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Journal articles on the topic 'Cult cinema'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Hills, Matt, and Jamie Sexton. "Cult cinema and technological change." New Review of Film and Television Studies 13, no. 1 (2015): 1–11. http://dx.doi.org/10.1080/17400309.2014.989007.

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Jorge, Marina Soler. "Cinefilia, cult movies e o filme Bastardos inglórios, de Quentin Tarantino." Galáxia (São Paulo) 13, no. 25 (2013): 99–100. http://dx.doi.org/10.1590/s1982-25532013000200009.

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Este artigo tem como objetivo discutir as aproximações entre a cinefilia e os cult movies com base na análise do filme Bastardos inglórios, de Quentin Tarantino (2009). O amor cinéfilo, conforme surge nos anos 1950 a partir da crítica dos Cahiers du Cinéma, legitima filmes que correm à margem do gosto elevado francês e abraça obras até então consideradas menores. Nesse processo, cria uma teoria e uma "política" que colocam um cinema B no rol das manifestações elevadas. O fenômeno dos cult movies também tenta a seu modo legitimar o "mau gosto", dessa vez por meio de práticas sociais que prefere

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Smith, Iain Robert. "Theorising cult cosmopolitanism: the transnational reception of Bollywood as cult cinema." Transnational Cinemas 8, no. 1 (2016): 20–34. http://dx.doi.org/10.1080/20403526.2017.1258160.

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Carluccio, Daniele. "Le cultisme de Philippe Soupault." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 19, no. 1 (2025): 23–35. https://doi.org/10.51777/relief23691.

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This article aims to rethink Philippe Soupault's attitude towards cinema, literature and the Surrealist group in the light of the notion of cultism. Cultism is first defined as an aesthetic attitude characterized by irrationality, subversion and irony, and historically situated in film criticism and the taste for so-called cult films. This is followed by a review of Soupault's discourse on cinema, particularly during the Surrealist period. Finally, a cultist reinterpretation is offered of the writer's relationship to avant-garde sociality and to Lautréamont's Les Chants de Maldoror, one of the

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Tierney, Dolores. "Mapping Cult Cinema in Latin American Film Cultures." Cinema Journal 54, no. 1 (2014): 129–35. http://dx.doi.org/10.1353/cj.2014.0068.

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Smagina, S. A. "«There Is No Flame, Only Smoke Lingers»: the Image of a Rock Musician in Modern Russian Cinema." Vestnik VGIK 16, no. 2(60) (2024): 80–94. http://dx.doi.org/10.69975/2074-0832-2024-60-2-80-94.

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The article analyzes the image of a rock musician in modern Russian cinema. Having developed a cult status in the mid-80s - early 90s, this kind of character reappeared on the screens in the first decade of the 21st century. One after another, the sequels to the Perestroika hits «2-Assa-2» by S. Solovyov and «The Needle Remix» by R. Nugmanov are released, a number of other notable films featuring this image are produced, but they fail to repeat the success of their predecessors. The author analyzes the cultural codes behind the image of a rock musician in Russian cinema, traces its changes and

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Deka, Violet Barman. "The world of Assamese celluloid: ‘yesterday and today’." CINEJ Cinema Journal 9, no. 1 (2021): 393–423. http://dx.doi.org/10.5195/cinej.2021.358.

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The study explores the entire journey of the Assamese cinema, which means a journey that will narrate many stories from its past and present, furthermore also will try to analyze its future potential. This paper deals with the trends emerging in genres, technical advancement, and visual representation along with a cult that emphasized the commercial success of cinema by toeing the style of Bollywood and world cinema. It explores the new journey of Assamese cinema, which deals with small budgets, realistic approaches, and portraying stories from the native lanes. It also touches upon the phase

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Finnemore, Daniel. "Breaking the Cult of Masculinity –The Other Lamb, Midsommarand Empowerment on Screen." Vol. 5 No. 1 (2024) 5, no. 1 (2024): 1–11. http://dx.doi.org/10.33093/ijcm.2024.5.1.1.

