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Journal articles on the topic 'Film aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

ZHAO, Xiaoran. "The evolution and development of "slow film" aesthetics in China: time, meditation and poetic expression." Region - Educational Research and Reviews 6, no. 9 (2024): 97. https://doi.org/10.32629/rerr.v6i9.2845.

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As a unique film aesthetics, slow film has experienced the process of development from introduction, imitation to localization. By sorting out the changing trajectory of slow film aesthetics in China, this paper focuses on the three core dimensions of time, meditation and poetic expression, and discusses how Chinese slow films absorb and draw on Western aesthetics while combining Chinese philosophy and aesthetic tradition, to form a unique aesthetic style with Chinese characteristics.

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2

O, Michaela. "Dividual Film Aesthetics." Philosophy International Journal 6, no. 2 (2023): 1–6. http://dx.doi.org/10.23880/phij-16000294.

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The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much like contemporary plurivocal musical compositions. He reads their a

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3

Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.

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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film ar

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Zhang, Yifan. "The Violent Aesthetic Embodiment of the Charm of the Villains in the Films." Communications in Humanities Research 15, no. 1 (2023): 18–24. http://dx.doi.org/10.54254/2753-7064/15/20230530.

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The aesthetics of violence are mainly in the sense that violence is presented in an aesthetic way, and poetic pictures and even imaginary shots are used to express the violence and violence of human nature. Viewers themselves are often amazed at the artistic expression and have no specific discomfort with the content. This paper mainly analyzes the three films from many aspects. The three films have different backgrounds and plots, and their commonalities are bright aesthetic expressions and rich lens language. This paper analyzes the aesthetic embodiment of the unique charm of the villain in

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Tian, Yi nong, and Guanwen Diao. "Research and analysis of the development of news film and television based on the integrated media environment." SHS Web of Conferences 167 (2023): 02014. http://dx.doi.org/10.1051/shsconf/202316702014.

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The expansion of the digital integration mode of contemporary digital cinema from creation to projection and the change of cinematic language both herald the breakthrough of technology once again and the opening of a new era of digital cinematic art. From the aesthetic point of view, digital cinema has overturned and dismantled some of the theoretical essentials and important concepts of traditional film aesthetics about film ontology, and the changes and progress of digital cinema’s generation principle, audiovisual environment and media properties have profoundly influenced film art creation

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Tronconi, Giulia. "Aesthetics of Slowness, Aesthetics of Boredom." Screen Bodies 8, no. 1 (2023): 33–54. http://dx.doi.org/10.3167/screen.2023.080104.

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Abstract Within the contemporary discourse on slow cinema and independent arthouse filmmaking, emerges the figure of Malaysian-born, Taiwan-based director Tsai Ming-liang. His works, situated at a crossing between different forms of expression—film and installation, narrative film and ethnography—have often been deemed tiresome, boring. The following article explores where and how boredom may be identified in his films, and questions whether the languid feeling can be considered an aesthetic achievement. In particular, the article offers close textual analysis of I Don't Want to Sleep Alone (2

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7

Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.

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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inher

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Cui, Huaguo, Lingling Ding, and Dong-yeul Jang. "Simulation Analysis of Aesthetic Effects of Context in Film and Television Animation Based on Unity 3D." Tobacco Regulatory Science 7, no. 5 (2021): 2549–58. http://dx.doi.org/10.18001/trs.7.5.1.24.

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Film and television animation generally belongs to the art form of film and television category, but it also contains a large number of characteristics of art visual communication. To explore the research scope of visual communication of film and television animation aesthetics, we may as well start from the perspective of methodology. If the methodology of aesthetics is also applicable to the study of film and television animation aesthetics, we can choose the most commonly used methodology in literature and art and aesthetics to analyze the aesthetic application of film and television animat

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9

Han, Mengke. "Accept the Aesthetic Art Analysis with Tim Burton's Big Fish as An Example." Advances in Humanities Research 12, no. 1 (2025): 44–48. https://doi.org/10.54254/2753-7080/2025.22128.

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Reception aesthetics posits that audiences are not passive recipients of information but active participants in the interpretation and creation of films. From the perspective of reception aesthetics, the interactive relationship between audiences and films can be explored more comprehensively. This approach enables an analysis of how films derive vitality and meaning through audience interaction, reveals the socio-cultural connotations and aesthetic value of cinematic art, and examines the variations in audience reception across different social, historical, and cultural contexts. Ultimately,

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10

Miao, Zheng. "Fragmented viewing of movies in contemporary society." Journal of Education, Humanities and Social Sciences 3 (September 22, 2022): 117–28. http://dx.doi.org/10.54097/ehss.v3i.1556.

