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Journal articles on the topic 'Cinematography style'
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1
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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Junaedi, Hartarto, Mochamad Hariadi, and I. Purnama. "Profiling Director’s Style Based on Camera Positioning Using Fuzzy Logic." Computers 7, no. 4 (November 14, 2018): 61. http://dx.doi.org/10.3390/computers7040061.
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Machinima is a computer imaging technology typically used in games and animation. It prints all movie cast properties into a virtual environment by means of a camera positioning. Since cinematography is complementary to Machinima, it is possible to simulate a director’s style via various camera placements in this environment. In a gaming application, the director’s style is one of the most impressive cinematic factors, where a whole different gaming experience can be obtained using different styles applied to the same scene. This paper describes a system capable of automatically profile a director’s style using fuzzy logic. We employed 19 output variables and 15 other calculated variables from the animation extraction data to profile two different directors’ styles from five scenes. Area plots and histograms were generated, and, by analyzing the histograms, different director’s styles could be subsequently classified.
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Petrie, Duncan. "A Changing Visual Landscape: British Cinematography in the 1960s." Journal of British Cinema and Television 15, no. 2 (April 2018): 204–27. http://dx.doi.org/10.3366/jbctv.2018.0415.
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British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white to the ubiquity of colour; from hard-edged, high-contrast lighting to a softer, more diffused use of illumination; from carefully composed images and minimal camera movement to a much freer, more mobile and spontaneous visual register; from the aesthetics of classicism to a much more self-conscious use of form appropriate to a decade associated with a new emphasis on spectacle and sensation. This article will examine major achievements in 1960s British cinematography, focusing on the factors noted above and giving particular consideration to the contribution of a small number of key practitioners including Walter Lassally, David Watkin, Nicolas Roeg and Freddie Young, who individually and collectively helped to affirm the 1960s as a particularly creative period in British cinema.
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Sokołowski, Marek. "Polskie kino lat 1949–1955 wobec realizmu socjalistycznego. Ideologiczna mobilizacja jako kontekst dla myśli pedagogicznej." Problemy Wczesnej Edukacji 39, no. 4 (September 28, 2017): 105–13. http://dx.doi.org/10.26881/pwe.2017.39.10.
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The article concerns a specific period in the history of Polish cinematography, called socialist realism (1949–1954). The new style of filmmaking (according to the ideology of the Polish Communist Party), was imposed by the filmmakers, but was not accepted by the cinema audience.
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Pogrebniak, Galyna P., Olha S. Boiko, Kateryna V. Iudova-Romanova, Oleksandr M. Priadko, and Kateryna S. Stepanenko. "art of director, screenwriter, and actor Martin Scorsese as an author's cinematography model." Linguistics and Culture Review 5, S4 (November 24, 2021): 1439–50. http://dx.doi.org/10.21744/lingcure.v5ns4.1765.
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Martin Scorsese is an outstanding contemporary director, who strongly influenced the artistic and aesthetic foundations of American (authors’ in particular) cinematography of the 19th–20th centuries He was and remains one of the outstanding creators who shaped the aesthetics of the “New Hollywood” cinematography. In the period from 1917 to the early 1960s, there was a paradigm of “classic Hollywood”, in which films were produced according to the dominant aesthetic, genre and narrative formulas, the characters represented themselves as specific typical images with understandable motivations for the general public. Martin Scorsese is a representative of cinematography, who changed classical views of film art. That is why the study of Martin Scorsese's work remains relevant for researchers in the field of cinematography and culture to the present day. The purpose of this work is to study the creativity of director, screenwriter and actor Martin Scorsese, as well as to identify the author's style in the artist's work, determine his author's handwriting and manner. The methodology of this research is based on theoretical methods of scientific knowledge, in particular, the method of information analysis and synthesis, the cultural method, as well as historical and comparative methods were used.
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Lan, Shindy. "Style of “the Pictorial Shakespeare”—— Auteur Theory Applying to Akira Kurosawa’s Work." Review of Educational Theory 1, no. 4 (December 4, 2018): 137. http://dx.doi.org/10.30564/ret.v1i4.340.
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By investigating the cinematography and thematic concerns of Akira Kurosawa’s work under the auteurist criteria, it can be argued that Kurosawa is an auteur whose work possesses three distinctive authorial signatures: the active involvement of nature, the strong sense of stage-performance, the editing on movement; and the consistent visual style has corresponding meaning concerning his personal experience and socio-historical circumstances.
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Sidorova, Galina Petrovna. "Soviet everyday life: migrations from rural areas to the city, and their reflection in cinematography (1930-1980)." Культура и искусство, no. 1 (January 2021): 50–62. http://dx.doi.org/10.7256/2454-0625.2021.1.32384.
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The subject of this research is the historical-typological peculiarities of reflection in the Soviet cinematography of 1930s – mid 1980s of internal migrations, primarily from the rural areas, as well as determination in the historical dynamics of their value motivations, factors, means, and gender peculiarities. The object this research is the Soviet everyday life as a holistic lifeworld since the early 1930s to the early 1980s, which includes the three eras of spiritual life of the Soviet society: totalitarianism, “thaw”, and the “70s”. The subject of research is viewed in correlation of the ideological and everyday levels of life in their historical dynamics. The article employs the historical typology of culture, content analysis, comparative and hermeneutic methods. The theoretical substantiation of this study consists in the conceptual positions on the artistic methods of the cognition of culture. The conclusion is made that the images of migration in cinematography of the totalitarian period by factors, motives and means are inaccurate. However, from the perspective of systemic-holistic approach, the “typical” artistic images, which inaccurately reflected the internal migrations, expressed the profound essence of Soviet culture of the totalitarian period: concealment of truth and romanticization of reality. In the more realistic depictions of the cinematography of “thaw” period was reflected the “truth of life” and aesthetization of reality, naturalistic style, and social optimism. The formal and “enlightening” depictions of the “70s” translated the in-depth essence of this period: escalation of all-round crisis. Cinematographic works that in one or another way touched upon the theme of internal migrations, namely in the 1950s and 1980s, reflected the binary nature of the Russian-Soviet culture and mentality.
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Usuvaliev, Sultan I. "The Issue of Unity of Style in Soviet Cinema in the Late 1920s — Early 1930s (By the Example of Nikolay Iezuitov’s Works)." Observatory of Culture 17, no. 1 (February 27, 2020): 26–35. http://dx.doi.org/10.25281/2072-3156-2020-17-1-26-35.
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This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new archival sources into scientific circulation for the first time; and its main tasks are the historiographic study of the subject and the analysis of its key concepts and provisions. The article examines the unity of style in Soviet film studies of the 1920s — early 1930s on the example of works by Nikolay Mikhailovich Iezuitov (1899—1941), one of the founders of Russian film studies, who proposed in 1933 a concept of Soviet cinema development, the main category of which was style. Linking the concepts of “style” and “art movement (trend)”, Iezuitov identified two styles: the one of socialist concepts and the other of socialist feelings. In this, Iezuitov followed the logic of the book “Art Movements in Soviet Cinema” (1930) by Adrian Piotrovsky (1898—1937) — the author of the “intellectual” and “emotional” film classification. Iezuitov’s concept was criticized, especially at the jubilee session of the Scientific and Research Sector of the State Institute of Cinematography (now VGIK) in 1934. In the same year, the first history of Soviet cinema “The Ways of Feature Film” was published. It regarded the movements and their contribution to the development of Soviet cinematography according to the criteria of innovation and realism. Socialist realism was declared a platform, a common style that included all the various trends and styles of Soviet cinema. Iezuitov, who died in the war in 1941, did not get a chance to complete his fundamental study “The History of Soviet Film Art”. The story of the victory of socialist realism was declared one of the main tasks of the textbook, and the process of formation of socialist realism became the content of the science of film history. The article shows that socialist realism, as a unity of diversities and contradictions, allowed Iezuitov, on the one hand, to adhere to its normative aesthetics and, on the other hand, to conduct a stylistic analysis of schools and specific movies within this aesthetics.
