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Journal articles on the topic 'Cinematographers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Lotman, Elen, Mati Mõttus, and Pia Tikka. "Cinematographers’ Perceptual Professionalization from Novices to Experts: Observations from an Eye-tracking Case Study." Baltic Screen Media Review 11, no. 1 (December 1, 2023): 172–97. http://dx.doi.org/10.2478/bsmr-2023-0010.

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Abstract Cinematographers represent a group of experts whose professional skills depend to a great extent on their visual perceptual abilities. By the term perceptual professionalization, we emphasize the embodied dynamics of perceptual learning processes that shape the ways in which cinematographers make creative decisions during their daily practices. Novice cinematographers are initiated in film schools and during assisting jobs to a range of technical skills required for working as heads of the camera department in film productions. However, honing one’s perceptual skills as a professional cinematographer is nothing less than a lifelong process. While scientific studies show evidence for behavioral and physiological differences between experts and novices in many different fields, so far no such studies exist between professional cinematographers and novices. As a starting point for studying how cinematographers’ perceptual learning evolves from the level of novice to that of experienced professional, we assumed that the different expertise levels of cinematographers can be observed in the way they view moving images. We then conducted an eye-tracking case study where we identified differences in the gaze patterns between film professionals with different levels of expertise in cinematography during viewing a film trailer. As the experiential heuristics of creative decision-making of professional cinematographers largely rely on the practical skills accumulated in film work, in order to gain access to such knowledge, we also report how involving a practicing cinematographer both in designing the study and in analyzing the results provided us new insights to the topic under scrutiny. Based on our findings, a new study protocol is proposed.

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2

Bagherzadeh, Majid, Elyas Sanati, and Masoud Naghipour. "Exposing the world through Emanuel Lubezki's method." CINEJ Cinema Journal 11, no. 1 (October 20, 2023): 193–215. http://dx.doi.org/10.5195/cinej.2023.447.

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This article is based on the concept of exposing the world through the lens of cinema by a cinematographer. Without a cinematographer, movies are not as visually and emotionally impactful on audiences. Cinema is trying to penetrate beyond things and create an utterly phenomenological experience. Cinematographers are responsible for creating the audience's emotions through various cinematic techniques. It is perhaps one of their most significant roles is to promote the cinematic frame as a mediator. This research claims that the cinema’s camera illuminates the world through focusing and framing components. It provides the cinematic image with a cinematic presence and makes it feasible in a phenomenological sense (return to things themselves). And eventually, this leads to viewer buoyancy and immersiveness.

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3

Miyao, Daisuke. "What’s the Use of Culture? Cinematographers and the Culture Film in Japan in the Early 1940s." Arts 8, no. 2 (March 27, 2019): 42. http://dx.doi.org/10.3390/arts8020042.

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In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema.

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4

Smailova, Inna. "Three Generations of Kazakh Cinematographers." Studies in Russian and Soviet Cinema 4, no. 2 (July 2010): 191–95. http://dx.doi.org/10.1386/srsc.4.2.191.

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5

Brako, Daniel Kofi. "COVID-19, “Roll Camera and Action”: Filming culture of a Ghanaian Cinematographer in a Pandemic Era." Research Journal in Advanced Humanities 3, no. 3 (August 8, 2022): 78–88. http://dx.doi.org/10.58256/rjah.v3i3.844.

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With the outbreak of the COVID-19 pandemic, filmmaking and filmmakers have been affected most across the globe. Predominantly, it has not only changed execution of the role of Cinematographers on film sets during the filmmaking process, but also has certain repercussions on the profession as far as filmmaking is concerned. Based on this situation, this study examines how Ghanaian Cinematographers observe protocols on set when filming during the pandemic. In addition, it considers some effects of COVID-19 pandemic on the Cinematography profession in this part of our world as far as filmmaking is concerned. Findings indicate that personal hygiene, which was disregarded during filming in the past has now become a daily ritual before a camera roll on film sets. It is noted that in spite of some participants being cautious during filming on set caught the disease in one way or the other. Despite its negative effects, it has also introduced various avenues that serve as new opportunities to enhance the Cinematography profession locally. Also, it has introduced alternative ways of capturing images to enable effective visual storytelling on screen. Based on these findings, it recommends that Cinematographers in Ghana should continue to adhere to the conventions and observe protocols to avoid contracting the virus. Also, Cinematographers should accept the situation that we are in the new normal and should further explore current strategies in filming.

