Journal articles on the topic 'Cinema verite'

The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956 (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinema-verite-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.

<p>Artikel ini bertujuan untuk mendeskripsikan eksplorasi stilistik film <em>Keramat</em>. <em>Form</em> dan <em>style </em>dijadikan titik awal untuk mengetahui eksplorasi stilistik film. Informasi data diidentifikasi berdasarkan kesamaan dengan gerakan sinema yang mempengaruhinya. Subjektivitas sebagai pendekatan pada proses deskriptif dengan melakukan analisis interpretatif. Hasil penelitian menunjukkan bahwa <em>Cinema Verite</em> dan <em>Neorealisme Italia</em> mempengaruhi formula khas stilistik dalam film <em>Keramat, </em>terutama<em> </em>mendukung karakteristik <em>genre</em> horor meliputi: menciptakan efek menegangkan, menakutkan, dan teror, serta mewujudkan konsep realisme peristiwa yang difilmkan</p><p><strong>Kata kunci</strong>: film, <em>Keramat</em>, <em>form</em> dan <em>style</em>, stilistik, dan realisme</p><div> </div>

The object of this study is the "new wave" – the current in French cinema from the 1950s to the 1960s. The subject of the study is the work of directors of the "French new wave": Francois Truffaut, Jean-Luc Godard, Agnes Varda, etc. French directors appreciated the work of R. Rossellini, who was influenced by cinema-verite, that is, the experience of Russian avant-gardists, in particular D. Vertov. In addition, the figures of the "French new wave" revive the traditions of the German expressionists in the field of light and shadow, in which the merit of the cameramen Gianni di Venanzo and Raoul Coutard is great. French directors called for filming outside the pavilions, on location, to show the real life of people. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films "Alphaville" by J. L. Godard and "Fahrenheit 451" by F. Truffaut. This study uses an integrated approach combining phenomenological, comparative, and philosophical methods in their compatibility and complementarity. The purpose of this study is to consider the space created by directors. The scientific novelty of this study lies in the juxtaposition of the real and the fantastic in films directed by the "French new wave" (using the example of films by J. –L. Godard and F. Truffaut). The directors of the "French new wave" urged not to shoot in pavilions, appreciated full-scale shooting, and used a hand-held camera. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films Alphaville by J. L. Godard and Fahrenheit 451 by F. Truffaut. The main conclusion of this study is the thesis that the real and the fantastic interact with each other. The image of fantastic reality reflects the global problems of our time.

Resumo: Durante um bom tempo, ao discutir a linguagem cinematográfica, acreditou-se que o “olho mecânico” do cinema podia apagar a ilusão literária do estilo, do modo de contar. Bastava colocar uma câmera em uma rua e deixá-la filmando os passantes para criar uma espécie de relatório cinematográfico, de cinéma verité. A capacidade de narrar do cinema é certamente o que mais o aproxima da literatura, apesar de possuir linguagens e regras bem diferentes. Este trabalho, que é um estudo do filme Nelisita, narrativas Nyaneka, de Ruy Duarte de Carvalho, busca, primeiramente, observar o modo pelo qual o realizador recriou, em seu filme, o mito Nambalisita, narrado por Carlos Estermann na obra Cinquenta contos bantos do Sudoeste de Angola. Em seguida, aborda a representação da história, em que se inclui a análise de elementos como encenação, enquadramentos, trilha sonora e encadeamento. Tal análise objetiva elucidar a singularidade da linguagem estética utilizada por Carvalho para compor seu discurso cinematográfico, que é de valorização da resistência do mito dos ovakwanyama e de tudo o que ele representa do ponto de vista cultural para Angola

This article explores the use of ethnofiction, a technique emerging from the field of visual anthropology, which blends documentary and fiction filmmaking for ethnographic purposes. From Imamura Shōhei’s A Man Vanishes (Ningen jōhatsu, 1967) to Hou Hsiao Hsien’s Cafe Lumieré (Kōhi jikō, 2003), Japanese cinema, including Japan-set and Japan-associated cinema, has employed ethnofiction filmmaking techniques to alternately exploit and circumvent the structural barriers to filmmaking found in everyday life. Yet the dominant understanding in Japanese visual ethnography positions ethnofiction as an imported genre, reaching Japan through Jean Rouch and French cinema-verité. Blending visual analysis of Imamura and Hou’s ethnofiction films with an auto-ethnographic account of my own experience of four years of visual anthropology in Kansai, I interrogate the organizational barriers constructed around geographical perception and genre definition to argue for ethnofiction as a filmmaking technique that simultaneously emerged in French cinema-verité and Japanese feature filmmaking of the 1960s. Blurring the boundaries between Japanese, French, and East Asian co-production films, and between documentary and fiction genres, allows us to understand ethnofiction as a truly global innovation, with certain regional specificities.

The study examines the “personalness” of Hungarian creative documentary films, and compares this new kind of personalness to the one characteristic of Hungarian documentaries from the 1970s. Three traditions of Hungarian documentaries are distinguished: vérité-films, avant-guard experimental films, and tabloid cinema, adapting the heritage of direct cinéma. The argument offers a discussion of diverse interpretive conditions of personalness for each of the three trends. Films in the tabloid cinema tradition make up the decisive trend of Hungarian documentaries, offering a specific attempt at “novelification”, the introduction of a sociological sensitivity, an attempt at representing social relationships in an objective way, as well as an ambiguous flirting with forms of fiction films. With the rhetorical structuring of the theme, the countrapuntal and dialogical representation and diverse stylization techniques, contemporary documentaries shift the sociological perspective of the documentaries from the 1970s, and point to its frequently limiting nature. They change the point of departure of films close to or continuing the tradition of verité-films: the “singularity of the witness” in these films takes over the fiction of neutral/objective observation dominant in the films of the 1970s. As a result, the documentary nature of the film image is fundamentally rethought in these films.

Over the last couple of decades film scholars have begun building a critical vocabulary to theorize the new kinds of social relations depicted in the new European cinema of precarity, from “flexible solidarity” and “precarious intimacies” to “the gift economy” and “cruel optimism”. Although the European cinema of precarity continues the legacy of older film traditions like French poetic realism, Italian neorealism and British kitchen sink realism, thus inscribing itself within a well-established European tradition of social realism, the realism of precarity films is often refracted through specific genre tropes or filmic devices—e.g., allegory, experimental cinema techniques, black comedy, cinema verité cinematography etc.—as though social realism is no longer able to render visual the hidden pathologies of neoliberalism or to capture the complexity of Europe’s current political, economic, and moral crisis.

Mentre il documentario tradizionale utilizza le immagini quali portatrici di realtà naturali - in una probatorietà che avviluppa il pensiero critico nell’illusione della pura referenzialità – il cinema di Gianikian e Ricci Lucchi apre all’idea che le immagini possano/debbano significare “ancora”. E “altro”. Se il cinema contemporaneo diviene progressivamente un giacimento di sguardi meticci le pratiche del riciclo di Gianikian e Ricci Lucchi godono di una esemplarietà unica. In essa l’analisi storico-filologica dei materiali di partenza è momento preliminare, non mero escamotage all’atto trasformativo. Origine, dispositivo, immagine, corpo sono termini in fibrillazione, piattaforme per ri-lanci ermeneutici di un’immaginazione storiografica in cui i film dimenticati ritrovano una verità contemporanea: la nuova possibilità di significazione esce dalla dimensione archeologica e indaga, e mostra, il processo che ha portato l’immagine a perdere valore. Per poi recuperarlo, facendo deflagrare nuove significazioni.

Mentre il documentario tradizionale utilizza le immagini quali portatrici di realtà naturali - in una probatorietà che avviluppa il pensiero critico nell’illusione della pura referenzialità – il cinema di Gianikian e Ricci Lucchi apre all’idea che le immagini possano/debbano significare “ancora”. E “altro”. Se il cinema contemporaneo diviene progressivamente un giacimento di sguardi meticci le pratiche del riciclo di Gianikian e Ricci Lucchi godono di una esemplarietà unica. In essa l’analisi storico-filologica dei materiali di partenza è momento preliminare, non mero escamotage all’atto trasformativo. Origine, dispositivo, immagine, corpo sono termini in fibrillazione, piattaforme per ri-lanci ermeneutici di un’immaginazione storiografica in cui i film dimenticati ritrovano una verità contemporanea: la nuova possibilità di significazione esce dalla dimensione archeologica e indaga, e mostra, il processo che ha portato l’immagine a perdere valore. Per poi recuperarlo, facendo deflagrare nuove significazioni.

