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Journal articles on the topic 'Convention of Cintra'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Bromwich, David. "Romantic Nationalism and The Convention of Cintra." Studies in Romanticism 49, no. 4 (2010): 601–10. http://dx.doi.org/10.1353/srm.2010.0003.

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2

Duggett, T. "Wordsworth's Gothic Politics and The Convention of Cintra." Review of English Studies 58, no. 234 (2007): 186–211. http://dx.doi.org/10.1093/res/hgl145.

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3

Coleman, Deirdre. "Re-Living Jacobinism: Wordsworth and the Convention of Cintra." Yearbook of English Studies 19 (1989): 144. http://dx.doi.org/10.2307/3508047.

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Hunnekuhl, Philipp. "Henry Crabb Robinson, Ernst Moritz Arndt, and William Wordsworth’s Convention of Cintra." Romantik 7, no. 1 (2018): 97–114. http://dx.doi.org/10.14220/jsor.2018.7.1.97.

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5

Valladares, Susan. "“For the sake of illustrating principles”: Wordsworth, the Convention of Cintra, and Satirical Prints." European Romantic Review 24, no. 5 (2013): 531–54. http://dx.doi.org/10.1080/10509585.2013.828400.

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Andrews, Stuart. "Pilgrimage to Waterloo: Lake Poets and the Duke." Romanticism 23, no. 1 (2017): 53–61. http://dx.doi.org/10.3366/rom.2017.0306.

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Southey's 2000-line poem, The Poet's Pilgrimage to Waterloo, was published two centuries ago, in 1816. It does not offer a narrative of the battle, but rather reflections on war – prompted by a visit to the battlefield. Yet in another sense, Coleridge, Southey and Wordsworth all made a pilgrimage to Waterloo in their changing assessment of Arthur Wellesley, first Duke of Wellington, starting with his involvement in Spain's Guerra de la Independencia – Britain's Peninsular War. Elsewhere I have addressed the Lake Poets’ enduring commitment to the libertarian cause of the Spanish and Portuguese

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Mastandrea Bonaviri, Gianluigi. "Cinema as (Tangible and Intangible) Cultural Heritage." McGill GLSA Research Series 2, no. 1 (2022): 19. http://dx.doi.org/10.26443/glsars.v2i1.200.

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This research paper will put forward innovative solutions to strengthen the protection of cinema during armed conflicts, in particular by contending that cinema could be qualified as cultural heritage, thereby falling under the protection of the relevant international Conventions. A special testimony made by artist Sergio Iovino will be first proposed, with a view to highlighting the importance to safeguard cinema and – broadly speaking – every kind of art in wartime. Moving from the current armed conflict in Ukraine, the paper will underline the need for a reassessment of the relevant interna

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Dhemudu, Premananthini, and Dr Mohana Dass Ramasamy. "Rhetorical Conventions in Kannadasan’s Cinema Songs." Journal of Tamil Peraivu 7, no. 1 (2018): 83–90. http://dx.doi.org/10.22452/jtp.vol7no1.8.

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PATRON, Iryna. "THEATER AND CINEMA: SOME TOUCHES FOR COMPARISON." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 95–103. http://dx.doi.org/10.30970/vas.23.2022.12198.

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The article analyzes the problems of correlation and comparison of Stage and screen arts; theater and film actor in the process of creating a play or film. With the help of a comparative analysis, conclusions were made about the differences and similarities that exiSt between theater and cinema in the Studied categories of time, space, acting and the viewer. Attention is drawn to theatrical convention and film reality. We have concluded about some differences and similarities that exist between theater and cinema in the Studied categories of time, space, acting and audience perception. Space a

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Hantke, Steffen. "Horror and the Holocaust: ‘Prestige Horror’ and Frank Pierson’s Conspiracy (2001)." Zeitschrift für Anglistik und Amerikanistik 69, no. 4 (2021): 413–29. http://dx.doi.org/10.1515/zaa-2021-2044.