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6

Taras, Katarzyna. "Operatorzy Felliniego." Załącznik Kulturoznawczy, no. 9 (2022): 463–76. http://dx.doi.org/10.21697/zk.2022.9.23.

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In this essay I am attempting at a description of the phenomenon of communication and relationship between Federico Fellini and his cinematographers. Their background was Italian neorealism, but they could create unrealistic reality in Fellini’s movies. The most important thing for me was “who was influenced by whom”? Fellini by his cinematographers, or the great DPs by the Maestro. I discuss the neorealistic context of Polish movies too, since the influence of Italian neorealism is noticed in the Polish Film School movies, especially in Andrzej Wajda’s debut.

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7

Mazur, Daria. "Między kosmopolityzmem a nazizmem – konteksty przestrzeni symbolicznych czterech filmów nakręconych przez niemieckiego operatora Franza Weihmayra." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, no. 36 (December 15, 2020): 21–40. http://dx.doi.org/10.14746/i.2020.36.02.

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The paper is a comparative analysis of the circumstances influencing symbolic spaces in four movies by Franz Weihmayr in the years 1931–1942: Dzikie Pola [Wild Fields], Halutzim, La Habanera and The Great Love. The analysis allows for delineating the development of the German cinematographer Franz Weihmayr’s career, which, in the context of historical-political and ideological-artistic circumstances, can serve as an example of a broader phenomenon: a particular fluctuation of choices made by German cinematographers over the Weimar, Nazi, and post-war periods. This analysis is of pioneering importance because of the paucity of publication heretofore dedicated to Weihmayr’s works, who at the time worked together with, among others, Leni Riefenstahl, Frank Wysbar, and Hans Detlef Sierck, as well as Polish directors, such as Józef Lejtes and Aleksander Ford. The framework for semiotic analyses of the symbolic spaces of the movies mentioned above are two groups of contexts connected with ideas stemming from contradictory bases: the idea of cosmopolitism and the idea of Nazism.

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8

Clark, Curtis, David Reisner, David Stump, Lou Levinson, Glenn Kennel, Grover Crisp, Gary Demos, and Marty Ollstein. "American Society of Cinematographers (ASC) Technology Committee." SMPTE Motion Imaging Journal 115, no. 9 (September 2006): 316–22. http://dx.doi.org/10.5594/j16148.

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9

Clark, Curtis, Daryn Okada, David Reisner, Dave Stump, Richard Edlund, Lou Levinson, Joshua Pines, et al. "American Society of Cinematographers (ASC) Technology Committee Report." SMPTE Motion Imaging Journal 117, no. 6 (September 2008): 43–55. http://dx.doi.org/10.5594/j15060.

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10

Clark, Curtis, Michael Goi, David Reisner, David Stump, Richard Edlund, John Bailey, Lou Levinson, et al. "American Society of Cinematographers Technology Committee Progress Report." SMPTE Motion Imaging Journal 119, no. 6 (September 2010): 33–46. http://dx.doi.org/10.5594/j12194.

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11

Engelen, Leen. "American Cinematographers in the Great War, 1914–1918." Historical Journal of Film, Radio and Television 36, no. 4 (October 2016): 704–6. http://dx.doi.org/10.1080/01439685.2016.1248064.

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12

Utilov, Vladimir Aleksandrovich. "Cinema of Bulgaria at the turn of century." Journal of Flm Arts and Film Studies 1, no. 1 (November 15, 2009): 98–110. http://dx.doi.org/10.17816/vgik1198-110.

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The article reflects dramatic changes in Bulgarian cinema of last 20 years and attempts of Bulgarian cinematographers to work out new approaches of ilmproducing within the framework of European cinema. Will it be possible for them not to sacrifice national identity?

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13

Clark, Curtis, David Reisner, David Stump, Ron Garcia, Lou Levinson, Al Barton, Ron Burdett, et al. "Report from the American Society of Cinematographers Technology Committee." SMPTE Motion Imaging Journal 122, no. 6 (September 2013): 46–53. http://dx.doi.org/10.5594/j18314.

