226. http://dx.doi.org/10.22455/2619-0311-2022-2-192-226.

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The paper analyses the only preserved foreign silent screen version and twelve foreign sound film versions and adaptations of Dostoevsky’s novel Crime and Punishment, produced in Europe, Asia, both Americas, and Australia from 1923 to 2016 — and defined as “faithful”, “based on”, “associated with”, “with reference to” etc. Specific objects of the analysis are the basic attitudes of cinema makers towards literary sources (originals) and the artistic potentials of the common motto of film directors: “This is how I see it”, applied to the process of translating a book into a film. The contents an

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Soe, Valerie. "Review: The Chinese American Diaspora on American Screens: Race, Sex, and Cinema." Afterimage 42, no. 2 (2014): 38. http://dx.doi.org/10.1525/aft.2014.42.2.38.1.

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Ali, Khalid. "From lecture halls to cinema screens: learning about the psyche through films." Medical Humanities 40, no. 1 (2013): 69.1–69. http://dx.doi.org/10.1136/medhum-2013-010479.

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Tash, Andrew. "Screens Fade to Black: Contemporary African American Cinema by David J. Leonard." Journal of American Culture 30, no. 3 (2007): 360–61. http://dx.doi.org/10.1111/j.1542-734x.2007.00594.x.

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SAMUR, Serpil. "THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 28 (2021): 101–15. http://dx.doi.org/10.31623/iksad072808.

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Abstract:

Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world

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