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Eswaran Pillai, Swarnavel. "Cinematography and the poetics of 1950s Tamil cinema: Maruthi Rao and visual style." Screen 58, no. 1 (2017): 73–81. http://dx.doi.org/10.1093/screen/hjx009.
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Bordeniuk, Serhii, Iryna Gavran, and Valeriia Hrymalska. "Features of Street Photography and Its Similarities with Cinematography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 278–85. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248772.
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The purpose of the study is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. The research methodology consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photography masters; empirical – to observe and compare visual elements between cinema and photography. Scientific novelty. The detailed analysis of the main compositional methods designed to simplify the composition and analysis of the main components of a spectacular visual image that enhance the visual impact of cinematic photography on the viewer were conducted. Conclusions. The article describes in detail the visual features of creating cinematic street photography. The elements of street photography, the affinity of style with cinematography are generalized, the components for creating a strong visual effect on the audience are identified.
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Koblenkova, Diana Viktorovna, and Diana Viktorovna Koblenkova. "Swedish Cinematograph at the beginning of the XXI century. The problem of national style." Journal of Flm Arts and Film Studies 2, no. 1 (January 15, 2010): 106–18. http://dx.doi.org/10.17816/vgik21106-118.
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This article explores the major tendencies of Swedish Cinematography at the beginning of the XXI century. It focuses on analyzing the peculiarities in the Swedish film genre, which was formed during the silent cinema era, however remained dominant until recently. The peculiarities in contemporary Swedish drama are considered to be an original synthesis of two contradictory tendencies of the 1950s and '60s: these are represented by the psycho-philosophical films by I. Bergman and the Socialogical films by B.Viderberg. The article gives a list of key topics in modern films and outlines the peculiarities of their given genres
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Rodríguez Riva, Lucía. "Popular actors’ comedy: Reception and influence, Italy‐Argentina." Journal of Italian Cinema & Media Studies 10, no. 2 (March 1, 2022): 349–66. http://dx.doi.org/10.1386/jicms_00131_1.
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During the 1950s, Italian film releases increased exponentially in Buenos Aires. This growth occurred not only as a result of the popularity of this type of cinematography around the world but also because of the interest that it produced in local spectators. In this article, I map a quantitative overview about the arrival of this category of cinema to Buenos Aires. Next, I focus on a key aspect: the reception of commedia all’italiana (‘comedy Italian style’). Then, I delve into the kind of comedy in which the comedian occupies the centre of the mise en scène (as Totò or Alberto Sordi). The hypothesis that guides this article is that popular actors, both in Italian and Argentine films, constitute a key issue that allows one to see the continuity between both types of cinematography (through appropriations and reconfigurations of its procedures), as it also allows one to understand the way in which the represented worlds were projected to popular audiences.
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Arriaga Benítez, Juan Manuel. "El ars poetria en el cine: repercusiones de la teoría de la amplificación de Geoffrey of Vinsauf en la narrativa audiovisual." Medievalia 52, no. 1 (June 8, 2020): 115–28. http://dx.doi.org/10.19130/medievalia.2020.52.1.0006.
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In this work it has been analized the participation of figures or techniques of amplification described by Geoffrey of Vinsauf, norman poet from 13th century, into the classical rhetoric dimensions known as dispositio (structure) and elocutio (style), so that I can exemplify how in film industry it can be witnessed its use in form of image design through cinematography, visual composition and scenic assembly. From this study, it is also possible to notice how screenwriters and directors have been able to offer moral or emotional meaning to the viewer.
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Śmiałowski, Piotr. "„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 161–77. http://dx.doi.org/10.14746/i.2017.29.10.
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Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.
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Bulavina, Maria O. "Nikolai Gogol in silent films." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 179–84. http://dx.doi.org/10.34216/1998-0817-2021-27-1-179-184.
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The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Alexander Drankov, «Christmas Eve» and «The Portrait» by Ladislas Starevich, «The Overcoat» by Georgi Kozintsev and Leonid Trauberg are in the centre of the article. Each of the listed film adaptations has its own specifics determined by close connection with other types of art, fragmentariness, melodramatic, an abundance of phantasmagorias, etc. «The Overcoat» stands out in the list of silent interpretations, since presents a new look at the process of Gogol's translation from the language of literature into the cinema language. Compared to previous films, the creators of the 1926 cinematic version of «The Overcoat» took into account Gogol's style, the mood of his work, recreated through the picture of the ghostly expressionist Petersburg.
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Parlak, Zafer, and Mehmet Işık. "Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 30–57. http://dx.doi.org/10.5195/cinej.2018.185.
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Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan’s presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of “would be” critics who openly confess they did not watch Ceylan’s movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal.
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Putri, Nabila Nurul, and Suma Riella Rusdiarti. "Harcèlement de rue à Paris dans le film Paris je t'aime sur la séquence de Quais de Seine." Digital Press Social Sciences and Humanities 3 (2019): 00031. http://dx.doi.org/10.29037/digitalpress.43304.
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<p class="Abstract">This article talks about the depiction of harassment in the street <span style="font-size: 1rem;">happening in the Quais de Seine’s scene in the film Paris Je t’aime. The </span><span style="font-size: 1rem;">film depicts the story of women harassed in the street by strangers </span><span style="font-size: 1rem;">who shouted to her uncomfortable words that usually happens in </span><span style="font-size: 1rem;">Paris. Street harassment is public bullying happening in the street, </span><span style="font-size: 1rem;">usually driven by sexual desire that transforms in to verbal and </span><span style="font-size: 1rem;">physical contacts. The goal of this research is to comprehend the </span><span style="font-size: 1rem;">street harassment focusing on Quais de Seine’s scene in Paris Je t’aime. </span><span style="font-size: 1rem;">Cinematography and narrative elements show the type of harassment </span><span style="font-size: 1rem;">and how it is contested by both perpetrators and victims. This article </span><span style="font-size: 1rem;">uses qualitative and literary methods to analyze the data. The result </span><span style="font-size: 1rem;">shows that the victims of street harassment are generally experienced </span><span style="font-size: 1rem;">by women of color; whereas, the perpetrators are usually different </span><span style="font-size: 1rem;">men of color. Also, this research found that street harassment isn’t </span><span style="font-size: 1rem;">only about sexual desire but it also intersects with religious value.</span></p>
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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.
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This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.
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Andreas, Andreas, Mauridhi H. Purnomo, and Mochamad Hariadi. "Penerapan Logika Fuzzy untuk Pembentukan Sutradara Otonom dalam hal Pencahayaan pada Machinima (Application of Fuzzy Logic to Develop Autonomous Directors for Lighting in Machinima)." Jurnal Nasional Teknik Elektro dan Teknologi Informasi 9, no. 1 (February 5, 2020): 45–54. http://dx.doi.org/10.22146/jnteti.v9i1.147.