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14

Clark, Curtis, David Reisner, Lou Levinson, Al Barton, Greg Ciaccio, Gary Demos, Don Eklund, et al. "Report from the American Society of Cinematographers Technology Committee." SMPTE Motion Imaging Journal 123, no. 6 (September 2014): 32–40. http://dx.doi.org/10.5594/j18444.

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15

Clark, Curtis, David Reisner, Don Eklund, Michael Karagosian, Eric Rodli, Steve Schklair, Gary Demos, et al. "Report from the American Society of Cinematographers Technology Committee." SMPTE Motion Imaging Journal 124, no. 6 (September 2015): 29–36. http://dx.doi.org/10.5594/j18590.

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16

Clark, Curtis, David Reisner, Don Eklund, Bill Mandel, Michael Karagosian, Eric Rodli, Steve Schklair, et al. "American Society of Cinematographers Technology Committee Progress Report 2016." SMPTE Motion Imaging Journal 125, no. 7 (September 2016): 43–58. http://dx.doi.org/10.5594/jmi.2016.2592338.

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17

Clark, Curtis, Michael Goi, David Reisner, Dave Stump, Richard Edlund, Al Barton, Lori McCreary, et al. "ASC Technology Committee: American Society of Cinematographers Technology Committee Report." SMPTE Motion Imaging Journal 118, no. 6 (September 2009): 52–65. http://dx.doi.org/10.5594/j14913.

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18

EVAN LIEBERMAN and KERRY HEGARTY. "Authors of the Image: Cinematographers Gabriel Figueroa and Gregg Toland." Journal of Film and Video 62, no. 1-2 (2010): 31. http://dx.doi.org/10.5406/jfilmvideo.62.1-2.0031.

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19

Kolchevska, Natasha, Alfred Krautz, and Bujor T. Ripeanu. "International Directory of Cinematographers, Set and Costume Designers in Film." Slavic and East European Journal 29, no. 4 (1985): 492. http://dx.doi.org/10.2307/307483.

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20

Burnett, Colin. "Muting the image: lighting and photochemical techniques of Bresson's cinematographers." Studies in French Cinema 6, no. 3 (February 9, 2007): 219–30. http://dx.doi.org/10.1386/sfci.6.3.219_1.

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21

Lieberman, Evan, and Kerry Hegarty. "Authors of the Image: Cinematographers Gabriel Figueroa and Gregg Toland." Journal of Film and Video 62, no. 1 (2010): 31–51. http://dx.doi.org/10.1353/jfv.0.0055.

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22

Clark, Curtis, David Reisner, Jay Holben, Wendy Aylsworth, Greg Ciaccio, Tim Kang, Jesse Korosi, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2022." SMPTE Motion Imaging Journal 131, no. 8 (September 2022): 34–49. http://dx.doi.org/10.5594/jmi.2022.3189040.

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23

Clark, Curtis, David Reisner, Greg Ciaccio, Tim Kang, Jesse Korosi, Patrick Renner, David Hall, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2021." SMPTE Motion Imaging Journal 130, no. 8 (September 2021): 30–43. http://dx.doi.org/10.5594/jmi.2021.3096866.

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24

Callenbach, Ernest. ": Masters of Light: Conversations with Contemporary Cinematographers . Dennis Schaefer, Larry Salvato." Film Quarterly 38, no. 4 (July 1985): 59. http://dx.doi.org/10.1525/fq.1985.38.4.04a00420.

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25

Clark, Curtis, David Reisner, David Stump, Bill Bennett, Michael McDonough, Jay Holben, Don Eklund, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2017." SMPTE Motion Imaging Journal 126, no. 7 (September 2017): 26–48. http://dx.doi.org/10.5594/jmi.2017.2721778.

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26

Clark, Curtis, David Reisner, David Stump, Bill Bennett, Jay Holben, Michael Karagosian, Eric Rodli, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2018." SMPTE Motion Imaging Journal 127, no. 8 (September 2018): 29–51. http://dx.doi.org/10.5594/jmi.2018.2847998.

