Books on the topic 'Cinema verite'

Popular Hindi cinema has become a significant signpost of contemporaneity due to its construction of social language. Generally, Hindi cinema has been understood through internal (auteur or genre or cinéma verité) and external aspects (consumption spheres and moviegoers’ complex response in the form of catharsis or everydayness mimesis). However, cinema also needs a new way of discerning with respect to ‘Dalit Representation’. The study needs to look at the construction and meaning of the social language of Hindi cinema. Construction refers to exploring factors beyond the film industry responsible for shaping the social language. Meaning entails the exhibition of social language in the form of messages. Herein, relational exploration becomes crucial. The relationship between factors of social language of Hindi cinema and Dalits must be unraveled for understanding the meaning of social language for Dalits. Contested representation encompasses the nature of absence and presence of Dalits in Hindi cinema.

Abstract Comprehending Cinema: Panoramic Audiovisioning, the third book in Scott MacDonald's "Avant-Doc" trilogy (with Avant-Doc: Intersections of Documentary and Avant-Garde Cinema, 2015; and The Sublimity of Document: Cinema as Diorama, 2019) is a collection of 15 in-depth interviews and 3 essays. Central themes include modern uses of the cinematic archive and varieties of filmmaker collaboration. Interviewees include Su Friedrich, Guy Maddin and Evan and Galen Johnson, poet John Ashbery, Tadhg O'Sullivan, Jennifer West, Penny Lane, Dean Fleischer Camp, Daniel Lindsay/TJ Martin, Jennifer Anderson/Vernon Lott, Paul Cronin, Bill Morrison, Lucien Castaing-Taylor/Véréna Paravel, Erin Espelie, and Chloé Galibert-Laîné. Three panoramic essays function as entr'acts within the drama of filmmaker voices. In “Night Light: The Modern Cine-Nocturne,” MacDonald discusses a range of filmmakers who have brought the tradition of musical and painterly nocturne into modern cinema: Kenneth Anger, Peter Hutton, Barry Jenkins, Abbas Kiarostami, Rebecca Meyers, Mary Beth Reed, Phil Solomon, Chick Strand, and Laura Washington. In “Loznitsa X 4” MacDonald surveys the wide-ranging filmmaking of Ukrainian filmmaker Sergei Loznitsa, who has worked in four different cinematic modes: archival filmmaking, cinema-verité documentary, quiet meditation, and political horror film. “Recent Archival Engagements with ‘The War to End All Wars,’” explores responses to the anniversary of World War 1 by Bill Morrison, Yervant Gianikian/Angela Ricci Lucchi, and Peter Jackson. Comprehending Cinema concludes with an interview with the group that Roger Ebert called, “the best in the world at accompanying silent film”: the Alloy Orchestra (Terry Donahue, Roger Miller and Ken Winokur), at the conclusion of their 30-year run.

In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.

Chapter 1 explains Hollywood’s general principles for creating aesthetic pleasure for mass audiences. The chapter introduces the book’s two main theses: (1) Hollywood cinema targets an area, between boredom and confusion, that is optimally pleasing for mass audiences. It seeks to offer enough cognitive challenge to sustain aesthetic interest but not so much that it would jeopardize a film’s hedonic value or cause average spectators to give up the search for understanding. (2) Many of the Hollywood films that offer exhilarating aesthetic experiences beyond a single encounter and over extended periods operate near the boundaries of classicism, veering into areas of novelty and complexity that more typical Hollywood films avoid; however, they do so without sacrificing a mass audience’s ability to cope with the challenge. Such films take risks, and exhilarated pleasure results when they seem on the verge of overburdening or displeasing spectators in some bold and extraordinary way.

