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Journal articles on the topic 'Cinematography'
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Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (November 16, 2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.
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This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as framing, lighting, and camera movement. It also intents to manipulate tone and mood through those cinematographic elements. To further understand the cinematography of this film, three main theories are used: low-key lighting, head-room and lead-room, and handheld camera movement. These theories are to help the cinematographer to convey the genre of psychological suspense, with the subgenre of crime drama. An in-depth analysis in this report will talk in details about how cinematography achieved the desired effects towards characterization, mood, and tone.
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Baiturina, Diana Uralovna. "Bashkir cinematography as a phenomenon of national Culture." Философия и культура, no. 1 (January 2022): 11–25. http://dx.doi.org/10.7256/2454-0757.2022.1.37269.
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This article examines the milestones in the development of cinematography as a phenomenon in Bashkortostan. The author traces the path from the emergence of very first films to the present state of local film production in the republic. Research methodology leans on the methods of systematization and analysis of scientific literature, written and cinematographic sources, historical-typological (analysis of the historical and cultural grounds of Bashkir cinematography), interpretation of written and cinematographic material. The peculiarities of the establishment and development of Bashkir cinematography are revealed. The theoretical importance of this article lies in systematization of knowledge and description of the ethnocultural characteristics of the development of cinematography in the context of Bashkir cultural field. Cultural tradition as an example that is being reflexively used by people within the framework of a particular culture for solution of life tasks underlies the national cinematography. The models of lifestyle and perception of the world in a given cultural era are realized in the national cinematographic works and represent cultural paradigm of the nation. The author notes the ethnic peculiarities of the development of the phenomenon of cinematography in the region. Prevalence of the elements of traditional national culture (plotlines and images) in the films determines the peculiar nature of Bashkir cinematography and impacts the ethnocultural identity of the recipient. The scientific novelty lies in revealing the historiographical and culturological aspects of Bashkir cinematographic works, as well as outlining its role in modern art culture. The study was conducted on the basis of semiotic and interpretational methods of art history analysis.
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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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Tokoeva, Gulabovo Toktosunovna. "Key aspects of interrelation between Kyrgyz cinematography and music." Культура и искусство, no. 1 (January 2020): 8–16. http://dx.doi.org/10.7256/2454-0625.2020.1.31956.
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In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.
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Silveira, Vanilson Pereira, and Maria Luiza Cardinale Baptista. "Tourism and Cinema: Cinematographic Production and Tourist Attractivity In Garibaldi-RS, Brazil." Revista Rosa dos Ventos - Turismo e Hospitalidade 12, no. 4 (October 22, 2020): 982–96. http://dx.doi.org/10.18226/21789061.v12i4p982.
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This paper aims to discuss the relationship between cinema and tourism, taking as its analysis the municipality of Garibaldi, located in Rio Grande do Sul, Brazil. Theoretically, it’s a transdisciplinary approach Tourism – Communication with a literature review to approach the theme and to identify locations contained in audiovisual productions. It’s possible to point movies as a resource to promote and disseminate tourist destinations. The cinematographic productions that take place in Garibaldi represent a differential strategy to reaffirm the region's vocation to tourism and cinematography. The Garibaldi Film Commission and the cinematography route ‘Garibaldi a cinematography city’ are strategic to capture productions and to diversify the local tourism. In addition, the places used as sceneries can be directed to promote historical and cultural attractions in the region.
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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (February 1, 2022): 1–3. http://dx.doi.org/10.37547/ssa-v2-i1-1.
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The article discusses the work of Khudoibergan Devonov (1879-1940), the founder of Uzbek cinema, the first Uzbek photographer and cinematographer. The report also discusses Varsham Yeremyan, a pre-production artist at the "Sharq Yulduz" studio, and later artists working at the "Uzbekfilm" studio. E. Kalontarov, who has been involved in the production of several films as a leading artist at the Uzbekfilm studio since 1959, later contributed to the development of Uzbek cinematography in collaboration with B. Nazarov, K. Nuriddinov and later directors.
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Jepri, Muhammad, Mahdalena Risnawaty, and Ahmad Riza. "PERENCANAAN PUSAT SINEMATOGRAFI DI TENGGARONG DENGAN PENDEKATAN ARSITEKTUR METAFORA." Jurnal Totem : Architecture, Environment, Region and Local Wisdom 4, no. 1 (August 14, 2023): 1. http://dx.doi.org/10.31293/ttm.v4i1.6451.
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Along with the development of the world of cinematography among young people in Tenggarong, where their activities include making films, short films, film screenings, and film competitions. However, there are no facilities or gathering places for them, so it is necessary to create a place or place that can provide facilities for the cinematographic community. The purpose of this research is to plan a Cinematography Center with a metaphorical architectural concept in the form of a building taken from the formation of a film camera, and to provide a forum for the activities of the cinematography community in Tenggarong including through production, training of various film works, exhibitions, various competitions and events. It is hoped that this plan will accommodate communities in Tenggarong who are interested in cinematography, both theoretically and practically, so that they can produce the best works that can compete nationally. By emphasizing the architectural style of concrete metaphors (tangible) in the planning of the building by taking the formation of a retro film camera that is transformed, it is hoped that it will be able to give the characteristics of a building that will be planned.
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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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Zhuravleva, O. V., and A. S. Lobacheva. "Main marketing trends in the Russian cinema market in the current realities." Vestnik Universiteta, no. 9 (October 31, 2022): 90–95. http://dx.doi.org/10.26425/1816-4277-2022-9-90-95.
