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Journal articles on the topic 'Cinema theater'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Lieandra, Hansen, and Suwardana Winata. "BIOSKOP SEBAGAI WADAH SOSIAL DENGAN PENDEKATAN ARSITEKTUR KESEHARIAN DI KAWASAN SENEN, JAKARTA PUSAT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (2023): 1203–12. http://dx.doi.org/10.24912/stupa.v4i2.21815.

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Young and old have been enjoying watching movies in the cinema for a long time. Along with the development of the times, a lot has also happened to the cinema and always follows the times. Seeing the development of cinemas, there are step-by-step cinemas that can be enjoyed outdoors, drive-in cinemas that can be watched from the car, and there are exclusive seats in cinemas such as 3d theaters, love seats, premieres, and others. Not only a place to watch, but cinemas can also be used multifunctionally which we may have encountered, for example, concerts at the cinema, meet and greets at the ci

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Chinita, Fátima. "The Interweaving of Theater and Film." Aniki: Revista Portuguesa da Imagem em Movimento 10, no. 1 (2023): 259–64. http://dx.doi.org/10.14591/aniki.v10n1.981.

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Laura Sava’s Theatre Through the Camera Eye: The Poetics of an Intermedial Encounter (Edinburgh University Press, 2019) is an invaluable tool for Interarts Studies. The book focuses on the intermedial relationship between theater and cinema, exemplified through a corpus of thirteen metafilms (i.e., about the art of cinema).

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PATRON, Iryna. "THEATER AND CINEMA: SOME TOUCHES FOR COMPARISON." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 95–103. http://dx.doi.org/10.30970/vas.23.2022.12198.

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The article analyzes the problems of correlation and comparison of Stage and screen arts; theater and film actor in the process of creating a play or film. With the help of a comparative analysis, conclusions were made about the differences and similarities that exiSt between theater and cinema in the Studied categories of time, space, acting and the viewer. Attention is drawn to theatrical convention and film reality. We have concluded about some differences and similarities that exist between theater and cinema in the Studied categories of time, space, acting and audience perception. Space a

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Qiu, Yacheng. "The Financial and Strategy Analysis of Cinema Industry, A Case Study of AMC." Advances in Economics, Management and Political Sciences 14, no. 1 (2023): 289–96. http://dx.doi.org/10.54254/2754-1169/14/20230839.

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This paper discusses the impact of Covid-19 on the movie theaters, as a representative of the conventional service/entertainment business, forecast the future trends of such cinematic enterprises in the post-pandemic period, and evaluate how effective cash management can boost the growth and survival of businesses in this area. This paper will specify the case study of AMC entertainment, an American movie theater chain that has the largest share of the U.S. theater market and use it as a representative of cinematic enterprise to evaluate the industry. This paper would start with an introductio

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Dima, Vlad. "Waiting for (African) Cinema: Jean-Pierre Bekolo’s Quest." African Studies Review 62, no. 1 (2018): 49–66. http://dx.doi.org/10.1017/asr.2017.153.

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Abstract:Throughout his career, Cameroonian director Jean-Pierre Bekolo has been searching for cinema; not African cinema, just Cinema. In order to explain properly this claim, the essay will first consider Bekolo’s work within the context of the ever-ongoing conversation regarding the framing and aesthetics of African and Third Cinemas. Second, for a closer perspective on what will be termed “neurotic cinema,” the essay will key on Bekolo’s latest effort, Naked Reality (2016), a purposely unfinished work that echoes absurdist theater, mimics frantic contemporary thought, and proposes that cin

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Lin, Geng, Hao Wu, Xiaoru Xie, Fiona Fan Yang, and Zuyi Lv. "Negotiation between modernity and local culture in moviegoing practice: A case study of a traditional movie theater in Guangzhou Metropolis." International Journal of Cultural Studies 24, no. 5 (2021): 707–30. http://dx.doi.org/10.1177/1367877921993819.