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It is not only cult cinema but also the representation of the ‘cult’ on screen that can provide vital opportunities to de-centre destructive masculinity and ask questions about wider gender power struggles. Female characters that are at the centre of cult cinema, driving the narrative and breaking the rules of masculine control are not a new phenomenon. From Pam Grier’s ferocity in films such as Coffy (1973) and Foxy Brown(1974) to Kurt Russell’s brutal takedown in Tarantino’s Death Proof (2007), cult film has long been a platform for destabilising the notion of traditional gender hierarchies.

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Finnemore, Daniel. "The Caravan Of Hate: The Cautionary Tale of Ben Wheatley’s Sightseers and Alternative Spaces for Masculinity On-Screen." International Journal of Creative Multimedia 4, no. 1 (2023): 58–69. http://dx.doi.org/10.33093/ijcm.2023.4.1.4.

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Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage

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Penkala, Ana Paula, and Isadora Ebersol. "O cinema feminino como um retrato de si: o enquadramento feminino em 'Retrato de uma jovem em chamas'." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (2020): 2–36. http://dx.doi.org/10.22456/2596-0911.104018.

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Retrato de uma jovem em chamas, filme de Céline Sciamma, propõe a discussão sobre o “olhar feminino”, tanto na pintura quanto no cinema. O artigo parte da perspectiva dos Estudos Feministas e busca correlações entre o filme e o cânone da literatura, da pintura e do cinema e o sistema patriarcal que lhes dá suporte. Observa como esse cânone instrumentaliza um culto à passividade feminina e sua inscrição enquanto objeto na História, estetizando “a mulher morta” como índice dessa representação. Parte da hipótese de que a imagem da mulher pode ser aprofundada pela narrativa de autoria feminina enq

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Alexandre Sobrinho, Gilberto. "Espacialidades no cinema." Revista Visuais 7, no. 2 (2021): 1–8. http://dx.doi.org/10.20396/visuais.v7i2.15980.

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Na fábula utópica Space is the place (John Coney, 1974, EUA) Sun Ra e sua banda Arkestra realizam uma viagem intergaláctica, aportam na Terra, especificamente em Chicago e Oakland (Estados Unidos) e começam seu périplo de recrutamento de pessoas negras para um deslocamento físico e simbólico, com o objetivo de habitar outros territórios. Rodado e lançado no começo dos anos 1970, o filme teve pouca repercussão na época. Posteriormente, com o VHS e DVD, o filme tornou-se cult, passou a ser celebrado entre cinéfilos e críticos e tornou-se um dos ícones do afrofuturismo, termo cunhado por Mark Der

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Griban, I., and A. Nevolin. "Cinema as a source for forming historical memory: from the experience of the student's club "Twenty fifth frame" activity." Bulletin of Science and Practice, no. 9 (September 15, 2017): 184–88. https://doi.org/10.5281/zenodo.891328.

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For the last decades, the problem of the formation, preservation, transformation of historical memory is a subject of interdisciplinary researchers, causing wide interest of anthropologists, psychologists, literary critics, sociologists, cult urologists. The special attention to problems of memory is paid in historical science. The article considers cinema as a source of formation of the historical memory of modern Russian society. The experience of the student’s club “Twenty Fifth Frame”, functioning based on the Ural State Pedagogical University for several years, is analyzed. The problems f

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Bartlett, Rebecca. "‘Cult Cinema and Technological Change’ Aberystwyth University, 15–16 April 2014." Journal of British Cinema and Television 12, no. 2 (2015): 265–68. http://dx.doi.org/10.3366/jbctv.2015.0261.

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Murphy, Kayleigh. "Sake, sex and gore: The Japanese zombie film and cult cinema." Asian Cinema 26, no. 2 (2015): 193–203. http://dx.doi.org/10.1386/ac.26.2.193_1.

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Smith, Iain Robert. "So ‘foreign’ it’s good: the cultural politics of accented cult cinema." Continuum 33, no. 6 (2019): 705–16. http://dx.doi.org/10.1080/10304312.2019.1677983.