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The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programmes were analysed. The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. The results of the study can serve as a basis for evaluating the effectiveness of marketing strategies.
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Mukhortikova, Elena A. "Aesthetics of Cinematography in Visualization of Music Videos." Observatory of Culture 21, no. 3 (June 20, 2024): 258–65. http://dx.doi.org/10.25281/2072-3156-2024-21-3-258-265.
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The relevance of the topic is to analyze the formation of the musical content of clips created with the involvement of the plots of cinematographic works in their text, and the impact of the clip on the perception of the viewer; to study the development of visual means attracted to the textual factors of the clip. The purpose of the present research is to study the influence of the plot intent of the scenic features of a cinematographic work on the visual and musical series of the clip, related to the associative perception of the viewer. Novelty — for the first time the influence of aesthetic-plastic and ascetic ideas of cinematography on the formation of mediaverbal texts of music videos has been investigated. Objective — to investigate the possibilities and effectiveness of the use of cinematographic techniques in music videos and their impact on the viewer’s perception of the musical work. The research methodology is based on descriptive, inductive and iconological methods. The possibilities of using plastic means of cinematography in the construction of imagery, music videos and their comprehension by the viewer are studied. The possibility of determining the genre characteristic of a music video shot on the basis of the storyline of a cinematographic work is considered. The high degree of non-verbal nature of music video lyrics, which incorporate the storylines of cinematic works, allows the viewer to experience the charm of artistic possibilities complemented by the world of classic cinematic works. This is the unique potential of music videos, in the context of which the aesthetic constants of cinematographic works are used, the possibilities of visualization of which are not limited.
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Dominte, Carmen. "Light and shadow as instruments of literary and visual metaphor in Liviu Rebreanu’s The Forest of the Hanged." Swedish Journal of Romanian Studies 3, no. 1 (April 17, 2020): 116–29. http://dx.doi.org/10.35824/sjrs.v3i1.21424.
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Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scène. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.
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Mishchenko, Igor' Evgenyevich. "Representation of the images of army and military man in the U.S. mass cinematography of the 2010s." Философская мысль, no. 12 (December 2020): 61–75. http://dx.doi.org/10.25136/2409-8728.2020.12.34522.
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The author explores the problematic of the images of army and military in mass cinematography on the example of U.S. film industry of the second decade of the XXI century. The object of this research is the sociocultural representation of army and war via expressive means of cinematographic art. Within the Russian science, this problematic is poorly studied; at the same time, its relevance cannot be overestimated, since cinematography is an important component in formation of “soft power” of the country. According to the testimony of numerous Russian experts, namely cinematography of the United States has highest impact potential and forms mental images of the army and military not only among the U.S. citizens, but also for the Russian society, which always triggers questions related to the cultural aspects of national security. It is worth noting that modern U.S. military cinematography becomes the special subject of scientific research for the first time. The author comes to the conclusion that in the recent decade, U.S. film production in military genre has undergone substantial transformations. The films on the World War II and the Vietnam War are replaced with the films on global war on terrorism and local national conflicts. Among other peculiarities of recent years in U.S. military cinematography, the author notes female film directors in this sphere, personification of the images of enemy, deconstruction of the image of military man as a mythological defender and rescuer. The latter noticeably contradicts the Russian film tradition and culture, for which the army and military history remain the important points of national self-identity, key components of formation of images of the great past and common future.
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SURASA, SURASA, SUDARMAN SUDARMAN, SUPARNA SUPARNA, and MUHAMMAD IQBAR FATIRDZUL HAJ. "PENERAPAN SINEMATOGRAFI PADA FILM ANIMASI 3D BERJUDUL TAMIYA." KNOWLEDGE: Jurnal Inovasi Hasil Penelitian dan Pengembangan 2, no. 3 (November 19, 2022): 261–69. http://dx.doi.org/10.51878/knowledge.v2i3.1673.
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3D animation is often relied on for entertainment media purposes ranging from movies, video games, and advertising. However, in making 3D animated films, it is certainly not much different from filmmaking in general, especially in shooting techniques or cinematography techniques. The application of good cinematography techniques in a 3-dimensional animated film will be able to improve the quality in terms of graphics and storytelling. choosing a random point of view can make the audience confused, so that the selection of a clear point of view can make a film bring out its best potential and make the audience become it is easy to understand the storyline that the filmmaker wants to convey. In the 3D animated film “Tamiya”, this emphasizes the quality in the field of cinematography. Cinematography is not just about tools like cameras, cranes or anything else, but the concept of cinematography is what the filmmaker really wants to deliver. There are several important aspects that can affect the quality of a cinematography including composition, light and color, movement, and storytelling. The cinematography of a film will be better if all these aspects are fulfilled and mastered by a cinematographer. ABSTRAKAnimasi 3D sering diandalkan dalam keperluan media hiburan mulai dari film, video game, dan periklanan. Namun dalam pembuatan film animasi 3D tentu tidaklah berbeda jauh dengan pembuatan film pada umumnya, terutama pada teknik pengambilan gambar atau teknik sinematografi. Penerapan Teknik sinematografi yang baik pada sebuah film animasi 3 dimensi akan mampu meningkatkan kualitas dari sisi grafis dan storytelling.pemilihan sudut pandang yang serabutan dapat membuat penonton menjadi bingung, sehingga pemilihan sudut pandang yang jelas dapat membuat sebuah film mengeluarkan potensi terbaiknya dan membuat para penonton menjadi mudah dalam memahami alur cerita yang ingin disampaikan sang pembuat film.Dalam film animasi 3D “Tamiya”, ini lebih menonjolkan kualitas dalam bidang sinematografinya. sinematografi tidak hanya tentang tool seperti kamera, crane, atau lainnya, tapi konsep sinematografi ialah apa yang sebenarnya sang pembuat film ingin berikan. Ada beberapa aspek penting yang dapat mempengaruhi kualitas sebuah sinematografi diantaranya komposisi, light and color, movement, dan storytelling. Sinematografi sebuah film akan semakin baik apabila semua aspek tersebut dipenuhi dan dikuasai oleh seorang sinematografer.