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Abstract In an article published in 2004, Picart and Frank examined the use of stylistic and thematic elements Holocaust cinema can borrow from the horror film. Their argument at the time was constrained by the availability and their choice of primary texts, but the recent emergence of what has been called ‘prestige horror’ invites viewers to revisit their critical arguments and positions. Since ‘prestige horror’s’ aesthetic strategies tend to challenge conventional definitions of the horror genre, revisiting Picart and Frank’s argument proves most productive in the context of a Holocaust film

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Fomina, Victoria Andreyevna. "Mythology and Conventions of American Pre-War Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (2011): 45–56. http://dx.doi.org/10.17816/vgik3245-56.

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The article investigates Georges Polti's dramatic situations which serve as the basis for making conclusions about the American pre-war cinema. By means of frequency analysis of 50 American top-grossing films of the 1930s the author explores the mythology and conventions of pre-war America. Dramatic Situation 12 "Obtaining" is reflected in the "American Cinderella" myth which is, however, a false mirror of the popular story.

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Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.

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Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, cri

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Horeck, Tanya. "Happy endings in Hollywood cinema: cliché, convention and the final couple." New Review of Film and Television Studies 12, no. 1 (2014): 77–82. http://dx.doi.org/10.1080/17400309.2014.880866.

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14

Auerbach, Jonathan. "Selected Papers from the MLA Convention: Early American Cinema and Politics." PMLA/Publications of the Modern Language Association of America 114, no. 5 (1999): 1067. http://dx.doi.org/10.1632/s0030812900154926.

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Abstract of “McKinley at Home” This paper examined early American cinema's role as a “visual newspaper” to assess the emerging medium's influence on the formation of a national public sphere. Focusing on early moving images of William McKinley, particularly a brief 1896 “front porch” campaign film showing the presidential candidate on his front lawn reading a telegram, I demonstrated how this recently introduced visual technology could be deployed to dislocate time and space for pointed political effect. This effect depended on how McKinley was depicted on-screen “at home” (simultaneously in C

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15

Bayles, J. K. "Review: Genre, Myth, and Convention in the French Cinema: 1929-1939." French Studies 58, no. 3 (2004): 431–32. http://dx.doi.org/10.1093/fs/58.3.431.

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Näripea, Eva, and Ewa Mazierska. "Transcending ‘Cold Intimacies’ in Veiko Õunpuu’s Works." Baltic Screen Media Review 4, no. 1 (2016): 60–87. http://dx.doi.org/10.1515/bsmr-2017-0004.

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Abstract This article examines five films by Veiko Õunpuu, Estonia’s most renowned contemporary director – Empty (Tühirand, Estonia, 2006), Autumn Ball (Sügisball, Estonia, 2007), Temptations of St Tony (Püha Tõnu kiusamine, Estonia/Finland/Sweden, 2009), Free Range: Ballad on Approving of the World (Free Range: ballaad maailma heakskiitmisest, Estonia, 2013) and Roukli (Estonia, 2015), focusing on his representations of neoliberalism and especially its effect on the emotional and intimate lives of the characters. We argue that the characters of his films typically reject the conventional roma

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Demetrio, Wilian, Orlando Assis, Cintia C. Niva, et al. "Comparison of soil invertebrate communities in organic and conventional production systems in Southern Brazil." Soil Organisms 92, no. 2 (2020): 143–57. https://doi.org/10.25674/SO92iSS2pp143.

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Demetrio, Wilian, Assis, Orlando, Niva, Cintia C., Bartz, Marie L. C., Paes, Leocimara, Cardoso, Guilherme, Ferreira, Stephanie, Santos, Everaldo dos, Marzagão, Márcia, Nadolny, Herlon, Sautter, Klaus D., Brown, George G. (2020): Comparison of soil invertebrate communities in organic and conventional production systems in Southern Brazil. Soil Organisms 92 (2): 143-157, DOI: 10.25674/SO92iSS2pp143, URL: http://dx.doi.org/10.25674/so92iss2pp143

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Bogue, Ronald. "Choisir de choisir — croire en ce monde." Cinémas 16, no. 2-3 (2007): 32–52. http://dx.doi.org/10.7202/014614ar.