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Rendell, James. "Extreme Asia: the rise of cult cinema from the Far East." New Review of Film and Television Studies 14, no. 2 (2016): 280–83. http://dx.doi.org/10.1080/17400309.2016.1143191.

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Smith, Paul Julian. "The Lorca cult: Theatre, cinema, and print media in 1980s Spain." Contemporary Theatre Review 7, no. 4 (1998): 65–80. http://dx.doi.org/10.1080/10486809808568481.

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Celep, Ödül. "The Politics of David Cronenberg’s Cinema of Body Horror." Eklektik Sosyal Bilimler Dergisi 2, no. 2 (2024): 216–41. https://doi.org/10.61150/eklektik.2024020202.

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The genre of horror film was invented with the production of Dracula (1931). Since then, a large number of horror films have been made. Even though horror has often been considered an inferior film genre, the 20th Century witnessed several filmmakers, directors and films that have contributed to the elevation of the horror film genre. The scope of horror films has extended, and the types of horror have diversified over time, especially during the 1970s and 1980s. Body horror is a peculiar sub-genre of horror film genre. Though its history is not too long, a significant number of body horror fi

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Smagina, S. A. "Our Hearts Demand Change. The Image of a Rock Musician in the Late Soviet Cinema." Art & Culture Studies, no. 1 (March 2024): 512–33. http://dx.doi.org/10.51678/2226-0072-2024-1-512-533.

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The article analyses the image of a rock musician in the late Soviet and modern Russian cinema. Having appeared on screen in the mid-80s, a rock musician character type immediately had a cult following. The image represented a hero of the then-new time, a singer of freedom, a bearer of a different, “correct” pro-Western worldview, starting from the appearance and ending with the philosophy of life, and a symbol of disagreement not only with the generation of fathers but also with the then-existing, “wrong” world order in general. A rock musician in the perestroika cinema was a typical rebel ch

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Kirkland, Ewan. "Contextualizing the bronies: Cult, quality, subculture and the contradictions of contemporary fandom." Journal of Popular Television 8, no. 1 (2020): 87–104. http://dx.doi.org/10.1386/jptv_00012_1.

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This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship an

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Faizal, Ahmad Riza. "Flip and Switch; Minority and Cult Film in Indonesian cinema (Semiotic of Cahaya Dari Timur: Beta Maluku)." Jurnal Komunikasi Ikatan Sarjana Komunikasi Indonesia 2, no. 1 (2017): 40. http://dx.doi.org/10.25008/jkiski.v2i1.90.

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Flip and switch are terms proposed from this research as milestones for signifying when a film narrative change their syntagmatic course through characters back and forth in weight and position thus change the messages that might be conveyed by the spectators about the film. The concepts were pointed by using the semiotic rectangle, or also known as The Greimas’ rectangle, about minority issues in one of the best Indonesian film ever made, Cahaya Dari Timur: Beta Maluku. This research found two flips and two switches which signify changes in course and narrative patterns through out the film.

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Pavlov, Alexander, and Polina Khanova. "Cult in everything but name? Transnational experiences of (Western) cult cinema in late soviet and early post-Soviet Russia." Transnational Cinemas 8, no. 1 (2016): 49–64. http://dx.doi.org/10.1080/20403526.2017.1252544.

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Höbusch, Harald. "Modernism and the Cult of Mountains: Music, Opera, Cinema by Christopher Morris." German Studies Review 38, no. 1 (2015): 194–96. http://dx.doi.org/10.1353/gsr.2015.0028.

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Monteyne, Kimberley. "Idealized Bodies and the Visual Turn after the First World War: American Children's Public Health Campaigns." Cultural History 11, no. 1 (2022): 1–26. http://dx.doi.org/10.3366/cult.2022.0252.