Abstract In the late 1950s, a team of French-Canadian filmmakers at the National Film Board of Canada (NFB) began working in the new techniques of cinema verité (direct cinema). They focused their cameras on moments of everyday life, capturing folkloric elements of Québécois culture as well as sporting moments. One figure who appears in a number of productions is Maurice “The Rocket” Richard, star forward with the National Hockey League’s Montreal Canadiens and an iconic figure in French-Canadian society at a time when nationalist sentiments were bubbling to the surface. This paper examines two feature-length documentary films—Un jeu si simple (1964) and Peut-être Maurice Richard (1971)—as well as two short animated films—Mon numéro 9 en or (1972) and The Sweater (1980)—to consider The Rocket mediated through filmic images. It is about the myth as much as the man, seen through the filmmaker’s lens.

The title of my essay, invoking, as it does, the justifiably famous Japanese cinema verité production of Rashomon, might well strike a discordant note. My aim, however, is to clarify, not to confuse. The film describes a variety of eyewitnesses to a murder, each one of whom, infused with different motives, “saw” the event differently from the other eyewitnesses. This is little more than a modern-day version of Walter Lippmann's observations on the ideological, interest-laden nature of the formation of public opinion in modern society, but it serves us well in introducing the topic of this essay.What I am suggesting with respect to the International Monetary Fund (IMF), and what I hope to demonstrate, is that we are now experiencing a similar paradox in the sociology of knowledge.

This article studies Midi Z’s The Road to Mandalay (2016) as a cinematic representation of Deleuze’s ‘minor literature’. I argue that the film gives rise to collective utterances against social and economic hegemony, particularly in its portrayal of Burmese immigrant characters who, as Agamben’s ‘bare life’, are subject to the violence underlying the biopower of neo-liberalism. A diasporic Burmese Chinese, Midi Z adopts the convention of cinema verité and fictionalizes the social reality of the migrant Burmese community. The Road to Mandalay articulates the pathos of those who are deprived of civil rights and who, in their negotiation with the exploitation of global capitalism, manage to survive in an interstitial space. The article unpacks the way the film allegorizes such a struggle in moments of surrealist and transcendental visions.

Marceline Loridan-Ivens may be best known for her scene-stealing participation in Jean Rouch and Edgar Morin's cinema verité classic, Chronicle of a Summer (1961). However, as FQ contributing editor Joan Dupont makes manifestly clear in her evocative appreciation, Loridan-Ivens was a true force of nature; an actress, director, and writer who remained creatively active and productive throughout her long life. She was also a Holocaust survivor, who returned to her experiences in the camps through her writing and filmmaking but found a way for her trauma to coexist with an irrepressible zest for life. Through interviews with over eight of Loridan-Ivens closest friends and family members, Dupont creates a multiperspectival portrait of Loridan-Ivens, including her years of close collaboration with her life partner, director Joris Ivens.

This article analyses three fantasy sequences in contemporary Italian cinema about political terrorism in the period known as the anni di piombo (‘years of lead’). It argues that, faced with divided memories, ideologically-charged narratives of the past, political interference and the so-called Italian anomalies, film-makers have reacted by making the absence of resolution a question in its own right. The article identifies and analyses three specific approaches, each linked to a sequence from each film. The first sequence, ‘uno sfondo di verità’, focuses on Marco Tullio Giordana’s Romanzo di una strage, which navigates the absence of resolution, lamenting it but also exploiting it to force a particular version of events. The second sequence, ‘vado a dormire’, focuses on Marco Bellocchio’s Buongiorno, notte, which uses a dream sequence to fabricate a different resolution, but simultaneously underscore reality. The third sequence, ‘mea culpa’, analyses the invented confession scene in Paolo Sorrentino’s Il Divo, arguing that it employs ambiguity to find closure in imagination itself, rather than in an imagined truth. Through the micro-analyses of these texts, this article seeks to highlight a broader question about cinema’s relationship with ambiguity and mystery in modern Italian history.

In a Chinese society with low crime rates, why do TV series savor the genre of Sino-noir of serial killers and dismemberments? Ritualized bloodletting during nightly bingeing signals a psychological displacement from one’s terminal condition, cowering under that which cannot be named—the dictatorship not so much of the proletariat as of the Party secretariat. Sino-noir on serial killers honors the Party while having it on, spoofing it. The obligatory “Chinese characteristics” hinge on the horror of body mutilation, mirroring a schizophrenic China not only divided against itself but in denial of any such division. The argument zooms in on Shuang Xuetao’s novella of dongbei (northeast or Manchuria) noir, “Moses on the Plain,” which chronicles how woes and crimes befall hapless characters fated to float or even drown during Deng Xiaoping’s liberalization, as many State-subsidized factories in northeastern China folded, creating massive unemployment and misery. Part of China, particularly coastal urban areas, boomed, while other parts, such as the Northeast’s heavy industry, went bust, a schizophrenic fissure within the body politic. In the 8-episode TV series, Why Try to Change Me Now, director Zhang Dalei adapts Shuang’s novella told from multiple perspectives into a tour de force in slow cinema, drawing from cinema verité with non-professional actors, natural lighting and sound, an almost stationary camera, and minimalist acting. The argument then concludes with the 16-episode TV series Who Is the Murderer capitalizing on the triple entendre of “ba” for the father, the hegemon/bully, and the end.

The theme of Werner Herzog&rsquo;s quest for the deeper truth is the basis of my paper. Here I have used all forms of his films, books and interviews to track the trajectory of this quest. The quest is inscribed in his own manifesto which he unfurled as the Minnesota Declaration in 1999. Herzog&rsquo;s philosophy behind his quest for the deeper truth is summed up in this declaration. The declaration is an attack on the philosophy of Cin&eacute;ma V&eacute;rit&eacute; which he says is devoid of verit&eacute;. This is a direct attack on an established belief and movement. Herzog&rsquo;s contention is that this truth is a superficial one. For him the deeper truth lies beyond the facts. For him &lsquo;facts create norms&rsquo; and &lsquo;truth illuminates&rsquo;. One particular book I have put under the lens is his book&nbsp;<em>Of Walking in Ice&nbsp;</em>(1980). Here also Herzog experiments with the diary form to dig his idea of the deeper truth. Here I have also given a brief discussion on the evolving ideas of realism and its relationship with documentary. And from there I move on to how Herzog plays with the idea of realism to critique the idea of realism itself. I have also introduced here Herzog&rsquo;s philosophy of learning and his unflinching stand against academia. For Herzog academia is the death of cinema.

Cet article vise à démontrer, à travers l’analyse croisée des deux films et de divers documents d’archives, que, davantage qu’une adaptation littéraire affichée de différents thèmes de Henry James, La chambre verte (François Truffaut, 1978) est avant tout le remake secret de Paradis perdu (Abel Gance, 1940). L’aveuglement des critiques à l’époque de la sortie du film de Truffaut invite à réfléchir à la question du secret qui, dans le sillage de la fameuse figure dans le tapis jamesienne, se fonde sur une dénégation truffaldienne et sert de pierre de touche à une ferveur cinéphile conçue sur le modèle du culte des morts mis en scène par les deux films. Ces convergences permettent de théoriser la part de la projection, au double sens de dispositif cinématographique et de processus psychique, dans l’élaboration du remake secret.

Quali e quante “Cose” hanno affollato la letteratura di fantascienza e il cinema di fantascienza, cominciando dal racconto lungo Who Goes There? di John W. Campbell e il primo film, La Cosa da un altro mondo, da esso ricavato da Christian Nyby e Howard Hawks rifatto poi da John Carpenter con il semplice titolo La Cosa? E come si arriva al quadro storico-politico dell’Italia degli anni Settanta passa attraverso il filtro della fantascienza? Perché ad esempio proprio l’Italia segnata dal potere mafioso (“Cosa Nostra”) e dal terrorismo diventa lo spazio funzionale privilegiato del «paradigma della Cosa», ossia del lacaniano «misterioso oggetto alieno non morto che cade dall’universo, un oggetto non umano ma tuttavia vivente e persino in grado di avere, spesso, una propria volontà maligna» (Žižek)? Il fantasma incombente di queste oscure, talvolta concomitanti “Cose” italiane, durature, insidiose, si manifesta in film come Perché si uccide un magistrato di Damiani, in cui il protagonista, giornalista e cineasta d’inchiesta si chiama appunto “Solaris”, come il romanzo di Lem. Si manifesta in Todo modo di Elio Petri, in Identificazione di una donna di Antonioni, infine in La Cosa di Nanni Moretti e Buongiorno, notte di Marco Bellocchio, dell’impossibilità allora come oggi di intercettare la verità fattuale, oggetto non identificato per eccellenza.