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Abstract In the philosophy of Pascal and Kierkegaard and the cinema of Bresson and Dreyer, Deleuze finds “a strange thought,” an “extreme moralism that opposes the moral,” and a “faith that opposes religion.” This thought may be described as an immanent ethics of “choosing to choose,” such that one may thereby “believe in this world.” Pascal’s wager and Kierkegaard’s leap of faith are usually treated as exclusively theological concepts, but Deleuze—by way of a Nietzschean adaptation of Pascal and Kierkegaard—sees these concepts as a means of understanding a specific mode of existence, in which

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Azatyan, Shmavon. "Armenian cinema in the late Soviet years: desexualisation as a narrative convention." Studies in Russian and Soviet Cinema 14, no. 3 (2020): 235–56. http://dx.doi.org/10.1080/17503132.2020.1808754.

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Adilla, Annisa, Diryo Suparto, and Rizky Rahmanda Irawan. "An Investigation of Marketing Strategies for Cinema Media Advertising in Indonesia: Comparative Analysis between Conventional and Digital Ages." International Journal of Sustainable Development & Future Society 1, no. 2 (2023): 58–67. http://dx.doi.org/10.62157/ijsdfs.v1i2.36.

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The development of cinema in Indonesia has experienced relatively rapid growth. From the 1950s to the 1970s, cinemas in Indonesia began to build cinemas in almost every corner of the city. Until now, the cinema has been one of the entertainment facilities of choice, which can play cinema media on the big screen and enjoy film production performances at home and abroad. The cinema industry in Indonesia has also entered the era of digitalization. The era of digitalization in the cinema industry includes the availability of film schedules and online ticket purchases via websites and applications.

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21

Gourgouris, Stathis. "Dream-Work of Dispossession." Journal of Palestine Studies 44, no. 4 (2015): 32–47. http://dx.doi.org/10.1525/jps.2015.44.4.32.

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Essentially a cinema of occupation and dispossession, Palestinian cinema disrupts standard notions of national cinema, complicating conventional expectations of national aesthetics or national dreams. As the borders of Palestine's historical territory are continuously under erasure, so too are the symbolic boundaries of its language, which is flexible and inventive; the language of Palestinian cinema is a limit-language. No one has expressed this “limit condition” more succinctly than Elia Suleiman, whose cinematic language exemplifies a poetics of dispossession that depicts the asphyxiating s

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22

Keerthi, Moses. "Taming the 'Shrew': Representation of Women with Psychosocial Disabilities in Malayalam Cinema." Criterion: An International Journal in English 15, no. 1 (2024): 214–25. https://doi.org/10.5281/zenodo.10795618.

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Psychosocial disabilities encompass mental disorders impeding emotional and cognitive regulation, rendering individuals susceptible to failing societal expectations and conventions. This paper surveys the singular obsession of Malayalam cinema with madness—adulterated, vague and chaotic representations of psychosocial disabilities. Madness in women usually serves as distinct foibles that embellish their personalities, adding exotic flavours to formulaic narratives of desire. The absence of visible differences in the body renders psychosocial disabilities easily exploitable without compro

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23

Coe, Jason. "Everything Everywhere All at Once and the Intimate Public of Asian American Cinema." Film Quarterly 76, no. 4 (2023): 35–45. http://dx.doi.org/10.1525/fq.2023.76.4.35.

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The multiple Academy Award winning sci-fi absurdist multiverse film Everything Everywhere All At Once (Daniels, 2021) uses transpacific film genre conventions to represent the possible life variations of its Asian American immigrant family protagonists. An exception to the seeming incommensurability of commercial feature filmmaking and the anti-capitalist and anti-racist traditions of Asian American cinema, the film highlights how the conventions of transpacific genre films condition the intimate public of Asian American audiences. To be legible as an Asian American, the film shows, is to be a

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Morozova, Irina V. "American Biopic in Contemporary Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 105–14. http://dx.doi.org/10.17816/vgik81105-114.