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27

Clark, Curtis, David Reisner, David Stump, Bill Bennett, Jay Holben, Jesse Korosi, Eric Rodli, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2019." SMPTE Motion Imaging Journal 128, no. 8 (September 2019): 26–51. http://dx.doi.org/10.5594/jmi.2019.2924814.

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28

Clark, Curtis, David Reisner, Bill Bennett, David Stump, Greg Ciaccio, Jesse Korosi, David Morin, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2020." SMPTE Motion Imaging Journal 129, no. 8 (September 2020): 21–39. http://dx.doi.org/10.5594/jmi.2020.3008352.

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29

Clark, Curtis, Michael Goi, Jay Holben, David Reisner, Christopher Probst, Tim Kang, Greg Ciaccio, et al. "American Society of Cinematographers Motion Imaging Technology Council Progress Report 2023." SMPTE Motion Imaging Journal 132, no. 8 (September 2023): 40–52. http://dx.doi.org/10.5594/jmi.2023.3295469.

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30

Naef, Shirin. "Iran. A New Hub for Afghan Artists." Almanach, no. 2 (December 8, 2022): 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.

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Iran hosts one of the largest populations of Afghan migrants and refugees in the world. Though the two countries have always been linked through music, art and culture, Iranian society has for a long time looked upon Afghan migrants as “simple blue-collar workers”. But the rise of new generations of Afghans living and working in Iran is changing Iranians’ views – and shining a spotlight on Afghan poets, writers, cinematographers, and actresses.

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31

Khokhlova, E. S. "Library of Cinema Art named after S. Eisenstein." Bibliotekovedenie [Library and Information Science (Russia)], no. 6 (December 28, 2014): 94–99. http://dx.doi.org/10.25281/0869-608x-2014-0-6-94-99.

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The article highlights history, goals and objectives of the Library of Cinema Art named after S. Eisenstein, opened in 2008, the first in Moscow and in Russia specialized public library for cinema art, which was formed on the basis of library of cinematographers, dating from 1934. Over the past six years the Library of cinema art named after S. Eisenstein became a modern multifunctional center, playing an important role in the cultural life of the city.

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32

Puchkov, A. "YOUNG OLEXANDER KORNIYCHUK: SCREENWRITER AND FILM DIRECTOR (1929–1934)." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 122. http://dx.doi.org/10.26886/2414-634x.7(43)2020.9.

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For the first time, the cinematographic heritage of the 1920s by Ukrainian comedian Oleksandr Korniychuk (1905–1972) was comprehensively considered, and an attempt to create a new historical and cultural optics in considering the creative heritage of Soviet playwrights and cinematographers of official ideological orientation was proposed. The degree of importance of studying the author’s compositional architecture of the «big mute» at the Odessa and Kyiv film studios in deepening the elucidation of the dramatic principles of Korniychuk’s stage work is shown.Key words: Oleksandr Korniychuk and cinema, Ukrainian cinema of the 1920s, screenwriting.

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33

Taras, Katarzyna. "“I like it close” – Jolanta Dylewska’s art of cinematography." Panoptikum, no. 23 (August 24, 2020): 77–86. http://dx.doi.org/10.26881/pan.2020.23.06.

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The author presents the cinematographer and director Jolanta Dylewska, striving to define her cinematographic style. Although Dylewska began working independently as a cinematographer only after the turn of 1989, her position in the history of Polish and European cinema can be determined through awareness of her female pioneership in this profession, set against the background of generations of graduates of the Cinematography Department at the Lodz Film School. The researcher focuses on films that are the result of Dylewska’s collaboration with transnational directors, Agnieszka Holland (In the Darkness, Spoor) and Sergey Dvortsevoy (Tulpan, Ayka). The cinematographer denies that she has developed her own individual style, her goal is to find a style that will communicate the director’s vision. The researcher, however, finds characteristic features in her images, such as telling stories through landscapes and faces, including animals, and immersing the viewer in images – by using light and sharpness and bringing all the cinematographer’s technical expertise into play.

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34

Lotman, Elen. "Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 88–105. http://dx.doi.org/10.1515/bsmr-2017-0005.