The trial of Adolf Eichmann, in 1961, is generally considered a turning point in the history of Holocaust memory because it brought the Holocaust into the public sphere for the first time as a discrete event on an international scale. In the same year, Jean Rouch and Edgar Morin's film Chronicle of a Summer appeared in France. While absent from scholarship on memory of the Nazi genocide for over forty years, Chronicle of a Summer contains a scene of Holocaust testimony that suggests the need to look beyond the Eichmann trial for alternative articulations of public Holocaust remembrance. This essay considers the juxtaposition in Chronicle of a Summer of Holocaust memory and the history of decolonization in order to rethink the “unique” place that the Holocaust has come to hold in discourses on extreme violence. The essay argues that a discourse of truth and testimony arose in French resistance to the Algerian war that shaped and was shaped by memory of the Nazi genocide.

La letteratura e il cinema contemporanei hanno mostrato negli ultimi anni la ripresa di una tematica cara al Romanticismo: il viaggio verso “le terre selvagge” come fuga da un’esistenza alienata, da una vita conformista, da una società di individui indifferenziati. Il lavoro presenta l’analisi di questa tematica, già presente in autori come Goethe e gli esploratori del Settecento, in quattro opere letterarie di grande successo. Innanzitutto, Eroi della frontiera di Dave Eggers. Il concetto centrale dell’opera è la “rottura”, simbolicamente presente in ogni passaggio del romanzo e legata all’idea di libertà e fuga. Il secondo romanzo analizzato è il celebre Nelle terre estreme (Into the Wild) di Krakauer, meglio conosciuto per l’adattamento cinematografico di Penn Into the Wild (2007). Il tema centrale affrontato nella nostra analisi sarà in questo caso l’abbandono, declinato in vari modi da Chris, il protagonista: abbandono degli affetti, abbandono degli averi, abbandono di se stessi ai ritmi della natura. La terza opera analizzata è Destinazione America di Gary Shteyngart, nel quale riprendiamo ed esponiamo quella “saggezza del fare”, del costruire, che viene già introdotta nel romanzo di Krakauer. Infine, l’accettazione della spietata verità e della “sublime banalità dell’esistenza” che si rivela alla fine del viaggio, e che, anche questa, è presente in tutti gli autori citati, è al centro dell’ultimo romanzo, Butcher’s crossing di John Williams. Sullo sfondo del nostro lavoro si trova, come non potrebbe essere altrimenti, Thoreau, il quale offrirà i concetti attraverso i quali analizzare le tematiche affrontate dai diversi autori considerati e con il quale ognuno di essi, in un modo o nell’altro, fa i conti.

Per l’opera di Carlo Bernari sono state coniate alcune definizioni che con felici metafore rappresentano l’attività dell’autore di Tre operai. Tra quelle che meglio convengono al suo primo romanzo, “incunabolo del neorealismo” è la più usata; meno comune, ma decisamente più inerente alla realtà dei fatti, è quella che fa riferimento alla costante, mai placata attività correttoria esercitata dall’autore fin dalle sue prime prove narrative. Per Tre operai in particolare, seguirne la genesi vuol dire entrare nella cosiddetta “officina dell’autore”, misurarne la lucidità nel togliere, nel modificare, nell’aggiungere, puntando alla massima chiarezza di una diagnosi storica e alla stretta osmosi fra verità documentale e “finzione” letteraria. Il saggio intende evidenziare le due componenti della scrittura di Bernari: l’elaborazione della realtà come rappresentazione del mondo e lo sperimentalismo stilistico ante litteram che ha portato lo scrittore non solo ad anticipare le tendenze stilistiche del secondo Novecento, a partire ovviamente dal neorealismo fino a toccare sperimentazioni neoavanguardiste, ma soprattutto, analizzando il presente, a presentire e diagnosticare crisi socio-ideologiche ancora aurorali. Nel primo caso, per valutare i meccanismi e la praxis dello scrittore, viene sviluppata l’analisi del passaggio e della trasformazione del proto-romanzo Gli stracci (1928–1930) nella versione finale di Tre operai pubblicata nel 1934, che anticipa di un decennio forme e contenuti neorealisti promossi da istanze ed esperienze del giovane scrittore nell’ambito di certe letture impegnate, in quello delle arti visive, il cinema in particolare, o a contatto, diretto o mediato, con i grandi movimenti culturali del primo Novecento. Ma se il romanzo d’esordio getta le basi di un genere che maturerà dieci anni dopo—il neorealismo—si vuole qui dimostrare il permanere nella copiosa e apparentemente versicolore produzione del sessantennio successivo di una coerenza di metodo, sottesa e perciò non sempre còlta dalla critica, e di una costante sollecitazione a percorrere nuove strade formali e ad affrontare problematiche diverse, sempre rispettando con rigore i diversi aspetti delle realtà in atto.

22 new aphid species are recorded for Madeira Archipelago (Madeira Island: 19, Porto&nbsp;Santo Island: 2, Desertas Islands: 1). These species are Aloephagus myersi, Aphis idaei, A.&nbsp;loti, A. sambuci, Brachyunguis tamaricis, Cinara confinis, C. cupressi, C. fresai, Clypeoaphis suaedae, Ctenocallis setosus, Eriosoma patchiae, Greenidea ficicola,&nbsp;Hoplocallis pictus, Illinoia goldamaryae, Phloeomyzus passerinii, Pseudacaudella rubida,&nbsp;Saltusaphis scirpus, Sipha maydis, Smynthurodes betae, Takecallis arundicolens, Uroleucon cf. nigrocampanulae, and Uroleucon picridis. Five previously recorded species&nbsp;have spread to new islands in the Archipelago, namely Aphis solanella (Selvagens),&nbsp;Brachycaudus helychrisi (Selvagens), Nasonovia ribisnigri (Selvagens), Pemphigus&nbsp;bursarius (Madeira Island) and Pineus pini (Porto Santo). For the Azores Archipelago, we&nbsp;add three new records: Aphis oenotherae (Pico), Illinoia lambersi (S&atilde;o Miguel) and&nbsp;Neophyllaphis podocarpi (S&atilde;o Miguel). In the Azores the following species have extended&nbsp;their distribution to new islands: Aphis craccivora (S&atilde;o Jorge), A. fabae (Pico), A. hederae&nbsp;(Pico), A. ruborum (S&atilde;o Jorge), Cinara pinimaritimae (Pico, S&atilde;o Jorge) and Macrosiphum&nbsp;rosae (S&atilde;o Jorge). The status of the species from Madeira referred to in the literature as&nbsp;Aphis paralios is analysed. The total number of aphid species recorded for each of the&nbsp;Macaronesian Archipelagos (Madeira, Azores, Canary Islands, Cape Verde Islands) is&nbsp;given, as is the number of species for each of the 36 islands in these Archipelagos.&nbsp;Currently, 183 aphid species are recorded for the Madeira Archipelago and 151 species for&nbsp;the Azores Archipelago