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Lighting is one of the most important things in the world of cinematography. There are several parameters that must be considered to produce good lighting. There are so many permutations in the lighting arrangement. It causes complexity of the process and there is no simple way to do the calculation. This complexity is compounded by the fact that each director has their own style in lighting arrangements in the film production process.This paper refers to the tabulation of the results of interviews with three movie directors and then the similarities of the three were taken. In this study, a fuzzy logic structure was built with five parameters of lighting arrangement, namely: the situation of the set, the camera's point of view, the installed light intensity, theposition and direction of the camera, and the emotions of the character. This research was conducted using 20 animated movie scenes that were built using Unity. The assessment of the output is done manually by several animated film designers. As a res ult, the designers assess that 80% of the lighting arrangement has been as expected.
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Vagenas, George, and Blaine Hoshizaki. "Evaluation of Rearfoot Asymmetries in Running with Worn and New Running Shoes." International Journal of Sport Biomechanics 4, no. 3 (August 1988): 220–30. http://dx.doi.org/10.1123/ijsb.4.3.220.
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The purpose of this study was to identify the kinematic characteristics of bilateral rearfoot asymmetry during heel–toe running under two experimental conditions: worn (broken-in) running shoes and new (standardized) running shoes. High-speed cinematography (150 fps) was used to film the lower limbs of four male runners in the frontal plane while running on a treadmill at their training pace. Six successive footfalls were analyzed for each subject and selected kinematical variables of the rearfoot function were calculated. Significant asymmetries were found in lower leg angle and Achilles tendon angle at touchdown and at maximum pronation. Total pronation and rearfoot angle were almost symmetric. The angular displacement graphs for the shank and foot revealed a distinct overall asymmetry between the lower limbs in both conditions. The mean values of the kinematical asymmetries were appreciably higher in the new shoe condition. It is proposed that the degree of these asymmetries is subject to changes due to injury, personal running style, and stability of the running shoe. Trends of bilateral dominance specific to rearfoot control in running were identified.
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Yasa, Gede Pasek Putra Adnyana, Kadek Ayu Satyasusmaya Narpaduhita, and Dewa Gede Purwita. "PERANCANGAN FILM ANIMASI PENDEK 2D SEBAGAI MEDIA KAMPANYE PENANGANAN ANXIETY DISORDER." Jurnal Bahasa Rupa 2, no. 2 (April 21, 2019): 146–52. http://dx.doi.org/10.31598/bahasarupa.v2i2.368.
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More that 2 million cases of anxiety disorder occur in Indonesia every year. The term of anxiety disorder is not common in the community due to lack of campaigne and sosialisation. It will cause severe depresion and even commit suicide if it is not treated properly. The purpose of this design is to campaigne anxiety disorder’s sympton into the community through some one point of view who experinced anxiety disorder before and providing solution to the patients through two dimention animation media. This design using the theory of principle of animation, cinematography theory, design theory, aesthetic theory, semiotic theory and campaigne theory with qualitatif research methods and produces animation media that supported by social media, poster, x-banner, booklet, tote bag, t-shirt, pin and journal book using a hand drawing & vector tehnique in custom digital art and infographic style. Media is mad in accordance with the concept calm and educative. Calm concept applied through medium colour which is a blend colour of green and blue known as the colour of anxiety disorder awareness ribbon.
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Edianti, Arden, and Lisda Liyanti. "MIGRASI DAN FATHERHOOD: IDENTITAS DAN PERKEMBANGAN KARAKTER ANAK DALAM FILM SOLINO." Cakrawala - Jurnal Humaniora 19, no. 2 (September 16, 2019): 249–62. http://dx.doi.org/10.31294/jc.v19i2.5882.
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AbstractMigration is not only migrating to another land but most importantly, to the different social and cultural surrounding. This does affect not only identity development but also parenting style. The problem of identity development and parenting in the migrant family is shown in the German movie titled Solino. This movie shows the story of an Italian family who migrated to Germany and faced many identity problems. This research questioned the depiction of how the identity development of migrant children affected by the style of fatherhood. The question will be answered using the qualitative method and literary analysis. Identity development, parenting, and cinematography theories are used to illuminate the scenes in the movie. The result shows that the authoritarian parenting style used by father figure to his children who rise in the egalitarian German society will force the children to rebel. This movie delivers an essential message that migrant parent should open and adopts the right parenting style to raise their children in different social and cultural society. Keywords: Fatherhood, migrant, parenting style, identity. AbstrakBermigrasi bukan hanya tentang perpindahan wilayah tapi juga perpindahan dalam konteks sosial dan budaya yang baru. Hal ini mempengaruhi perkembangan identitas, dan dalam konteks orang tua, mempengaruhi pola pengasuhan terhadap anak anaknya. Permasalahan mengenai identitas dan parenting dalam konteks keluarga migrant diangkat dalam Film Jerman berjudul Solino. Film ini berkisah mengenai keluarga Italia yang bermigrasi ke Jerman dan menghadapi banyak permasalahan identitas pada keluarga tersebut. Penelitian ini berupaya meneliti bagaimana penggambaran perkembangan identitas dan karakter anak migrant terkait dengan gaya pengasuhan tokoh ayah. Pertanyaan ini dijawab menggunakan metode pendekatan kualitatif dan kajian pustaka. Teori perkembangan identitas dan parenting, serta teknik sinematografi digunakan untuk menganalisis adegan-adegan secara mendalam pada film Solino. Hasil analisis menunjukkan bahwa gaya asuh authoritarian yang digunakan tokoh ayah pada anak anak yang besar di wilayah Jerman yang egaliter, membuat tokoh anak memberontak secara frontal. Melalui film ini ditunjukan bahwa anak migrant tumbuh besar dalam lingkungan social dan budaya yang berbeda dari budaya asal, sehingga tokoh orang tua dituntut dapat menyesuaikan perubahan social budaya yang dihadapi. Kata Kunci: Fatherhood, migrant, pola asuh, identitas.
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배성제. "Comparative Analysis of Fosbury Flop and Straddle Style of the High Jump Technique in Distance Challenge Activity of Elementary School Students throughout Cinematography." Korean Journal of Elementary Education 23, no. 1 (March 2012): 177–91. http://dx.doi.org/10.20972/kjee.23.1.201203.177.
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Hinrichs, Richard N., Peter R. Cavanagh, and Keith R. Williams. "Upper Extremity Function in Running. I: Center of Mass and Propulsion Considerations." International Journal of Sport Biomechanics 3, no. 3 (August 1987): 222–41. http://dx.doi.org/10.1123/ijsb.3.3.222.
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Ten male recreational runners were filmed using three-dimensional cinematography while running on a treadmill at 3.8 m/s, 4.5 m/s, and 5.4 m/s. A 14-segment mathematical model was used to examine the influence of the arm swing on the three-dimensional motion of the body center of mass (CM), and on the vertical and horizontal propulsive impulses (“lift” and “drive”) on the body over the contact phase of the running cycle. The arms were found to reduce the horizontal excursions of the body CM both front to back and side to side, thus tending to make a runner's horizontal velocity more constant. The vertical range of motion of the body CM was increased by the action of the arms. The arms were found to make a small but important contribution to lift, roughly 5–10% of the total. This contribution increased with running speed. The arms were generally not found to contribute to drive, although considerable variation existed between subjects. Consistent with the CM results, the arms were found to reduce the changes in forward velocity of the runner rather than increasing them. It was concluded that there is no apparent advantage of the “classic” style of swinging the arms directly forward and backward over the style that most distance runners adopt of letting the arms cross over slightly in front. The crossover, in fact, helps reduce side-to-side excursions of the body CM mentioned above, hence promoting a more constant horizontal velocity.
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Lia Susanthi, Nyoman, Ni Kadek Dwiyani, and I. Kadek Puriartha. "Directing Of Documentary Bilingual “Lukisan Barong Gunarsa” In Exspository Style." Mudra Jurnal Seni Budaya 33, no. 3 (September 27, 2018): 345. http://dx.doi.org/10.31091/mudra.v33i3.522.