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As a medium for delivering modernity, movie theaters have faithfully recorded the dialogue between modernity and local daily lives. In contrast to modern movie theaters, traditional cinemas are distinguished by their long history, through which they reflect the changing connotations and social construction of modernity over time. Based on detailed analysis of the historical and social characteristics of Nanguan cinema, a 100-year-old movie theater in Guangzhou, China, we reach the following two conclusions: first, shaped by local traditional culture, the practice of moviegoing localizes modern

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Azizova, Amina. "The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century." Central Asian Journal of Art Studies 5, no. 4 (2020): 94–104. http://dx.doi.org/10.47940/cajas.v5i4.257.

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The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assesse

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Sovgyra, Tetyana, and Maryna Tatarenko. "The Specifics of the Actor in the Theatre and Cinema: the Means of Conventionality and the Nature of Existence." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 1 (2018): 61–72. https://doi.org/10.31866/2616-759x.1.2018.144949.

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The purpose of the article. The article is devoted to the study of the main differences of the nature of the actor of the drama theater and the actor of the cinema and the elucidation of the basic principles of acting skills during the filming process. The Methodology of the research is toapply the analytical method, in the analysis of philosophical, artcriticism, cultural literature on the research’s subject; comparatively typological is to identify the similarities and differences between stage and screen art, in particular theater and cinema; conceptualis in the an

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KOCAER, Rabia. "20.Yüzyıl Başları, Beyoğlu Sinema Mekânları Belleği İzinde Yürüyüş Rotası." International Journal of Social Sciences 9, no. 38 (2025): 429–51. https://doi.org/10.52096/usbd.9.38.19.

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Istanbul, the capital of the Byzantine, Roman and Ottoman Empires, still has its traces in civil, religious, educational and commercial structures with its multi-layered and multi-cultural identity. The Greeks, Armenians, Jews and Turks living in the city have also had their reflections in the city’s culture, art and architecture. Beyoğlu is the most important place in Istanbul with its location, historical past and cultural interaction. The district is distinguished by its embassies, hotels, passages, religious buildings, theaters and cinemas. It was the most important district for a period o

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Andrew, James Dudley. "The Theater of Irish Cinema." Yale Journal of Criticism 15, no. 1 (2002): 23–58. http://dx.doi.org/10.1353/yale.2002.0002.

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Zimnica-Kuzioła, Emilia, and Ewelina Wejbert-Wąsiewicz. "Female directors of contemporary Polish theater and cinema (selected examples)." Acta Universitatis Lodziensis. Folia Sociologica, no. 71 (December 30, 2019): 121–37. http://dx.doi.org/10.18778/0208-600x.71.09.

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The issue of artistic careers is rarely tackled by Polish sociologists. The article is an analysis of the work of selected contemporary Polish female film and theater directors. The present study exploits secondary sources (monographs and scientific studies, press and internet publications, interviews with directors) and primary sources: interviews with creators of Polish drama theaters conducted as part of the authors’ own research. Women in Polish theater and film are slowly breakingthe glass ceiling and they are taking their rightful place in the pantheon of artists who have a lot to say ab

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Ceastina, Alla. "Illusion Theatres of Orhei in the Beginning of XX Century. History of their Construction and the Legislation in the Field of Cinematography." Dialogica. Revistă de studii culturale și literatură, no. 3 (October 2024): 53–59. https://doi.org/10.59295/dia.2024.3.07.

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Starting in 1910, the illusion theaters and other performance buildings appeared in Bessarabia, which later became quite widespread in all provinces. The National Archive Agency holds some documents on the consideration of the inquiry of the Orhei townspeople Shlema Gurevich and Froim Pagis for permission to open the first cinema in the center of Orhei town at the end of 1910. This cinema worked successfully in that town for about a half of year. However, on May 12, 1911, the so-called normal rules on cinematography No. 688 were adopted, also published in the Bessarabian Provincial Bulletin No

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Vinhosa, Luciano. "NEM TEATRO NEM CINEMA: A PERFORMANCE NO ESPAÇO DE EXCLUSÃO /Nor theatre nor cinema: performance in the exclusion area." Arte e Ensaios 27, no. 41 (2021): 298–314. http://dx.doi.org/10.37235/ae.n41.16.