Статья посвящена рассмотрению культурной информации текста олонхо П. А. Ойунского «Нюргун Боотур Стремительный» в аспекте межъязыкового и межсемиотического видов перевода (в понимании Якобсона). Эпическое произведение является «сильным» текстом якутской культуры, о чем свидетельствуют популярность у носителей культуры и языка оригинала, устойчивый интерес ученых из различных областей гуманитарных знаний, высокий образовательный и культурный потенциал и регулярная переводимость средствами вербальных и невербальных семиотических систем. Тесная связь олонхо П. А. Ойунского (классического примера следования древней эпической традиции) с реальной жизнью и истинность описываемых событий делает воссозданный текст эпической литературы надежным историко-этнографическим источником информации о культуре и истории якутского народа.Важное место в информационном континууме олонхо принадлежит культурной памяти, которая представляет результат мифологизации и сакрализации прошлого, имеет коллективную природу и обеспечивает культурную идентичность коренного народа Якутии (Саха). Главной целью анализа является осмысление культурной памяти олонхо в трансязыковой и транскультурной перспективах, что способствует решению задач сохранения исторического опыта и воспоминаний якутов в текстах переводов и успешной межкультурной коммуникации. Методологической основой исследования стало понимание культурной памяти текста олонхо Ойунского как гиперединицы перевода, относительно которой принимается решение на перевод. Задачей перевода является воссоздание во вторичных текстах содержания эпического произведения, уникального культурного кода, а также помощь потенциальному читателю перевода в восприятии и понимании сложного культурного пространства олонхо. Особенности информации текста оригинала генерируют вариативность гипоединиц перевода и применение принципов ad hoc и ad libitum для их определения. Формальными носителями культурной информации и памяти и, соответственно, регулярными гипоединицами перевода являются культуронимы.Освоение текста олонхо, являющегося сложным культурным смыслом, и продолжение его «жизни» посредством невербальной семиотики, также определяют необходимость выделения единиц межсемиотического перевода. В музыке, танцах, кино и изобразительном искусстве как вторичных текстах вербального оригинала должна быть сохранена культурная память, что напрямую свидетельствует об универсальности данного вида культурной информации как единицы перевода эпической литературы. The article is devoted to the cultural information of P. A. Oyunsky olonkho “Nurgun Bootur the Swift” in the aspect of interlingual and intersemiotic types of translation (in Jakobsonean version). The epic work is a “strong” text of the Yakut culture, as evidenced by its popularity among the people of the original culture and language, the sustainable interest of scholars from various fields of humanities, its high educational and cultural potential and regular translatability by means of verbal and nonverbal semiotic systems. The close connection of the Oyunsky olonkho (classic example of following the ancient epic tradition) with the real life and the verity of the described events make the reconstructed piece of epic literature a reliable historical and ethnographic source of information about the culture and history of the Yakut people.An important place in the information continuum of olonkho belongs to the cultural memory, which is the result of mythologization and sacralization of the past, phenomenon of collective origin and ensures the cultural identity of the indigenous people of Yakutia (Sakha). The analysis main goal is to comprehend the cultural memory of olonkho in translingual and transcultural perspectives, which contributes to the task of preservation of the historical experience and memories of the Yakuts in the texts of translations and successful intercultural communication. The methodological basis of the research was the understanding of the cultural memory of Oyunsky olonkho text as hyperunit of translation, regarding which a decision for translation is made. The translation task is the recreation in secondary texts the content of an epic work, a unique cultural code, as well as assistance to a potential reader of translation in the perception and understanding of the olonkho complex cultural space. The peculiarities of the original text information generate the variability of the translation hypounits and the application of ad hoc and ad libitum principles for their determination. Culturonyms are considered to be the regular formal carries of cultural information and memory and, accordingly, hypounits of translation.The comprehension of olonkho text, which is a complex cultural sense, and the continuation of its “life” through nonverbal semiotics, also influence on the necessity of determination the units of intersemiotics translation. The cultural memory must be preserved in music, dance, cinema and pictorial arts as secondary texts of the verbal original, which directly demonstrates the universality of this type of cultural information as a unit of translation of epic literature.

THE 21st INTERNATIONAL ISTANBUL FILM FESTIVAL took place on 13-28 April 2002 and presented twelve films in the international competition with an overriding theme of the world of the art and the artist. From France, Ma femme est une actrice (My Wife is an Actress) by Yvan Attal explored the dilemmas of a sports writer whose wife was a famous actress. An actor in real life and married to a famous actress, Charlotte Gainsbourg (the daughter of actress /singer Jane Birkin and Serge Gainsbourg, the enfant terrible of the seventies music scene), Attal drew inspiration from his own experiences in this warm comedy about the fragile male ego. The fact that Charlotte played the leading role added a certain dimension of cinema verite to the film. From China, Zuotian (Quitting), the third feature of Zhang Yang (Shower, 1999) was a sensitive rendition of the harrowing experience of the late...

ABSTRAKPenyutradaraan karya film dokumenter potret ini ialah untuk memberikan gambaran kehidupan seorang mantan petinju nasional dan petarung Pencak Dor di Kediri bernama Michael ‘Speed’ Sigarlaki, memperkenalkan adanya tarung Pencak Dor kepada masyarakat sekaligus menberikan cerminan buruknya kualitas tinju di Indonesia.Objek penciptaan karya film dokumenter ini ialah tarung Pencak Dor Kediri dan Michael ‘Speed’ Sigarlaki. Karya ini dikemas menggunakan struktur bertutur tematis serta menerapkan gaya penceritaan cinema verite dan expository. Film Michael Speed banyak menggunakan handheld camera dan diegetic sound untuk merekam aktifitas subjeknya, subjek terkadang berbicara langsung ke arah kamera, dan di beberapa bagian digunakan juga metode wawancara untuk memperkuat informasi kepada penonton. Pembahasan mengenai kisah hidup Michael Speed dalam memperjuangkan eksistensinya di dunia tarung dikemas ke dalam karya tugas akhir berbentuk film dokumenter potret dengan judul karya ilmiah Eksistensi Mantan Petinju Nasional Sebagai Petarung Pencak Dor Kediri Melalui Film Dokumenter Potret “Michael Speed”. Perwujudan karya film dokumenter potret Michael Speed dikemas ke dalam 3 segmen pembahasan diantaranya, segmen 1 berisi pengenalan tarung Pencak Dor dan tokoh petarung bernama Michael Sigarlaki, segmen 2 membahas eksistensi serta konflik batin Michael Sigarlaki sebagai petarung Pencak Dor profesional, dan segmen 3 menjadi penutup yang menampilkan nilai-nilai humanisme dalam diri Michael Sigarlaki sebagai kepala keluarga. Kata kunci: Penyutradaraan; Dokumenter Potret; Eksistensi Petarung Pencak Dor Kediri Michael Speed ABSTRACTThe directing of this portrait documentary is to provide an overview of the life of a former national boxer and the Pencak Dor fighter in Kediri named Michael ' Speed ' Sigarlaki, introducing the existence of Pencak Dor to the community while giving the poor reflection of the quality of boxing in Indonesia.The object of the creation of this documentary film is fighting Pencak Dor Kediri and Michael ' Speed ' Sigarlaki. The work is packed using a thematic structure and applies storytelling-style cinema verite and expository. The Film Michael Speed used a lot of handheld cameras and diegetic sound to record the activities of his subjects, the subjects sometimes spoke directly towards the camera, and in some parts used also the interview method to reinforce the information to the audience. The discussion on the life story of Michael Speed in the fight for his existence in the world of fighting is packed into the work of the end-task in the form of portrait documentary with the title of former national boxer existence as a combatant Pencak Dor Kediri through the portrait documentary "Michael Speed". The embodiment of the portrait documentary film Michael Speed is packed into three discussion segments, segment 1 contains the introduction of Pencak Dor's fighting and the warrior figure Michael Sigarlaki, Segment 2 discusses the existence and inner conflict of Michael Sigarlaki as a professional Pencak Dor fighter, and Segment 3 is the cover showing the values of humanism in Michael Sigarlaki as the head of Key words: Direction; Documentary Portraits; "The existence of Pencak Dor Kediri Fighter Michael Speed"

AbstractIn this article we consider the theoretical and methodological implications of Deleuzian fabulation for research on recovery from drugs and alcohol as an alternative way of making and doing methods in sociology. The article draws on data produced as part of an ongoing interdisciplinary research collaboration, begun in 2019, with the visual artist and filmmaker Melanie Manchot, social scientists Nicole Vitellone and Lena Theodoropoulou, and people in recovery from drugs and alcohol engaged in the production of Manchot’s first feature film STEPHEN. This project attends to the methodological practice of filmmaking as a way of thinking with and alongside colleagues from divergent disciplines about the role of methods, concepts and practices for confronting and resisting processes of stigmatisation. Investigating the research participants’ engagement with Manchot’s filmmaking practices in STEPHEN as a way to tell stories otherwise, our goal is to engage the social life of creative methods and in doing so, propose an alternative narrative of recovery. In this investigation, we use the term fabulation as developed by Deleuze. In Cinema II, Deleuze makes a distinction between the cinema of reality, where storytelling derives from the camera’s objective gaze and a given character’s subjective actions, and cinema verité where the boundaries between fiction and reality are blurred. In cinema verité, the camera is not an objective observer but an active producer that keeps reminding the viewer that the on‐screen characters are neither fully real, nor fictional. Attending to Deleuze’s description of fabulation as it emerges through this process of challenging the existence of ‘real’ identities in cinema, and beyond, we investigate the use of cinematic devices and fabulative processes of filmmaking in the production of STEPHEN. In doing so, the article develops a methodological account of the activity of fabulation as a material and embodied practice that resists processes of stigmatisation. Through this interdisciplinary project, we propose a new arts‐based research agenda which points to the ways in which fabulation as a minor mode of recovery concerns an engagement with the creation of a people to come.