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With the popularity and rapid development of the Internet, online video has played a very important role in promoting film and television communication. On the basis of online video, the rise of the short video industry has also brought about a huge change in people's movie habits. The fragmented aesthetics of movies are increasingly prominent under the influence of digital technology. The effects stemming from market forces are particularly profound. Marketization requires film production to take into account the types of audiences and to take care of the audience's spiritual fragments, and t

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11

Zhou, Ziluo. "A Brief Discussion on the Aesthetic Connotation of Eastern Cinema." Communications in Humanities Research 27, no. 1 (2024): 138–43. http://dx.doi.org/10.54254/2753-7064/27/20232158.

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Looking back at the century-long development of Chinese cinema, the deep-rooted influence of traditional Chinese aesthetics has played a crucial role in promoting the sinicization and nationalization of films. The isomorphic relationship between universal film aesthetics and traditional Chinese aesthetics allows Chinese cinema to extract humanistic values, broaden aesthetic categories, and increasingly present the vibrant characteristics of "Eastern cinema." This paper aims to analyze the aesthetic changes during the development of Chinese cinema, explore the aesthetic implications of Eastern

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12

Liu, Bei. "Exploring the New Aesthetic Significance of Chinese Film Art under the Influence of Digital Technology." Communications in Humanities Research 12, no. 1 (2023): 26–37. http://dx.doi.org/10.54254/2753-7064/12/20230019.

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Film, rooted in technology, possesses unique aesthetic characteristics that are intertwined with technological advancements. Since the beginning of the new century, the integration of digital technology has facilitated a seamless transition of film art from production to distribution, ushering in a new era of digital film aesthetics. This paper focuses on investigating the relationship between digital technology and film art, clarifying the developmental origins of both, and using the degree of digital technologys integration into film art as a starting point. By examining classic digital film

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Koutras, Konstantinos. "The Politics of Film Aesthetics: Filmososphy, Post-Theory, and Rancière." Philosophies 9, no. 2 (2024): 50. http://dx.doi.org/10.3390/philosophies9020050.

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The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this artic

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14

Zapāne, Agnese. "VISUAL AESTHETICS OF JĀNIS STREIČS’ FILMS." Culture Crossroads 10 (November 10, 2022): 111–18. http://dx.doi.org/10.55877/cc.vol10.146.

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Jānis Streičs is one of the key figures in the Latvian film history. His Soviet period films (13 feature films) are distinguished by a certain visual style, as well as by technique and aesthetics of creating characters, sets and the on-screen world. The 1970s and 80s was a prolific time for the director both in terms of genres and subjects covered in his films. Films of this period serve as evidence to Jānis Streičs’ strong authorship, as well as give grounds for further research into aesthetic canons, technical possibilities and visual aesthetics of the Soviet period films.

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IBRAHIM, AZAHA. "ESTETIKA RASA DALAM FILEM ARAHAN DAN LAKON OLEH P. RAMLEE : ANALISIS TERHADAP FILEM PENAREK BECA (1955)." International Journal of Creative Future and Heritage (TENIAT) 1, no. 2 (2013): 87–106. http://dx.doi.org/10.47252/teniat.v1i2.116.

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Kertas seminar ini cuba menjelaskan hubungan estetika dengan rasa khalayak dalam filem arahan dan lakonan oleh P. Ramlee: rujukan filem PENAREK BECA (1955). Estetika adalah konsep yang berkaitan dengan keindahan, elok, berguna yang merangkumi aspek fizikal dan dalaman termasuk akal budi. Rasa ialah emosi dan perasaan yang terpendam dalam alam bawah sedar diri seseorang (unconscious). Emosi akan terangsang apabila disentuh dan diusik dengan fenomena sosiobudaya kehidupan masyarakat yang direpresentasikan melalui filem yang mampu menyentuh rasa seseorang. PENAREK BECA (1955) menyajikan penonton

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16

Li, Mengjiao. "Study of Wes Anderson’s Film Tragedy from the Perspective of Tragic Aesthetics." International Journal of Education and Humanities 14, no. 2 (2024): 151–54. http://dx.doi.org/10.54097/srcv4m11.

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The research object of this paper is Wes Anderson, an American independent director and author-director. Wes Anderson and his films are unique, Because his films have not only won numerous artistic awards, but also have considerable commercial value. The purpose of this article is Analyze the underlying content of the movie. This article takes the film narrative, theme and visual impression as the starting point, and analyzes the director's films, and then summarizes how Wes Anderson's films operate from the perspective of tragic aesthetics. This article uses case analysis and interdisciplinar

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17

Fischer, André. "Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness." Film-Philosophy 22, no. 1 (2018): 39–59. http://dx.doi.org/10.3366/film.2018.0061.