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Reghita, Lavena. "Perilaku Penemuan Informasi pada Mahasiswa UKM Sinematografi Universitas Airlangga." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 11, no. 1 (September 7, 2020): 46. http://dx.doi.org/10.20473/pjil.v11i1.21889.
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Abstract Information seeking behavior among students of Cinematography to produce film work, is motivated by a gap that can lead to information needs based on the interests of students of Cinematography. Information needs of students Cinematography UKM is based on information needs based on environmental factors, namely information relating to the storyline. In addition, most students of Cinematography UKM produce films with the theme of one's experience. To meet these needs, students of UKM Cinematography have obstacles in the process of finding information, this proves that students of UKM Cinematography carry out the process of finding information. This study aims to determine the description of information seeking behavior in students of cinematographic, therefore this study uses the Wilson-Ellis Information Seeking Behavior Model. The method used in this research is quantitative descriptive method using total sampling technique. This study provides results regarding information related to the story line (65.6%) as the needs needed by Sinematogarfi UKM students, with the theme of one's experience (67.2%) which is done by conducting research (50.8%) first. The obstacle that is often experienced by students of UKM Cinematography is the difference of opinion (36.1%) when discussing with other UKM. For the references that are often used by students of UKM Cinematography, most of them are articles (73.8%) that are done at the browsing stage. In addition, seminars, workshops, film operations and film festivals (50.8%) are the preferred access for most students of Cinematography.Keywords: Information Searching Behavior; Information Needs; Student Cinematography AbstakPerilaku pencarian informasi di kalangan mahasiswa Sinematografi untuk menghasilkan karya film, dilatarbelakangi oleh adanya kesenjangan yang dapat menimbulkan kebutuhan informasi berdasarkan minat mahasiswa Sinematografi. Kebutuhan informasi mahasiswa UKM Sinematografi didasarkan pada kebutuhan informasi yang didasarkan pada faktor lingkungan yaitu informasi yang berkaitan dengan jalan cerita. Selain itu, sebagian besar mahasiswa UKM Sinematografi memproduksi film bertema pengalaman sendiri. Untuk memenuhi kebutuhan tersebut mahasiswa UKM Sinematografi mengalami kendala dalam proses pencarian informasi, hal ini membuktikan bahwa mahasiswa UKM Sinematografi melakukan proses pencarian informasi. Penelitian ini bertujuan untuk mengetahui gambaran perilaku pencarian informasi pada mahasiswa sinematografi, oleh karena itu penelitian ini menggunakan Model Perilaku Pencarian Informasi Wilson-Ellis. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kuantitatif dengan menggunakan teknik total sampling. Penelitian ini memberikan hasil mengenai informasi terkait alur cerita (65,6%) sebagai kebutuhan yang dibutuhkan oleh mahasiswa UKM Sinematogarfi, dengan tema pengalaman seseorang (67,2%) yang dilakukan terlebih dahulu dengan melakukan penelitian (50,8%). Kendala yang sering dialami mahasiswa UKM Sinematografi adalah perbedaan pendapat (36,1%) saat berdiskusi dengan UKM lain. Untuk referensi yang sering digunakan mahasiswa UKM Sinematografi, sebagian besar berupa artikel (73,8%) yang dikerjakan pada tahap browsing. Selain itu, seminar, lokakarya, operasi film dan festival film (50,8%) merupakan akses yang disukai oleh sebagian besar mahasiswa Sinematografi. Kata Kunci: Perilaku Mencari Informasi; Kebutuhan Informasi; Sinematografi Mahasiswa
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Betekeneng, Malvin Hernanta. "Meal for Two: Creating Mood and Characterization Through Cinematography." K@ta Kita 7, no. 2 (October 29, 2019): 236–43. http://dx.doi.org/10.9744/katakita.7.2.236-243.
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This creative work is about the cinematography report from the screenplay meal for two by Satrio Haryanto. The story tells about two neighbors, a man and a woman, who lives next door but they do not know about each other personally. The woman realizes that the man attracted to her but she prefers to keep her distance, but after sometime, they get together since both shares the same secret. This creative work aims to portray the mood in order to create suspense, distance and closeness and to show the man’s paraphilia, the man’s curiosity, and the woman’s introversion. An in-depth analysis will be further developed to portray the mood. In order to support those elements, there are several techniques used such as low-key lighting, framing. These techniques are to help the cinematographer to convey the drama suspense genre. In addition, a detailed analysis will further explain different uses of camera work, lighting, and color in building the characterization in the whole movie. As a result, my work as a cinematographer will explain on how the mood and characterization on this film fits with the drama suspense genre. Keywords: cinematography, low-key lighting, camerawork, color, framing.