Songs That Never End (2019) is a fascinating, compelling, and mesmerizing film. It focuses on seemingly small events inside small spaces to pose big questions about how people struggle with the hand that history has dealt them in a time of devastation, dispossession, and displacement. Filmed in cinema verité style, yet brilliantly shot, framed, and paced by director, camera operator, and interviewer Yehuda Sharim, Songs That Never End revolves around the everyday life experiences, events, injuries, and aspirations of an Iranian immigrant family living in a small apartment in Houston. Across nearly two hours of cinema, it sutures together a series of short scenes that convey chaos and unpredictability in the lives of these refugees who never find refuge, these exiles for whom exile never ends.

This article outlines the main discussions around punk aesthetics and the culture of commodification, tracing the methods of punk's canonization back to the two early films that have been considered within the documentary genre and described as ‘transparent’ mainly due to their low-budget conditions: The Punk Rock Movie (Don Letts, 1978) and The Blank Generation (Amos Poe and Ivan Král, 1976). As this ‘punk cinema’ canon stems from a larger standardization of punk history, this article firstly presents the criticisms around the dominant narratives in the discourse around punk and the role of subjectivity in their writing. Drawing from deconstructive perspectives that give room to think about the relationship between punk and representation beyond the canon, I look at the ignored aspects of early punk cinema that involve a reliance on the cinematic referential codes of the heteronormative gaze, echoing the media sensationalism of the time. The Punk Rock Movie’s overlooked cinematic engagement with the media representations of punk and The Blank Generation’s approximation to cinema verité are both analysed in relation to how they textually engage with the ‘immediacy’ of the environment. In this analysis, the abundance of concert and archive footage comes across as an overriding effect in the reception of the two films. Expanding on Stacy Thompson’s adoption of Roland Barthes’s textual analysis in theorizing punk cinema, this article reconnects with what is actually ‘self-reflexive’ about these films as well as aiming to uncover how their overshadowing sense of transparency is constructed.

L’identità di professionista e studiosa di Rossella Valdrè si definisce, oltre che per i suoi molti titoli, per la sua dimestichezza con le attuali correnti internazionali della psicoanalisi, in particolare francese, e per l’ampiezza dei suoi interessi. Questi, fonte di numerose pubblicazioni, spaziano oltre la teoria e la clinica psicoanalitiche – delle quali ha vasta e sicura conoscenza - vertendo sul cinema, sulla poesia e sull’arte, animati da una viva apprensione per le sorti degli istituti democratici e della nostra civiltà che ella ritiene oggi minacciati dall’imperante tendenza a ‘trarre un piacere diretto dal consumo immediato di oggetti’, dalla ‘relativizzazione della verità’ e dalla frammentazione delle identità per l’obsolescenza dell’Edipo quale ‘funzione strutturante della psiche’. [...]

Cinema constructs mind-spaces that reflect inherent human thoughts and emotions. As a representational art, Cinema would introduce comprehensive images of life phenomena in different ways. The term &ldquo;represent&rdquo; suggests verity of meanings; bring into presence, replace or typify. In that sense, Cinema may present a phenomenon through direct embodiment, or introduce a substitute image that replaces the original phenomena, or typify it by relating the produced image to a more general category through a process of abstraction. This research is interested in questioning the type of images that Egyptian Cinema introduces to informal urbanism and how these images were conditioned and reshaped in the last twenty years. The informalities/slums phenomenon first appeared in Egypt and, particularly, Cairo in the early sixties, however, this phenomenon was completely ignored by the state and society until the eighties, and furthermore, its evident representation in Cinema was by the mid-nineties. The Informal City represents the illegal housing developments, and it is a fast growing form of urbanization in Cairo. Yet, this expanding phenomenon is still depicted as the minority, exceptional and marginal through the Cinematic lenses. This paper aims at tracing the forms of representations of the urban informalities in the Egyptian Cinema between 1994 and 2014, and how did that affect the popular mind and its perception of these areas. The paper runs two main lines of inquiry; the first traces the phenomena through a chronological and geographical mapping of the informal urbanism has been portrayed in films. This analysis is based on an academic research work at Cairo University in Fall 2014. The visual tracing through maps and timelines allowed a reading of the phases of ignorance, presence, typifying and repetition in the representation of this huge sector of the city through more than 50 films that has been investigated. The analysis clearly revealed the &ldquo;portrayed image&rdquo; of informality by the Cinema through the examined period. However, the second part of the paper explores the &ldquo;perceived image&rdquo;. A designed questionnaire is applied to highlight the main features of that image that is perceived by both inhabitants of informalities and other Cairenes based on watching selected films. The questionnaire covers the different images of informalities proposed in the Cinema whether in a comic or a melodramatic background and highlight the descriptive terms used, to see which of them resonate with the mass perceptions and affected their mental images. The two images; &ldquo;portrayed&rdquo; and &ldquo;perceived&rdquo; are then to be encountered to reflect on issues of repetitions, stereotyping and reality. The formulated stereotype of informal urbanism is finally outlined and justified in relation to both production consumption mechanisms of films and the State official vision of informalities.

Cinema constructs mind-spaces that reflect inherent human thoughts and emotions. As a representational art, Cinema would introduce comprehensive images of life phenomena in different ways. The term &ldquo;represent&rdquo; suggests verity of meanings; bring into presence, replace or typify. In that sense, Cinema may present a phenomenon through direct embodiment, or introduce a substitute image that replaces the original phenomena, or typify it by relating the produced image to a more general category through a process of abstraction. This research is interested in questioning the type of images that Egyptian Cinema introduces to informal urbanism and how these images were conditioned and reshaped in the last twenty years. The informalities/slums phenomenon first appeared in Egypt and, particularly, Cairo in the early sixties, however, this phenomenon was completely ignored by the state and society until the eighties, and furthermore, its evident representation in Cinema was by the mid-nineties. The Informal City represents the illegal housing developments, and it is a fast growing form of urbanization in Cairo. Yet, this expanding phenomenon is still depicted as the minority, exceptional and marginal through the Cinematic lenses. This paper aims at tracing the forms of representations of the urban informalities in the Egyptian Cinema between 1994 and 2014, and how did that affect the popular mind and its perception of these areas. The paper runs two main lines of inquiry; the first traces the phenomena through a chronological and geographical mapping of the informal urbanism has been portrayed in films. This analysis is based on an academic research work at Cairo University in Fall 2014. The visual tracing through maps and timelines allowed a reading of the phases of ignorance, presence, typifying and repetition in the representation of this huge sector of the city through more than 50 films that has been investigated. The analysis clearly revealed the &ldquo;portrayed image&rdquo; of informality by the Cinema through the examined period. However, the second part of the paper explores the &ldquo;perceived image&rdquo;. A designed questionnaire is applied to highlight the main features of that image that is perceived by both inhabitants of informalities and other Cairenes based on watching selected films. The questionnaire covers the different images of informalities proposed in the Cinema whether in a comic or a melodramatic background and highlight the descriptive terms used, to see which of them resonate with the mass perceptions and affected their mental images. The two images; &ldquo;portrayed&rdquo; and &ldquo;perceived&rdquo; are then to be encountered to reflect on issues of repetitions, stereotyping and reality. The formulated stereotype of informal urbanism is finally outlined and justified in relation to both production consumption mechanisms of films and the State official vision of informalities.