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Neste ensaio, a partir do curta-metragem experimental Duelo, de Daniel Santiago, em primeiro lugar nos perguntamos o que aproxima a performance ao mesmo tempo em que a diferencia quando apresentada em circuitos de artes visuais ou de teatro. Em segundo lugar, especulamos sobre as diferenças e aproximações entre a atuação de um ator no cinema e a de um performer. Nesse percurso foi necessário investigar o que seria uma performance. Ao fim e ao cabo, concluímos que, não sendo nem teatro, nem cinema, Duelo é performance filmada que participa das duas instâncias quando surpreendida em suas regiões

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Poirson-Dechonne, Marion. "Cinéma, théâtre et psychanalyse : la question de l’acte et sa représentation." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (2021): 29–48. http://dx.doi.org/10.24193/subbdrama.2021.1.02.

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"Cinema, Theatre and Psychoanalysis: the Problem of Parapraxis and its Representation. At the intersection of the performing arts and psychoanalysis emerges the notion of act. This polysemic term has various meanings: missed act, agieren, psychoanalytic act, acting out, act of creation. If Freud and Lacan have theorized the notion of act, cinema and theater strive to represent its many facets. Today, Freud’s method of analyzing dream images has paved the way for figural analysis for the 7th art, focusing on exploring the incomplete dimension of some of his images. From La marquise d’O to the M

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Gotsalyuk, Alla. "TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART." Spatial development, no. 7 (February 23, 2024): 612–24. http://dx.doi.org/10.32347/2786-7269.2024.7.612-624.

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This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the d

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Fadel Ismail, Muthanna, and Kadhum Imran Mousa alomran. "The functional diversity of the directorial vision in the political theater cinema as a model." Al-Academy, no. 106 (December 15, 2022): 271–86. http://dx.doi.org/10.35560/jcofarts106/271-286.

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It is very necessary for the political theater to be within the space of every theatrical performance, so that the theater carries the diverse and enlightened values and cultures of this world. political theatre. In the first chapter, the researcher dealt with (the methodological framework), which includes the research problem identified by the researcher with the following question (the functional diversity of the directorial vision in the political theater)Importance, purpose, limits and seal by defining terminology.In the second chapter, the researcher dealt with the theoretical framework o

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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages

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Бай, С. "Cultural Life of Russian Harbin: Theater and Film Industry Figures (1898–1931)." Nasledie Vekov, no. 4(32) (December 31, 2022): 28–38. http://dx.doi.org/10.36343/sb.2022.32.4.002.

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В статье рассматривается зарождение и развитие театрального дела и киноиндустрии в Харбине от основания города до японской оккупации северо-востока Китая. Работа призвана определить роль предпринимателей, деятелей киноиндустрии и театрального искусства в развитии сферы развлекательных услуг русского Харбина. Источниками явились данные архивов, научные статьи и публикации периодической печати на русском и китайском языках. Выявлено, что предприниматели, деятели театра и киноиндустрии, приехавшие в Харбин из России с целью наладить бизнес и нажить капитал, сыграли ключевую роль в становлении и р

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Shyrman, Roman, and Diana Myroshnychenko. "Ukrainian Theater and Cinematograph at the Beginning of the XX Century: Aspects of Interaction and Innovative Trends." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 188–99. https://doi.org/10.31866/2617-2674.2.2.2019.185704.

