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Journal articles on the topic 'Early Film Theorists'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

Kozhokaru, T. I. "Analytical Schemes of Early Film Studies." Koinon 4, no. 3 (2024): 39–56. http://dx.doi.org/10.15826/koinon.2024.04.3.013.

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The article is devoted to the description of some concepts of the nature of cinema and identification of algorithms for analyzing films presented in early cinema studies. The paper provides an overview of the formation of film theory and, for the first time in Russian, outlines the ideas about cinema of such thinkers as Maffio Maffii, Giovanni Fossi, Crainquebille, Gaio, Gustav Melcher, Kurt Weisse, Hermann Kienzl, and Albert Hellwig. The article also formulates the ideas of Vachel Lindsay and Hugo Münsterberg, the first film theorists who laid the foundations for two branches of cinema studie

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Simindeikin, A. S. "‘‘Faces of Death” in Andy Warhol’s early films." Vestnik VGIK 16, no. 1(59) (2024): 134–44. http://dx.doi.org/10.69975/2074-0832-2024-59-1-134-144.

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The article is devoted to the theme of death and its non-obvious manifestations in Andy Warhol’s early cinema. The analyzed material is based on two of the director’s important films — “Blowjob” and “Sleep”. The work attempts to analyze Warhol’s cinematic experiments from the perspective of using the close-ups, the philosophy of which was developed by the leading film theorists of the 20th century. Parallels are also drawn between the pictorial tradition of depicting death and Warhol’s figurative system.

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Researcher. "ORIGINS OF FILM THOUGHT IN THE FIRST WAVE OF FILM THEORY." International Journal of Film Research and Development (IJFRD) 5, no. 1 (2024): 1–7. https://doi.org/10.5281/zenodo.15576030.

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The first wave of film theory, emerging in the early 20th century, laid the foundational frameworks for understanding cinema as an art form distinct from other visual and narrative traditions. Thinkers and critics of the time grappled with the essence of this new medium, debating whether its power lay in visual realism, emotional affect, or rhythmic editing. This paper revisits the seminal contributions of early theorists—such as Hugo Münsterberg, Rudolf Arnheim, and Sergei Eisenstein—examining their relevance and influence on contemporary film studies. By analyzing the evolut

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Ahmed, Nabaz Samad. "Film as Philosophy." Journal of University of Raparin 9, no. 3 (2022): 396–408. http://dx.doi.org/10.26750/vol(9).no(3).paper17.

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Although the relationship between film and philosophy begins in the early twentieth century with Hugo Munsterberg’s book ''The Photoplay: A Psychological Study'', only in the late twentieth century and early twenty-first century the relationship take into account seriously among both philosophers and film theorists. As a result, an intense philosophical debate has arisen about what is film-philosophy? What is the relationship between film and philosophy? Are films genuinely capable of doing philosophy? Or does film capable of being a philosophical work (text)? Although almost all participants

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Longo, Regina. "An Interview with Editors Anton Kaes, Nicholas Baer, and Michael Cowan on The Promise of Cinema: German Film Theory, 1907–1933." Film Quarterly 69, no. 3 (2016): 96–101. http://dx.doi.org/10.1525/fq.2016.69.3.96.

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FQ's “Page Views” feature reviews a new seminal anthology of German film theory that presents important texts by early film theorists that have never before been published in English. Editors Kaes, Baer, and Cowan are interviewed about the process of curating this anthology and about their ongoing work to highlight the importance of early and classical film theory for the new media age. A free chapter of the book is available for download at filmquarterly.org.

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Evans, Barbara. "Rising Up." Feminist Media Histories 2, no. 2 (2016): 107–21. http://dx.doi.org/10.1525/fmh.2016.2.2.107.

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The London Women's Film Group was formed in 1972 in response to the seemingly impermeable male-dominated film industry and culture of the time along with the urgently felt need to put women's stories, told by women, on the screen. Made up of a dedicated assortedment of practitioners and theorists, the group produced a variety of films, both individually and collectively, including Women of the Rhondda (1973), Put Yourself in My Place (1974), The Amazing Equal Pay Show (1974), and Whose Choice? (1976). The group and its work provided inspiration to one another and to many other women who percei

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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film

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Smyth, J. E. "Against the Beat." Film Quarterly 67, no. 1 (2013): 7–13. http://dx.doi.org/10.1525/fq.2013.67.1.7.

