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Journal articles on the topic 'Essay films'

Author: Grafiati

Published: 7 July 2024

Last updated: 31 July 2025

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1

Johnson, Vida T., and Graham Petrie. "Review Essay : Andrei Tarkovskii's films." Journal of European Studies 20, no. 3 (1990): 265. http://dx.doi.org/10.1177/004724419002000304.

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Thomas, Marisa. "Classic Media Review Essay." Queer Studies in Media & Popular Culture 4, no. 2 (2019): 193–206. http://dx.doi.org/10.1386/qsmpc_00005_5.

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Liu, Qi. "Unfair Utilization in Horrific Films: Objectifying Female Characters in Alfred Hitchcock’s The Birds." BCP Social Sciences & Humanities 20 (October 18, 2022): 109–15. http://dx.doi.org/10.54691/bcpssh.v20i.2170.

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In this essay, it examines the film The Birds and analyzes the scenes necessary to advance the men’s desires in the film's presentation as a result of the director and screenwriter's unfair scripting and arrangement of female characters. These unequal arrangements were thought to satisfy the 1860s male moviegoer's desire for both power and beauty, and to have negative impacted the feminism that was gradually manifesting itself in Hollywood films. Proven by Laura Mulvey' s argument that the portrayal of women in Hollywood films has been maliciously distorted. While this essay will focus on Alfr

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Frahm, Laura A. "Architectures of Images, Avalanches of Memory: Dominik Graf’s Urban Essay Films." New German Critique 46, no. 3 (2019): 181–205. http://dx.doi.org/10.1215/0094033x-7727483.

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Abstract This article sheds light on Dominik Graf’s long-standing and often-overlooked engagement with the essay film since the mid-1990s. The article contends that his urban essays, his cinema and television essays, and his commemorative essays are driven by a reconstructive impetus that takes stock of the state of German cities, German media, and German society from the viewpoint of their “end.” In reading these three variations of his essay films as “architectures of images,” the article presents Graf and his collaborators as “collectors” and “combiners,” who not only (re)construct highly l

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Ciezadlo, Janina. "The Essay in Space and Time: A Conversation with Filmmaker Mark Cousins." Afterimage 46, no. 1 (2019): 17–24. http://dx.doi.org/10.1525/aft.2019.461003.

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Questions in an interview with United Kingdom filmmaker Mark Cousins concern the formal properties and development of nonfiction films taking the shape of essays, rather than documentaries. The relationship between Orson Welles’s films and his lifelong habit of drawing is the subject of Cousin’s latest essay film, The Eyes of Orson Welles. As the interview progresses, the subject shifts to relationships among the arts and the creative process.

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Qi, Qi, Yufei Huang, and Ziming Chai. "Challenging Stereotype in Marriage and Societal System from a Film Analysis of Anatomy of a Fall." Communications in Humanities Research 70, no. 1 (2025): 209–20. https://doi.org/10.54254/2753-7064/2024.23624.

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The essay explores how to deconstruct gender stereotypes by looking at gender representations in marriage and the juridical system through a film analysis of Anatomy of a Fall. The film won the Palme d'Or award at the 76th Cannes Film Festival in 2023; it narrates the female protagonist Sandra's denial of the accusation of murdering her husband and the reclamation of her subjectivity in the trial. The aim of the article is to expose the films subversive representation of gender roles as intertwined with Sandra breaking the traditional binary gender stereotypes prescribed by patriarchal society

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Margulies, Ivone. "Filmes de Plástico’s Plural Realism." Film Quarterly 74, no. 2 (2020): 39–46. http://dx.doi.org/10.1525/fq.2020.74.2.39.

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Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production company from Contagem, Minas Gerais. Her article focuses on two feature films: Temporada (Long Way Home, dir. André Novais Oliveira, 2018), and No Coração do Mundo (In the Heart of the World, dir. Gabriel Martins and Maurilio Martins, 2019.) The essay defines two forms—the portrait and the vista—used to articulate the relationship between individual and a broader social world in the films’ realist aesthetic.