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The purpose of the work is to study the development process, the interaction of Ukrainian cinema and the theater of the XX century in the world entertainment genre context, identifying innovative trends characteristic of the historical conditions of the time. Methodology of the research is based on the use of empirical, theoretical, and structural-functional methods which aimed at accumulating factual material, observing the dynamics of development of genre diversity, identifying differences and similarities between objects, as well as analyzing the artistic works of screen and

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Sendetskyy, Andriy. "Ukrainian-Polish cultural dialogue of theatrical practices in Ukrainian specialized periodicals 2014–2023." UKRAINIAN CULTURAL STUDIES, no. 1 (14) (2024): 78–86. http://dx.doi.org/10.17721/ucs.2024.1(14).12.

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Background. Cultural and artistic international relations remain a highly relevant research area in current globalization processes, especially the threatening political redistribution of spheres of influence by antagonist states. Cultural dialogue, including the "soft power" of cultural diplomacy, is a crucial communicative tool for mutual understanding. Theater arts hold a special place in this process. The article aims to explore the specifics of cultural and artistic dialogue development between Ukrainian and Polish theaters via the analysis of Ukrainian specialized periodicals from 2014 t

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Da Silva, Júlio Cláudio. "Relações Raciais e de Gênero nas Telas do Cinema Brasileiro nas Narrativas Sobre a Atuação de Léa Garcia em Orfeu do Carnaval (1950-1960)." REVISTA PLURI 1, no. 3 (2020): 41. http://dx.doi.org/10.26843/rpv132020p41-52.

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O universo das artes cênicas pode ser um lócus privilegiado de observação da presença da variável raça e gênero na sociedade brasileira? A análise, em perspectiva histórica, da trajetória de uma atriz negra de teatro, cinema e televisão, pode iluminar a presença do racismo e do antirracismo na História do Brasil? Essas e outras perguntas podem ser respondidas quando visitamos a trajetória da atriz de teatro, cinema e televisão e ativista do movimento social negro, a partir das narrativas contidas nas entrevistas e periódicos, sobre os primeiros anos de atuação de Léa Lucas Garcia, na década de

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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or

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Editorial. "Student Creativity Festival." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 6. http://dx.doi.org/10.17816/vgik846-6.

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The 36th international student festival, held in the Year of Russian cinema, was successfully completed, confirming its uniqueness and cinematic and theatrical art of young people, their readiness to enter into a professional activity. Traditionally, the festival includes 3 competitive programs-Competition of film works of students of VGIK, College of cinema and television of VGIK, Higher -" courses of VGIK. International competition kit, the jury of which was headed this year by the famous Director, screenwriter, producer Krzysztof Zanussi (Poland); XII international theater competition, wher

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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn, and Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine." History of science and technology 13, no. 1 (2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.

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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantl

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Śliwińska, Anna. "Cinema Metropol – kino, którego nie ma." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (2017): 329–35. http://dx.doi.org/10.14746/i.2017.29.22.

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This article is devoted to the history of the Metropol movie theater, which started its activity in the interwar period. The story of Metropol intertwines with the history of the town and the fate of its inhabitants.

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Bliudov, Daniil Vladimirovich. "Microphones in modern drama theatre." Философия и культура, no. 6 (June 2023): 152–66. http://dx.doi.org/10.7256/2454-0757.2023.6.41022.

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The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones in a drama theater are considered - from local to radical. The author pays special attention to

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Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.

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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their conte

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Mutama, Chelsea, and Nina Carina. "KAJIAN INOVASI DESAIN BIOSKOP DALAM UPAYA PENGEMBALIAN MINAT GENERASI MILENIAL TERHADAP MOTION PICTURE ENTERTAINMENT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (2020): 767. http://dx.doi.org/10.24912/stupa.v1i2.4436.