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Abstract In the history of cinematography there is a noticeable tradition to deliberately highlight the elements that accentuate space and spatiality in the shots. At the same time, there is also a contrary tradition, i.e. the conscious reduction of spatiality with the help of artistic tools in order to evoke a feeling of alienation. In this article I will argue that it is highly likely that the visual reinforcement of depth has become one of a cinematographer’s most frequently used tools, because it plays an important role in the audience’s perceived empathy towards onscreen characters. Since the practices of art-making – e.g. cinematography – represent a way that the empirical experience accumulated in professional practices reflects underlying neural processes, this article will first draw upon evidence from the common tenets of cinematography and reflect on how these correspond to the respective phenomena in human perception and cognition. The second part of the article examines the theory of the para-dramatic and eso-dramatic factors established by Gal Raz and Talma Hendler as it applies to cinematography; thereby suggesting possibilities for broadening the theoretical foundations of the twofold division of the causes for the viewers’ empathetic responses. The article will also introduce the results from a pilot experiment. However, I will not argue that the rendering of cinematographic space and drawing attention to certain areas are superior tools for creating filmic empathy. I will rather point out that they are often used by cinematographers when they want to create an immersive experience, and therefore, there is reason to believe that a connection exists between emotional empathy and the usage of these cinematographic tools.

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35

Callenbach, Ernest. "Review: Masters of Light: Conversations with Contemporary Cinematographers by Dennis Schaefer, Larry Salvato." Film Quarterly 38, no. 4 (1985): 59. http://dx.doi.org/10.2307/1212426.

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36

Panova, Maria. "The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion." Świat i Słowo 36, no. 1 (March 4, 2021): 229–48. http://dx.doi.org/10.5604/01.3001.0014.7918.

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This text highlights the aesthetic explorations of Bulgarian cinematographers from the 1980s, specifically those aimed at people of art. The article offers, first, a brief overview of films that examine the symbolic potential of the artist, which defines the consideration of an established and meaningful tendency in the development of Bulgarian cinema. The article focuses then on the live-action film Illusion (1980, directed by Lyudmil Staykov and written by Konstantin Pavlov) and examines the figure of the artist in the piece. The presented interpretation supports the view of the film as a morally valuable expression of modern art.

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37

Stok, Witold. "Shimmer and whisper." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (December 15, 2021): 313–22. http://dx.doi.org/10.14746/i.2021.39.15.

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The author of the article, one of the acclaimed Polish cinematographers, describes his practical eforts involved in making two short documentary films on Holocaust directed by him. The first one,Sonderzug (1978), was based on Stok’s idea to recreate his first emotional reaction to the landscape around Treblinka in the film that lasts 9 minutes, as long as the way of the Jews from the ramp to their end in the death camp. The other film, Prayer (1981), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. The formal inspiration of the film came from Japanese visual art.

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38

Чачи, Э. М. "Front-line Camera Operators, Natives of the Crimea, during the Great Patriotic War: A Historical and Biographical Sketch." Nasledie Vekov, no. 2(34) (June 30, 2023): 88–98. http://dx.doi.org/10.36343/sb.2023.34.2.007.