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Gleicher, Michael L., and Feng Liu. "Re-cinematography." ACM Transactions on Multimedia Computing, Communications, and Applications 5, no. 1 (October 2008): 1–28. http://dx.doi.org/10.1145/1404880.1404882.
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Maddock, Daniel. "Reframing cinematography." Media Practice and Education 20, no. 1 (May 22, 2018): 44–66. http://dx.doi.org/10.1080/25741136.2018.1464735.
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.
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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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Martínez Parra, Marc. "Geology in the setting and landscape of the cinematographic work." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (March 2023): 87–124. http://dx.doi.org/10.21701/bolgeomin/134.1/005.
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Cinematography, as the seventh art, uses the unique geological landscape in the setting of its creations. Geology, like everything that is related to its essence, is perceived by the human being through all its senses, reflected in its translation to the cinematographic work in terms of the setting of different scenarios, natural or artificial, where the filmic action unfolds. The various lithologies and their natural weathering form picturesque places, used in cinematography to represent the narrated stories and convey sensations to the viewer. These landscapes and morphologies are associated with the erosion of detrital materials, soft materials, deserts, dry lakes, volcanic rocks, and intrusive rocks or associated with karst modelling and within this landscape in exokarstic and endokarstic forms (caves and pits). All these landscapes, used wisely, provide the films with personality.
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/jbn.vol2.no1.1712.
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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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Melnikova, A. L., and A. S. Mitsul. "Role of cinematography in anticorruption enlightenment: global experience." Russian Journal of Economics and Law 16, no. 1 (March 18, 2022): 122–35. http://dx.doi.org/10.21202/2782-2923.2022.1.122-135.
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Objective: to conduct a comprehensive interdisciplinary legal study of the role of cinematography in anti-corruption enlightenment of citizens.Methods: a structural and functional approach to the interpretation of society as a connection of subsystems, in which cinematography is a part of the cultural subsystem, while anti-corruption policy refers simultaneously to the public subsystem (enlightenment) and the state subsystem (politics). The chosen approach determines a set of specific research methods, such as a critical analysis of theoretical literature on corruption behavior and on the relationship between a viewer and a cinematography product in conjunction with an empirical study of various cases in the form of films and film projects devoted to anti-corruption topics.Results: the analysis of the mechanisms of building the relationships between a viewer and cinematography allowed identifying the possibilities of cinematography to have a long-term impact on a viewer, due not only to the technical capabilities of cinematography, but also to the psychobiological mechanisms of man. By the example of specific projects, the expediency of using cinema as an anti-corruption enlightenment tool was proved and justified. In particular, if the relevant messages are laid in the plot of a feature film, then, thanks to mirror neurons and human thinking mechanisms, they can serve educational purposes and demonstrate the consequences of corrupt behavior. It is important not to intimidate the audience with the horrors of living with corruption, but to show a positive way out and scenarios of living without it. This can lead to an increase in civic engagement, to an increase in interest in the issue under discussion, as well as to an increase in ratings of trust in the state.Scientific novelty: the article proves the inexpediency of evaluating cinema solely as a form of entertainment, and for the first time examines examples of the practical application of cinema for anti-corruption policy and enlightenment by comparing approaches used in different countries.Practical significance: the main conclusions of the article can be used in scientific, pedagogical and practical activities when developing long-term strategies and programs of anti-corruption enlightenment, as well as in the framework of cinematographic activities to assess the long-term consequences of the demonstrated film narrative.
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Megahayati, Kemala, Muhamad Amirulloh, and Helitha Novianty Muchtar. "Perlindungan Hukum Sinematografi Terhadap Pengaksesan Tanpa Hak Oleh Pengguna Aplikasi Telegram Berdasarkan Undang-Undang Hak Cipta Dan Undang-Undang Informasi Dan Transaksi Elektronik Di Indonesia." Ajudikasi : Jurnal Ilmu Hukum 5, no. 1 (June 3, 2021): 1–16. http://dx.doi.org/10.30656/ajudikasi.v5i1.3218.
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Film as a cinematographic work is an object protected by copyright. Film and ICT are rapidly growing in Indonesia. Along with this, digital piracy occurs very often. This happens in instant messaging application, Telegram. Public channel is an available feature on Telegram that misused by its users to spread films illegally. This research was conducted to determine regulations about accessing cinematography on Telegram and Telegram Messenger Inc. liability concerns accessing cinematography by its users. The method is juridical normative by examining secondary data from primary, secondary, and tertiary legal materials obtained through literature study related to copyright and over-the-top services. The results show that accessing cinematography on Telegram violates economic rights according to Article 9 (1) b Copyright Law which is categorized as piracy in accordance with Article 113 (4) Copyright Law and Telegram Messenger Inc. as application organizer should be responsible secondarily for piracy in a civil lawsuit according to Article 99 Copyright Law and Article 38 ITE Law, administrative and criminal that occurs due to negligence in monitoring the activities of its users. Then, primary liability can be requested to application users who do not obey the terms of services of the telegram application which has an exoneration clause as a way to prevent copyright infringement in telegram application.
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Jacov, Marko. "Analisi critica dei film cristologici nelle pubblicazioni di Paola Dalla Torre del Tempio di Sanguinetto." Textus et Studia, no. 3/4(19/20) (July 16, 2021): 7–29. http://dx.doi.org/10.15633/tes.05301.