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The Millennials Generation or Gen Y, are those born between the year of 1981-2000. The characteristic and lifestyle differences between them and previous generations have resulted in the emergence of new problems and trends in the millennial era, including a phenomena known as The Death of Cinemas that affected the closing of some cinema venues and the drop of cinema ticket sales. According Research conducted by National Cinemedia in the year 2016, The Death of Cinemas is caused by millennials’ dissatisfaction of movie theater venues. There had been no significant changes in the last 20 years

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Maulidina, Citra Puspa, Widiastiana Vista Wijaya, and Shilvy Andini Sunarto. "Socio-Legal Analysis of Age Restrictions in Cinema: A Hermeneutic Interpretation of Law Number 33/2009." COMMUSTY Journal of Communication Studies and Society 2, no. 1 (2024): 7–11. http://dx.doi.org/10.38043/commusty.v2i1.4531.

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This research discusses how Law No. 33 of 2009, especially article 7, which discusses the age classification or age of the audience by Film Show Companies (cinemas), where films with various themes and ratings are screened, a deep understanding of how cinemas maintain age classification so as not to be exposed to content that is not suitable for the age of the audience. The purpose of this research is to see how the role and responsibility of movie theaters in implementing Law No. 33 of 2009, especially article 7 and maintaining security, understanding related to the law. Because with the righ

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Oltuszyk, A. B. "Fedor Dostoevsky in Polish Literature, Theater and Cinema." Язык и текст 7, no. 1 (2020): 83–89. http://dx.doi.org/10.17759/langt.2020070108.

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Fyodor Mikhailovich Dostoevsky is a Russian great writer, thinker, philosopher and publicist. His skill influenced the literature and culture of the whole world, including Polish. This article discusses the role of the author of Crime and Punishment in Polish literature and culture, including the presence of his works in Polish theater and cinema. Many Polish writers, who studied the artistic skills of Dostoevsky, were attracted by the composition and structure of his novel, introspection and reflection of characters showing interpersonal relationships, a “borderline” state of mind. Even more

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Abel. "Double Take: Photography, Cinema, and the Segregated Theater." Critical Inquiry 34, no. 5 (2008): S2. http://dx.doi.org/10.2307/20184422.

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Bennett, Benjamin. "Cinema, Theater and Opera: Modern Drama as Ceremony." Modern Drama 28, no. 1 (1985): 1–21. http://dx.doi.org/10.3138/md.28.1.1.

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Kraft, Helga. "Choreographing the Global in European Cinema and Theater." Monatshefte 102, no. 4 (2010): 650–52. http://dx.doi.org/10.1353/mon.2010.0031.

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Abel, Elizabeth. "Double Take: Photography, Cinema, and the Segregated Theater." Critical Inquiry 34, S2 (2008): S2—S20. http://dx.doi.org/10.1086/529086.

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Kenner, Hugh. "The Theater and Cinema of Buster Keaton (review)." Modernism/modernity 7, no. 3 (2000): 534–35. http://dx.doi.org/10.1353/mod.2000.0063.

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Gochfeld, David, Corinne Brenner, Kris Layng, et al. "Holojam in Wonderland: Immersive Mixed Reality Theater." Leonardo 51, no. 4 (2018): 362–67. http://dx.doi.org/10.1162/leon_a_01644.

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Holojam in Wonderland is a prototype of a new type of performance activity, “Immersive Mixed Reality Theater” (IMRT). With unique and novel properties possessed by neither cinema nor traditional theater, IMRT promises exciting new expressive possibilities for multi-user, participatory, immersive digital narratives. The authors describe the piece, the technology used to create it and some of the key aesthetic choices and takeaways.

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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.

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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than fou

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Chirumbolo, Paolo. "CONTAMINAZIONI INTERMEDIATICHE E IBRIDAZIONI POSTMODERNE: LE COMMEDIE DI ALDO, GIOVANNI E GIACOMO TRA TEATRO, TELEVISIONE E CINEMA." Forum Italicum: A Journal of Italian Studies 42, no. 1 (2008): 114–28. http://dx.doi.org/10.1177/001458580804200107.