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This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and total cinema in classic film theory and visual studies. More importantly I show

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18

Zhu, Yifan. "The Influence of the French New Wave Movement on Contemporary World Art Film Creation." Communications in Humanities Research 3, no. 1 (2023): 670–74. http://dx.doi.org/10.54254/2753-7064/3/20220555.

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The French New Wave is one of the three major aesthetic movements in the world film history. The "New Wave" films shocked the world, causing the "New Wave" film movements in America, Europe, Asia and other countries to emerge one after another, triggering a worldwide film aesthetic revolution. The French "New Wave" has a profound impact on modern films. This paper focuses on grasping the emergence, development, prosperity and decline of the French "New Wave" film aesthetics, paying attention to live broadcast and process documentaries, analyzing the artistic skills of the New Wave film to shap

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19

Barnett, Daniel. "Daniel Herwitz (2008) Aesthetics." Film-Philosophy 13, no. 1 (2009): 130–38. http://dx.doi.org/10.3366/film.2009.0010.

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20

Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.

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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christoph

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21

Grodal, Torben. "The PECMA Flow: A General Model of Visual Aesthetics." Film Studies 8, no. 1 (2006): 1–11. http://dx.doi.org/10.7227/fs.8.3.

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This article argues that the central dimensions of film aesthetics may be explained by a general theory of viewer psychology, the PECMA flow model. The PECMA flow model explains how the film experience is shaped by the brain‘s architecture and the operation of different cognitive systems; the model describes how the experience is based on a mental flow from perception, through emotional activation and cognitive processing, to motor action. The article uses the flow model to account for a variety of aesthetic phenomena, including the reality-status of films, the difference between narrative and

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22

Tegel, Susan. "Nazi film aesthetics." Historical Journal of Film, Radio and Television 26, no. 3 (2006): 417–20. http://dx.doi.org/10.1080/01439680600799447.

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23

Zhu, Xinchen. "Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)." Arts 13, no. 3 (2024): 96. http://dx.doi.org/10.3390/arts13030096.

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The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on funda

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Yeo, Jinsook. "A Study on the Affinity of Kim Jong-sam’s Poetry and Film." Korean Society of Culture and Convergence 44, no. 7 (2022): 721–31. http://dx.doi.org/10.33645/cnc.2022.7.44.7.721.

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The purpose of this paper is to reveal the affinity between Kim Jong-sam’s poetry and film. Under the setting that the audiovisual image and rhetorical qualities that appear in Kim Jong-sam’s poems can be realized in movies, the interface between the two genres was examined. We focused on image presentation and rhetorical devices for films that are closely related to Kim Jong-sam’s poetry. This method is an inferred hypothesis that the artistic achievement of his poetry was specifically reproduced and expanded in a specific film. In a reality where the demand and value of visual aesthetics are

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ZHANG, Xue. "Application and development strategy of color aesthetics in modern film." Region - Educational Research and Reviews 6, no. 7 (2024): 88. http://dx.doi.org/10.32629/rerr.v6i7.2335.

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As an important part of the film art, color is becoming more and more critical in the modern film creation. By analyzing the application status of color aesthetics in modern films, this paper discusses the role of color in narrative, emotional rendering, visual impact and other aspects, and puts forward corresponding development strategies for the existing problems. The rational application of color aesthetics in the film creation cannot only enhance the artistic value of the film, but also bring a richer audio-visual experience to the audience. The article aims to provide reference and guidan

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Faulstich, Werner. "Film Aesthetics and New Methods of Film Analysis." Empirical Studies of the Arts 7, no. 2 (1989): 175–90. http://dx.doi.org/10.2190/bv3j-09br-1p56-c4gu.

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Almost every piece of scientific or critical work which is concerned with the film expresses at the same time opinions both about the nature of film and about the methods of film analysis, in most cases only implicitly. In contrast to such implicit statements, I will try here to make these theoretical and methodological positions explicit and demonstrate them with examples. First of all, I should like to refresh our memory about the basic theoretical premises of what I call “film aesthetics” (a concept which was presented in 1982 at great length). Then we have to name the rather more practical

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Peabody, Seth. "Image, Environment, Infrastructure: The Social Ecologies of the Bergfilm." Humanities 10, no. 1 (2021): 38. http://dx.doi.org/10.3390/h10010038.