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This text is a critical analysis of Christological films in Paola Dalla Torre del Tempio di Sanguinetto publications. There are five basic thematic groups in the author’s work: (1) classical cinematography 1915–1968; (2) modernist cinematography “New Age” 1968–1977; (3) postmodern cinematography (from 1977); (4) ethics of life (bioethics) and cinematography; (5) Holy See’s means of information and cinematography.
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Korobko, Roman V. "Framing as a method of creating a film's metaphorical context." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 79–86. http://dx.doi.org/10.17816/vgik11279-86.
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This essay continues the study of the semiotics and synergetics of Framing in the Art of Cinematography which substantiates the hypothesis that framing (perspective) constitutes one of the most important codes of screen communication in its cinematographic and metaphorical contexts. Thus, framing is represented by two hierarchical levels of representation of contextual semiotic connections: the connection between mise-en-cadre and mise-en-scne (the level of the cinematographic form of film sign); and the relationship between cinematographic imagery, action and meaning (the level of the cinema sign).
Framing consolidates the process of cinematography divided by the artistic and production dichotomy, which is especially important in the context of mass culture determined by the total industrialization of all areas of life, including cinema.
The essay is based on the statement of Sergei Eisenstein that each high film work has the unity of two dialectical categories: the content (abstract language, part of logical thinking) and the form (emotional language, part of emotional-sensory thinking). It identifies and analyzes the spatial-temporal and linear-tonal features of cinematic framing as a method of expressing the metaphorical existential context of the crisis of Russian self-identification, using as examples a number of expressive episodes of the documentary film Anna: 618 (1980-1993; dir. Nikita Mikhalkov, DOPs: Pavel Lebeshev, Vadim Yusov, Vadim Alisov, and Elizbar Karavaev). This film work is explored as a study of the socio-cultural situation in modern Russia undertaken from a multi-faceted and multi-level authorial perspective associated with expressive cinematographic framing.
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Nadya, Lebyedyeva. "UKRAINIAN CINEMATOGRAPHY IN THE CONTEXT OF STATE GOVERNANCE HISTORICAL DEVELOPMENT." Journal of Social, Humanity, and Education 2, no. 4 (August 10, 2022): 343–55. http://dx.doi.org/10.35912/jshe.v2i4.1081.
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Abstract: Purpose: The main aim of the article is to cover the existing features of public administration of cinematography in historical dynamics and to reveal the presence of positive development. Research Methodology: The study used a general logical method of analyzing scientific sources of modern Ukrainian historians to assess the phenomena that have influenced the state of cinematography. The system of development of cinematography during the Soviet Union was taken into attention. Its influence on Ukrainian cinematography was analyzed. The regulatory documents on state support for cinematography from official sources were studied. Results: Based on the documents' data a diagram showing the transition of the development of cinematography in Ukraine to a higher level was built. It entails new modeling of development in the future. Limitations: This research uses the descriptive approach dew the special of the theme. Contributions: The novelty and significance of the worldwide humanitarian science lie in the fact that the demonstration of the general experience of Ukraine in the field of cinematography can be used by scientists from other countries to build appropriate management mechanisms in their countries. Keywords: 1. cinematography 2. state administration 3. culture 4. policy 5. mechanisms
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Serrano Arias, Tanit Guadalupe. "Otherness in Cinematography." Glimpse 21 (2020): 119–23. http://dx.doi.org/10.5840/glimpse20202113.
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The dialogue in this paper is aimed at reflecting the form of representation of The Other within the cinematography from the philosophical point of view. For this, we support our study in Ethics as the first philosophy of Emmanuel Levinas. The questions that trouble this study are: What is otherness? Who is the other? Why is it necessary to think about otherness in cinematography?Here we reflect on the recognition of the Other, of the different individual, of the foreign. Cinema allows to recognize the existence of other subjects, from a double look, as spectators, but also as creators. What motivates the reflection of otherness from the human relationships that are interwoven, as well as the cultural character of all perception, referring to the notion of the other as interior to the field of being.
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Segal, E. "Literature and Cinematography." Poetics Today 32, no. 2 (June 1, 2011): 398–99. http://dx.doi.org/10.1215/03335372-1261226.
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Neil, Iain A. "Lenses in Cinematography." Optics and Photonics News 15, no. 1 (January 1, 2004): 26. http://dx.doi.org/10.1364/opn.15.1.000026.
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Paramonov, Andrei A. "Alexander Bogdanov’s Cinematography." Russian Studies in Philosophy 57, no. 6 (November 2, 2019): 534–45. http://dx.doi.org/10.1080/10611967.2019.1670548.
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Keiller, Patrick. "Landscape and cinematography." cultural geographies 16, no. 3 (June 25, 2009): 409–14. http://dx.doi.org/10.1177/1474474009105056.
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Ronfard, Remi, and Gabriel Taubin. "Introducing 3D Cinematography." IEEE Computer Graphics and Applications 27, no. 3 (May 2007): 18–20. http://dx.doi.org/10.1109/mcg.2007.64.
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Mademlis, Ioannis, Nikos Nikolaidis, Anastasios Tefas, Ioannis Pitas, Tilman Wagner, and Alberto Messina. "Autonomous UAV Cinematography." ACM Computing Surveys 52, no. 5 (October 19, 2019): 1–33. http://dx.doi.org/10.1145/3347713.
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Shamova, Nadezhda. "A Comparative-Contrastive Analysis of Corpus Tools (Case Study: Working with Corpora of Cinematic Discourse)." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 82–95. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-82-95.