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Latha Mahosadhi Museum of ISI Denpasar is a memorial place for displaying art objects. But the function of the museum as a center of art information cannot be realized because the information provided is only verbal information and not specific. So that information media is created in museum, namely bilingual documentary film. One of the interesting a film to be researched is “Lukisan Barong Gunarsa” by Nyoman Lia Susanthi as a director. The aim of this study is to determine the process of creating a documentary film that shows the side of Gunarsa as famous person and secret element that have never been published before. Based on it, documentary bilingual can be applied to other 127 objects collection. The method used qualitative. The data were obtained through observation, interview, and literature study. The result of this study was the director observed in three roles, such as: a leader, an artist and a technical advisor. The pre-production, the director created in the form of production concept, technical concept and story line. The concept of film was expository style with television documentary format using narrator as a single speaker. The director as a leader directed the cameraperson in taking pictures. In editing, director was involved directly in the process of arranging the images. The resulting visual beauty cannot be separated from the director’s firmness that directed the taking of beauty shot. The director as a technical advisor was able to take over the role of cinematography, sound and editing.Museum Lata Mahosadhi ISI Denpasar adalah tempat pemajangan benda seni baik dari Bali maupun luar Bali. Namun fungsi museum sebagai pusat informasi seni belum bisa terwujud karena informasinya hanya berupa verbal dalam Bahasa Indonesia dan tidak spesifik. Untuk itu dilakukan penelitian terkait media informasi efektif untuk museum yaitu bilingual dokumenter menggunakan 2 bahasa (Indonesia-Inggris). Salah satu bilingual dokumenter yang menarik untuk dikaji adalah film berjudul “Lukisan Barong Gunarsa” karya Nyoman Lia Susanthi sebagai sutradara. Alasan memilih konten ini karena terdapat elemen rahasia yang belum dipublikasikan yaitu makna dan deskripsi lukisan. Dalam proses pembuatan film maestro berpulang, sehingga film ini benilai informasi tinggi. Tujuan dari penelitian adalah mengetahui penyutradaraan film dokumenter yang menunjukkan sisi intim orang terkenal yaitu Gunarsa. Dengan mengetahui penyutradaraan film ini, maka dapat juga diterapkan penciptaan bilingual dokumenter pada 127 benda koleksi museum. Metode yang digunakan untuk mengetahui manajemen produksi film adalah kualitatif. Data diperoleh melalui observasi, wawancara, dan studi pustaka. Hasil penelitian ini adalah sutradara dalam melahirkan film diamati dalam tiga peran yaitu sebagai pemimpin, seniman dan penasehat teknis. Saat pra produksi sutradara berperan besar melahirkan konsep penciptaan berupa konsep karya, teknis serta story line. Konsep karya menggunakan gaya exspository, format dokumenter televisi dengan narator sebagai penutur tunggal. Peran sutradara sebagai pemimpin yaitu mengarahkan kameramen dalam mengambil gambar sesuai tuntutan cerita. Tahapan editing sutradara terlibat dalam proses penyusunan gambar. Keindahan visual yang dihasilkan juga peran sutradara yang turut mengarahkan pengambilan beauty shot. Sutradara sebagai penasehat teknis mampu mengambil alih peran teknis dalam sinematografi, tata suara dan editing.
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Street, Sarah. "The Colour of Social Realism." Journal of British Cinema and Television 15, no. 4 (October 2018): 469–90. http://dx.doi.org/10.3366/jbctv.2018.0438.
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During the 1960s Eastmancolor, a relatively cheap, widely available film stock, revolutionised the British film industry's approach to colour. This article discusses the consequences of this major representational and aesthetic shift on social realism, a sub-genre of British cinema primarily associated with black and white cinematography. While colour provided an opportunity for greater realism, critics argued that it distracted audiences with hues considered inappropriate for social commentary. The article examines how a number of notable 1950s and 1960s British colour films navigated entrenched critical positions while deploying colour in distinctive, often innovative ways to reflect their social realist environments and themes. Films examined include A Kid for Two Farthings (1955), Miracle in Soho (1957), Sapphire (1959), Flame in the Streets (1961), Some People (1962), The Family Way (1966) and Poor Cow (1967). It is argued that critics' preoccupation with the New Wave cycle of films, 1959–63, has been at the expense of colour films that extended the range of representation, both aesthetically and thematically. Bringing colour more centrally into scholarship about British cinema contributes to revisionist research on social realism that privileges the foregrounding of style and textual aesthetics. In addition, the article shows how analysing films from the perspective of colour encourages relating them to broader chromatic tastes and trends. By the mid-1960s, as culture was generally becoming more chromatically vibrant, film-makers were able to take greater advantage of the colour stocks that enabled them to experiment with realist conventions.
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Krank, Eduard Osvaldovich. "National Cinematograph and National Mind-Set." Ethnic Culture, no. 1 (2) (March 20, 2020): 21–25. http://dx.doi.org/10.31483/r-75040.
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The article is devoted to the problem of national cinematograph in the conditions of the dominance of mass cinema products at the market, especially the American film industry. Paradigms and criteria in the definition of national (ethnic) cinema are presented. The aim of the article is to confirm its working hypothesis, which is that the development of national cinematograph becomes significant only when, reproducing by filming their own narratives, imbued with national mind-set, the authors create cinematographic artifacts with their own manner, style, language, which is able to develop and enrich the film language. The descriptive and analytical methodology used in conjunction with the historical and genetic method allows us to come to certain conclusions. These findings consist in the position that such national cinematograph becomes pervasive, which is permeated by the national mind-set and at the same time responds to both ethnic and world cultural challenges, creates national narratives that due to their relevance become meta-ethnic narratives. An analysis of the existing definitions and properties of what should be understood as national cinematograph allows one to discuss the topic of what the essence of national cinema is: in the local and regional desire to establish itself as having a right to exist, or in the meta-ethnic aspect, which allows national cinema to become a direction in cinema. Thus, the necessary property of national cinematograph for its equal existence among others, the author singles out such a feature as the situation of passionarity in which the nation lives. Its mind-set creates its own national narrative, and therefore its own cinema language. The article is the part of a fundamental study on the theory of cinema, in which the main points are categories such as "film narrative", "conventionality of cinematograph" and "film language".
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Chu, Patricia E. "Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder." Modernist Cultures 13, no. 2 (May 2018): 187–211. http://dx.doi.org/10.3366/mod.2018.0205.
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The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.
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Waeber, Jacqueline. "What’s in a song: the case of Christopher Nolan’s Inception." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 44–63. http://dx.doi.org/10.7146/se.v3i1-2.15639.
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Overblown cinematography and excess of visual attraction are the key features in Christopher Nolan’s Inception (UK/USA, 2010), a film that eventually exhausts itself in its numerous tours de force. Yet, Inception’s multi-levelled phantasmagoria cannot escape to the mere materiality of the objects that regularly invade its cinematic space, and that are invoked for what they simply are: things. Throughout the film, their fastidious presence points towards a desire that Kracauer has identified as an “urge for concretion.” Not only does it provide a restraining counterpoint to the film’s constant negotiation of dream-like spaces, but it also mirrors one of cinema’s most enduring concerns: the obsession with the representation of the dense materiality of things.In Inception, one of these things — indeed, the most important of all — is not an object defined by its tactile materiality, but the fragment of a song: Edith Piaf’s 1960 recording of “Non, je ne regrette rien.” In this essay, I argue that Inception privileges a haptic treatment of this aural fragment in order to present the song as thing. While this song may be replete with pre-existing connotations that could potentially impact on the audience’s perception, its reduction to a brief fragment renders the meaning of its inter-textual potentialities illegible, but also singles out its sonic fabric in the aural foreground. Thus the paradoxical choice of a “vintage” recording that literally clashes with the glossy artificiality of the visual treatment (from objects to actors themselves). Although located at the purely aural level, the song fragment nevertheless resonates with Nolan’s well-known claim to anchor his visual effects in “real life” by giving them a “realistic style of patina”.