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As children's public health education in the United States became significantly invested in visual instruction and pleasurable learning experiences following World War I, these methods sought to redefine healthy bodies through a twofold approach: appeals to the burgeoning film industry and idealized celebrity bodies, and a wide-reaching program of statistical measurement initiatives. In this process the child's body was reimagined through the trope of the movie star – an immaterial and depthless projection immune from the physical effects of war – and also abstracted via mass statistical measu

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Hučková, Jadwiga, and Tomáš Hučko. "Jak w Czechosłowacji pojmowano filmy Munka i Wajdy, czyli film w kontekście zawikłanej historii." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (2017): 215–30. http://dx.doi.org/10.14746/i.2017.29.13.

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Films of Polish Film School, the most signifi cant formation in post-war history of Polish cinema, appeared in Czechoslovakia with several years of delay. Power feared that their message will be dangerous for spectators. Meanwhile – for viewers they remain unknown or diffi cult to understand and only a few critics and fi lm historians could read them in accordance with the intentions of the directors Andrzej Munk and Andrzej Wajda, being the main representatives of the stream.

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Golovnev, Ivan Andreevich, and Elena Valentinovna Golovneva. "IMAGE OF THE SHAMAN IN ETHNOGRAPHIC CINEMA (ON THE MATERIAL OF THE FILM “OLD MAN PETER”)." Yearbook of Finno-Ugric Studies 16, no. 2 (2022): 316–27. http://dx.doi.org/10.35634/2224-9443-2022-16-2-316-327.

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The article considers ethnographic cinema as a form of visual representation of religious phenomena (manifestations of shamanism) among the Ob Ugrians. The authors argue that ethnographic films are of particular value for the study of indigenous shamanism. They demonstrate not only ritual practice and rites, but the ordinary, non-ritual side of the life of shamans as well as combine research and cinematic approaches. As a case study, the documentary "Old Man Peter", shot by filmmaker I. A. Golovnev in 2004-2008 in the Ob North, in the places of residence of the Kazym Khanty, is considered. Bas

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Pett, Emma. "A new media landscape? The BBFC, extreme cinema as cult, and technological change." New Review of Film and Television Studies 13, no. 1 (2014): 83–99. http://dx.doi.org/10.1080/17400309.2014.982910.

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Mendik, Xavier. "Beneath Still Waters: Brian Yuzna’s Ritual Return in Indonesian Cinema." Plaridel 11, no. 2 (2014): 140–61. http://dx.doi.org/10.52518/2014.11.2-06mndk.

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This article offers the first academic consideration of Brian Yuzna’s recent films created in Indonesia. Since the mid 1980s, Yuzna has worked extensively across the USA, Europe and the Far East (both as a director and producer), pioneering a distinctive international brand of horror cinema that combines social critique with explicit splatter. Despite his transnational credentials, Yuzna’s work in Indonesia has largely been ignored by those critics interested in reclaiming 1970s/80s genre entries as more ‘legitimate’ symbols of Indonesian cult cinema. However, by considering Yuzna’s 2010 title

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Yeung, Jessica Siu-yin. "Hong Kong Literature and the Taiwanese Encounter: Literary Magazines, Popular Literature and Shih Shu-Ching's Hong Kong Stories." Cultural History 12, no. 2 (2023): 224–50. http://dx.doi.org/10.3366/cult.2023.0288.

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This article examines the ways literary adaptations between Hong Kong and Taiwanese writers shape literary cultures in both places during the Cold War period. The 1950s and 1960s were the time when Hong Kong and Taiwan literary cultures were starting to thrive. An influx of literati into both places collaborated with each other and the locals to experiment with literary forms in literary magazines. The 1950s and 1960s were also the time when Hong Kong and Taiwan cinema experienced the first waves of adapting literary works into film in the postwar period. After the literary magazine culture dw

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Coates, Amanda. "Gregg Araki and Queer Asian American Empowerment in the Teenage Apocalypse Trilogy." Film Matters 12, no. 3 (2021): 46–56. http://dx.doi.org/10.1386/fm_00176_1.

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Gregg Araki is an independent filmmaker who is best known for his low budget, independent cult films that contributed to the New Queer Cinema movement of the 1990s. As an Asian American filmmaker, Araki faces criticism due to his lack of overt Asian American representation. However, by inclusion of an Asian American star, his Teenage Apocalypse Trilogy features progressive representation of queer Asian American men, empowering them by allowing them to explore their sexuality freely without being held back by binary representation or stereotypes.