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The German mountain film (Bergfilm) has received extensive critical attention for its political, social, and aesthetic implications, but has received remarkably little attention for its role in the environmental history of the Alps. This article considers the Bergfilm within the long history of depictions of the Alps and the growth of Alpine tourism in order to ask how the role of media in environmental change shifts with the advent of film. The argument builds on Verena Winiwarter and Martin Knoll’s model of social-ecological interaction, Adrian Ivakhiv’s theoretical framework for the environ

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Koutras, Konstantinos. "Documentary Fictions: Jacques Rancière and the Problem of Indexical Media." Film-Philosophy 27, no. 2 (2023): 262–81. http://dx.doi.org/10.3366/film.2023.0229.

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The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, but of argument. In this

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Putra, Wayan Vicky Darish, I. Gusti Komang Gede Arno Widagdo, Ida Bagus Kevin Febrio, I. Kadek Rama Ardi Nugraha, and I. Gede Agus Indra Bayu Artha. "ESTETIKA FILM ANIMASI WOLFWALKERS." Anima Rupa 1, no. 1 (2023): 26–30. http://dx.doi.org/10.59997/animarupa.v1i1.2859.

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Wolfwakers animated film aesthetics. The purpose of this research as intended is: What makes wolfwalkers animation unique, Knowing the aesthetic elements of unity, balance, and emphasis in the Wolfwalkers animated film.This study uses a qualitative method, which collects data from observing films. Observation results from the wolfwalkers animation show that the aesthetic element is very prominent in each image due to its unique visual style, such as the use of hand-drawn techniques (manual animation with paper and pencil) as well as the use of several colors in making backgrounds which are mad

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Reisenzein, Rainer. "Naturalized Aesthetics and Emotion Theory." Projections 12, no. 2 (2018): 76–85. http://dx.doi.org/10.3167/proj.2018.120210.

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Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emo

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Asciuto, Nicoletta. "Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema." Space and Culture 23, no. 4 (2019): 394–408. http://dx.doi.org/10.1177/1206331219830324.

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This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Mon

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Jiang, Xinyu. "An Analysis of the Uniquely Chinese Oriental Aesthetic in Crouching Tiger, Hidden Dragon." International Journal of Education and Humanities 4, no. 3 (2022): 6–8. http://dx.doi.org/10.54097/ijeh.v4i3.1642.

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Crouching Tiger, Hidden Dragon, as a martial arts film, is filled with a variety of summaries and expressions of Eastern aesthetics, the origins of which are closely linked to Taoist thought. This emphasis on the spirit of cessation, seclusion and compassion forms the backbone of the film, while the writing of rebellion, resistance and domestication fills the flesh and blood of the film. In this film, Ang Lee attempts to deconstruct traditional oriental aesthetics and then reorganise them, resulting in Crouching Tiger, Hidden Dragon, a film with a twisted story and vivid, subtle images that ca

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Keating, Abigail. "Katherine Thomson-Jones (2008) Aesthetics and Film." Film-Philosophy 14, no. 1 (2010): 468–74. http://dx.doi.org/10.3366/film.2010.0034.

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Hockenhull, Stella. "Remystifying Film: Aesthetics, Emotion and The Queen." Film-Philosophy 16, no. 1 (2012): 165–82. http://dx.doi.org/10.3366/film.2012.0010.

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Zhou, Xing. "The Current Problems of Aesthetic Creation in Chinese Film Art." Journal of Chinese Film Studies 1, no. 2 (2021): 355–76. http://dx.doi.org/10.1515/jcfs-2021-0031.

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Abstract Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How t

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Afrianto, Damar Tri. "FILM SANG PENARI : Sebuah Kajian Estetika Baumgarten." Capture : Jurnal Seni Media Rekam 8, no. 1 (2017): 16–33. http://dx.doi.org/10.33153/capture.v8i1.1897.

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Film Sang Penari (The Dancer) is one of Indonesian film that has a local spirit.Ifa Ifansyah,Â director of this film presents the problematic female dancers Ronggeng, ranging fromÂ the problem itself with her culture,herself with her family,to herself with her love story.Â The film seems to provide another offer to bring local wisdom in the movie screen.ThisÂ research uses ethical approach by applying interpretation of analysis with BaumgartenÂ aesthetic theory.The presentation is presented in qualitative descriptive. Based on theÂ aesthetic analysis are generated various perceptions of beauty

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Justus, Timothy. "Toward a Naturalized Aesthetics of Film Music." Projections 13, no. 3 (2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130302.

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In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber’s Adagio for Strings—I follow the example set by Murray Smith in Film, Art, and the Third Culture and discuss the complemen

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Wang, Yunning. "Film Literary Criticism and Image Aesthetics: Around Film Criticism." SHS Web of Conferences 167 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202316701014.