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Rascaroli, Laura. "Voicing the Border: On Some Spectral Essay Films." Comparative Cinema 12, no. 22 (2024): 13–35. http://dx.doi.org/10.31009/cc.2024.v12.i22.02.

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Giving prominence to the auditory nature of the border, this article argues for the importance of voice to the epistemological practices of border essay films. By engaging with three relevant case studies—Appunti del passaggio by Maria Iorio and Raphaël Cuomo (2014–2016), Spectres Are Haunting Europe by Maria Kourkouta and Niki Giannari (Fantasmata planiountai pano apo tin Evropi, 2016), and An Asian Ghost Story by Bo Wang (九龍東往事, 2022)—it carries out an acoustemology of spectral border essay films that, to cite Jacques Derrida, speak of the ghost to speak of justice. In so doing, it shows tha

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Hunt, Mary Alice. "Selecting Films for Children-A Bibliographic Essay." Collection Management 7, no. 3-4 (1985): 255–62. http://dx.doi.org/10.1300/j105v07n03_26.

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Wilson, Emma. "4 Months, 3 Weeks and 2 Days: An ““Abortion Movie””??" Film Quarterly 61, no. 4 (2008): 18–23. http://dx.doi.org/10.1525/fq.2008.61.4.18.

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Abstract This essay situates Cristian Mungiu's film, 4 Months, 3 Weeks and 2 Days in relation to a number of films which deal with abortion. However, the argument is made that this film's chief concern is for problems of intimacy and distress pertaining to the central friendship between two women.

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Tagvadze, Tamar. "Portrait Essay on Georgian Patriarchate Television ,,Ertsulovneba” (2023-2024)." International Journal of Social Sciences 4, no. 2 (2024): 139–56. https://doi.org/10.55367/yjit3172.

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The Documentary film accurately reflects life's reality. In art, it is the most realistic form of depicting reality by its structure. It is documentary filmmaking that can realize the possibilities of mass communication in cinema. At the same time, documentary filmmaking fulfils all the functions of mass media - it is aimed at the educational sphere and is a source of information. The main task of a documentary film is to evoke a sense of reality in the audience. Documentary cinematography has added the documentary film essay to television genres. The film essay is divided into portrait, trave

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Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.

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this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuate

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Schulze, Mario. "Reproduced Flows and Auratic Films." Wind Tunnel Bulletin, no. 9 (January 1, 2019): 268–69. https://doi.org/10.5281/zenodo.3763127.

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This short essay asks for the potential that a transfer of Walter Benjamins concept of Aura to motion pictures of experiments – more specifically, to fluid-dynamic experiments – might have. The essay suggests not only to ask which practices were connected with the production of films and which theoretical insights accompanied their contemplation and comparative evaluation (as praxeological science studies research has done for 30 years), but also what they trigger in the scientists operating the devices.

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Jones, Vanessa. "Walking alongside elders: A visual essay." Journal of Applied Arts & Health 14, no. 1 (2023): 63–72. http://dx.doi.org/10.1386/jaah_00127_3.

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This visual essay has links with Miller’s El Duende one-canvas process painting by utilizing a different methodology and form with the use of four short films Into the Earth, Medicine Walk, Fireside Creatures and Whispers. The author screened these films in a range of settings to broaden conversation and dialogue about the Wild Elders therapy group’s working process. From these discussions she created this visual essay as a series of photographs and written text. It leads the viewer through key visual elements mapping the journey of individual and group transformation and growth. The essay con

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Sinelnikova, Valentyna, and Maksym Berezhniuk. "Folk Music in Works of Contemporary Ukrainian Audiovisual Art (Dovbush, Mavka, Povodyr): Musical and Critical Essay." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (2023): 177–87. http://dx.doi.org/10.31866/2616-7581.6.2.2023.291089.