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The opening sequence of Ragtime (1981) takes place in a theater during the silent film era where the protagonist, Coalhouse Walker Jr. (Howard Rollins, Jr.), accompanies a newsreel featuring the stars of American public life in the early decades of the twentieth century. While postmodern theorists and film historians have linked the content and form of textual and visual fictions with their historical counterparts, less attention has been given to musical and aural styles as historiographic interventions. And while new research in historical film studies has revealed the flirtations of mainstr

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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distan

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Barr, Charles. "Rethinking Film History: Bazin's Impact in England." Paragraph 36, no. 1 (2013): 133–52. http://dx.doi.org/10.3366/para.2013.0082.

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A new orthodoxy suggests that André Bazin's work had little influence in anglophone countries until decades after his death. This article cites a wide range of evidence, mainly from British publications, in order to challenge this view. Starting with the critics who were associated with the ground-breaking magazine Movie in the early 1960s, it notes also Bazin's early impact in America via the magazine Film Quarterly and the high-profile critic Andrew Sarris. Moreover, Peter Wollen and Laura Mulvey, two of the most prominent British theorists commonly associated with an anti-Bazinian ‘Screen T

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Horne, Jennifer. "The Better Films Movement and the Very Notion of It." Feminist Media Histories 3, no. 4 (2017): 46–68. http://dx.doi.org/10.1525/fmh.2017.3.4.46.

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This essay considers the historical and conceptual framing of the American better films initiatives of the early twentieth century. Starting with the observation that the film betterment campaigns coincided with the moment women en masse began to be admitted to decision-making processes of government and civic enterprises, the article connects the advances achieved in both spheres with the downplaying of better films achievements by historians of cinema. In doing so, it calls for a more complex explanation of this so-called movement in order to understand women's active participation in their

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Escobar, Cristóbal. "The Intensive-Image and the Poetic Film Tradition: Notes on Ruiz, Deren, Pasolini, Buñuel and Deleuze." Film-Philosophy 27, no. 3 (2023): 424–42. http://dx.doi.org/10.3366/film.2023.0240.

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This article analyses an important category from Deleuze's philosophy – the notion of intensity – and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notion of intensity, I argue, does not allow us to reply easily to the question about representation (i.e., “what is the film about?”), mainly because its

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FFRENCH, PATRICK. "Belief in the Body: Philippe Garrel's Le Révélateur and Deleuze." Paragraph 31, no. 2 (2008): 159–72. http://dx.doi.org/10.3366/e0264833408000175.

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In Cinema II Deleuze proposes, via early film theorists, that cinema can realise the potential inherent in art to act directly on the nervous system. Cinema had the ‘sublime’ capacity to shock thought into activity, and awaken the ‘spiritual automaton’ in us through vibrations and affects, rather than representations. Deleuze finds a variant of this argument in the writings of Artaud on cinema, in which film forces the realisation of an impotence at the heart of thought. Deleuze then proposes that the only response to this impotence is belief in the connection between man and the world, as exp

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Schmidt, Ulrik. "The Generalized Image: Imagery Beyond Representation in Early Avant-Garde Film." Artifact 4, no. 1 (2017): 6. http://dx.doi.org/10.14434/artifact.v4i1.13371.

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The dichotomy between the figurative and the abstract has often been evoked as a key element in the understanding of the modern image, as it was the case, for example, in influential art historians such as Wilhelm Worringer and Clement Greenberg. However, if such a rigid opposition between the abstract and figurative has ever been qualified, an unlimited number of images after 1900 – whether painted, printed or screen-based – have significantly obscured any clear distinction between the two.Hence, if one wishes to understand the very nature of modern images it is indispensable to ask what it c

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Blankenship, Janelle. "“Film-Symphonie vom Leben und Sterben der Blumen”: Plant Rhythm and Time-Lapse Vision in Das Blumenwunder." rythmer, no. 16 (April 11, 2011): 83–103. http://dx.doi.org/10.7202/1001957ar.