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A broad scope of application of corpus technologies indicates their importance in applied linguistics. Employing the comparative-contrastive method and the method of computer analysis, the author seeks to compare and contrast the main corpus tools of the programs Sketch Engine, AntConc, and WordSmith Tools, focusing on texts from specialized periodicals about cinematography ‘Total Film’ and ‘American Cinematographer’ for 2019–2020. The primary goal of this comparison is to provide recommendations for optimal choice of tools and programs for obtaining certain types of information. The author processed the total volume of texts that contained over 900,000 words, using the functions “concordance”, “word list”, “collocations” + “word s etch”, “N-grams”, “keywords” in Sketch Engine and AntConc (Word-Smith Tools has only “concordance”, “wordlist,” and “keywords”). Information about specific tools available in various corpora is collected and presented in a specially developed table. Different software programs described in the article have functions that perform the same tasks, but there are some differences in how data is presented. Among the software programs featured in this case study, the Sketch Engine platform gives the most options for choosing personal settings. The “concordance” function shows the word in context, “Wordlist” shows all the words on a given list with a record of their frequency in the corpus. The “collocation” function (or “word s etch”) recognizes fixed expressions, “N-grams” finds phrases that comprise a certain number of elements, while the “ eywords” function allows users to identify words that are specific to a particular subject area. Information thus obtained from the corpora may be helpful in updating English LSP dictionaries and glossaries of cinematography. The theoretical significance of the present study lies in systematizing the material about existing corpus tools, while its practical value is in using the tools of three corpus programs for the study of cinematic discourse, understood here as language used by the community of movie goers and filmmakers in their discussions of cinematography in specialized periodicals ‘Total Film’ and ‘American Cinematographer’.
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Schtein, Sergey Yu. "STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. EXAMPLE OF SCALING OF THE COMPONENT OF A THING AREA: FILM REVIEW." Articult, no. 2 (2022): 106–24. http://dx.doi.org/10.28995/2227-6165-2022-2-106-124.
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The article is devoted to the description of the theoretical modeling of film review as a functional component of the cinematography-polysystem. The nature of this subject allows building on three fundamental scales: ontological, the scale of the product of activity, as well the scale of the system-activity. The result obtained can be used, in one respect, as an example of the realization of a specific methodological work that brings information about cinematography into the form of homogenized theoretical knowledge, and, on the other respect, as a complete knowledge about the nature of the conditions in which a film review is produced and about the variable specifics of its form-content integrity conditioned by these conditions. In this capacity the content of the article turns out to be a propaedeutic tool for those who are just getting involved in the activity of writing a film review, and at the same time, as one of the additional functional tools of deobjectification for those who study film review as a specific form of mediation of information about a cinematographic work.
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B, Sahrul, Fathahillah Fathahillah, and Yasdin Yasdin. "Cinematography Design of Integrated Service Video Documentation." Journal of Research and Innovation 1, no. 1 (June 7, 2023): 25. http://dx.doi.org/10.59562/jorein.v1i1.44869.
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This study aims to find out how the scene is in the integrated service video documentation, to know the cinematographic techniques used in the integrated service video documentation, and to find out the responses of respondents to the integrated research video documentation. This study used descriptive qualitative method. The method of data collection is by means of observation, documentation, and questionnaires. Data analysis used is data reduction, and the feasibility percentage scale. The results of this study indicate that: (1) The scan applied to the 2022 community service video media is the initial scan showing the Phinisi tower, the next scan showing departure to the service location, the next scan showing the servant at the service location, and the closing scan showing the logo animation LP2M. (2) The cinematographic technique that is often used in this community service video media uses an objective camera angel and a subjective camera angel to capture every scene in the community service video media that is made. Low angel level, Eye level angle, High level camera, Extreme long shot, Very long shot, Medium long shot, Close up, and Medium close up. The composition in the dedication video media "Cinematographic Design on Video Documentation of the Results of Community Service LP2M UNM" also varies, but uses more informal compositions in shooting. (3) Service Lecturers provide positive feedback on the resulting media on a number of video criteria that are made, including from taking pictures, video stages, and explanations on videos that are displayed clearly.Keywords :Cinematography, Video Documentation, Results of Service, LP2M.
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Abdokov, Yuri B. "The film music by Boris Tchaikovsky: “Timbral optics” and “Visual acoustics”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 104–39. http://dx.doi.org/10.35852/2588-0144-2022-2-104-139.
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There is something inexplicable in the fact that the film music of the greatest Russian composer of the 20th century, Boris Alexandrovich Tchaikovsky (1925–1996), hasn’t yet been seriously analyzed – not only as a part of his multifaceted legacy, but also as one of the very meaningful pages in the history of music and cinematography. The entire “literature” about the film music of the artist is limited with several synoptical essays (sometimes with gross factual errors and incredible contextual comparisons). But after all he, together with S. Prokofiev, D. Shostakovich, G. Popov, definitively changed the status of music in the Russian cinematography. It is unlikely that this gap, incomprehensible to any professional, aesthetic and moral logic, can be explained only by the fact that the composer imposed a strict ban on the making the studies devoted to his life and work during his lifetime. He was the only composer in the country awarded with the title of People’s Artist of the USSR and the USSR State Prize, who refused official appraisal, although supposed chroniclers and various interviewers always surrounded him. The need for a phenomenological understanding of musical and cinematographic logic of Boris Tchaikovsky became evident after the completion by the article’s author the first monographic study of all the orchestral scores of the composer. B. Tchaikovsky knew cinema very well, he appreciated the unique features of the cinematography, used its expressive possibilities in his symphonic and chamber music in his original way. The composer created a gallery of vivid images in the film music beloved by millions, although many don’t realize its authorship. The poetics of B. Tchaikovsky’s film music raises a number of issues primary to the holistic understanding of the composer’s style: the role of music and the sound-timbre palette in the process of film-making; the “optical” properties of musical timbres, acoustic images as visual projections; the typology of timbral extension and cinematographic chronos; the linking of musical and visual plasticity, and others. For the first time are published the judgments of B. Tchaikovsky revealing some of his views on the essence of music in cinematography and the peculiarities of the interaction between the composer and the director. As the main analytical material are used such outstanding films like “Seryozha” by G. Danelia, “Burn, O Burn, my Star” by A. Mitta, “French Lessons” and “A Raw Youth” by E. Tashkov, “Aibolit-66” by R. Bykov, “The Marriage of Balzaminov” by K. Voinov and others.