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The purpose of the research is to determine the role, place, and functions of folk music in contemporary Ukrainian audiovisual products, namely in the development of the film's sound drama; to analyze the peculiarities of using folk music in Ukrainian cinema on the example of the films Dovbush (2023), Povodyr (The Guide) (2014), and the animated film Mavka (2023). The research methodology is based on an audiovisual analysis of these film examples, which makes it possible to formulate the basic principles of folk music functioning in contemporary Ukrainian cinema. The scientific novelty of the

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Sinelnikova, Valentyna, and Maksym Berezhniuk. "Folk Music in Works of Contemporary Ukrainian Audiovisual Art (Dovbush, Mavka, Povodyr): Musical and Critical Essay." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (2023): 177–87. https://doi.org/10.31866/2616-7581.6.2.2023.291089.

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<strong>The purpose of the research </strong>is to determine the role, place, and functions of folk music in contemporary Ukrainian audiovisual products, namely in the development of the film's sound drama; to analyze the peculiarities of using folk music in Ukrainian cinema on the example of the films <i>Dovbush </i>(2023), <i>Povodyr </i>(The Guide) (2014), and the animated film <i>Mavka </i>(2023). <strong>The research methodology </strong>is based on an audiovisual analysis of these film examples, which makes it possible to formulate the basic principles of folk music functioning in contem

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Margulies, Ivone. "Elemental Akerman: Inside and Outside No Home Movie." Film Quarterly 70, no. 1 (2016): 61–69. http://dx.doi.org/10.1525/fq.2016.70.1.61.

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Margulies considers how Chantal Akerman embraces the directness of the home movie to redesign, through lighting, perspective, and framing, analogues for the intricate relationship of symbiosis and distance between herself and her mother. The essay attempts to understand the film's emotional immediacy alongside and in tension with the filmmaker's characteristic indirection. It looks therefore to the kitchen talks (a sort of primal script between mother and daughter) as well as to the mysterious desert shots that crisscross the film's main focus on the apartment's interiors as two key tropes in

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Budylin, Sergey. "The Battle for Cheburashka: Films by Jove, Inc. v. Berov and Copyright in Soviet Animated Films." Review of Central and East European Law 39, no. 3-4 (2014): 343–67. http://dx.doi.org/10.1163/15730352-00000023.

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In this essay, I discuss in some detail an extraordinarily instructive US case from the early 2000s: the Soiuzmul’tfil’m controversy, formally known as Films by Jove, Inc. v. Berov. More precisely, this essay is about a series of related cases in the United States and Russia concerning the rights to Soviet animated films. In their decisions, the courts discuss—and, to some extent, resolve—a number of complex legal issues of Soviet, post-Soviet, and current Russian law, including those related to intellectual property, corporate law, and private international law.

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Lamberti, Claudia. "La cittŕ degli espressionisti: scenografie cinematografiche." STORIA URBANA, no. 122 (September 2009): 47–67. http://dx.doi.org/10.3280/su2009-122003.

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- The essay compares the images of the city defined by the Expressionist movement and the city images in the films of the time. Expressionist architects discovered that film-set design gave them a chance to experiment with their artistic skills. At the same time, film studios could not shoot outdoors easily and so were forced to rely on constructed sets. All this worked out as an incentive for architectural invention. Sets became an apt proving ground for the new expressiveness of the architects as well as a way to experiment with the use of space without limits and constraints. This essay exa

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Sharma, Ishita. "Japan’s Perception of Women: The Case of Kurosawa’s Rashomon." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 104–7. http://dx.doi.org/10.22161/ijels.91.13.

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This essay examines gender representation in Akira Kurosawa's film "Rashomon," specifically focusing on the film's portrayal of women within the socio-cultural context of 1950s Japan. "Rashomon" presents a narrative that reflects the entrenched patriarchal norms of the era, depicting women as submissive and victimized while men are shown as dominant figures. The essay argues that, despite the ostensibly masculine spirit of Kurosawa's films, the female characters in "Rashomon" offer a nuanced view that transcends simple categorization. The film's narrative structure, which offers multiple persp

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Jordan, Randolph. "Composing perception: Hildegard Westerkamp meets Gus Van Sant (a video essay)." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 240–44. http://dx.doi.org/10.33178/alpha.27.19.