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This essay analyzes the use of time-lapse cinematography in the early 20th century to unlock worlds hitherto “closed to man” (Balázs). I demonstrate how the new “image worlds” of time-lapse influenced biologists such as Jakob von Uexküll and 1920s avant-garde theorists alike. Using the 1926 hybrid German “cultural film” Das Blumenwunder (The Miracle of Flowers) as my primary case study, I examine how the film aims to present the “inner rhythm” of plants as an alternative temporality, which challenges an anthropocentric world view and at the same time dialogues with the ecstatic rhythms of mode

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Krumholz, Paul. "Orienting Design, Discourse and Perception in C’était un Rendez-Vous." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 10 (June 5, 2010): 1–13. http://dx.doi.org/10.2218/forum.10.643.

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"Couldn't an exciting film be made from the map of Paris? ... From the compression of a century-long movement of streets, boulevards, arcades, and squares into the space of half an hour?" - Walter Benjamin (83)In 1976, Claude Lelouch mounted a steadicam to the front bumper of his Mercedes and drove through early morning Paris at breakneck speed, from Porte Dauphine to the Sacre Coeur Basilica. He titled the unedited eight-minute take C'était un Rendez-Vous ("It was a date") in reference to its final moments, in which a young woman emerges grinning—and relieved—atop the Montmartre steps to meet

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Larsson, Mariah. "Drömmen om den goda pornografin. Om sextio- och sjuttiotalsfilmen och gränsen mellan konst och pornografi." Tidskrift för genusvetenskap 28, no. 1-2 (2022): 92–111. http://dx.doi.org/10.55870/tgv.v28i1-2.3913.

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The dream of the good pornography today, draws its argument from a feminist anti-porn analysis that concludes that pornography is an expression of the patriarchal society where women are being obejctified and degraded. However, in the 1960s, there was another dream of the good pornography, one which claimed that the existing pornography was bad from an aesthetic point of view. It had to do with the fact that pornography was forbidden in Sweden until 1971, and one argument for legalization was that porn would then become much better. The article examines the dream of the good pornography, the r

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Subotić, Irina. "The Role of Central European Avant-garde Reviews in the 1920s (Hungary, Poland, Czechoslovakia, Romania, Bulgaria and Yugoslavia)." Theatron 15, no. 4 (2021): 5–19. http://dx.doi.org/10.55502/the.2021.4.5.

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After the collapse of four empires during World War I, several new European states emerged, with new energy, anti-military and progressive attitudes among the youth, and shared optimism for a peaceful future. A new generation of writers, poets, artists, theorists, philosophers, architects, musicians, and film makers helped revitalize the cultural life in Central European countries (Poland, Czechoslovakia, Hungary, Romania, Yugoslavia and Bulgaria) in the early 1920s by publishing a variety of reviews that promoted new ideas and radical forms of expression, often linked to progressive social po

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Passmore, Oliver. "PRESENT, FUTURE AND PAST IN THEHOMERIC HYMN TO APOLLO." Ramus 47, no. 2 (2018): 123–51. http://dx.doi.org/10.1017/rmu.2018.11.

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Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established ‘performative turn’ in studies of early Greek song, and gaining impetus from a series of publications focussing on the contextual specificity of archaic lyric and drama, those interested in reperformance ask what it means for a song or a play, composed for a specific occasion, to be reperformed in another time and (potentially) another place. While interest in reperformance is certainly not new, the debat

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Marinelli, Lydia. "Screening Wish Theories: Dream Psychologies and Early Cinema." Science in Context 19, no. 1 (2006): 87–110. http://dx.doi.org/10.1017/s0269889705000773.