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Scheianu, Marius Adrian. "“The Good Neighbor’’ Policy and the Beginnings of Its Use in the Cinema of the ’30." Acta Marisiensis. Seria Historia 3, no. 1 (December 1, 2021): 55–68. http://dx.doi.org/10.2478/amsh-2021-0006.
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Abstract Cinema, the youngest of the arts, has been energetic and has quickly gained public attention and became soon, after its appearance in the last years of the 19th century, the most popular of the arts, introducing the audiences to images of the world around them. From the first years of the 20th century silent films with plots came into vogue, substituting the documentary style of filming presented to the viewers. In the United States of America, many of these films introduced American viewers to their nearby Mexican neighbors. Usually, the Mexican image, in film, was dominated by stereotypes deeply rooted in American culture. This habit of portraying the Mexicans as bandits or as displaying every vice that could be shown on the screen, by the American film industry began to change by the middle of the 1930s. One of the reasons for this change is the new approach to the foreign policy implemented by the administration of US President Roosevelt, against the background of overcoming challenges caused by The Great Depression. The first beneficiary of this benevolent attitude towards Latin America, was US’s closest neighbor, Mexico. Two American movies are relevant, during this period, for illustrating this policy in cinematography: Viva Villa (1934) and Juarez (1939). The two movies deal with aspects of Mexican history in a different way than in the past, the use of Mexico and Mexican history as a background for political comments on contemporary events, also demonstrating the role that the film industry has played as a vessel for carrying various messages from the political authorities to the public.
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HAMADUN, FAIRULADILAN, NASIRIN ABDILLAH, NORMAN YUSOFF, and NUR SYAHIRAH ANANI NOR ADZLI. "REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 1–17. http://dx.doi.org/10.47252/teniat.v9i1.387.
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Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen penting dalam pembuatan filem seperti sinematografi, mise en scene dan penyuntingan. Aspek stailistik filem Hang Tuah (1956) cuba diselami dengan mengaplikasikan teori historical poetic of cinema oleh David Bordwell (1989). Sebagai kerangka analisis utama dalam artikel ini, maka historical poetic of cinema cuba menjawab persoalan kajian; bagaimanakah aspek sejarah mampu memberi kesan terhadap stailistik filem Hang Tuah (1956)? Analisis kandungan turut dipilih sebagai instrumen kajian utama untuk memperolehi data daripada buku, artikel jurnal dan filem. Hasil analisis mendapati bahawa filem Hang Tuah (1956) cenderung kepada stailistik model pembuatan Hollywood. Walau bagaimanapun, keadaan persekitaran industri perfileman Melayu era 1950-an cuba mengubah stailistik filem Hang Tuah (1956) kepada acuan filem India. AbstractHang Tuah (1956) is one of the famous adaptation films in Malay cinema. The film endeavours to uplift the classical Malay literature through the Hikayat Hang Tuah and Sejarah Melayu. Since Hang Tuah (1956) is an adaptation film, it has always attracted the scholars’ attention. Among the main attractions is the matter of loyalty in the narrative aspects such as plot, acting, language style, background and theme. However, this article looks at other aspect namely stylistics. This important element of stylistics in film production includes cinematography, mise en scene and editing. The stylistics aspect of Hang Tuah (1956) was investigated by applying the historical poetic theory of cinema by David Bordwell (1989). As the main analytical framework in this article, historical poetic of cinema attempts to answer the research question of how the historical aspects can affect the style of Hang Tuah (1956) film? Content analysis was chosen as the main instrument for obtaining data from books, journal articles and films. The analysis found that Hang Tuah (1956) tends to resemble Hollywood production model. However, the environment of Malay film industry around 1950’s had influenced the stylistics of Hang Tuah (1956) film to be shaped by an Indian mould.
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Verbivska, H. O. "THE EXPERIENCE OF ABSURDITY: EXISTENTIALISTIC PARADIGM AND PARADIGM OF THEATRE OF THE ABSURD (WITH REGARD TO SAMUEL BECKET'S PLAY 'NOT I')." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 37–40. http://dx.doi.org/10.17721/ucs.2021.1(8).08.
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This article circles around the phenomenon of absurdity and absurd which appears to be greatly elaborated by Albert Camus and Theatre of the Absurd. The article reflects mainly upon Becket's dramatic monologue "Not I", which might be characterized as a sort of missing link between two forms of absurd. The style of Albert Camus puts emphasis on the inner experience extrapolated by means of the author. In this sense, the feeling of despair and existential crisis, typical for existentialism in general, brings into existence the absurdity of being as such. In comparison with that, the manner, in which Theatre of the Absurd presents current states of things, organizes the comic dimension of a given situation. To put it another way, Theatre of the Absurd sets up living intersubjectivity, which is a sense-formative precondition of the laughter, and dynamic omnipresence of the inner experience literally declared on the scene. Becket's "Not I" deploys, on the one hand, the existentialistic understanding of human beings, and, on the other, the theatrical representation injected with intersubjectivity. The article takes into account Deleuzian approach towards cinematography in order to conceptualize Becket's play. The notion of affection-image, which is taken from Deleuze, illustrates the structure and essentially the nature of images taking place in "Not I". Becket draws special attention to the image of the voice with regard to audial metaphors, which the main heroine uses during all the time of self-enunciation. Behind the words that she speaks there is an implicit trauma, which is unknown to the contemplators of the performance. It is noteworthy to admit that the organization of the play makes visible only the mouth of the heroine whereas everything remains in the shadows. Deleuzian affection-image deals with annihilated spatial-temporal coordinates and absolutization of the face (faceification). The quality of metaphors in the monologue and the decoration of space establish the phenomenon of absurdity in Becket's "Not I".
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RODIONOVA, MARIYA. "РOSTFILM AS A NEW VISUAL STYLE OF DIGITAL CINEMATOGRAPH." Культурный код, no. 4 (2020): 29–34. http://dx.doi.org/10.36945/2658-3852-2020-4-29-34.
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The article analyzes the concept of post-cinema as a genre-stylistic form of contemporary digital cinema and its main features. They include technoartistic hybridity, visual information overload and unusual camera angles. Postcinematic storylines are characterized by nonlinear development. Post-cinematic characters reflect the mode of existence of modern network subjects. Post-cinema reflects the evolution of film technologies and characterizes the peculiarities of people's lives in today's networked environment.
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Huang, Lei. "Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 126–50. http://dx.doi.org/10.34064/khnum1-60.07.