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Arozena, Teresa. "Promesas y prótesis." Latente Revista de Historia y Estética audiovisual, no. 1 (2003): 7–20. http://dx.doi.org/10.25145/j.latente.2003.01.12.
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Like a brief introduction, the article gives a view of the integrating movement of science and tecnology in representative arts. Photography and cinematography are considerated like hot spots in this «cold perception» that has been developed in art. The evolution operated in perceptual and cognitive systems it’s analysed from the beginig of the photographic and cinematographic apparatus to nowadays —the telecomunications and digital age— where important changes take place. In this context, some new representational vectors in relation with the image technique are outlined.
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Schtein, Sergey Yu. "STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. THING AND MATERIAL." Articult, no. 2 (2021): 6–23. http://dx.doi.org/10.28995/2227-6165-2021-2-6-23.
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In the first article in a series of works devoted to the analysis of existing and potentially possible algorithms for the research of cinematography, we are talking about the need to understand the fundamental division of the researched into thing and material. This is due to the fact that if for cinema studies and various discourses about cinematography, it is directly that in relation to which cognitive activity is realized, that is, the thing of research (in a methodological sense), then for disciplines with their own thing area (philosophy, cultural studies, psychology, etc.), this or that aspect of cinematography acts only as a material on which their particular disciplinary thing is investigated. In the absence of a full-fledged academic cinematography, this understanding is necessary for the fundamental dilution of existing ideas about cinematography by the nature of the initial cognitive attitudes that are the basis of research activity.
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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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Nevill, Alexander. "Cinematography and filmmaking research." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 188–96. http://dx.doi.org/10.33178/alpha.17.13.
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This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.
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Kotliar, Svitlana, Volodymyr Mykhalov, and Dmytro Pereiaslavets. "Cinematography and Modern Media." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 70–76. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257181.
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The purpose of the study is to analyze modern and traditional media; identify problems and prospects, compare modern media with its traditional analogues; describe the role of main professions associated with film and television; to reveal the problems of modern media. The research methodology consists in applying the following methods: theoretical – analysis of television programs, films, information sources, generalization of the influence of media on world transformations and determination of the interdependence of the structural components that form the whole television space. Scientific novelty. For the first time the components of modern media are deeply analyzed, a detailed analysis of the interdependence of the structural components that form the television space is carried out, using a theoretical analysis of television programs, the factors affecting the quality of the television product are determined. Conclusions. In the course of the article, we analyzed modern and traditional media. With the help of the ongoing analysis, we have established the differences between modern media and traditional ones, problems were identified and possible ways of solving them were analyzed. The components that form modern media were considered in detail and the role of the main film and television professions was determined. The factors, which are influencing the quality of television content were summarized by the author as well.
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Maltz, Andy. "ISO/TC 36 Cinematography." SMPTE Motion Imaging Journal 131, no. 8 (September 2022): 33. http://dx.doi.org/10.5594/jmi.2022.3193428.
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Davenport, G. "Basic Digital Cinematography Concepts." IEEE Multimedia 5, no. 2 (April 1998): 91. http://dx.doi.org/10.1109/mmul.1998.682532.
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Zunjic, Savo. "VR in French Cinematography:." Revista FAMECOS 30, no. 1 (October 31, 2023): e44855. http://dx.doi.org/10.15448/1980-3729.2023.1.44855.
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In my research I am trying to establish the relation between Cinema and VR. The cinematic approach to VR has been particularly strong in France, as a lot of professionals from the world of cinema have been investing themselves over the past decade into fi nding a way to make VR movies, and in that way to move beyond the limitations of traditional cinema and approach the holy grail of the pioneers of the cinema, defi ned by Basin as “total cinema”. In my text I propose to analyze some example/s of French VR movies, such as in Alteration, Eternal Notre-Dame, I Philip, and Notes on Blidness.
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Oka Sugiadnyana, I. Made, and I. Gusti Bagus Suryawan. "Legal Protection For Copyright Holders For Violations In The Form of Piracy of Film Cinematographic Works on The Telegram Application." Journal of Law, Politic and Humanities 4, no. 4 (May 14, 2024): 406–10. http://dx.doi.org/10.38035/jlph.v4i4.373.