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Цель работы –выявить значение профессиональной деятельности кинооператоров, работавших во фронтовых условиях и являвшихся уроженцами Крымского полуострова, в освещении событий Великой Отечественной войны и создании кинематографических источников, свидетельствующих о них. Работа проведена на основе материалов Российского государственного архива литературы и искусства, использованы также фактография и выводы из работ специалистов по истории кино. Обобщены и проанализированы биографические данные девяти кинооператоров-крымчан (сведения о жизненном и боевом пути, заслугах и наградах, фильмография и др.). Осуществлен сравнительный анализ биографий сотрудников военных киногрупп СССР, являвшихся уроженцами Крыма. В процентном отношении определен вклад крымских фронтовых кинооператоров и режиссеров в освещение военных событий, впервые проведена сравнительная оценка значения их героической деятельности для формирования массива киноисточников о Великой Отечественной войне. The research aims to reveal the role of the professional activities of cinematographers who worked in front-line conditions and were natives of the Crimean Peninsula in covering the events of the Great Patriotic War and creating cinematic sources that testify to them. The work is conducted on the basis of archival materials of the Russian State Archive of Literature and Art, facts and conclusions from the works of specialists in the history of cinema are also used. The methodological basis of the study was the complex application of empirical analysis, the comparative method and the method of actualization. The author presents facts related to the initial stage of the development of the state army record of the front-line chronicle;lists the traditional professional functions of a military film correspondent at the front; summarizes and analyzes the biographical data of nine Crimean cinematographers (Mansur Barbutly, Alexander Bratuha, Boris Burta, Osman Zekki, Kenan Kutub-zade, Leon Mazruho, Grigoriy Mogilevsky, Emira Faik, German Shulyatin), gives information about their life and combat path, filmography, merits and awards, and characterizes the topics of the cinematographers’ documentaries (front-line exploits of Soviet pilots, the days of the besieged Leningrad, the liberated Auschwitz, the Berlin operation, the fighting for the liberation of Ukraine, Poland and Czechoslovakia). The author compares the biographies of the USSR military cinema group employees born in Crimea and evaluates the significance of their heroic activities for creating film sources about the Great Patriotic War. All the film workers mentioned in the study, natives of the Crimean Peninsula, were from fairly large settlements of the region (Simferopol, Bakhchisaray, Feodosia, and others) and began their careers in cinematography even before the start of the war (in the 1920s–1930s). All of them survived the Great Patriotic War; however, none of them, for various reasons, returned to their small homeland. In the post-war period, they all continued their professional activities at various film studios in the Soviet Union. The study showed that natives of the Crimean Peninsula made up from 2 to 3.5% of all employees of the front-line film service.

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39

Nikoriak, Nataliia. "“CineSkovoroda”: Cinematic Update of the Biography." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 7–24. http://dx.doi.org/10.31861/pytlit2022.106.007.

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The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.

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40

Orifjonovich, Ollomurodov Arjunbek. "COGNITIVE-DISCURSIVE APPROACH TO THE ANALYSIS OF FILM DISCOURSE." International Journal Of Literature And Languages 3, no. 10 (October 1, 2023): 25–31. http://dx.doi.org/10.37547/ijll/volume03issue10-05.

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This article analyses the cognitive-discursive sides of film discourse and its importance in modern linguistics. Cinematography is one of the most effective forms of public communication. This singular cultural phenomena is distinguished by its quick emergence, widespread appeal, and global viewership. Cinematographers utilize a new language in which numerous expressive means have become intimately entwined after synthesizing the works of literature, painting, music, theater, and photography. The purpose of this study is to make a brief review of how researchers attempt to analyse the cognitive –discursive nature of film discourse and an overall description of the cognitive characteristics of film discourse will help to understand why films are such a powerful tool of media communication.

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Editorial. "“VGIK DAYS”: FOREIGN ROUTES." Journal of Flm Arts and Film Studies 10, no. 4 (December 15, 2018): 6. http://dx.doi.org/10.17816/vgik1046-6.

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The international ties of VGIK with universities and national schools of different countries are developing rapidly. Confirmation is the 38th VGIK International Student Film Festival, which was successfully completed in Moscow, or the Student Oscar, as the Russian press calls it. In anticipation of the celebration of the 100th anniversary of the celebrated Russian university and the 120th anniversary of Sergei Eisenstein, the festival was attended by future cinematographers from 38 film schools from 36 countries presented 43 films for the competition program. Another proof is the holding of VGIK Days, which took place at the end of 2018 in the Republic of Belarus and the Republic of Uzbekistan, Italy, and Romania. And everywhere delegation VGIK waited for a warm and friendly welcome.

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Shumov, Maksim Vladimirovich. "The place and role of the Oscar Film Award in Russian cinema." Pan-Art 4, no. 2 (June 11, 2024): 141–48. http://dx.doi.org/10.30853/pa20240021.