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The statement of the problem. The cantata “Yellow River” (黄河) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (冼星) and based on the text of a poem by Guang Weizhan (光未然), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. The Ukrainian listeners are faced with misunderstanding of the musical language and cultural norms of Chinese mentality. The artistic concept of pastoral genre as a harmonious communication between man and nature makes it possible to interpret the ethno-national language of this work in the system of European values. Rather, we can talk about a historical and cultural parallel corresponding to the “dialogue of cultures” as a leading trend in contemporary art and not about stylization. Heroism of European Baroque and Classicism was closely associated with the image of a person fighting for the social ideals (and even dying for them), while the pastoral emphasized images of nature, which served as excellent “scenery” for human actions. The relevance of the article increases interest in the problem of human communication in the globalized oecumene, in particular, in the composer’s interpretation of the cantata genre semantics in relation to a concept of “heroic man” and idea of pantheism as a philosophy of a pastoral man. The purpose of the article is to identify the established dominants of the Chinese national language in the cantata “Yellow River” by Xian Xinghai in the context of pastoral genre symbolism. Number of scientific publications investigate this piece, yet none of them addresses the issue of cantata genre semantics as a national reception of heroic pastoral. Thus, Shang Bei’s dissertation revealed the principle of constructing the Yellow River piano concerto, borrowed from the thematism of the cantata (the second section of the dissertation is devoted to the cantata itself, and the third – to the concerto). Xiangtang Hong’s (2009) dissertation explores the history of the cantata, its verbal text, Western European influences. Analysis of recent research and publications. Cantata as a genre and form of European music embodies a certain ideal of cultural identity through musical and poetic means. “The Yellow River” is no exception. The composition consists of 8 parts. There are parts where there is a tutti chorus (I, IV, VII, VIII), its female composition (IV), male duet (V), solo tenor (I), solo baritone (II), solo soprano (II), solo soprano (VI), solo pipa and the reader’s part (all parts except V), uniting all movements. The cantata uses a paired orchestral composition, but with three trumpets and solo parts for Chinese folk instruments – pipa, two sanshinas – large (bass) and small (soprano). There is a large percussion section (including seven Chinese folk instruments), harp and classical string section. The article emphasizes the role of the reader, who personifies Poet and becomes one of the most expressive timbre-dynamic lines of the music piece. The reader’s part not only reveals the patriotic idea of the work, but also contributes to the development of its form as a unifying element. This technique found in drama productions and modern cinematography made musical genre closer to the performance. Each movement is a “live scene” depicting extremely tragic times for China, when people proved the invincibility of their spirit. The poetic text makes it possible to distinguish two dramatic dimensions in the cantata: the one in which the Poet (the image of the Author) speaks of what has already happened and the second one glorifies the current events “here and now”. Each movement of the cantata portraits the changing image of the Yellow River, the waters of which can be calm, stormy, dark and transparent. The work is filled with national stylistics embedded in melodic-rhythmic and modal structures. Each movement of the cantata has several themes united by the idea of glorifying the native land and its people in different dimensions: lyrical contemplation (pastoral), stories about tragic times (narration) and singing about people (ode). Conclusions. One of the innovative principles of musical thinking is the shift from heterophony inherent in the Chinese folk song tradition to homophonicharmonic and polyphony. This proves the influence of Western European musical thinking. For example, the attraction to chromaticism, completely alien to Chinese music, at some stages of the dramatic development of the cantata becomes one of the stylistic features of its harmonious language. This is how the first part of “The Song of Boatmen on the Yellow River” begins – with a massive, brilliant chromatic descent. Thus, first of all, the hidden or the absent becomes paramount. The article notes the technique of timbre mixes of folk and symphonic instruments, which signals a professional work oncthematicism based on genrestylistic synthesis. The genre features of pastoral are revealed in the composer’s tendency towards sound-imaging symbolism associated with images of nature, which are equivalent to heroic images. In general, the interpretation of cantata as a heroic pastoral coincides with the early (baroque) stage of the genre in Europe (oratorio by G. F. Handel), which formed a complex of invariant elements in musical language, emphasizing genre semantics (the image of the “shepherd”). The work exposes the national features of the Chinese pastoral – a collective hero (people), heroic pathos, pantheism as a philosophy of love for nature, a lyrical and contemplative worldview.
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Akimova, Taiana Ivanovna. "Ways of constructing the past in V. Pikul’s novel “The Favorite”." Филология: научные исследования, no. 7 (July 2020): 10–24. http://dx.doi.org/10.7256/2454-0749.2020.7.33323.
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The subject of this article is the key methods of constructing the past applied by Valentin Pikul in chronological novel “The Favorite”: theatricality technique, actualization of male and female beginnings of the main characters, adventurous beginning that includes special chronotope, creation of mystical atmosphere, introduction of the motifs of meeting and partings, and “modernization” of history – the approach of parallel description of the plot of the XVIII century as a storyline of the time of a reader. The goal is to demonstrate the origin of techniques within the depths of Pukil’s writing methods that are in demand by modern cinematography and brought to life in multiple TV series; and how the enlightening content of historical compositions of the XVIII century, particularly the “Memoirs of Catherine the Great” are replaced by the entertaining presentation. The use of cultural-historical, comparative-historical, and structural methods allow determining the main semantic bonds of the novel and genesis of these phenomena, as well as draw parallels with the indicated realias in the modern mass literature. In the course of comprehensive analysis of the novel “The Favorite”, the conclusion is made on the intentional fictionalization of the historical material by V. Pikul: externally – through convergence of the novel with theatrical staging via using compositional techniques; and internally – through the techniques of mass literature writing, creation of adventurous chronotope, diminishment of the heroic beginning of historical characters to the behavioral level of typical characters of the romantic novel, introduction of the element of scandal, mystery and adventure. For the first time, the novel is examined through the prism of the time of its creation – the era of post-Perestroika, and the tradition the author leans upon: country-style and “youth” prose. The acquired conclusions directly relate to the modern situation, work of screenwriters on historical material, which was significantly simplified for the mass literature audience.
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Montiel-Mues, Alejandro. "History and analysis of Spanish cinematographic humorousness." Comunicar 15, no. 29 (October 1, 2007): 81–85. http://dx.doi.org/10.3916/c29-2007-12.
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Some research on film and/or history of cinema needs particular strategies. The study of the style in a film of the early years, for example, is totally different from the analysis of variants and invariants in Spanish cinematographic humour from a diacronic perspective. In this case, the analist must define specific tools, that is, he must formulate precise questions and focus the attention on some determined aspects of film. Determinadas investigaciones sobre el film y/o la historia del cine exigen estrategias singulares, pues en modo alguno puede ser igual el acercamiento al estilo de un film de los pioneros, por ejemplo, que, como aquí se propone, un análisis de las variantes e invariantes del humorismo cinematográfico español desde una perspectiva diacrónica. En este caso es exigible del analista que afine unos instrumentos específicos, lo cual se traduce en la formulación de preguntas muy precisas y una focalización en algunos –y sólo algunos– aspectos concretos de la película.
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Mahmud, Nadia. "In the Presence of Photons: Portraying Light through Cinematography." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 8–14. http://dx.doi.org/10.33093/cm.2020.1.1.2.
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Film is a medium that is impossible to exist without light. Essential to its production process is cinematography, a discipline in filmmaking that is directly responsible with visually presenting the information of a shot through a camera using the manipulation of time, lighting and framing. Frame distance describes the distance between a subject and the camera but more vital is the intent of application of frame distance as it is capable of implying meaning or eliciting a feeling in the viewer. The grammar of frame distance can be utilized to present structures, themes and styles of a film. Experimental, abstract films, although non-conformist to the rules of conventional cinema, may still be confined to the concepts and techniques in cinematography. Frame distances can help to distinguish patterns as well as emphasize details in an experimental film. The abstract, short film “Trapped Light”, explores the possibility of depicting the movement of light through transmissive and reflective materials.
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Ismarini, Aditya Putri, and Suma Riella Rusdiarti. "La domination de la mère dans le film J'ai tué ma mère de Xavier Dolan." Digital Press Social Sciences and Humanities 3 (2019): 00001. http://dx.doi.org/10.29037/digitalpress.43274.