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Biopic has recently become a leading genre in the world film industry. These films are especially popular in the USA. It is the dominant and most influential trend in the modern American film production. The article analyses American biopic conventions, defines the stages of its evolution and basic types, categorizes its characters.

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Myrstad, Anne Marit. "Heroines of Norwegian silent cinema: Nordic femininity and conventions of cinematic whiteness." Journal of Scandinavian Cinema 13, no. 2 (2023): 183–205. http://dx.doi.org/10.1386/jsca_00094_1.

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Framed within studies of whiteness in film, this article investigates the positioning and performance of the female lead in Norwegian silent cinema. Richard Dyer’s arguments on the importance of staging, not least lighting, of the Hollywood heroine to convey ethereal and moral aspects of ‘superior’ whiteness, are central to the analysis. The question is how the heroines are positioned as white: aesthetically, narratively and intersectionally in regard to class, gender and ethnicity. Complex or unstable class and ethnicity performances in the 1910s give way to a more indisputably white heroine

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Shaw, Nathan. "As the crow flies: Conventions and symbolism in Seven Minutes in the Warsaw Ghetto." Short Film Studies 4, no. 2 (2014): 195–98. http://dx.doi.org/10.1386/sfs.4.2.195_1.

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In feature-length Holocaust cinema, viewers witness two hours of harrowing events, before being pacified with an ending providing some comfort and relief; often undermining what has gone before. However, in short-film Seven Minutes in the Warsaw Ghetto, this structure is reversed, fitting perfectly with the medium to provide a stronger, lasting impact.

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Thornton, Niamh. "Alejandro González Iñárritu’s melodramatic masculinities." Studies in Spanish & Latin American Cinemas 18, no. 1 (2021): 57–72. http://dx.doi.org/10.1386/slac_00036_1.

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Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2

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Barreto Leblanc, Paola. "From Closed-Circuit Television to the Open Network of Live Cinema." Surveillance & Society 7, no. 2 (2009): 102–14. http://dx.doi.org/10.24908/ss.v7i2.4137.

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This paper accompanies four films which use CCTV to create Live Cinema performances which challenge both the narrative conventions of cinema and the expectations that we have of CCTV images. The paper details the ways in which this occurs and concludes with some lessons for future CCTV film-making and performance. The films can be viewed at: http://paoleb-ccvv.blogspot.com/

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VASILIU, Emanuel-Alexandru. "“Bonjour, bourgeois” or undermining the realist convention in The Greek Weird Wave." Theatrical Colloquia 12, no. 2 (2022): 121–26. http://dx.doi.org/10.35218/tco.2022.12.2.13.

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The Greek Weird Wave is an ongoing cinema movement, some researchers state, which debuted with Kynodontas (directed by Yorgos Lanthimos, 2009), finalised – aesthetically speaking – once performance art was introduced in the film Attenberg (directed by Athina Rachel Tsangari, 2010). There are aesthetic links and links regarding conception between the above-mentioned directors, as the two films can be interpreted through the same critical device. Overcoming the aesthetic conditioning can be felt in the second internationally-produced film directed in 2015 by Yorgos Lanthimos, The Lobster, in whi

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Treadwell, Miya. "Narratives that Bind: Black American Diasporic Content, Netflix, and World Cinema." Studies in World Cinema 2, no. 1-2 (2022): 50–72. http://dx.doi.org/10.1163/26659891-bja10014.

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Abstract In this article, I argue that recent Black American narratives on Netflix intersect with and can be understood through principles of world cinema. Black American narratives have long existed outside of the Hollywood conventions that often serve as a line of demarcation in world cinema scholarship. Building on Lúcia Nagib’s definition of world cinema (2006) and her concept of realistic modes of production (2020a/2020b), I show how contemporary Black American narratives on Netflix are sustaining a diasporic perspective. Although originating in the US, its marginalized production and pre

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Hu, M. J., and G. Schnabel. "Fungicide resistance inBotrytis cinerea: a challenge for conventional small fruit production." Acta Horticulturae, no. 1133 (May 2016): 503–6. http://dx.doi.org/10.17660/actahortic.2016.1133.78.