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Valančiūnas, Deimantas. "Introduction. From Highbrow to Lowbrow: Studies of Indian B-grade cinema and beyond." Acta Orientalia Vilnensia 12, no. 2 (2011): 7–12. http://dx.doi.org/10.15388/aov.2011.1.3936.

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Vilnius University Cardboard skulls decorating the book of the dead’s pink cover―the Necronomicon; intoxicated young ladies having a ‘kitty party’ then gang raping their male servant; secret agents 077 and 707 serving the nation; a shape-shifting monster’s head rotates 180 degrees while tracing a doomed bride in red and the list of similar images is far from exhaustive. The above mentioned aesthetical and narrative cinematic devises just happen to come from a variety of Indian films―usually ascribed to the ‘lower’ cinematic cultures and labeled as exploitative, B-grade or even ‘trash’ cinema.

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Hendy, Elizabeth. "“Nomi Malone is what Las Vegas is all about!”: Phallic women in Showgirls." Frames Cinema Journal 20 (November 16, 2022): 161–74. http://dx.doi.org/10.15664/fcj.v20i0.2517.

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Showgirls (1995) was a high-budget, high-concept Hollywood movie that immediately bombed at the box office. Despised by audiences and critics, Showgirls later found an appreciative audience through late-night cult screenings in cinemas, drag shows, and in academic discourse on trash cinema. Considered lowbrow and sleazy due to its abundance of female nudity, Showgirls is reconsidered in this article. With its hyper-stylised format, considered visual construction, and campy performances, Showgirls, perhaps inadvertently, allows space for a queer female subjectivity through main character Nomi M

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Imanjaya, Ekky. "Mondo Macabro as Trashy/Cult Film Archive: The Case of Classic Indonesian Exploitation Cinema." Plaridel 15, no. 2 (2018): 137–56. http://dx.doi.org/10.52518/2018.15.2-05imjaya.

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Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014). However, this paper will demonstrate the importance of Indonesian exploitation cinema, alternative film archives, and exploitation film preservation. It will focus on the output of Mondo Macabro, a transnational DVD label that consistently preserves world trashy films, including Indonesian films produced from the 1970s to the 1990s. By focusing on its DVD paratexts

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O’Malley, Aidan. "“Bro, You Just Filmed Cringe!”: Cringe Cinema and So-Bad-It’s-Good in the Internet Age." Film Matters 15, no. 2 (2024): 49–60. https://doi.org/10.1386/fm_00337_1.

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The following article explores the rise of “cringe culture” in online ecosystems and applies the spirit of internet irony to movies considered “so bad, they’re good.” Drawing from scholarship on camp, trash, and historical badfilm, I advance a twenty-first-century canon of cringe cinema, sourced from social media and online forums, divided into films that encourage our compassion or conversely, provoke our contempt. Finally, I contend that the internet plays a radical new role in the nature of cult spectatorship and debate if cringe is mere schadenfreude or the next generation in the politics

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Khan, Amna Anwaar, and Ahmad Bilal. "A Comparative Analysis of Socio-cultural, Economic and Cinematic Content among the Two Renditions of Punjabi Cinema Cult Classic: ‘Maula Jatt’." Human Nature Journal of Social Sciences 5, no. 3 (2024): 105–10. https://doi.org/10.71016/hnjss/hk3acp92.

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Aim of the Study: Punjabi films hold an influence on Pakistani Cinema, particularly in the late 1970s to 1990s. This genre has been showcasing Punjab’s rich culture, artistic heritage, language, music and promoting local folklore. Maula Jatt was one of the gems from Pakistani Punjabi films. The rich, vibrant, loud and furious action-drama film Maula Jatt (1979) was the biggest box-office success of its times. This illustrious film not only marked its impact on cult classic Punjabi cinema in 1979 but its remake The Legend of Maula Jatt (2022) has created historical success internationally. Meth

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Taylor, Richard. "Singing on the Steppes for Stalin: Ivan Pyr'ev and the Kolkhoz Musical in Soviet Cinema." Slavic Review 58, no. 1 (1999): 143–59. http://dx.doi.org/10.2307/2672993.