"Ambush", the first episode of ER's fourth season began amid much publicity and excitement. The premiere, though scripted, was filmed 'live' using two handheld cameras and broadcast simultaneously across America's east coast. The episode was then rerecorded for the west coast. The effect of this new format was to capture an incredibly large audience, yet perhaps a more interesting effect was the blurring of the borders between fiction and reality on television. Indeed this episode superimposed documentary techniques onto a fictional genre, causing a lack of distinction. It is interesting to examine "Ambush" in terms of style, narrative and voice to determine the effects of the new format. "Ambush" adopts the camera techniques of cinema verité, a documentary style which emerged in the 1950s. The invention of the 16 mm handheld camera and synchronised sound meant that events could be filmed as they occurred, 'live' . The result of this new technology was shaky camera work, poor framing and focusing which suggested that the camera point of view was an immediate form of 'reality' (Kuhn 73). Since this time, the technology involved in the production of documentary has improved, enabling smoother camera work. Yet the general principles and overall style of cinema verité are still adopted. Kuhn (76) suggests that this camera style has become a naturalised set of codes, a substitute evidence for the 'truth'. ER uses cinema verité camera techniques in the construction of liveness and immediacy. Badly focused scenes and jolting camera shots abound. Yet this style is not jarring, it is strangely suited to the genre of medical television and in fact adds to the sense of momentum and character instability. However a more disturbing effect is also present. As the sense of 'reality' is heightened, the actors in the show who play doctors and nurses move closer to becoming social actors who are doctors and nurses -- the viewer can almost believe that George Clooney is really Doug Ross. One argument which may be posited against the construction of 'reality' in "Ambush" is the use of narrative. ER, though it uses open ended closure, seems to conform to Classical Hollywood narrative structure of goal orientated causality (Bordwell). The 'live' episode is no different. It may be argued that the use of narrative in this episode mitigates the effects of the construction of 'reality'. Yet this does not occur. The audience still understands this episode in terms of its sense of the here and now without being hindered by the scripted plot. Indeed Winston (118) suggests that logical causation is an inherent part of human behaviour and a diluted form of the Classical Hollywood narrative may be projected onto the documentary form without any adverse effects to the perception of reality. Thus it seems that this episode of ER closely follows the documentary form. Even ethical issues, such as the intervention of the filmmaker are considered when the camera operator questions a medical decision made by Dr. Kerry. However the audience is still conscious that this episode is firmly rooted in the realm of fiction. Perhaps this awareness is due to an underlying difference between the documentary and fictional forms -- voice (Nichols 166). Classical Hollywood realism places its emphasis on the process of achieving a goal through narrative, whereas documentary uses voice to produce an ideological argument about the social world (Nichols 166). In this episode, ER does little to form an overriding argument for the narrative. It is merely interested in the narrative goals of making patients better and helping characters overcome emotional struggles. Indeed argument is difficult to produce without voice. Voice, which constructs an argument, is woven into the text by the filmmaker who is often the camera operator. In a sense, ER appears to produce voice, the subjective perspective of the filmmaker. Yet the filmmakers -- two camera operators, Agi and Stuart Orton -- are fictional. Thus these people cannot really produce voice as they have no true perspective on the events and therefore cannot construct a 'real' argument. The true filmmakers are the writers of ER and they produce narrative, not voice. In conclusion, the 'live' episode of ER has transformed the boundaries of fiction by using a naturalised documentary style. This new form may be considered transgressive, "a flagrant flaunting of broken rules, smashed conventions, fragmented surfaces" (Martin 23). Admittedly some programmes such as Homicide: Life on the Street have been using a diluted form of this camera style for some time now. Shows such as these emphasise drama and action and the documentary form can heighten this sense of excitement and liveness, if not actuality. "Ambush" has epitomised this new transgressive form. Thus, even if it did not succeed in producing the true effects of 'reality', ER certainly attained new levels of TV fascination. In the words of one Internet writer: "Wow, that was interesting!" (Hollifield). References Bordwell, David. Narration in Fiction Film. U.S.A.: Wisconsin U.P., 1985. Hollifield, Scott. Summary/review of "Ambush", by Carol Flint. ER. 1997. 16 July 97 &lt;http://www.digiserve.com/er/erambush.htm&gt;. Kuhn, A. "The Camera I, Observations on Documentary." Screen 19.2 (1978): 71-83. Martin, Adrian. "Stretch TV." XPress: Popular Culture 1.1 (1985): 22-3. Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Indiana: Indiana U.P., 1991. Winston, Brian. Claiming the Real: The Documentary Film Revisited. London: British Film Institute, 1995. Citation reference for this article MLA style: Felicity Meakins. "Err, New Boundaries for Fiction?! ER's 'Live' Episode." M/C: A Journal of Media and Culture 1.1 (1998). [your date of access] &lt;http://www.uq.edu.au/mc/9807/er.php&gt;. Chicago style: Felicity Meakins, "Err, New Boundaries for Fiction?! ER's 'Live' Episode," M/C: A Journal of Media and Culture 1, no. 1 (1998), &lt;http://www.uq.edu.au/mc/9807/er.php&gt; ([your date of access]). APA style: Felicity Meakins. (1998) Err, new boundaries for fiction?! ER's 'live' episode. M/C: A Journal of Media and Culture 1(1). &lt;http://www.uq.edu.au/mc/9807/er.php&gt; ([your date of access]).