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The purpose of the study is to identify the place and role of the Oscar film Award by the American Academy of Motion Picture Arts and Sciences in the Russian film community. The article reveals the aspects of the Oscar Film Award in the context of the global recognition of the professional merits of Russian cinematographers and their works. The focus is not only on the quantitative approach, but also on the qualitative one. It is important for the author to trace the nominations of the film award, the years of application, the directors who repeatedly apply, as well as the opinions of critics and viewers of the submitted films in order to reveal the comprehensive role of this film award in the career of domestic cinematographers, as well as their status in the world of cinema. The scientific novelty of the research lies in the actualization of the role of the Oscar film Award in relation to Russian cinema and the justification of a clear analytical approach to films and directors claiming to be the winner of the most prestigious film award in the world. As a result of the study, it was revealed that Russia (including the Soviet period of its existence) was represented at the Oscar Film Awards from 1943 to 2023. During this period, 64 films were officially submitted from our country to participate in various film award nominations. Of these, 29 became the official nominees of the film award in 7 nominations. The most successful year, in terms of Oscar nominations, was 2008, and the decade was the 1990s. The most nominated directors were Nikita Mikhalkov (6 applications, 3 nominations, 1 win) and Alexander Petrov (4 applications, 4 nominations, 1 win). It has also been revealed that many filmmakers around the world consider this film award to be politicized and biased. However, this does not exclude the enormous influence of this award, as well as its laureates, on the world film community.

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Lapera, Pedro Vinicius Asterito. "“The Population Needs to Know the Dangers They Face!”: Cinematic Consumption and Rhetoric of Fear in Belle Époque Rio de Janeiro." Revista Brasileira de História 43, no. 92 (April 2023): 115–39. http://dx.doi.org/10.1590/1806-93472023v43n92-08-i.

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ABSTRACT This article addresses the journalistic series Cinemas-arapucas (Trap-cinemas), published by the newspaper A Noite between August 8 and 16, 1912, which denounced some movie theaters in the central areas of Rio de Janeiro because of noncompliance with rules related to public safety. We intend to verify how the journalistic series was inserted in the dissemination of a rhetoric of fear regarding cinematographic consumption - and, by extension, with which other fears it engaged and what mechanisms of power it triggered from this. As a central question, our proposal is to analyze the Cinemas-arapucas series to verify some relations among the press, authorities, cinematographers, and cinema audiences in Rio de Janeiro in the first decades of the 20th century. To do so, we used the evidential paradigm methodology, as proposed by Carlo Ginzburg.

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Alexiadou, Sotiria, and Vassilis Colonas. "Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront." Sophia Journal 8, no. 1 (December 31, 2023): 97–115. http://dx.doi.org/10.24840/2183-8976_2023-0008_0001_9.

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This article focuses on the transition of the natural landscape of Thessaloniki’s east waterfront to the artificial urban landscape that draws a straight line between water and land, while noting the developing rigid homogeneous multistorey buildings as a background image of the city in contrast to the former porosity and architectural variety of the late 19th-early 20th century mansions. The transition is captured either as a commentary on the new landscape or as a memoir of a lost era by cinematographers, such as Takis Kanellopoulos in his film “Parenthesis” (1968) and Theo Angelopoulos in his film “Eternity and a Day” (1998) and photographers of the 1960’s such as Socratis Iordanidis and Yiannis Stylianou. Cover image: Theo Angelopoulos, Populated manmade waterfront, Film still, Eternity and a Day, Thessaloniki, 1998

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Karolina, Cut Meutia, Eni Maryani, and Dian Wardiana Sjuchro. "Developing an alternative media for visually impaired audiences: ‘Bioskop Harewos’ Bandung." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 1 (February 16, 2021): 134. http://dx.doi.org/10.25139/jsk.v5i1.2451.

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Bioskop Harewos is a cinema in the Bandung, West Java, intended for visually impaired audiences. This research focused on efforts to uncover the existence of Bioskop Harewos for the visually impaired and the model of watching films of visually impaired audiences in Bioskop Harewos. The research method was a qualitative case study using several theories and concepts for alternative media. This research collected various data from cinematographers, cinema managers, and Bioskop Harewos team and audiences through interviews. The results showed that Bioskop Harewos is an alternative media for visually impaired audiences in Bandung to watch films in cinemas. Even with the ‘Harewos’ system, the Bioskop Harewos had fulfilled the visually impaired audiences’ demands to watch films in the cinema. The technical limitations of Bioskop Harewos did not reduce the value of entertainment for visually impaired audiences.

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Baybolov, А. "THE NATIONAL CODE IN THE STORIES OF BAKHYTZHAN KANAPYANOV." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 209–14. http://dx.doi.org/10.51889/2021-1.1728-7804.35.