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ArgumentThe analogy between dream and film represents a central thread in the psychoanalytic discussion of cinema. Using examples taken from films created between 1900 and 1906, this paper develops a typology of dream scenes in early film. The basis for the proposed typology is provided by the dream knowledge in circulation toward the end of the nineteenth century. This knowledge was fed by a great variety of sources, some of them in the proximity of scientific research and some of them far from it, including wish-fulfilling prognostic models and those based on the reservoir of memory or on bo

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Peng, Alicia Inge. "Social Changes in America: The Silent Cinema Frontier and Women Pioneers." Humanities 13, no. 1 (2023): 3. http://dx.doi.org/10.3390/h13010003.

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Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, wh

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Chateau, Dominique, and Martin Lefebvre. "Dance and Fetish: Phenomenology and Metz's Epistemological Shift." October 148 (May 2014): 103–32. http://dx.doi.org/10.1162/octo_a_00177.

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Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that “with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories.” According to another, “Metz exemplified a new kind of film theorist, one who came to the field already ‘armed’ with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism.” Of course, Metz d

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Evans, Bonnie. "The origins of film, psychology and the neurosciences." History of the Human Sciences 37, no. 2 (2024): 12–40. http://dx.doi.org/10.1177/09526951241244979.

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The invention of film technologies in France at the end of the 19th century inspired neurologists and associated professionals to engage with this new medium to demonstrate their theories of the brain, the nervous system, and the mind. Beginning with the origins of cinema in Paris, this article explores how film technologies were used at La Salpêtrière, and beyond, to visualise internal mental processes, and to support the burgeoning sciences of the mind. This film-making became increasingly sophisticated by the late 1910s and early 1920s, creating innovative ways to present psychological expe

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Bayman, Louis. "Early film theories in Italy 1896–1922." Early Popular Visual Culture 16, no. 1 (2018): 105–7. http://dx.doi.org/10.1080/17460654.2018.1455794.

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Lu, Wei, Yezi Shu, and Luqiang Wang. "Research On the ‘Southbound Filmmakers’ with Their National Images: Diaspora, Anxiety and Spiritual Identification." Economic Society and Humanities 1, no. 4 (2024): 36–42. http://dx.doi.org/10.62381/e244407.

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The ‘southbound filmmakers’ refers to a group of filmmakers who, during 1931--1966, went to the Southeast Asia from the cities like Shanghai, Guangzhou and Chongqing. They are one of the important parts of China’s filmmakers and their films is a significant attempt disseminating at abroad in the early days. To analyze the Southbound Filmmakers’ identity construction as well their activities such as living in the Southeast Asia, film-makings and dissemination, this paper adopts psychology, psychoanalysis, national identification, audience reception, etc., associated with theories like ‘culture,

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Naumova, Larysa. "Oleksandr Dovzhenko, Ivan Kavaleridze, Leonid Skrypnyk: The avant-garde and philosophical explorations of Ukrainian filmmakers of the 1920s." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 195–208. http://dx.doi.org/10.14746/i.2023.34.43.12.

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   The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Alre

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Hirschfeld, Heather. "Early Modern Collaboration and Theories of Authorship." PMLA/Publications of the Modern Language Association of America 116, no. 3 (2001): 609–22. http://dx.doi.org/10.1632/pmla.2001.116.3.609.

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About halfway through the 1998 film shakespeare in love, a group of players and hired extras, under the critical eye of the theater owner Philip Henslowe, begins rehearsing a new play at the Rose. While Henslowe observes the process with a simultaneously proprietary and befuddled air, his financial backer, the apothecary Fennyman, comes to ask him about the play's progress. Suddenly Fennyman notices a tall, handsome figure bustling about, shouting both instructions and thanks. “Who is that?” the skeptical Fennyman asks. The movie audience knows that it is Marc Norman and Tom Stoppard's version

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Hirschfeld, Heather. "Early Modern Collaboration and Theories of Authorship." Publications of the Modern Language Association of America 116, no. 3 (2001): 609–22. http://dx.doi.org/10.1632/s0030812900112702.