Did you see the videos where the cat jumps in the box, attacks the printer or tries to leap from the snowy car? As the availability and popularity of watching videos on the Internet has risen rapidly in the last decade, so has the prevalence of cat videos. Although the cuteness of YouTube videos of cats might make them appear frivolous, in fact there is a significant irony at their heart: online cat videos enable corporate surveillance of viewers, yet viewers seem just as oblivious to this as the cats featured in the videos. Towards this end, I consider the distinguishing features of contemporary cat videos, focusing particularly on their narrative structure and mode of observation. I compare cat videos with the “Aesthetic of Astonishment” of early cinema and with dog videos, to explore the nexus of a spectatorship of thrills and feline performance. In particular, I highlight a unique characteristic of these videos: the cats’ unselfconsciousness. This, I argue, is rare in a consumer culture dominated by surveillance, where we are constantly aware of the potential for being watched. The unselfconsciousness of cats in online videos offers viewers two key pleasures: to imagine the possibility of freedom from surveillance, and to experience the power of administering surveillance as unproblematic. Ultimately, however, cat videos enable viewers to facilitate our own surveillance, and we do so with the gleeful abandon of a kitten jumping in a tissue box What Distinguishes Cat Videos? Cat videos have become so popular, that they generate millions of views on YouTube, and the Walker Art Center in Minneapolis now holds an annual Internet Cat Video Festival. If you are not already a fan of the genre, the Walker’s promotional videos for the festival (2013 and 2012) provide an entertaining introduction to the celebrities (Lil Bub, Grumpy Cat, and Henri), canon (dancing cats, surprised cat, and cat falling off counter), culture and commodities of online cat videos, despite repositioning them into a public exhibition context. Cats are often said to dominate the internet (Hepola), despite the surprise of Internet inventor Tim Berners-Lee. Domestic cats are currently the most popular pet in the world (Driscoll), however they are already outnumbered by smartphones. Cats have played various roles in our societies, cultures and imaginations since their domestication some 8-10,000 years ago (Driscoll). A potent social and cultural symbol in mythology, art and popular culture, the historical and cultural significance of cats is complex, shifting and often contradictory. They have made their way across geographic, cultural and class boundaries, and been associated with the sacred and the occult, femininity and fertility, monstrosity and domesticity (Driscoll, Rogers). Cats are figured as both inscrutable and bounteously polysemic. Current representations of cats, including these videos, seem to emphasise their sociability with humans, association with domestic space, independence and aloofness, and intelligence and secretiveness. I am interested in what distinguishes the pleasures of cat videos from other manifestations of cats in folklore and popular culture such as maneki-neko and fictional cats. Even within Internet culture, I’m focusing on live action cat videos, rather than lolcats, animated cats, or dog videos, though these are useful points of contrast. The Walker’s cat video primer also introduces us to the popular discourses accounting for the widespread appeal of these videos: cats have global reach beyond language, audiences can project their own thoughts and feelings onto cats, cats are cute, and they make people feel good. These discourses circulate in popular conversation, and are promoted by YouTube itself. These suggestions do not seem to account for the specific pleasures of cat videos, beyond the predominance of cats in culture more broadly. The cat videos popular on the Internet tend to feature several key characteristics. They are generated by users, shot on a mobile device such as a phone, and set in a domestic environment. They employ an observational mode, which Bill Nichols has described as a noninterventionist type of documentary film associated with traditions of direct cinema and cinema verite, where form and style yields to the profilmic event. In the spirit of their observational mode, cat videos feature minimal sound and language, negligible editing and short duration. As Leah Shafer notes, cat videos record, “’live’ events, they are mostly shot by ‘amateurs’ with access to emerging technologies, and they dramatize the familiar.” For example, the one-minute video Cat vs Printer comprises a single, hand-held shot observing the cat, and the action is underlined by the printer’s beep and the sounds created by the cat’s movements. The patterned wallpaper suggests a domestic location, and the presence of the cat itself symbolises domesticity. These features typically combine to produce impressions of universality, intimacy and spontaneity – impressions commonly labelled ‘cute’. The cat’s cuteness is also embodied in its confusion and surprise at the printer’s movements: it is a simpleton, and we can laugh at its lack of understanding of the basic appurtenances of the modern world. Cat videos present minimalist narratives, focused on an instant of spectacle. A typical cat video establishes a state of calm, then suddenly disrupts it. The cat is usually the active agent of change, though chance also frequently plays a significant role. The pervasiveness of this structure means that viewers familiar with the form may even anticipate a serendipitous event. The disruption prompts a surprising or comic effect for the viewer, and this is a key part of the video’s pleasure. For example, in Cat vs Printer, the establishing scenario is the cat intently watching the printer, a presumably quotidian scene, which escalates when the cat begins to smack the moving paper. The narrative climaxes in the final two seconds of the video, when the cat strikes the paper so hard that the printer tray bounces, and the surprised cat falls off its stool. The video ends abruptly. This disruption also takes the viewer by surprise (at least it does the first time you watch it). The terse ending, and lack of resolution or denouement, encourages the viewer to replay the video. The minimal narrative effectively builds expectation for a moment of surprise. These characteristics of style and form typify a popular body of work, though there is variation, and the millions of cat videos on YouTube might be best accounted for by various subgenres. The most popular cat videos seem to have the most sudden and striking disruptions as well as the most abrupt endings. They seem the most dramatic and spontaneous. There are also thousands of cat videos with minor disruptions, and some with brazenly staged events. Increasingly, there is obvious use of postproduction techniques, including editing and music. A growing preponderance of compilations attests to the videos’ “spreadability” (Jenkins, Ford, and Green). The conventional formal structure of these videos effectively homogenises the cat, as if there is a single cat performing in millions of videos. Indeed, YouTube comments often suggest a likeness between the cat represented in the video and the commenter’s own cat. In this sense, the cuteness so readily identified has an homogenising effect. It also has the effect of distinguishing cats as a species from other animals, as it confounds common conceptions of all (other) animals as fundamentally alike in their essential difference from the human (animal). Cat videos are often appreciated for what they reveal about cats in general, rather than for each cat’s individuality. In this way, cat videos symbolise a generic feline cuteness, rather than identify a particular cat as cute. The cats of YouTube act “as an allegory for all the cats of the earth, the felines that traverse myths and religions, literature and fables” (Derrida 374). Each cat swiping objects off shelves, stealing the bed of a dog, leaping onto a kitchen bench is the paradigmatic cat, the species exemplar. Mode of Spectatorship, Mode of Performance: Cat Videos, Film History and Dog Videos Cat videos share some common features with early cinema. In his analysis of the “Aesthetic of Astonishment,” which dominated films until about 1904, film historian Tom Gunning argues that the short, single shot films of this era are characterised by exciting audience curiosity and fulfilling it with visual shocks and thrills. It is easy to see how this might describe the experience of watching Cat vs Printer or Thomas Edison’s Electrocution of an Elephant from 1903. The thrill of revelation at the end of Cat vs Printer is more significant than the minimal narrative it completes, and the most popular videos seem to heighten this shock. Further, like a rainy afternoon spent clicking the play button on a sequence of YouTube’s suggested videos, these early short films were also viewed in variety format as a series of attractions. Indeed, as Leah Shafer notes, some of these early films even featured cats, such as Professor Welton’s Boxing Cats from 1894. Each film offered a moment of spectacle, which thrilled the modern viewer. Gunning argues that these early films are distinguished by a particular relationship between spectator and film. They display blatant exhibitionism, and address their viewer directly. This highlights the thrill of disruption: “The directness of this act of display allows an emphasis on the thrill itself – the immediate reaction of the viewer” (Gunning “Astonishment” 122). This is produced both within the staging of the film itself as players look directly at the camera, and by the mode of exhibition, where a showman primes the audience verbally for a moment of revelation. Importantly, Gunning argues that this mode of spectatorship differs from how viewers watch narrative films, which later came to dominate our film and television screens: “These early films explicitly acknowledge their spectator, seeming to reach outwards and confront. Contemplative absorption is impossible here” (“Astonishment” 123). Gunning’s emphasis on a particular mode of spectatorship is significant for our understanding of pet videos. His description of early cinema has numerous similarities with cat videos, to be sure, but seems to describe more precisely the mode of spectatorship engendered by typical dog videos. Dog videos are also popular online, and are marked by a mode of performance, where the dogs seem to present self-consciously for the camera. Dogs often appear to look at the camera directly, although they are probably actually reading the eyes of the camera operator. One of the most popular dog videos, Ultimate dog tease, features a dog who appears to look into the camera and engage in conversation with the camera operator. It has the same domestic setting, mobile camera and short duration as the typical cat video, but, unlike the cat attacking the printer, this dog is clearly aware of being watched. Like the exhibitionistic “Cinema of Attractions,” it is marked by “the recurring look at the camera by [canine] actors. This action which is later perceived as spoiling the realistic illusion of the cinema, is here undertaken with brio, establishing contact with the audience” (Gunning “Attractions” 64). Dog videos frequently feature dogs performing on command, such as the countless iterations of dogs fetching beverages from refrigerators, or at least behaving predictably, such as dogs jumping in the bath. Indeed, the scenario often seems to be set up, whereas cat videos more often seem to be captured fortuitously. The humour of dog videos often comes from the very predictability of their behaviour, such as repeatedly fetching or rolling in mud. In an ultimate performance of self-consciousness, dogs even seem to act out guilt and shame for their observers. Similarly, baby videos are also popular online and were popular in early cinema, and babies also tend to look at the camera directly, showing that they are aware of bring watched. This emphasis on exhibitionism and modes of spectatorship helps us hone in on the uniqueness of cat videos. Unlike the dogs of YouTube, cats typically seem unaware of their observers; they refuse to look at the camera and “display their visibility” (Gunning “Attractions,” 64). This fits with popular discourses of cats as independent and aloof, untrainable and untameable. Cat videos employ a unique mode of observation: we observe the cat, who is unencumbered by our scrutiny. Feline Performance in a World of Pervasive Surveillance This is an aesthetic of surveillance without inhibition, which heightens the impressions of immediacy and authenticity. The very existence of so many cat videos online is a consequence of camera ubiquity, where video cameras have become integrated with common communications devices. Thousands of cameras are constantly ready to capture these quotidian scenes, and feed the massive economy of user-generated content. Cat videos are obviously created and distributed by humans, a purposeful labour to produce entertainment for viewers. Cat videos are never simply a feline performance, but a performance of human interaction with the cat. The human act of observation is an active engagement with the other. Further, the act of recording is a performance of wielding the camera, and often also through image or voice. The cat video is a companion performance, which is part of an ongoing relationship between that human and that other animal. It carries strong associations with regimes of epistemological power and physical domination through histories of visual study, mastery and colonisation. The activity of the human creator seems to contrast with the behaviour of the cat in these videos, who appears unaware of being watched. The cats’ apparent uninhibited behaviour gives the viewer the illusion of voyeuristically catching a glimpse of a self-sufficient world. It carries connotations of authenticity, as the appearance of interaction and intervention is minimised, like the ideal of ‘fly on the wall’ documentary (Nichols). This lack of self-consciousness and sense of authenticity are key to their reception as ‘cute’ videos. Interestingly, one of the reasons that audiences may find this mode of observation so accessible and engaging, is because it heeds the conventions of the fourth wall in the dominant style of fiction film and television, which presents an hermetically sealed diegesis. This unselfconscious performance of cats in online videos is key, because it embodies a complex relationship with the surveillance that dominates contemporary culture. David Lyon describes surveillance as “any focused attention to personal details for the purposes of influence, management, or control” (“Everyday” 1) and Mark Andrejevic defines monitoring as “the collection of information, with or without the knowledge of users, that has actual or speculative economic value” (“Enclosure” 297). We live in an environment where social control is based on information, collected and crunched by governments, corporations, our peers, and ourselves. The rampancy of surveillance has increased in recent decades in a number of ways. Firstly, technological advances have made the recording, sorting and analysis of data more readily available. Although we might be particularly aware of the gaze of the camera when we stand in line at the supermarket checkout or have an iPhone pointed at our face, many surveillance technologies are hidden points of data collection, which track our grocery purchases, text messages to family and online viewing. Surveillance is increasingly mediated through digital technologies. Secondly, surveillance data is becoming increasingly privatised and monetised, so there is strengthening market demand for consumer information. Finally, surveillance was once associated chiefly with institutions of the state, or with corporations, but the process is increasingly “lateral,” involving peer-to-peer surveillance and self-surveillance in the realms of leisure and domestic life (Andrejevic “Enclosure,” 301). Cat videos occupy a fascinating position within this context of pervasive surveillance, and offer complex thrills for audiences. The Unselfconscious Pleasures of Cat Videos Unselfconsciousness of feline performance in cat videos invites contradictory pleasures. Firstly, cat videos offer viewers the fantasy of escaping surveillance. The disciplinary effect of surveillance means that we modify our behaviour based on a presumption of constant observation; we are managed and manipulated as much by ourselves as we are by others. This discipline is the defining condition of industrial society, as described by Foucault. In an age of traffic cameras, Big Brother, CCTV, the selfie pout, and Google Glass, modern subjects are oppressed by the weight of observation to constantly manage their personal performance. Unselfconsciousness is associated with privacy, intimacy, naivety and, increasingly, with impossibility. By allowing us to project onto the experience of their protagonists, cat videos invite us to imagine a world where we are not constantly aware of being watched, of being under surveillance by both human beings and technology. This projection is enabled by discourse, which constructs cats as independent and aloof, a libertarian ideal. It provides the potential for liberation from technologized social surveillance, and from the concomitant self-discipline of our docile bodies. The uninhibited performance of cats in online videos offers viewers the prospect that it is possible to live without the gaze of surveillance. Through cat videos, we celebrate the untameable. Cats model a liberated uninhibitedness viewers can only desire. The apparent unselfconsciousness of feline performance is analogous to Derrida’s conception of animal nakedness: the nudity of animals is significant, because it is a key feature which distinguishes them from humans, but at the same time there is no sense of the concept of nakedness outside of human culture. Similarly, a performance uninhibited by observation seems beyond humans in contemporary culture, and implies a freedom from social expectations, but there is also little suggestion that cats would act differently if they knew they were observed. We interpret cats’ independence as natural, and take pleasure in cats’ naturalness. This lack of inhibition is cute in the sense that it is attractive to the viewer, but also in the sense that it is naïve to imagine a world beyond surveillance, a freedom from being watched. Secondly, we take pleasure in the power of observing another. Surveillance is based on asymmetrical regimes of power, and the position of observer, recorder, collator is usually more powerful than the subject of their gaze. We enjoy the pleasure of wielding the unequal gaze, whether we hit the “record” button ourselves or just the “play” button. In this way, we celebrate our capacity to contain the cat, who has historically proven conceptually uncontainable. Yet, the cats’ unselfconsciousness means we can absolve ourselves of their exploitation. Looking back at the observer, or the camera, is often interpreted as a confrontational move. Cats in videos do not confront their viewer, do not resist the gaze thrown on them. They accept the role of subject without protest; they perform cuteness without resistance. We internalise the strategies of surveillance so deeply that we emulate its practices in our intimate relationships with domestic animals. Cats do not glare back at us, accusingly, as dogs do, to remind us we are exerting power over them. The lack of inhibition of cats in online videos means that we can exercise the power of surveillance without confronting the oppression this implies. Cat videos offer the illusion of watching the other without disturbing it, brandishing the weapon without acknowledging the violence of its impact. There is a logical tension between these dual pleasures of cat videos: we want to escape surveillance, while exerting it. The Work of Cat Videos in ‘Liquid Surveillance’ These contradictory pleasures in fact speak to the complicated nature of surveillance in the era of “produsage,” when the value chain of media has transformed along with traditional roles of production and consumption (Bruns). Christian Fuchs argues that the contemporary media environment has complicated the dynamics of surveillance, and blurred the lines between subject and object (304). We both create and consume cat videos; we are commodified as audience and sold on as data. YouTube is the most popular site for sharing cat videos, and a subsidiary of Google, the world’s most visited website and a company which makes billions of dollars from gathering, collating, storing, assessing, and trading our data. While we watch cat videos on YouTube, they are also harvesting information about our every click, collating it with our other online behaviour, targeting ads at us based on our specific profile, and also selling this data on to others. YouTube is, in fact, a key tool of what David Lyon calls “liquid surveillance” after the work of Zygmunt Bauman, because it participates in the reduction of millions of bodies into data circulating at the service of consumer society (Lyon “Liquid”). Your views of cats purring and pouncing are counted and monetised, you are profiled and targeted for further consumption. YouTube did not create the imbalance of power implied by these mechanisms of surveillance, but it is instrumental in automating, amplifying, and extending this power (Andrejevic “Lateral,” 396). Zygmunt Bauman argues that in consumer society we are increasingly seduced to willingly subject ourselves to surveillance (Lyon “Liquid”), and who better than the cute kitty to seduce us? Our increasingly active role in “produsage” media platforms such as YouTube enables us to perform what Andrejevic calls “the work of being watched” (“Work”). When we upload, play, view, like and comment on cat videos, we facilitate our own surveillance. We watch cat videos for the contradictory pleasures they offer us, as we navigate and negotiate the overwhelming surveillance of consumer society. Cat videos remind us of the perpetual possibility of observation, and suggest the prospect of escaping it. 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Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Random House, 1995. Fuchs, Christian. “Web 2.0, Prosumption, and Surveillance.” Surveillance &amp; Society 8.3 (2011): 288-309. Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the Incredulous Spectator.” Viewing Positions: Ways of Seeing Film. Ed. Linda Williams. New Brunswick, NJ: Rutgers UP, 1995. 114-133. Gunning, Tom. "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde." Wide Angle 8.3-4 (1986): 63-70. Hepola, Sarah. “The Internet Is Made of Kittens.” Salon, 11 Feb 2009. 29 Apr. 2014 ‹http://www.salon.com/2009/02/10/cat_internet/›. Jenkins, Henry, Sam Ford, and Joshua Green. Spreadable Media: Creating Value and Meaning in a Network Culture. New York: NYU Press, 2013. Lyon, David. “Liquid Surveillance: The Contribution of Zygmunt Bauman to Surveillance Studies.” International Political Sociology 4 (2010): 325–338 Lyon, David. “Surveillance, Power and Everyday Life.” In Robin Mansell et al., eds., Oxford Handbook of Information and Communication Technologies. Oxford: Oxford Handbooks, 2007. 449-472. 29 Apr. 2014 ‹http://www.sscqueens.org/sites/default/files/oxford_handbook.pdf›. Nichols, Bill. Introduction to Documentary. 2nd ed. Bloomington: Indiana University Press, 2010. Rogers, Katharine. The Cat and the Human Imagination: Feline Images from Bast to Garfield. Ann Arbor, MI: University of Michigan Press, 2001. Shafer, Leah. “I Can Haz an Internet Aesthetic?!? LOLCats and the Digital Marketplace.” Paper presented at the Northeast Popular/American Culture Association Conference, St. John Fisher College, Rochester, New York, 2012. 5 Mar. 2014 ‹http://fisherpub.sjfc.edu/cgi/viewcontent.cgi?article=1094&amp;context=nepca›.