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32

Granger, Serge. "‘Other Diplomacy’ in Paradiplomacy: Quebec’s Cinema and China." Hague Journal of Diplomacy 11, no. 4 (2016): 383–403. http://dx.doi.org/10.1163/1871191x-12341348.

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China has had an important impact on the political mobilization of other forms of diplomacy in the Canadian province of Quebec. Quebec’s missionaries and Maoists have used cinema for propaganda purposes aimed at forging political opinions towards China. Quebec’s modest non-state actor (nsa) — the Quebec cinema lobby — has developed expertise and links with other institutions or actors — both non-state and state — and has had an impact on international relations. Quebec’s cinema is an important lobby participating in a coalition of nsas that triggered and monitors the unesco Convention on the P

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Pennington, Jody. "James McDowell's Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple." American Studies in Scandinavia 48, no. 1 (2016): 97–99. http://dx.doi.org/10.22439/asca.v48i1.5367.

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Guaraná, Bruno. "“A Few Years from Now” in Western Pernambuco." Film Quarterly 74, no. 2 (2020): 77–80. http://dx.doi.org/10.1525/fq.2020.74.2.77.

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In this essay, Bruno Guaraná argues that Bacurau presents a cinematic intervention that is twofold: first, into global genre cinema, as it disrupts generic conventions of both the Western and the horror film and relocates the narrative to the margins; and second, into Brazilian cinema—in particular, regarding its depictions of the sertão, or hinterland. Guaraná calls attention to the role played by the film’s narrative and musical soundscape in engineering this audiovisual reeducation.

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Hampshire, Kathryn. ""Man's Hatred Has Made Me So"." Digital Literature Review 3 (January 13, 2016): 119–35. http://dx.doi.org/10.33043/dlr.3.0.119-135.

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By using artistic conventions only availablethrough cinema, The Phantom of the Opera (1925) manipulates the gaze to create a character so inhuman and unsympathetic, he transcends the position of the freak into the realm of the monster. The silent horror version of this film extends the social construct of the freak into cinema so that, while the freak shows may have been closing their doors, the legacy of the freak lived on.

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Delgado Rodríguez, Darío. "Abismos, espejos y ojos: el terror elevado a través de Jordan Peele." Latente Revista de Historia y Estética audiovisual 21 (2023): 25–77. http://dx.doi.org/10.25145/j.latente.2023.21.02.

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High terror is characterized by its minimalist stylization and profound themes that explore dark aspects of the human condition, diverging from the conventional resources of commercial horror cinema. Using the cinema of Jordan Peele as an example, this article seeks to delve into this cycle of films, deepening into their techniques and the meanings that are hidden beneath the terror narratives they unfold. Likewise, we propose that as powerful generators of meanings, this is something we find present in horror cinema throughout the history of the medium.

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Viernes, Noah. "Unresolved Subjects in the Cinema of Statelessness." Review of Human Rights 5, no. 1 (2019): 1–17. http://dx.doi.org/10.35994/rhr.v5i1.90.

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Cinematic projections of refugees, exiles, and forced migration depart from the conventions of documentary fact to expand the experience of statelessness. For instance, Pierre-Yeves Vandeweerd’s post-ethnographic work configures voices and bodies onscreen to communicate political subjectivities lost to names, dates, and macropolitical events. These films thereby return existing questions about the unresolved sovereignties of states.

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Pan, Yi-ling. "From Taiwan New Cinema to Post-New Cinema: The Transition of Identity in Cape No. 7 and the Naming Issue of Post-New Cinema." Open Cultural Studies 5, no. 1 (2021): 284–94. http://dx.doi.org/10.1515/culture-2020-0130.

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Abstract In 2008, Taiwan’s cinema began to get back on its feet after an extended lull, with several directors successively releasing critically acclaimed first works. Compared with the well-known Taiwan New Cinema, this new film trend works within the conventions of genre and often focuses on local issues and ordinary life. In doing so, critics and scholars call it Post-New Cinema. Yet, its naming brings difficulties to our understanding on this epoch-making wave, since it neither intends to innovate the paradigm and the framework established by New Cinema, nor does it completely inherit the

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Opfer, James. "Back to the Drawing Board." Groundings Undergraduate 4 (April 1, 2011): 45–56. http://dx.doi.org/10.36399/groundingsug.4.247.