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About halfway through the 1998 film shakespeare in love, a group of players and hired extras, under the critical eye of the theater owner Philip Henslowe, begins rehearsing a new play at the Rose. While Henslowe observes the process with a simultaneously proprietary and befuddled air, his financial backer, the apothecary Fennyman, comes to ask him about the play's progress. Suddenly Fennyman notices a tall, handsome figure bustling about, shouting both instructions and thanks. “Who is that?” the skeptical Fennyman asks. The movie audience knows that it is Marc Norman and Tom Stoppard's version

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Stoneham, A. M., I. J. Ford, and P. R. Chalker. "Diamond Films: Recent Developments in Theory and Practice." MRS Bulletin 23, no. 9 (1998): 28–31. http://dx.doi.org/10.1557/s0883769400029328.

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The diamond films of the early 1980s presented two quite different challenges. First how could this new form of diamond be exploited technically? Second, how could this clearly nonequilibrium generation of diamond be understood and the understanding be used to maximum effect? We shall be discussing the ideas of theory and modeling, and we will show how they have contributed to the interplay of science and technology.The science of diamond films is the art of beating nature in the use of carbon. Theory gives the understanding to improve this art. One way in which we improve on nature is in new

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Frome, Jonathan. "Intuition, Evidence, and Carroll's Theory of Narrative." Projections 14, no. 1 (2020): 37–57. http://dx.doi.org/10.3167/proj.2020.140104.

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AbstractOver the last thirty years, Noël Carroll has elaborated his theory of erotetic narration, which holds that most films have a narrative structure in which early scenes raise questions and later scenes answer them. Carroll's prolific publishing about this theory and his expansion of the theory to issues such as audience engagement, narrative closure, and film genre have bolstered its profile, but, despite its high visibility in the field, virtually no other scholars have either criticized or built upon the theory. This article uses Carroll's own criteria for evaluating film theories—evid

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Engelberts, Matthijs. "Beckett Et Les Premières Théories Cinématographiques." Samuel Beckett Today / Aujourd'hui 17, no. 1 (2007): 331–50. http://dx.doi.org/10.1163/18757405-017001023.

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This article examines the influence of early film theories, those of the 1920s and '30s, on the first scenario for the screen – and the only strictly cinematographic work – written by Beckett : In spite of the facts known thanks to his correspondence, for example Beckett's reading in the 1930s of texts published by Rudolf Arnheim, Vsevolod Pudovkin and Sergei Eisenstein, and in spite of the attention that critics, including Deleuze, have given to Beckett's works for the cinema and television, Beckett's use of these modernist film theories has not been analyzed structurally. Color, sound, close

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Hong, Sang Woo, and Joonil Moon. "Russian Literary Theory and Webtoon Language: Focusing on Sergei Eisenstein’s Theory." Korean Association of Slavic Languages 28, no. 2 (2023): 199–218. http://dx.doi.org/10.30530/jsl.2023.28.2.199.

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This paper is an attempt to apply the main concepts of Russian film theorist and director Sergei Eisenstein's film theory to the analysis of webtoon language. Webtoons are currently the most popular pop culture genre and the most useful cultural content for OSMU (one source multi-use). Webtoons, which overcome the expressive limitations of existing published comics by utilizing digital devices, are representative content that is currently being used as the source content for numerous dramas. Due to the nature of the medium as a digital visual text, the language of webtoons is similar to

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Yan, Liuxuan, Marlenny Deenerwan, and Raja Farah Raja Hadayadanin. "Portrayals of Marginalized Women in Jia Zhangke’s Cinematic Works." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 5 (2024): e002817. http://dx.doi.org/10.47405/mjssh.v9i5.2817.

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Feminist theories gained prominence in the West as early as the 1960s, progressively impacting film criticism. It was only in the 1990s that Western feminist theory began to permeate Chinese academic realms, including film studies and theory. Despite this introduction, feminism did not significantly alter the traditional gender hierarchy in Chinese cinema, where female characters frequently assume roles subordinate to their male counterparts. Jia Zhangke, a notable figure from the sixth generation of Chinese directors, is neither a female director nor a feminist scholar with a focus on women's

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Cartwright, Lisa. "The Hands of the Animator: Rotoscopic Projection, Condensation, and Repetition Automatism in the Fleischer Apparatus." Body & Society 18, no. 1 (2012): 47–78. http://dx.doi.org/10.1177/1357034x11432562.