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This video essay explores the relationship between the soundscape compositions of Hildegard Westerkamp, the films of Gus Van Sant, and the writing of Danijela Kulezic-Wilson. The piece presents Westerkamp’s composition “Doors of Perception” in its entirety with accompanying sequences from the Van Sant films that have used her work as part of their sound design, along with other of his films that do not. The sequences from Elephant and Last Days are positioned according to the timing of the excerpts used in the films, only now it is the films that are integrated into the soundscape composition

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Monterrubio Ibáñez, Lourdes. "The Audiovisual Thinking Process in Contemporary Essay Films." Comparative Cinema 10, no. 18 (2022): 6–10. http://dx.doi.org/10.31009/cc.2022.v10.i18.01.

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Sandoval Gutiérrez, J. L. "Essay on blindness or the blindness of an essay. Films, serials, fiction, and medicine." Archivos de la Sociedad Española de Oftalmología (English Edition) 92, no. 11 (2017): e69. http://dx.doi.org/10.1016/j.oftale.2017.04.001.

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Hong, Jing. "The Effect of Abstractness on the Popularity of Films and Theatre Among Generation-Z." BCP Social Sciences & Humanities 17 (May 5, 2022): 104–10. http://dx.doi.org/10.54691/bcpssh.v17i.632.

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This essay begins at looking at three common factors previous researches have mentioned including capital market, medium and cultural capitals and then evaluates their limitations on affecting the popularity of films and theatre. Then the essay discusses the element of abstractness in films and theatres and identifies it as the main factor by analysing its effect on popularity in terms of psychology and contemporary education system. The writer also does a survey about the preferences and habits of watching films and theatres to provide data for analysing, which targets on 212 young people age

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Miyao, Daisuke. "Japonisme and the Birth of Cinema." Journal of Japonisme 1, no. 1 (2016): 66–92. http://dx.doi.org/10.1163/24054992-00011p05.

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In this essay, I examine the connection between Japonisme and the films of the Lumière brothers. Lumière films have been considered to be “actuality films” or documentary. By focusing on Japonisme that is observed in these films, I locate them in a broader field of media interactions among such cultural products as painting and photography. One of my focuses is on the conflict and negotiation between the camera eye and the physicality of the human eyes and hands that can be witnessed in Lumière films. Moreover, considering the questions posed in Marxist, subaltern, and postcolonial theory abou

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Deb, Ankita. "Sensationalizing Nontheatrical Cinema." Feminist Media Histories 11, no. 2 (2025): 59–76. https://doi.org/10.1525/fmh.2025.11.2.59.

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In this essay, I examine how nontheatrical films on sex education from Europe and North America were recirculated by B-circuit filmmakers in India and in so doing suffused them with feminist and queer possibilities. I argue that this circuit of cinema enabled the production of alternate spaces of knowing, learning, and experiencing sex through these films where reproductive health and libidinal pleasures could coexist. This essay examines three films—Pregnancy and Childbirth (1981), The Birth (1981), and Gupt Gyan (Secret Wisdom, 1974) through each of their circulation contexts, theatrical exh

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De Almeida, Rafael, and Ana Paula De Aquino Caixeta. "The soundscape in the essay film Heart of a Dog." Intexto, no. 47 (August 6, 2019): 75–88. http://dx.doi.org/10.19132/1807-8583201947.75-88.

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We aim to investigate the ways of using the soundscape in the essay film Heart of a Dog (Laurie Anderson, 2015). Methodologically we rely on the procedure of the film-based analysis focused on the soundtrack. Our research problem is dedicated to questioning how the soundscape participates in the elaboration of a reflection in development, intended by the essay films. From such discussions about our film corpus, we consider that in the essay films there is a reflexive sound-landscape, which both supports and potentiates the voice-over in its role of concretizing the ongoing thought, as well as

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Sandu, Vladlena O. "Existential problematics in the films of Pedro Costa." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 128–38. http://dx.doi.org/10.17816/vgik112128-138.