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<p class="Abstract">This article is about the representation of maternal domination and <span style="font-size: 1rem;">the trial in the film </span>J’ai tué ma mère <span style="font-size: 1rem;"> of Xavier Dolan through narrative </span><span style="font-size: 1rem;">and cinematographic film aspects. The analysis is supported by Michel </span><span style="font-size: 1rem;">Foucault’s concept of power to see the shape of dominance of the </span><span style="font-size: 1rem;">mother figure that occurs in the film. The power is the cornerstone of </span><span style="font-size: 1rem;">the training of domination that leads to repression against others, </span><span style="font-size: 1rem;">including within the family. The results of the analysis through </span><span style="font-size: 1rem;">narrative and cinematographic aspects of the film shows that </span><span style="font-size: 1rem;">dominance is formed due to the failure of the communication that </span><span style="font-size: 1rem;">exists between the forces and causes the formation of resistance by </span><span style="font-size: 1rem;">the dominated figures, the boy. The power and the domination of a </span><span style="font-size: 1rem;">very large maternal figure in the figure of the boy life causes problems </span><span style="font-size: 1rem;">and conflicts between them, thus creating a distance in the </span><span style="font-size: 1rem;">relationship between the mother and the child. The resistance of the </span><span style="font-size: 1rem;">dominant figure is intended to challenge the power of domination. </span><span style="font-size: 1rem;">Dominance is also reinforced by the matriarchal cultural factors </span><span style="font-size: 1rem;">within the culture of the community in Quebec, which is the setting for </span><span style="font-size: 1rem;">the film.</span></p><p class="Abstract"><span lang="FR"><o:p></o:p></span></p>
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Tarasova, Maria V. "Dialogue in the Arts: Interaction of Languages of Painting and Cinema." Observatory of Culture, no. 1 (February 28, 2015): 30–34. http://dx.doi.org/10.25281/2072-3156-2015-0-1-30-34.
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Explores the objectlanguage laws in visual arts and the interrelation of art signs that are employed in painting and cinematography. The author addresses the “Age of Innocence” by Martin Scorsese and analyses the cinema art speech as determined by the objectlanguage of the painting styles, namely the impressionism, pointillism, Art Nouveau, etc. The artistic culture is described as a dialogue space where languages of various types of arts reveal their origin from a single source and make their capacity of general understanding messages produced in culture obvious.
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Braiko, Oleksandr. "Cinematographic coloring of open space in Volodymyr Drozd’s short prose from 1960s." Слово і Час, no. 3 (May 26, 2020): 28–47. http://dx.doi.org/10.33608/0236-1477.2020.03.28-47.
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The paper considers the style manner of V. Drozd’s prose from his early writing period with a focus on cinematographic aesthetics of color and possibilities of the screen design of plein air as the most free spatial environment for visual development of the image. The writer’s literary means have their analogues in the well-known contemporary films (“October”, “Poem about Sea”, “Red Desert”).
The dynamic plein air compositions have certain screen potential. The images of open-space are related to freedom in dynamic and successive change of a scene, and alternation of verbal pictures. They are rather close to the specifc cinematographic representation of action, as their color markers may be associated with an imaginary film. The first V. Drozd’s attempts of designing the color and light of plein air are marked with an accent on the hues of the represented objects, the dynamism of objects in the imaginary shots, and expressive motion, increased with spectral indicators. A growth of the writer’s mastery is related to development of successive color ‘melody’, based on nuances of the visual impressions, and harmonized with internal action progress. Plastic imaginal markers with limited color range also remind the technique of cinematographic rush, adding emotional and psychological mood connotations to the narration and stimulating positive (nostalgic, elegiac) associations. Although they may seem random, the light and color signals acquire cinematographic expressiveness due to integration into the plot and its internal action, and to the dynamics of the character’s point of view. Abandoning a picturesque fixed nature, the author acquires possibility to decode wider associative meanings with color and light markers, search for deeper semantics of visual image complexes, and construct deterministic relations of a character and environment. Even minimal visual signals contribute to the color structure of a verbal shot. Such terseness and obscurity of objects in the prospect of a narrative camera, and a rapid change of plein air sections are similar to the features of cinematographic aesthetics and poetics.
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Dąbrowski, Radosław. "Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 87–107. http://dx.doi.org/10.14746/i.2018.33.08.
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Krzysztof Kieślowski and Ingmar Bergman belonged to different generations of film authors, but there was a certain artistic kinship between them. They were both interested in issues related to human existence, but their films also seem similar in terms of their aesthetic dimensions, in particular, their cinematographic style. Both directors also created films deriving from their private experience, often creating characters on screen who seem to be in some respect their alter egos. This articles deals with various similarities between the cinema of Kieślowski and Bergman.
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Bonah, Christian. "“A word from man to man”. Interwar Venereal Disease Education Films for Military Audiences in France." Gesnerus 72, no. 1 (November 11, 2015): 15–38. http://dx.doi.org/10.1163/22977953-07201002.
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In the 1910s, in the wake of the glorious decade of syphilography (1900–1910), the early health education films lay the groundwork for a pragmatic approach to the containment of venereal diseases combining (early) diagnosis, treatment and prophylaxis. Realizing that WWI was turning into a durable military conflict, the French Army created a Cinematographic Section (SCA) in 1915 for the purposes of war propaganda and documentation. In 1916, secretary of war Justin Godard declared syphilis a “national public danger” and initiated information campaigns in military and civilian spheres. Conferences accompanied with film screenings were organized for all new military recruits, resulting in the production of a series sex hygiene films for military audiences characterized by a short, evocative and precise documentary style, contrasting with the romantic sex hygiene films aimed at the general public. This contribution examines the cinematographic origins of the instructional films for the military, as well as their evolution up to WWII and their influence on public sex hygiene films for civilians in the interwar period in France.
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Titanka, Flavera Voni, Lina Syawalina, and Dian Agustina Pratama. "Le conflit intérieur du personnage principal dans l’œuvre cinématographique « Respire » de Mélanie Laurent (2014)." Digital Press Social Sciences and Humanities 3 (2019): 00023. http://dx.doi.org/10.29037/digitalpress.43296.
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<p class="Abstract">This research aims to identify the forms of the internal conflict of the <span style="font-size: 1rem;">main character of the cinematographic work «Respire». The object of </span><span style="font-size: 1rem;">this research is the internal conflict experienced by the main character </span><span style="font-size: 1rem;">in the film «Respire», directed by Mélanie Laurent in 2014. The </span><span style="font-size: 1rem;">research method is descriptive-qualitative. The collection of data is </span><span style="font-size: 1rem;">done by the method of watching the film, the note taking as well as the </span><span style="font-size: 1rem;">bibliographic study. The data obtained are analysed using humanist </span><span style="font-size: 1rem;">theory on motivation and personality. The result of this research </span><span style="font-size: 1rem;">shows that the inner conflict of the main character is caused by </span><span style="font-size: 1rem;">dissatisfaction with the need for security, need for love and belonging </span><span style="font-size: 1rem;">as well as dissatisfaction with the need for self-esteem which give the </span><span style="font-size: 1rem;">psychological effects as the neurotic need.</span></p>
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Dutta Ain, Anwesha. "A Reading of Satyajit’s Pather Panchali and Agantuk as Subtexts of Fictional Ethnography." Revista Canaria de Estudios Ingleses, no. 83 (2021): 77–90. http://dx.doi.org/10.25145/j.recaesin.2021.83.06.