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In his celebrated "secret speech" to the delegates to the Twentieth Party Congress in February 1956, Nikita Khrushchev singled out Soviet filmmakers for their part in establishing and maintaining Stalin's personality cult. Although not specifically mentioned by Khrushchev, one film has been generally identified as a prime example of the way in which those filmmakers "varnished the reality," particularly of the Soviet countryside during the Stalin period: Ivan Pyr'ev's Kubanskie kazaki (The Kuban cossacks) made in the film-famine year of 1949 and released in February 1950. But let us look at wh

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Akser, Murat. "Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love." CINEJ Cinema Journal 3, no. 1 (2014): 162–80. http://dx.doi.org/10.5195/cinej.2013.57.

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This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film com

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Hunt, Leon. "Ong-Bak: New Thai Cinema, Hong Kong and the cult of the ‘real’." New Cinemas: Journal of Contemporary Film 3, no. 2 (2005): 69–84. http://dx.doi.org/10.1386/ncin.3.2.69/1.

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Hills, Matt. "Cult cinema and the ‘mainstreaming’ discourse of technological change: revisiting subcultural capital in liquid modernity." New Review of Film and Television Studies 13, no. 1 (2014): 100–121. http://dx.doi.org/10.1080/17400309.2014.982928.

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Vera, Cristina Ruiz-Poveda. "An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)." New Cinemas: Journal of Contemporary Film 17, no. 2 (2020): 163–81. http://dx.doi.org/10.1386/ncin_00015_1.

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With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article

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Marey, Maria. "Maniac From the Adjacent Canon: How Science Normalizes Cult Evil." Philosophy. Journal of the Higher School of Economics VI, no. 2 (2022): 148–67. http://dx.doi.org/10.17323/2587-8719-2022-2-148-167.

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This article is devoted to studying cinematic images of serial criminals in a series of relevant topics: those where scientific and quasi-scientific methods, which are in Russian called “profiling”, are used to calculate and catch them. Assuming that cinema and television can change (and shape) a person's ideas about life, norms, about right or wrong, and proper and improper behaviour, the author refers to the comparison of the novel and the series as artistic phenomena with similar specifics of functioning and impact on the public. Further, the author compares the trickster and the maniac (ps

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Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (2008): 215–35. http://dx.doi.org/10.7202/018559ar.

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Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from A

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Serostanova, O. B. "REGION IN THE WORKS OF MATUSOVSKY AND SOVIET CINEMA." Experience industries Socio-Cultural Research Technologies, no. 3 (2024): 302–40. http://dx.doi.org/10.34680/eiscrt-2024-3(8)-302-340.

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The object of the study is the image of the Luhansk region as a mirror of the epoch, which reflects social and cultural changes. The subject of the analysis was the lyrics of the Soviet songwriter M. M. Matusovsky and the cult Soviet cinema, which vividly presents the urban landscapes of the region, its architecture, the daily life of residents and the leading contradictions of the time. Semiotic, sociocultural approaches, comparative historical and content analysis are chosen as research methods. It is established that when creating the image of the Luhansk region in the Soviet films “Young G

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Musiyevska, Veronika. "SYNTHESIS OF CINEMA AND ARCHITECTURE IN THE ENVIRONMENT." Urban development and spatial planning, no. 84 (September 25, 2023): 240–50. http://dx.doi.org/10.32347/2076-815x.2023.84.240-250.