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Animation has long occupied the sidelines of cinema. As its essence resides not in the ability to capture the world as it really is but in an artistic representation of reality, conventional animation has often been discarded as an outdated by-product of cinema’s early technological development. However, with advances in digital animation, live-action film is becoming increasingly reliant on computer-generated images as a tool to manipulate the on-screen image, whether to subtly tweak aesthetics or to create entire scenes. The relationship between animation and live-action cinema is therefore

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HyoIn Yi. "Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s." Korea Journal 59, no. 4 (2019): 78–102. http://dx.doi.org/10.25024/kj.2019.59.4.78.

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Aakash Sharma. "(Re)Looking at the Women of Indian Cinema in the Praxis of Conventional Rendering." Knowledgeable Research: A Multidisciplinary Journal 3, no. 01 (2024): 1–9. http://dx.doi.org/10.57067/5bejv998.

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Films significantly impact social consciousness as they have the power to shape opinions, influence perspectives, and contribute to cultural conversations. In shaping perceptions, films enable people to perceive certain issues, events, or groups of people from dissimilar viewpoints. This paper looks into the nuances of representation of Indian women in films, primarily in Hindi cinema, and how their portrayal differs when their identities are constructed by writers and directors of the opposite gender. It argues for an equitable position for representing women in cinema and highlights the role

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Fong, Siao Yuong, and How Wee Ng. "Unpacking the ‘Singapore New Wave’." Asian Cinema 31, no. 1 (2020): 3–15. http://dx.doi.org/10.1386/ac_00010_2.

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As the cinema of a small nation, Singapore cinema punches above its weight. The series of international film festival awards won by Singaporean filmmakers alongside the multiple books published on Singapore cinema since the 2010s seem to signal a revival of the industry. This editorial introduction unpacks the term ‘Singapore New Wave’ as a starting point for this Special Issue to raise questions about the changes that appear to be happening in Singapore’s film industry. By situating the ‘Singapore New Wave’ within global cinema, this article argues for the importance of considering the issue

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Göktürk, Deniz. "Turkish-German Traffic in Cinema: A Critical Review." New Perspectives on Turkey 29 (2003): 229–43. http://dx.doi.org/10.1017/s089663460000618x.

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The Turkish-German axis is not the first route that comes to mind when rethinking German cinema in a global perspective. Turks in German cinema have tended to be cast in one-dimensional roles, as victims on the margins of society, unable to communicate and integrate. After more than four decades of Turkish presence in Germany, can we finally observe a new trend in representation, focusing more on playful enactments, mutual mirroring, and border-crossings? In an era of increasing global mobility of people and media, questions about the status of transnational cultural productions by travelers,

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Apter, Emily. "Mobile Citizens, Media States: A Panel at the 2000 MLA Convention." Publications of the Modern Language Association of America 117, no. 1 (2002): 79–83. http://dx.doi.org/10.1632/003081202x63528.

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The idea for this panel grewout of discussions among Anton Kaes, David Rodowick, and me during our stint as members of the PMLA Editorial Board in 1998–99. We were interested in developing a theme that would build on some of the issues raised in a prior PMLA special topic devoted to globalizing literary studies but that would concentrate more pointedly on the politics of transnational cultural production and the effect of global media on literature, art, and cinema. Working with the assumption that categories of citizenship and local forms of identity have become increasingly mobile, nomadic,

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Muljadi, Hianly, and Sonny Angjaya. "BEAUTY STANDARDS AS SYMBOLIC VIOLENCE AGAINST WOMEN IN IMPERFECT: KARIER, CINTA, & TIMBANGAN (2019)." Paradigma: Jurnal Kajian Budaya 14, no. 3 (2024): 435–50. https://doi.org/10.17510/paradigma.v14i3.1520.