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This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and condensation, and object relations theory, this

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Schwartz, Agatha. "Creating a Gendered Transnational and Multigenerational Trauma Narrative in Márta Mészáros’s Film, Északi fény [‘Aurora Borealis’]." Hungarian Cultural Studies 13 (July 30, 2020): 165–77. http://dx.doi.org/10.5195/ahea.2020.394.

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In this paper, Schwartz offers a gendered analysis of Mészáros’s most recent feature film [‘Aurora Borealis’]. She argues that the film presents a transnational narrative about repressed traumatic memories as they pertain to sexual and political violence dating back to the early 1950s. The film explores the effects of postmemory (Hirsch) through three generations across Hungary, Austria, Russia (the former Soviet Union), and present-day Spain. With the help of theories of trauma (Herman, Kaplan, Caruth, LaCapra) and through a close reading of the symbols and colors used in the film, Schwartz r

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Frigård, Johanna. "Värin lumous Villilintujen parissa -elokuvassa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 35, no. 1-2 (2022): 9–28. http://dx.doi.org/10.23994/lk.116475.

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Elokuva Villintujen parissa (1927) oli Aho & Soldan -elokuvayhtiön ensimmäinen pitkä elokuva. Se oli varhainen ja melko yksinäinen luontoelokuvan edustaja, vaikka luonnonmaisemat olivat vastakin yhtiön elokuvissa tärkeitä. Villilintujen parissa -elokuva keskittyi luonnonvaraisten eläinten kuvaamiseen, ja se otti avoimesti kantaa luonnonsuojelun puolesta.Ajan tavan mukaan elokuva on värjätty. Elokuvan värit ovat ”itsenäisiä” siinä mielessä, että ne eivät liity kuvattujen kohteiden väreihin, vaan mustavalkoinen filmi on lopuksi kylvetetty väriliuoksessa siten, että kuvaruudut värjäytyvät yhd

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Lizbette, Ocasio-Russe. "Disidentifying with Gender Stereotypes: The Queer in Pop Culture Films." postScriptum: An Interdisciplinary Journal of Literary Studies 2, no. 2 (2017): 88–99. https://doi.org/10.5281/zenodo.1318863.

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Pioneer of queer theory Judith Butler believes nothing is natural, not even sexual identity. She looks to uncover the assumptions that “restrict the meaning of gender to received notions of masculinity and femininity” (Cain et al. 2536). What Butler calls “exclusionary gender norms” have constantly worked toward the detriment of both men and women, individuals behaving outside of what majority culture deems appropriate masculine and feminine behavior becoming targets of harassment. Films have been portraying the breaking of gender stereotypes, namely queer behavior, sin

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Ramljak Purgar, Mirela. "Die Macht der Filmischen Imagination bei Albrecht Dürer." New Theories = Nove teorije 6, no. 1 (2023): 84–109. https://doi.org/10.59014/zhog2627.

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The article explores the fundamental qualities of imagination in the works of Albrecht Dürer, with a focus on a specific sheet from his cycle of illustrations in the biblical Apocalypse series – the woodcut titled The Strong Angel. Our analysis builds on the insights of media historian Jörg Jochen Berns, who identified the presence of a “film before the film” in the Middle Ages and the Renaissance. This concept refers to an “inner film” that responds to external stimuli – from the “outer film” – allowing the observers to immerse themselves in holy images, particularly during prayer, through th

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Gelardi, Andrea, and Marco Zilioli. "When Violence Appeals: The Circulation and Reception of Brazilian Cinema Nôvo in Italy (1960–1968)." Film History: An International Journal 35, no. 3 (2024): 121–55. https://doi.org/10.2979/fih.00011.