Este trabalho tem como objetivo elaborar uma interface entre filosofia e cinema a partir de uma análise temática do filme "Negação" (2016) sob o viés do verbete Filosofia da História de Daniel Little (2016); o que faremos através de uma síntese da trama que envolve dois escritores: a professora Deborah Lipstadt, historiadora; e David Irving, autor negacionista do Holocausto. Utilizaremos como fontes a obra Negação, da Professora Lipstadt, bem como o bestseller Hitler’s War (1977), do Irving. Focaremos nos argumentos apresentados por Irving, quais sejam: Hitler não sabia da “Solução Final”, e quando soube tentou evitá-la; nenhuma pessoa foi executada nos campos de extermínio nazistas e, por fim, o que conhecemos como Holocausto não aconteceu. Os compararemos com três conceitos desenvolvidos por Little (2016) em seu verbete mencionado: o papel do historiador, os critérios de verificação que atestam suas "verdades" e a possibilidade de neutralidade na pesquisa, analisando o filme à luz da obra de ambos os autores. Concluímos que Irving se distancia do viés História da Filosofia e que sua argumentação é baseada em deturpações de documentos históricos, especulações infundadas e sua vontade pessoal de que fosse verdade.&#x0D; Palavras-chave: Historiografia, Negação do Holocausto, Antissemitismo.&#x0D; &#x0D; Historiography and Holocaust Denial: The Case Lipstadt vs. Irving&#x0D; &#x0D; Abstract: This work aims to elaborate an interface between historiography and cinematography based on a thematic analysis of the film "Negação" (2016) under the bias of the entry Philosophy of History by Daniel Little (2016); what we will do through a synthesis of the plot that involves two writers: professor Deborah Lipstadt, historian; and David Irving, author and Holocaust denialist. We will use as sources the book Negação (2017), by Professor Lipstadt, as well as the bestseller Hitler’s War (1977), by Irving. We will focus on the arguments presented by Irving, namely: Hitler did not know about the “Final Solution”, and when he did he tried to avoid it; no one was executed in the Nazi death camps and, finally, what we know as the Holocaust did not happen. We will compare them with three concepts developed by Little (2016) in his mentioned entry: the role of the historian, the verification criteria that attest to his "truths" and the possibility of neutrality in the research, analyzing the film in the light of the work of both authors . We conclude that Irving distances himself from the History of Philosophy bias and that his argument is based on misrepresentations of historical documents, unfounded speculations and his personal desire for it to be true.&#x0D; Keywords: Historiography, Holocaust Denial, Antisemitism.