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Films of the Portuguese director Pedro Costa seldom steal the limelight of cinema scholarship. The specific marginality of his works, the complex semi-documentary structure of his films and, at first glance, the social nature of his subjects complicate the analysis of his films. This essay undertakes a detailed investigation of his films' structures and problematics in the context of intellectual development in 21st-century European cinema. Four films by Costa Bones (Ossos, 1997), In Vandas Room (No Quarto da Vanda, 2000), Colossal Youth (Juventude em Marcha, 2006) and Horse Money (Cavalo Dinh

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Kumar, Rebecca. "“You're in the Middle of the World”." liquid blackness 8, no. 1 (2024): 44–65. http://dx.doi.org/10.1215/26923874-11005952.

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Abstract Despite Barry Jenkins's pronounced and intentional allusions to the work of Hong Kong auteur Wong Kar Wai, film scholars have generally made little of the pervasive Asian elements in Moonlight (2016). This essay, however, offers a sustained study of the film's aesthetic and political engagement with Wong's cinema. It highlights how the distinct Asian femininity, or ornamentalism, of Days of Being Wild (1990) and In the Mood for Love (2001) are translated into Moonlight and reinforce the film's key themes on Black queerness, especially its ontological implications for Black (non)being

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Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema." boundary 2 48, no. 3 (2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.

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Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by c

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Waldrep, Shelton. "The Golden Ages of Porn: the 1970s (Translation into Russian)." Corpus Mundi 2, no. 2 (2021): 57–82. http://dx.doi.org/10.46539/cmj.v2i2.44.

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This essay focuses on the brief moment in early seventies filmmaking when the porn industry made narrative-based films such as Deep Throat (1972) and Behind the Green Door (1972). This attempt to fuse porn with mainstream culture has come back into vogue in the present, when we see a new legitimization of porn. One might say that recent representations of sex on the screen have attempted to go back to the early seventies to restart a trajectory that was never able to complete itself. The essay begins with a consideration of the origins of porn films in nineteenth-century European art before mo

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Lowenstein, Adam. "Living Dead: Fearful Attractions of Film." Representations 110, no. 1 (2010): 105–28. http://dx.doi.org/10.1525/rep.2010.110.1.105.

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This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historical trauma through issues of deferral, belatedness, and retranscription.

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Schäfer, Sandra. "Whose Gaze? Stories Told between Kabul, Herat and Berlin." BioScope: South Asian Screen Studies 11, no. 1 (2020): 61–77. http://dx.doi.org/10.1177/0974927620935255.

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This visual essay focuses on contemporary women’s cinema in Afghanistan, which started in 2001, when, for the first time, women made films in Afghanistan. They narrate stories from their perspectives, and choose different filmic means, characters and genres to tell their stories. With a selection of film stills and photographs, this visual essay introduces the work of these women filmmakers. The images are accompanied by text that describes the contents and the making of their films. Text includes quotations from filmmakers reflecting on their practice. The directors whose work I present are,

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Kong, Xinyu. "Differences Between Two Shakespearean Adaptations: An Analysis of Two Film Adaptations of The Tempest from the Perspective of Gender." Communications in Humanities Research 26, no. 1 (2024): 256–66. http://dx.doi.org/10.54254/2753-7064/26/20232080.

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In recent years, some social phenomenon (e.g. changes in clothing of male and female) reveals that the gender identity is gradually changing. This essay mainly focuses on analyzing gender differences in the two adaptations of Shakespeares tragicomedy The Tempest. The two selected films are The Tempest directed by George Schaefer in 1960 and directed by Julie Taymor in 2010. This essay is attempting to find out in what way do the male and female characters change in the film in 2010 compared with the film in 1960. Although, Shakespeares work had already been adapted and researched by a consider

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Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.

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Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way

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Kelsey, Penelope. "World(build)ing in Mohawk- and Seneca-Language Films." English Language Notes 58, no. 1 (2020): 214–25. http://dx.doi.org/10.1215/00138282-8237531.

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Abstract This essay brings Zayin Cabot’s concept of “ecologies of participation” into conversation with contemporary Mohawk- and Seneca-language films and language revitalization movements. For Indigenous peoples, these participatory events are often interactive storying of worlds, whether told in film, social media, or oral tradition. As a particularly salient example, the essay considers Mohawk director Karahkwenhawi Zoe Hopkins’s adaptation of Star Wars: A New Hope in Star Wars Tsyorì:wat IV—Yonhská:neks (2013) in a comparative analysis with both the Navajo-language Star Wars: Episode IV an

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Bono, Francesco. "In the Steps of Operetta: Austrian Cinema’s Relation to History." European Journal of Multidisciplinary Studies 4, no. 1 (2019): 80. http://dx.doi.org/10.26417/ejms-2019.v4i1-531.