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ABSTRACT: Cinema Nôvo is generally regarded as the first and most aesthetically accomplished cinematic wave in Brazilian film history, maintaining a solid canonical status in international film historiographies to date. This essay historicizes the early reception and circulation of Cinema Nôvo and focuses on the sites whereby these processes crucially occurred: the politicized contexts of Italian film festivals in the 1960s and critical writing in left-wing journals and magazines at a time when third-worldist theories started circulating in Italy. Identifying and examining the forms of critica

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Freudendal, Jakob. "Listening to audiences to remain relevant: Audience research as a new production method for Scandinavian screen cultures in transition." Journal of Scandinavian Cinema 13, no. 3 (2023): 243–61. http://dx.doi.org/10.1386/jsca_00097_1.

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This article explores the new production strategies for reaching audiences currently being put into practice in the Danish screen industry. Building on studies and theories of the changed audience–industry relation following the breakthrough of streaming, this qualitative case study investigates how audience research was implemented in the production framework behind the Danish youth film Smuk (Pretty Young Thing) () to increase the film’s relevance with young audiences. The analysis highlights the differences between traditional story research and audience research as well as the challenges a

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Riadi, Rizka Salsabila, and Intan Rizky Mutiaz. "KAJIAN REPRESENTASI MISTISISME JAWA PADA MISE EN SCENE LATAR FILM KKN DI DESA PENARI." Gorga : Jurnal Seni Rupa 12, no. 2 (2023): 535. http://dx.doi.org/10.24114/gr.v12i2.49137.

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The film industry in Indonesia has grown rapidly since the early 20th century and continues to be one of the people's favorite pastimes. Among the various genres of films released, horror films with elements of mystical myths and Indonesian culture are the most popular among audiences. Horror films have the main objective of evoking audience tension through the exploitation of horror elements, with a tense and frightening atmosphere built through physical and psychological mise en scene elements. This research focuses on the representation of Javanese mysticism in the setting of KKN di Desa Pe

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Holmberg, Ryan. "Anti-Manga: Sasaki Maki, Ishiko Junzō, and Avant-Garde Comics in Japan." October, no. 183 (2023): 75–106. http://dx.doi.org/10.1162/octo_a_00477.

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Abstract This essay considers the theory and practice of avant-garde manga in Japan in the 1960s and early ’70s, focusing on the work of Sasaki Maki and Hayashi Seiichi in the alt-manga magazine Garo and on the writings of Ishiko Junzō, Nakahara Yūsuke, and Nakamura Hiroshi, with a view to related theories in contemporary Japanese art and experimental film, particularly “anti-art” and “image theory.”

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Sintya, Dea Erma, and Rhesa Zuhriya Briyan Pratiwi. "Women resistance to early-age marriage in Wadon Ora Didol: Critical discourse analysis." ProTVF 8, no. 2 (2024): 186–216. http://dx.doi.org/10.24198/ptvf.v8i2.50655.

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Background: Wadon Ora Didol is a documentary film highlighting women’s resistance to the problem of early marriage. The rise of early marriage in Indramayu is a serious problem regarding the exploitation and objectification of women. This is actually related to the traditions and culture of Indramayu, thus, it is giving rise to a feminist-based resistance movement against these traditions. Purpose: This article aims to analyze and describe the resistance carried out by women against early-age marriage in the film Wadon Ora Didol through critical discourse analysis of Sara Mills. Methods: It us

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Kazurova, Natalia V., and Ekaterina Yu Trushkina. "THE SPACE OF WOMEN’S FREEDOM IN AZERBAIJANI CINEMA OF THE 1920-1930S. BETWEEN ADAT AND SOVIET IDEOLOGY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2024): 118–34. http://dx.doi.org/10.28995/2686-7249-2024-2-118-134.

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Azerbaijani cinema is considered in the article as a phenomenon of national Art in the transit period on the cross of avant-garde trends of the 1920s and the ‘great’ Stalinist style of the first half of the 1930s. That time film directors of the republic like many others in the Soviet Union were focused on ‘the women’s issue’. The local specifics combined with the cross-cultural and interregional dialogue in cinema formed the common thematic tasks that were all across the Soviet Union but the same time, local and national specific emerged on the screens. The article studies four films that exp

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Heras, Daniel Chávez. "Spectacular machinery and encrypted spectatorship." A Peer-Reviewed Journal About 8, no. 1 (2019): 170–82. http://dx.doi.org/10.7146/aprja.v8i1.115423.