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The essay examines the works of Aldo, Giovanni and Giacomo, one of the most popular comic trios in contemporary Italy. After a brilliant career spent between theater and television, in 1997 the three comedians made their first feature film, Tre uomini e una gamba, and were immediately blessed with huge commercial success. The film was followed by five more equally successful productions: Così è la vita (1998), Chiedimi se sono felice, (2000), La leggenda di Al, Jack e John, (2002), Tu la conosci Claudia? (2004), and Anplagghed al cinema (2006). Although I make several references to these films

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Bono, Francesco. "Synonymous with Cinema: An Investigation into Ingmar Bergman’s Critical Reception in Italy." European Journal of Interdisciplinary Studies 5, no. 3 (2019): 68. http://dx.doi.org/10.26417/ejis.v5i3.p68-73.

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The present essay intends to investigate the critical fortune of the Swedish world-famous theater and film director Ingmar Bergman in Italy. In particular, attention will be devoted to the reception of Bergman’s theatrical productions that were shown on Italian stages between the early 1970s, when some of Bergman’s theater productions were first seen in Italy, and the early 1990s, when Bergman’s production of Ibsen‘s A Doll’s House was one of his last theatrical productions to be shown in Italy. On the whole, only minor consideration has been accorded by Italian scholars in their studies on Be

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Okur, Muhammed, and Ufuk Uğur. "The influence of Brecht in Theodoros Angelopoulos's cinema: A case study of the film 'O Thiasos'"." ODÜ Sosyal Bilimler Araştırmaları Dergisi (ODÜSOBİAD) 15, no. 1 (2025): 256–83. https://doi.org/10.48146/odusobiad.1425631.

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Bertolt Brecht developed the theory of "Epic Theatre" as a response to Aristotle's "Dramatic Theatre." In contrast to catharsis and identification, Brecht advocated the concept of "alienation" (Verfremdungseffekt). Brecht profoundly influenced both the theater and cinema fields with a theatrical approach that did not aim for catharsis. Directors have utilized Brecht's aesthetic understanding to reflect the truth that what the audience is watching is a film, breaking away from purification and identification. Many directors have been influenced by Brecht's aesthetic theory, and one of them is T

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Odazhiev, Petar. "FROM STAGE TO SCREEN: EXPLORING DIRECTORIAL APPROACHES ON ADAPTING MUSICALS TO FILM." International Journal of Advanced Research 13, no. 03 (2025): 120–27. https://doi.org/10.21474/ijar01/20544.

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This study examines contemporary directorial practice in adapting stage musicals to film, often leading to a direct and mechanical approach to transforming one art form into another. The study suggests improving directorial methods by integrating experimental and auteur cinema aspects. Furthermore, it aims to advocate for a directorial laboratory, leveraging ideas from avant-garde theories and practices prevalent in 20th-century cinema, theater, and music.

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Rosliak, R. "From the History of Ukrainian cinema of the Central Rada period (1917–1918)." Culture of Ukraine, no. 85 (September 25, 2024): 38–45. http://dx.doi.org/10.31516/2410-5325.085.04.

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The relevance of this article. For a long time, the history of national cinematography from the specified period remained largely unexplored. The archives of newspapers and magazines from that era were declassified only after Ukraine declared its independence, which facilitated the creation of objective studies in film history from that period. The proposed topic is relevant both theoretically and practically. Theoretically, it involves investigating lesser-known and even undiscovered aspects of Ukrainian cinema history, contributing to a comprehensive understanding of the subject. Practically

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Grebenik, E. N. "DIFFERENTIATION OF THE PUBLIC BY THE LEVEL OF ORIENTATIONS TO STAGE ART." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 79–84. http://dx.doi.org/10.37313/2413-9645-2023-25-92-79-84.