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Beauty is often perceived as a neutral concept; however, perceptions of beauty vary across different societies. In Indonesia, for instance, beauty is frequently associated with having fair skin and a slim physique. Consequently, women who do not meet these criteria are often deemed unattractive. Furthermore, beauty is commonly linked to a woman’s success. This issue is critically examined in the Ernest Prakasa’s film Imperfect: Karier, Cinta, & Timbangan (2019), which centers on the life of a young woman named Rara, who is depicted as dark-skinned and slightly overweight. The societal pres

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Barreira, Hugo. "Práticas de devoção no cinema: uma análise de La Passion de Jeanne d’Arc de C. T. Dreyer (1928)." CEM, no. 14 (2022): 23–38. http://dx.doi.org/10.21747/2182-1097/14a1.

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La Passion de Jeanne d’Arc (1928), directed by C. T. Dreyer, marks a breakthrough with cinema depictions of religious subjects.Settingaside conventional narratives, closed and declamatory, and concentrating on the interaction between semi-isolated images, appealing to multiples senses, the film transfers to the observer the task of animating and conferring global meaning to them. Though, in the twilight of silent cinema, Dreyer’s film is celebrated by its formal characteristics. Through this article, we propose to explore the representation of devotional practices on cinema through an analysis

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OMAREEN, Zaher. "Zero Degree Cinema Documenting the Syrian Uprising, and the Utopia of Cinema." Regards, no. 32 (October 15, 2020): 203–43. https://doi.org/10.70898/regards.v0i32.1211.

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This research investigates “Zero Degree Cinema” in the 2011 Syrian uprising, focusing on how low-resolution imagery, handheld filming, and ambient sound contribute to the formation of a distinctive audiovisual identity in documentary cinema. By employing theoretical frameworks from Roland Barthes, John Ellis, and Hito Steyerl, the study contextualizes Syrian protest videos within the broader landscape of documentary film movements. It reveals the impact of spontaneous, citizen-led documentation in conflict zones and examines how experiences of fear and mortality inform new artistic characteris

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Wanyonyi, Emmanuel. "Slow beauty: Refocusing Oliver Hermanus’s Skoonheid through a slow cinema lens." Tydskrif vir Letterkunde 60, no. 1 (2023): 11–21. http://dx.doi.org/10.17159/tl.v60i1.15109.

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Oliver Hermanus’s Skoonheid is often read as a representation of South African queer realities and political progressiveness both during and since the dissolution of apartheid. Consequently, Hermanus’s contribution to the aesthetic of slowness in Skoonheid has gone largely unnoticed in the broader context of slow cinema. In this article, I examine how Hermanus, through the slow cinema conventions, urges the viewer to contemplate issues of crucial importance to human behaviour, thereby putting Skoonheid’s meditative qualities on display. Drawing on Ira Jaffe’s concept of expressive minimalism,

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Konefał, Sebastian Jakub. "Śnieżna depresja i norweskie podróże do kresu ironii. Reinterpretacje poetyki kina drogi w filmie "Białe szaleństwo" Rune Denstada Langlo oraz w literackiej twórczości Erlenda Loe." Panoptikum, no. 21 (December 18, 2019): 137–48. http://dx.doi.org/10.26881/pan.2019.21.08.

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Contemporary Norwegian cinema uses the conventions of the road movie to deconstruct the narrative structures of travel stories and deploys them as a means of social critique. Such a strategy may also demystify the involvement of national discourses in the so called “tourist view”. The article analyzes the cinematic adaptation of Erlend Loe’s screenplay called “Nord” (2009). The movie was advertised in Poland as an “antidepressant comedy from the polar circle”. However, this interpretation of the plot and aesthetics of the film tries to prove the opposite thesis, presenting some arguments provi

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Athique, Adrian M. "Review: The Politics of India's Conventional Cinema: Imaging a Universe, Subverting a Multiverse." Media International Australia 107, no. 1 (2003): 155–56. http://dx.doi.org/10.1177/1329878x0310700121.

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