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The article is devoted to the issue of the national code. It is through fiction that new worlds open up to the reader, taking the soul of stories, extraordinary images. Here, special attention is paid to the symbols of an ethnographic nature. In addition, we will take a detailed look at short stories (miniatures) “Zhalgyz agash”, “Bakhchisaray”, “Balbal”, “Hourglass”, “Raven” from the point of view of national code laureate of the State prize of the Republic of Kazakhstan in the field of literature and art named after Abai, member of the Union of writers of Kazakhstan, member of the Union of cinematographers of the CIS and the Baltic States, the independent award “Tarlan”, poet, writer, translator, publisher and essayist, screenwriter of Bakhytzhan Kanapyanov. In Kazakhstan, it is little studied, but based on it, we can understand the current cultural process.

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Portuges, Catherine. "Hollywood on the Danube: Hungarian Filmmakers in a Transnational Context." Hungarian Cultural Studies 5 (January 1, 2012): 341–47. http://dx.doi.org/10.5195/ahea.2012.83.

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Exile, emigration and displacement have marked the trajectories of Hungarian filmmakers over the past century. Michael Curtiz, the Korda brothers—Alexander, Vincent and Zoltán—André de Toth, Emeric Pressburger, Vilmos Zsigmond, Miklós Rózsa, Peter Lorre, Géza von Radvány and other talented artists have crossed borders, cultures and languages, creating such classics as Casablanca, Somewhere in Europe, The Red Shoes and The Lost One. The legendary sign posted in Hollywood studios read: "It is not enough to be Hungarian, you have to have talent, too!" Accompanied by film extracts, rare footage, personal interviews, archive photographs, and documentary materials, my presentation explores the transnational odysseys of these Hungarian directors, producers, cinematographers, composers, actors and screenwriters whose artistic contributions became an indispensable part of international cinema, suggesting that the challenges of emigration may also offer opportunities for critique, self-examination and artistic creativity.

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Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (January 2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.

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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good Americans” who aspired to satisfy gender norms of the Soviet way of life. The image of the American Other helped shape Soviet gender and political orders. Internal enemies’ “groveling before the West” on political matters was depicted as causing gender deviancy, and the breaking of Soviet gender norms was shown to lead to political crimes.

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Panova, Stella V. "ANTHROPOLOGY OF CINEMA: CONSTRUCTING A NEW PERSON BASED ON THE EDITING PRINCIPLE OF THINKING." Bulletin of Chelyabinsk State University 480, no. 10 (November 20, 2023): 60–69. http://dx.doi.org/10.47475/1994-2796-2023-480-10-60-69.

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The article discusses the editing principle in cinematography, thanks to which the artistic thinking of cinematographers is able to generate new images. In discussions about the possibility of constructing a new person by means of cinematography (based on the editing principle), philosophical anthropology actualizes traditional problematic issues about the relationship between the spiritual and the bodily in a constructed person, about his integrity. In this regard, the problem of the correlation of the author’s freedom of artistic experiment and ethical norms in the process of designing a complete human image requires a new understanding. It is concluded that the philosophical and anthropological interpretation of the specific features of the assembly principle of thinking in the construction of a new person with new qualities is relevant and in demand in the context of the loss of human integrity.

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Baglay, Valentina. "The horror genre in the world art. Iberian and Western folklore motifs." Latinskaia Amerika, no. 1 (2023): 96. http://dx.doi.org/10.31857/s0044748x0023819-9.

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Modern cinema, including horror films, in search of artistic and commercial success, is persistently looking for successful projects, where the right path is certainly the right choice of characters and plots. The article deals with horror in game cinema, based on the motives of folklore and post-folklore. As an example, the use of images of monsters from the Iberian ethno-folklore, as well as other similar characters in other cultures, is analyzed. The advantage of such scenarios is their originality. Films based on them are guided by traditions, the artistic images of which develop organically in the collective memory of ethnic groups. In addition, invariants are formed that differ in a greater variety than those generated by the imagination of individual cinematographers. Such a direction of horror development is a possible way to overcome cliches in horror films as an essential direction of modern Western cinema.

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