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At the moment, an important feature of the existence of the theater as a socio-cultural institution is its functioning in market conditions. Performances become the subject of sale and purchase, and the hedonistic function of the theater is opposed by great competition: cinema, the Internet, social networks, entertainment shows and show programs. In this regard, in order to remain in the consumer market, the theater uses innovative technologies and experimental forms, which lead to the loss of the uniqueness of the theater and a decrease in the level of the public. The effective implementation

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Strickland, Rachel, Eric Gould Bear, and Jim McKee. "Walk-in Theater: Interaction Design for a Miniature Experience with Peripatetic Cinema." Leonardo 51, no. 5 (2018): 482–90. http://dx.doi.org/10.1162/leon_a_01333.

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Walk-in Theater is a portable virtual cinema for the display of spatially distributed multichannel movies (“walkies”). The miniature experience engages participants’ proprioceptors and spatial memory, allowing them to orient themselves as they navigate a field of scattered video streams and localized sounds reproduced on a handheld computing device. Departing from one-way linear cinema played on a single rectangular screen, this multichannel virtual environment pursues a cinematic paradigm that undoes habitual ways of framing things, employing architectural concepts in a polylinear-video polyp

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Vanagaitė, Gitana. "Uncles and Aunts by Vaižgantas in Literary History, Cinema and Theatre." Colloquia 41 (December 20, 2018): 51–71. http://dx.doi.org/10.51554/col.2018.28670.

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In the article, by combining several theoretical accesses (narratology, intermediality and hermeneutics), the author analyzes Uncles and Aunts (Dėdės ir dėdienės) – the long story by Vaižgantas which is accounted for literary classics, and also its theatre and cinema versions: the film That Cursed Humility (Tas prakeiktas nuolankumas) and two theatre productions of the same title. She raises the following questions: what kind of canon of reading and comprehending Vaižgantas’ story has been circulating in the culture circle, and how have the film and performances been affecting this canon?Anoth

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Higueras Rodríguez, Virginia E. "Ansiedad, depresión y suicidio en el musical estadounidense. Una visión a través de Lady in the Dark, Sweeney Todd y Dear Evan Hansen." Latente Revista de Historia y Estética audiovisual, no. 22 (2024): 142–58. http://dx.doi.org/10.25145/j.latente.2024.22.07.

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Anxiety, depression, and suicide are taboo subjects that are still rarely talked about in an open and honest way, both in musical theatre and in its cinematic namesake. In 2015 we see on the stage the work Dear Evan Hansen, Dear Evan Hansen with lyrics and music by Ben Pasek and Justin Paul and book by Steven Levenson, which for the first time openly deals with the consequences of mental pathologies. However, this does not mean that there are no examples throughout the history of musical theatre and film where the main characters do not exhibit some kind of pathology. For this reason, in this

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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.

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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. Th

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YANG, Renren. "Toward a Regime of Emotional Authenticity: Eileen Chang’s Literary Transmediation of Theater and Cinema in Two 1940s Love Stories." Modern Chinese Literature and Culture 35, no. 2 (2023): 354–87. http://dx.doi.org/10.3366/mclc.2023.0040.

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This essay examines Eileen Chang’s transmedial theater and cinema in two 1940s love stories and draws attention to the historical transformation of the emotional regime underlying these literary reworkings. By canvassing the theatrical impulses in “Love in a Fallen City” (1943) and the cinematic residues in “So Much Regret” (1947), this essay argues that Chang’s depictions of romantic relationships in 1940s Shanghai suggest an incompleteness of what Eva Illouz calls the “great transformation of love” from a regime of ritualized emotions to one of emotional authenticity in Late Imperial and Rep

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Turk, Edward Baron. ": Jacques Prevert: Popular French Theater and Cinema . Claire Blakeway." Film Quarterly 44, no. 4 (1991): 57–58. http://dx.doi.org/10.1525/fq.1991.44.4.04a00290.

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Horton, Andrew. ": The Theater and Cinema of Buster Keaton . Robert Knopf." Film Quarterly 53, no. 4 (2000): 68–69. http://dx.doi.org/10.1525/fq.2000.53.4.04a00190.

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