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This paper argues certain types of contemporary computation have a spectacular dimension which is consumed today as magic. Using popular images created through Generative Adversarial Networks (GANs) as a case study, I analyse the conditions of production and consumption of imagery generated through machine learning as a type of popular culture, I then compare this creative use of computing with magic shows and the cinema of attractions of the early twentieth century. This approach combines notions of digital cultural materialism with theories of early film spectatorship to suggest an emergent

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Clark, Suzannah. "A Gift to Goethe: The Aesthetics of the Intermediate Dominant in Schubert’s Music and Early Nineteenth-Century Theoretical Thought." Nineteenth-Century Music Review 13, no. 1 (2016): 39–70. http://dx.doi.org/10.1017/s1479409815000518.

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Schubert is famous for his remote modulations, especially his third relations. He therefore has a reputation for harbouring an aversion to the dominant, both in terms of its function as a harmonic preparation for new keys and as a structural pole to the tonic home key. I turn to the history of theory to reveal a more nuanced history of Schubert’s attitude towards the dominant. In a revision of ‘Geistes-Gruß’ (D. 142), a song he sent to Goethe in 1816, Schubert added a brief dominant-seventh chord to soften an abrupt modulation to a remote key. Such an insertion between remote keys was coined a

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Sinnerbrink, Robert. "Guest Editor's Introduction." Projections 13, no. 2 (2019): 1–19. http://dx.doi.org/10.3167/proj.2019.130201.

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Since the early 1990s, phenomenology and cognitivism have become influential strands of inquiry in film theory. Phenomenological approaches remain focused on descriptive accounts of the embodied subject’s experiential engagement with film, whereas cognitivist approaches attempt to provide explanatory accounts in order to theorize cognitively relevant aspects of our experience of movies. Both approaches, however, are faced with certain challenges. Phenomenology remains a descriptive theory that turns speculative once it ventures to “explain” the phenomena upon which it focuses. Cognitivism depl

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Shah Ahmed. "Rabindranath Tagore’s Views on Camera, Cinema, and Film Adaptation." Asiatic: IIUM Journal of English Language and Literature 16, no. 1 (2022): 103–19. http://dx.doi.org/10.31436/asiatic.v16i1.2492.

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   From his first exposure to cinema to his engagement in film direction, Rabindranath Tagore progressively formulated his own ideas of celluloid art and expressed them during the burgeoning of cinema. Although he is regarded highly in adaptation studies, his views on camera, cinema and the cinematic adaptation of literature are not adequately discussed in adaptation/film discourses. Contrary to a general assumption that Indian cinema does not have a film theory of its own, some of his ideas can be connected with the theoretical erudition of cinema studies. However, as most o

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Nadal, Kevin Leo Yabut. "Queering Filipino American History: Exploring LGBTQ+ Filipina/x/o American THEIR/OURstories." Filipino American National Historical Society Journal 11, no. 1 (2023): 81–110. http://dx.doi.org/10.1353/fil.2023.a912938.

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Abstract: The histories of lesbian, gay, bisexual, transgender, queer, and other sexual minority (LGBTQ+) people in the United States are often minimal, nonexistent, or erased—mainly due to the systemic transphobia and heterosexism that have prevented LGBTQ+ of the past from living authentically in their gender identities and sexualities. For queer and trans people of color, including LGBTQ+ Filipina/x/o Americans, histories are even more susceptible to invisibility or erasure, due to the added stigmas within and toward communities of color, religious groups, and immigrants. This paper draws o

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Kohlmann, Benjamin. "Proletarian Modernism: Film, Literature, Theory." PMLA/Publications of the Modern Language Association of America 134, no. 5 (2019): 1056–75. http://dx.doi.org/10.1632/pmla.2019.134.5.1056.

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This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent schol

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