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This essay intends to investigate some aspects of the multifaceted relationship between the Viennese operetta and Austrian film in the period from the 1930s to the 1950s. In particular, the essay will try to trace the influence of the operetta on the way in which Austrian films depicted the country’s history. Focusing on some of the most popular Austrian films of the period, including Willi Forst’s Operette (1940), Wiener Blut (1942) and Wiener Mädeln (1944-49), as well as Ernst Marischka’s trilogy from the late 1950s about the Austrian empress “Sissi”, the essay will critically discuss Austri

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Figlerowicz, Marta. "Timing and Vulnerability in Three Hitchcock Films." Film Quarterly 65, no. 3 (2012): 49–58. http://dx.doi.org/10.1525/fq.2012.65.3.49.

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This essay studies three Hitchcock films to argue that their character construction—especially their construction of characters' vulnerability—is structured around patterns of timing or mistiming. It also asks more broadly what this formal choice can tell us about these films' treatment of ethics.

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Mumford, Cara. "Dancing the Waterways in Leanne Simpson’s she sang them home." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (2022): 29–41. http://dx.doi.org/10.7202/1085310ar.

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Inspired by essay films meditating on time, travel and ceremony and informed by cinematic cartography, my short dance film, sing them home (2020), travels the specific bodies of water that form the route that Atlantic Salmon once journeyed as they migrated to Michi Saagiig Nishnaabeg territory. Rooted in Nishnaabewin and Indigenous food sovereignty, toward a vision of the collective continuance of Michi Saagiig aki miijim, the film uses movement to activate sites in and on the shores of these lakes and rivers in the present while remembering the past and future of this waterway and her kin. Th

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Ko, Chisu Teresa. "Antipodal Connections." Film Quarterly 74, no. 4 (2021): 19–30. http://dx.doi.org/10.1525/fq.2021.74.4.19.

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Argentines often use the term “antipodes” to describe East Asia as Argentina’s geographical and cultural opposite. Within this antipodal imaginary, Asia and its people often figure in stereotypical, mythical, or unfamiliar terms. Recently, however, there has been a surge of Argentine documentary films about Koreans and Korean immigration to Argentina. Why are so many Argentine documentaries turning to these subjects and why now? This essay focuses on two films—La chica del sur (José Luis García, 2012) and Una canción coreana (Yael Tujsanider and Gustavo Tarrío, 2014)—to understand this new int

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Baumel-Schwartz, Judy Tydor. "Seeing is Believing? Reflections on Teaching the Holocaust Through Film." Jewish Film & New Media: An International Journal 11, no. 1 (2023): 138–56. http://dx.doi.org/10.1353/jfn.2023.a937532.

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ABSTRACT: In this essay, I explore the role of visual media in creating the history of events and focus on my personal experiences of teaching Holocaust through film in Israel for over three decades. I explore my choice of films, discuss various difficulties that are encountered when using film in the classroom, and explain the use of film in the intergenerational transference of trauma. I end my essay with a number of concluding thoughts and suggestions to those using films in their classroom to teach about the Holocaust.

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Peirse, Alison. "The language of rage." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (2024): 91–93. http://dx.doi.org/10.5209/tekn.90544.

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This video essay uses multiple horror films in different languages from around the world to explore not only what rage looks like on screen, but also why, as women, we might feel the need to rage (Please view this video essay with subtitles enabled and wear headphones).

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Bono, Francesco. "Friend or Foe? Representations of WWI in Italian Fascist Cinema." European Journal of Interdisciplinary Studies 6, no. 1 (2020): 6. http://dx.doi.org/10.26417/ejis.v6i1.p6-12.