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The article highlights examples of the phenomenon of the synthesis of two visual arts - cinema and architecture. The work considers the main examples in the following subtopics: cinema as a way of increasing the attractiveness of architecture; architecture in cinema as a mirror of society; mutual borrowing in cinema and architecture; and their classification is given.  One of the main reasons for the appearance of this article is the need for deeper and holistic coverage of such issues, as well as the relationship and synthesis of cinema and architecture. There is a large amount of resea

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Trierweiller, A. C., A. D. Weise, V. L. D. V. Pereira, W. Pacheco Junior, and R. A. Rocha. "Diagnóstico de Satisfação de Clientes como Ferramenta para Fidelizacao: Um Estudo de Caso em Cinema Cult." Revista de Administração da Unimep 9, no. 1 (2011): 112–30. http://dx.doi.org/10.15600/1679-5350/rau.v9n1p112-130.

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Toyeba, Mushtaq, and Aaliya Ahmed Dr. "Third Gender Portrayal in Bollywood An Analysis of Sadak." International Journal of Trend in Scientific Research and Development 3, no. 3 (2019): 17–22. https://doi.org/10.31142/ijtsrd21636.

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Cinema works as a mirror in which the human beings could see the reflection of their lives. It has a power to influence more than any other arm form. Therefore, it is very important to understand how a country, its people and its aspirations are represented in the cinema produced in the country. Mainstream Hindi cinema is the most widely distributed cinema in India. Identity construction is one of the significant issues in Bollywood. Filmmakers in India are trying to step outside the beaten track of traditional Indian themes but there has been no or little allowance for portrayal of transgende

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Munir, Maimunah. "Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading." Plaridel 11, no. 2 (2014): 95–116. http://dx.doi.org/10.52518/2014.11.2-04mnr.

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The representation of sexuality in Soeharto’s New Order Indonesian films mainly centred on the female reproductive role, and tended to present the nation as constructed of heterosexual families rather than individual citizens (Boellstorff, 2005). Under this formulation of gender ideology, all sexual practice outside heterosexual marriage could be seen as contradictory to the God-given nature of Indonesian citizens. Despite few representations, non-reproductive sexualities film-themes were produced and consumed. Released in 1978, Benyamin Sueb’s Betty Bencong Slebor became box-office hit in the

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Neves, Pedro Soares. "Sci-fi representation and heritage: vertical city - horizontal layered links." Architecture Image Studies 2, no. 1 (2021): 67–79. https://doi.org/10.62754/ais.v2i1.42.

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Here are shared the first steps of an exploratory approach to a personal subject of fascination. The relation of drawing with the city of yesterday and tomorrow (ideally built trough the participation of us all). It’s a vast and wild territory of knowledge, that can have many different directions of exploratory approach. Several references come to my (non specialised) mind as unavoidable: the influence of cinema in works of Fritz Lang (Metropolis) or cult movie Blade Runner (and concept designs by Syd Mead), but also with any doubt, Giovanni Battista Piranesi body of work, or the incredible Fr

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Willemsen, Steven, and Miklós Kiss. "Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 129–52. http://dx.doi.org/10.2478/ausfm-2019-0007.

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Abstract This article proposes a cognitive-narratological perspective on David Lynch’s Mulholland Drive (2001) and the numerous contrasting interpretations that this film has generated. Rather than offering an(other) interpretation of the film, we aim to investigate some of the reasons why Lynch’s highly complex narrative has gained a cult – if not classic – status in recent film history. To explain the striking variety of (often conflicting) interpretations and responses that the film has evoked, we analyse its complex narrative in terms of its cognitive effects. Our hypothesis is that part o

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Dorta, Walfrido. "Narcos in Jesús María: Dystopian empowerment in the amateur exploitation film Corazón cubano/Cuban Heart (2014)." Studies in Spanish & Latin-American Cinemas 18, no. 2 (2021): 139–58. http://dx.doi.org/10.1386/slac_00043_1.

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This article analyses the film Corazón cubano/Cuban Heart (Liyuen Valdés 2014), a story about drug traffickers in the Jesús María neighbourhood of Havana, circulated only through the Paquete Semanal (Weekly Package). Examining the creators’ symbolic identification with the figure of the narco, this article explores Corazón as an example of amateur, alternative and informal media within the Paquete and its relationship with exploitation, cult and trash cinema. It argues that Corazón’s appropriation of narconarratives through reparteros (the inhabitants of Havana’s peripheric and poorest neighbo

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