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This essay focuses on Pather Panchali (Song of the Little Road, 1955) and Agantuk (The Stranger, 1991) and discusses the style of Satyajit Ray’s filmmaking which combined the aesthetics of European verisimilitude with suggestive symbolism based on conventional Indian iconography. The paper will concentrate on the authentic representation of a poor family in rural Bengal in Pather Panchali and the urban setting, in his last film Agantuk. The main aim is to explore how the detailing of the shots and the dialogues in these films engage in the ethnographic study of the Bengali society through these cinematographic fictional narratives
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Bertoloni, Luca. "Usi espressivi della forma-canzone nelle "original soundtrack" del fenomeno Checco Zalone: performance, visioni, immaginario e crossmedialità. Da "Angela" (2009) a "L'immunità di gregge" (2020)." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 10 (February 28, 2022): 119–35. http://dx.doi.org/10.54103/2532-2486/15245.
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Checco Zalone is one of the most important phenomena of Italian Cinema of the last decades. One of the constants of his cinema is the presence of the song-form, in particular of original songs (original soundtrack), used as a mean to transit from the theatre, radio and TV to the cinema: this paper constitutes a sociosemiotic, interdisciplinary and culturalist analysis of the different expressive modalities with which Zalone makes use of his songs, that become a configuration element of his own style, representing a specific cinematographic way and strengthening Zalone’s authorial role in his cinema in a complex and considerable way.
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Ruiz Ojeda, Tania Celina. "El Noticiario C.L.A.S.A., órgano de difusión gubernamental (1934‐52)." Studies in Spanish & Latin-American Cinemas 17, no. 2 (June 1, 2020): 173–92. http://dx.doi.org/10.1386/slac_00017_1.
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Mexican film was aligned with the state since its origins, but this union only generated continuous cinematographic production beginning in the 1930s, when the government of President Lázaro Cárdenas del Río (1934‐40) signed a contract with the production company that would go to become one of the most important producers of Mexican cinema of the Golden Age: la Cinematográfica Latinoamericana S.A. (CLASA). This article analyses the changes of discourse and narrative style used in these newsreels during three consecutive presidential terms and outlines the working dynamics and the cinematic discourse of each government, as well as how newsreel formats reflected the agenda of each head of state.
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Тихонова, Валентина Львовна, and Олег Игоревич Закутнов. "THE EVOLUTION OF A SUPERHERO IN AMERICAN CINEMATOGRAPH." Вестник Тверского государственного университета. Серия: Философия, no. 2(56) (August 17, 2021): 143–53. http://dx.doi.org/10.26456/vtphilos/2021.2.143.
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Цель статьи - показать, как трансформация образов супергероя в американском кинематографе отражает изменения исторических и культурных ценностей в сознании людей в течении относительно небольшого временного отрезка с начала XX - по начало XXI вв. Если первая половина XX века породила мифологизированных героев с четким делением на добрых и злых, соответствующих параметрам бинарности, в которых нуждалось западное общество, в связи с мировыми войнами, то во второй половине XX века, распространяющаяся на весь западный мир постмодернистская парадигма, с идеей множественности истин, множества возможностей для раскрытия подвижного креативного потенциала приводит к появлению амбивалентного героя - трикстера. Постмодернистская парадигма задает определенный игровой контекст: постмодернистская игра ведется с любыми условностями, формами, стилями, дискурсами. Поэтому такой супергерой уже не только спаситель, он вмещает в себе противоречия, совмещающие в себе разные образы героев и антигероев. На этом трансформация образа супергероя не завершается: появляются супергерои с исключительно отрицательными качествами, противостоят которым простые люди. Кроме постмодернистских тенденций, важным фактором, повлиявшим на эволюцию супергероя, явилась конкурентная борьба за читателя и зрителя между двумя крупнейшими компаниями по производству комиксов DC и Marvel. В статье использовались методы анализа, интерпретации, структурно-функциональный и компаративистский, показан процесс эволюции супергероического образа в американском кинематографе под влиянием современных постмодернистских установок и коммерческих проектов кампаний, специализирующихся в производстве супергероики. The purpose of the article is to show how the transformation of superhero images in American cinema reflects changes in historical and cultural values in the minds of people over a relatively short period of time (from the beginning of the 20th century to the beginning of the 21st centuries). If the first half of the XX century gave birth to mythologized heroes with a clear division into good and evil, corresponding to the parameters of binary that Western society needed in connection with world wars, then in the second half of the XX century, spreading to the entire Western world the postmodern paradigm, with the idea of a plurality of truths, of a multitude of possibilities for revealing a mobile creative potential, leads to the emergence of an ambivalent hero - a trick-ster. The postmodern paradigm sets a certain game context: the postmodern game is played with any conventions, forms, styles, discourses. Therefore, such a superhero is no longer only a savior, he contains contradictions that combine different images of heroes and antiheroes. The transformation of the superhero image does not end there: superheroes appear with extremely negative qualities, which are opposed by ordinary people. In addition to postmodern tendencies, an important factor that influenced the evolution of the super-hero was the competition for reader and viewer between the two largest comic companies DC and Marvel. The article used methods of analysis, interpretation, structural-functional and comparative, shows the process of evolution of the super-heroic image in American cinema under the influence of modern postmodern attitudes and commercial projects of campaigns specializing in the production of superheroics.
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Kaprzyk, Marta. "Niewidzialne, niezauważalne, nieeksportowane, niepromowane? Kino hiszpańskie jako kino transnarodowe." Dziennikarstwo i Media 7 (June 30, 2017): 147–58. http://dx.doi.org/10.19195/2082-8322.7.11.
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Invisible, unnoticeable, not exported, not promoted? Spanish cinema as transnational cinemaTraditionally, the term „national cinema” referred to films produced within the boundaries of one particular country, and it ignored the complexity of the movie as a social and cultural practice. However, changes in film production in past decades have made it exceptionally difficult to delimit the national borders of particular cinematographies: the development of systems of co-productions, international film crews, and movements across borders of filmic styles and genres make it possible to conceive Spanish cinema in terms of transnationality. The aim of this article is to discuss the most important factors that shape Spanish contemporary cinematography, as well as to suggest the possible means of analysing and describing it within the concepts of “national” and “transnational” cinema.
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Niessen, Niels. "The Staged Realism of Michael Haneke’s Caché." Hors dossier 20, no. 1 (February 17, 2010): 181–99. http://dx.doi.org/10.7202/039276ar.
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Abstract Michael Haneke’s style can best be described as staged realism, a cinematographic approach of presenting diegetic events as overtly staged and modelled in order to connect them to real social issues. In Caché (2005), this results in a short-circuit between the on-screen narrative and the viewer’s act of watching, as a result of which the viewer is created both as a guilty subject and as a co-investigator. Through a juxtaposition of Haneke’s staged realism with the neo-realist documentary mode of filmmaking advocated by André Bazin, this article argues that Caché is the current apex of Haneke’s realist project. However, by staging the real killing of animals, the film simultaneously troubles that project’s self-generated limits.
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Bessa, Karla Adriana Martins. "“How I became what I am”: an aesthetics of twist cinema in films from the 1960s and 1970s." Revista Estudos Feministas 25, no. 1 (April 2017): 291–313. http://dx.doi.org/10.1590/1806-9584.2017v25n1p291.
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Abstract: The article analyzes the political and theoretical potentialof cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday, bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body, heteronormativity, and the subversiveness of forbidden loves as represented through the films’ structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema, within the limits of each style and period, was precisely the boldness to run risks in its visual grammar, not making political concessions in challenging the moral canons of current society.