O Leilão H2Global de compra de derivados de hidrogênio verde – H2V (amônia verde, metanol verde e combustível de aviação sustentável) representa um passo inicial significativo para o setor de H2V, em especial para países competitivos em energias renováveis, como o Brasil. No desenho do leilão, a subsidiária Hydrogen Intermediary Network Company (trader/ facility) – Hintco atua como um offtaker, dispondo-se a estabelecer contratos de longo prazo (dez anos) de compra (hydrogen power agreement – HPA) e contratos de venda no curto prazo (hydrogen supply agreement – HSA), equalizando a eventual diferença de preços entre ambos, via mecanismo de leilão duplo. O orçamento total para equalização compreende € 900 milhões para os três derivados (€ 300 milhões por derivado), disponibilizados em tranches anuais. O mecanismo do leilão duplo, peça central da modelagem desenvolvida, sugere a adoção de processos competitivos para equalização de preços, tanto nos contratos de compra de longo prazo de derivados do H2V como nos contratos de venda no mercado de curto prazo. O objetivo deste estudo é valer-se da experiência do Leilão H2Global, como política pública que faz uso de mecanismos competitivos, para: i) disseminação de conhecimento entre potenciais interessados brasileiros na participação do certame; ii) motivação da reflexão por parte dos gestores públicos em torno da análise de eventual necessidade de políticas públicas para apoiar a participação de um consórcio brasileiro; e iii) conscientização da importância sobre a adoção de mecanismos competitivos e de garantia da demanda em eventuais estratégias nacionais para o desenvolvimento do mercado de H2V. Tal objetivo encontra-se amparado nas diretrizes do Programa Nacional do Hidrogênio (PNH2), instituído em junho de 2022, com vistas a desenvolver uma economia do hidrogênio no Brasil. Recomendações iniciais apontam para a necessidade de se garantir a demanda de derivados de H2 através de contratos de longo prazo estabelecidos mediante uma facility, que possibilita a estruturação do funding necessário à implantação do projeto, em especial na modalidade project finance, aumentando a atratividade dos investimentos privados na cadeia produtiva do H2V, viabilizando o modelo de negócios a ser desenvolvido. Igualmente importante é o mecanismo de leilão duplo para equalização de preços (subsídio), entre a molécula verde e cinza, construído em bases competitivas (leilão). Busca-se a eficiência no uso dos recursos públicos. Tal estratégia é entendida como um apoio temporário de política pública, dada a expectativa de aumento de competitividade da molécula verde nos próximos anos em comparação à cinza. Finalmente, a coordenação institucional, demostrada pela manifestação da Câmara de Comercialização de Energia Elétrica (CCEE) no quesito certificação, ilustra que não basta apenas as vantagens competitivas e comparativas em geração renovável, mas faz-se igualmente necessário o desenvolvimento de arranjos institucionais específicos, setoriais, de natureza pública e privada, de modo a mostrar-se competitivo, visando ao desenvolvimento da indústria de H2V no Brasil.

This book marks out a modernist counter-tradition. The book proceeds from an anachronism common to Italian- and English-language literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in modernizing, reform-minded pedagogical theories. Old Schools shows that these old-school teaching techniques organize key works by Walter Pater, Giovanni Pascoli, James Joyce, Pier Paolo Pasolini, and Glauber Rocha. All of these figures oppose ideologies of progress by returning to and creatively reimagining the Latin class long since left behind by progressive educators. Across the political spectrum, advocates of progressive education, from Jean-Jacques Rousseau to John Dewey and Giovanni Gentile, had targeted Latin in particular. The dead language—taught through time-tested techniques including memorization, recitation, copying out, and other forms of repetition and recall—needed to be updated or eliminated, reformers argued, so that students could breathe free and become modern, achieving a break with convention and constraint. By contrast, the works that Old Schools considers valorize instruction’s outmoded techniques, even at their most cumbersome and conventional. Like the Latin class to which they return, these works produce constraints that feel limiting but that, by virtue of that very limitation, invite valuable resistance. As they turn grammar drills into verse and repetitious lectures into voiceovers, they find unlikely resources for creativity and critique in the very practices that progressive reformers sought to clear away.