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The present essay investigates the representation of the First World War in Italian fascist cinema by analyzing some of the major films about the war made during the Fascist regime and, notably, Marco Elter’s Le scarpe al sole (1935), Giovacchino Forzano’s 13 uomini e un cannone (1936) and Oreste Biancoli’s Piccolo alpino (1940). The films will be examined from an original and specific angle, devoting special attention to their portrayal of the Austrian enemy. Little consideration has been paid so far in scholarly research to this aspect. The essay will specifically address the question, inves

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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.

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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character. This essay explores the director's vision of urban space and the

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Yoo, Jisu Klaire. "A Study on the Identity of Essay Films, Analyzing." CONTENTS PLUS 13, no. 5 (2015): 103–19. http://dx.doi.org/10.14728/kcp.2015.13.05.103.

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Bezenkova, Maria V. "The canons of capturing reality in the documentary cinema of the 1960s." Journal of Flm Arts and Film Studies 11, no. 3 (2019): 30–41. http://dx.doi.org/10.17816/vgik11330-41.

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The essay deals with the problems of new expressive means that appeared in Soviet documentaries in the late 1950s 1960s. It analyzes the main expressive means of capturing the new screen reality on examples of Castles in the Sand (dir. Yakov Bronstein and Algimantas Vidugiris), Katyusha (dir. Viktor Lisakovich), Marinas Life (dir. Leonid Kvinikhidze), Look at the Face (dir. Pavel Kogan), and Nikolai Amosov (dir. Taimuraz Zoloev). Its main interests are plastic solutions, the frame structure, the designation of the object of shooting and the author's presence in the interframe space or inside t

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Saljoughi, Sara. "A Cinema of Refusal." Feminist Media Histories 3, no. 1 (2017): 81–102. http://dx.doi.org/10.1525/fmh.2017.3.1.81.

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Marva Nabili's The Sealed Soil (1977) is one of the few feature films made by a woman in Iran prior to the 1979 Iranian Revolution. This article argues that the film inaugurated the “distanced look” that most scholars attribute to Iranian art cinema made after 1979. Through a reading of the film's thematic and formal articulations of refusal, the essay claims that this work can open new readings of the relationship between aesthetics and politics in Iranian cinema.

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Bordwell, David. "Intensified Continuity Visual Style in Contemporary American Film." Film Quarterly 55, no. 3 (2002): 16–28. http://dx.doi.org/10.1525/fq.2002.55.3.16.

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Do today's movies, filled with dazzling spectacle and often less-than-dazzling plotting and characterization,constitute a break with Hollywood's past? This essay argues that recent films rely upon many principles of traditional"continuity filming," but that there are nonetheless some important changes. In particular, certain techniques,such as fast cutting and free-ranging camera movement, have become more forceful and flamboyant. These techniques have blended into an approach to visual storytelling which we can call "intensified continuity." By analyzing films and reflecting upon comments gle

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Sekar, Sureshkumar P. "Disney screencerts: A video essay." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 37–40. http://dx.doi.org/10.33178/alpha.27.04.

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In this video essay, I establish, discuss, and illustrate different types of Disney screencerts—events where the performance of music on stage is accompanied by the projection of the associated audiovisual on screen. Focusing on the audience experience, I use concepts from intermedial and multimodal studies to illustrate the experiential difference in each of the different forms of Disney screencerts—Film-with-Live-Orchestra Concert; Film-with-Live-Theatre-and-Orchestra Concert; Excerpt/Montage-with-Live-Orchestra Concert; and Shorts-with-Live-Orchestra concert. In the 100th anniversary of Dis

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Baer, Nicholas. "The Rumors Are True." Qui Parle 33, no. 1 (2024): 63–78. http://dx.doi.org/10.1215/10418385-11125484.

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Abstract This essay examines the role of rumors in F. W. Murnau’s films as well as in later writings about his life and career. While Murnau perpetuates long-standing figurations of gossip as a frivolous or even malicious activity, he also grants unverified information a truth value. Where Heidegger claimed that Gerede (idle talk) is based on “groundlessness” and “indifferent intelligibility,” this essay shows that rumors in Murnau’s films are often well-founded and also essential to a nuanced understanding of his work. Bringing together film analyses, archival materials, and philosophical tex

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