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The purpose of this research is to determine the legal protection sought by cinematography copyright holders against piracy of film works via Telegram. The method used in this research is a normative legal research method with a statutory regulatory approach. The research results show that acts of piracy, such as duplicating and distributing cinematographic works without the author's permission, are legal violations that harm copyright holders, both economically and morally. In the context of legal protection for the copyright of cinematographic works, there are two forms, namely preventive legal protection by the government in the form of laws and regulations that regulate it and repressive protection through dispute resolution. Creators or copyright holders can take legal steps, either through litigation in court or non-litigation outside of court with the help of third parties, as an effort to overcome piracy of cinematographic works that occurs in the Telegram application.
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Podosian, Arsen. "THE SCRIPT AS A STRUCTURAL COMPONENT OF THE DIRECTOR’S CREATIVE WORK IN MODERN CINEMATOGRAPHY." Dialog: media studios, no. 29 (March 15, 2024): 125–36. http://dx.doi.org/10.18524/2308-3255.2023.29.300641.
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This scientific work aims to deeply and comprehensively study the scenarios and the role of the director in the modern cinematographic process with the purpose of revealing the system of their interaction and influence on the creation of cinematic works of art. It is necessary to investigate the screenplay as a structural component of the director’s creative work. In exploring the issues, it is necessary to analyze the importance of history as a fundamental aspect of the film and a key structural element in the creative work of the film director. In this context, carefully consider how the screenplay contributes to the evolution of characters, determines the plotline, and influences the emotional spectrum of viewers. Attention should also be paid to the role of screenplays and the interaction between the screenwriter and the director in the process of creating a film. Research methodology is based on the utilization of the following methods to achieve its objectives. Firstly, the theoretical method is employed for the analysis of scientific publications related to screenplays and genres in cinematography. The method of generalization is used to formulate conclusions based on the analysis of literary sources and processing of acquired information. Additionally, the method of systematization is employed to gather and structure the information used in the research. Overall, the research methodology includes analysis, generalization, and systematization of information, which aids in exploring the issues of screenplays and genres in cinematography from a scientific perspective and formulating well-founded conclusions. This research makes a significant contribution to the understanding of the film creation process and unveils new perspectives for further development in this field. It inspires further research and discussions aimed at optimizing collaboration between screenwriters and directors to achieve even greater innovative and creative potential in cinematography. The article provides a deep analysis of the crucial role that screenplays play in contemporary cinematography. Not only their structure but also the elements directors use in interaction with the storyline during film creation are explored. This in-depth analysis reveals significant aspects that are crucial for working with the storyline in the process of creating an audiovisual project.
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Stanik, Mariusz. "UWAGI DO WYKŁADNI ART. 19 UST. 1 USTAWY O KINEMATOGRAFII." Zeszyty Prawnicze 11, no. 3 (December 20, 2016): 335. http://dx.doi.org/10.21697/zp.2011.11.3.17.
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Comments to the Interpretation of art. 19 Clause 1 of the Cinematography ActSummary The text describes a dispute between entities conducting cinemas and film distributors regarding the interpretation of art. 19 clause 1 of the Cinematography Act. The dispute concerned the question whether under the aforementioned provision film distributors are obliged to participate in financing the fee towards Polish Film Art Institute. Analysis of this issue is based on the Warsaw District Court and Appeal Court judgments issued in 2008 and 2009. Analysis also takes into consideration the stenographic records of the parliamentary committee working under the Cinematography Act and interpretation of art. 19 clause 1 of the Cinematography Act made by Polish Film Art Institute itself. In conclusion the author states that according to art. 19 clause 1 of the Cinematography Act the only entities obliged to finance and pay the fee towards Polish Film Art Institute are entities conducting cinemas. Possible changes in this scope may be made only under the appropriate provisions of civil law agreements between such entity and film distributor.
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Khidirova, K. S. "VISUAL AND EXPRESSIVE MEANS OF CINEMATOGRAPHY." Eurasian Journal of Social Sciences, Philosophy and Culture 03, no. 02 (February 1, 2023): 134–41. http://dx.doi.org/10.37547/ejsspc-v03-i02-p1-24.
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This article reveals the art of photography and in the creative process of filming in the artistic types of cinematography. Special attention is paid to such aspects where the play of light and shadow is of no small importance in creating an artistic image.
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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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Palamar Olga, Palamar Olga. "FEATURES OF THE FORMATION OF KINOPOETICS IN THE FICTION DISCOURSE OF VLADIMIR NABOKOV." Fìlologìčnì traktati 14, no. 2 (2022): 99–104. http://dx.doi.org/10.21272/ftrk.2022.14(2)-10.
Full textAbstract:
The article considers the manifestation of cinematography in V. Nabokov's fiction discourse. The analysis of the peculiarities of the origin and functioning of cinematography in the fiction discourse of V. Nabokov is important for understanding the place and role of cinema in the author's novel work and, in particular, for understanding some semantic, ideological and plot aspects. The analysis is based on the analysis of the author's English-language novels: «Laughter in the Dark», «Lolita», «Pale Fire» and «The Original of Laura». The article also aims to continue the research of cinema poetics in the novel work of V. Nabokov in general. The article examines the influence of cinematography on the life and work of the writer V. Nabokov. We update the essential role of cinematography in the Berlin period of the writer's work. We trace the implementation of cinematography through the author's dramaturgical work. In English-language novels, we note cinematic elements and trace their place and meaning. We turn to the script of the film adaptation of «Lolita» and the writer's epistolary with directors S. Kubrick and A. Hitchcock. We trace the reflection of technical, semantic, and aesthetic elements in the artistic discourse of V. Nabokov.