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Film criticism has been carried out in the form of activities since its inception, in which many outstanding intellectuals and artists have participated.Especially in this respect, European intellectuals can contrast with American intellectuals, who have long held films in contempt. “In Europe, intellectuals have been fascinated by filmmaking since the beginning of their media,” writes Tim Bewart and Thomas Szobak.It is not surprising, therefore, that in the 1920s, throughout Europe, Paris, Berlin, Moscow, a group of intellectuals dedicated to all corners of the art and other artists on the sa

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Stroud, Scott. "Pragmatist Aesthetics and Film." Film and Philosophy 10 (2006): 67–83. http://dx.doi.org/10.5840/filmphil2006106.

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Knight, Deborah. "Film Aesthetics and Appreciation." Film and Philosophy 22 (2018): 21–35. http://dx.doi.org/10.5840/filmphil2018223.

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Corpus, Faye III, Angelique Mira Ticlao, and Joanna Juvyjoy Rojo. "Bala o Hustisya?: A comparative contextual analysis on the representation of extrajudicial killings in selected Filipino narrative films." F1000Research 12 (November 23, 2023): 1496. http://dx.doi.org/10.12688/f1000research.133747.1.

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Background: The war on drugs campaign led by President Duterte increased the prevalence of extrajudicial killing themes in Philippine cinema, reflecting societal issues and influencing the film industry. This study analyzed the representation of extrajudicial killings (EJK) through the mise-en-scene elements of aesthetics and configuration, and the common themes of the genres such as war and society, drama, action, and crime/thriller of the selected extrajudicial killings related films: Buybust (2018), Respeto (2017), and Neomanila (2017). The EJK-related films were selected due to their categ

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Kovanen, Marjo. "Horror in Finnish children’s cinema and film literacy: A case study of Iris." Journal of Scandinavian Cinema 14, no. 3 (2024): 235–53. https://doi.org/10.1386/jsca_00122_1.

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This article focuses on the cultural and aesthetic meanings of horror elements in Finnish children’s cinema, situating it within a Nordic context. Combining close reading and intertextual analysis of Ulrika Bengts’ Iris (2011), the investigation demonstrates that the horror elements are tonal, aesthetic and thematic, making the film representative of an arthouse-oriented Nordic children’s horror genre that differs in significant respects from Anglo-American children’s horror. The article also discusses the pedagogical potential of children’s films influenced by horror aesthetics and proposes a

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Noh, Shihun. "The Surreality of Soundscape in Luis Buñuel’s Film: Focusing on L'âge d'or." Korean Society of Culture and Convergence 45, no. 10 (2023): 443–53. http://dx.doi.org/10.33645/cnc.2023.10.45.10.443.

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The purpose of this study is to examine the relationship between soundscapes and surrealist aesthetics in Buñuel's films, focusing on L'âge d'or. As a result of the examination, it can be seen that in this film music is used to express motifs of the film and paradoxically attack elements that hinder the realization of desire, and dialogue and other sound are used to reinforce the realness of visual images or to oppose the music. In addition, as a result of analyzing the soundscape composition of this film, we were able to identify the characteristics that most of the sounds in this film are ev

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Silveira de Senna, Marcelus Gaio, and Eliane Muniz Gordeeff. "Os personagens animados de Bizarros peixes das fossas abissais." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 15, no. 33 (2025): 554–81. https://doi.org/10.35699/2238-2046.2025.53842.

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The animated feature film The Bizarre Fish from The Abyssal Zone by Marcelo Marão presents a narrative based on the author's personal experiences. The objective of this article is to analyze the main characters of the film in the narrative and aesthetic dimensions. In the field of narrative, the film and its characters, their functions, performances, personalities and meanings in the story are presented. Regarding aesthetics, a formal study of the style and design of characters, as well as their movements, is carried out. A parallel is made with films that narrate similar journeys considering

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Mulia, Prajanata Bagiananda, and D. ,. Dharsono. "EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER." Capture : Jurnal Seni Media Rekam 11, no. 1 (2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.

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The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tona

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Arouh, Melenia. "The Different Meanings of “Film Form”." Projections 14, no. 3 (2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.

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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.

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Zhu, Meifan. "Avant-gard filmmaker Maya Deren’s feminist film At Land, analysis, and comparison." Journal of Education, Humanities and Social Sciences 12 (April 19, 2023): 15–19. http://dx.doi.org/10.54097/ehss.v12i.7585.

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Shortly after the french new wave movement, avant-garde films during the 20th century with black and white colors create a spark of feminist ideologies. They successfully achieved their original goal - anti-Hollywood filmmaking - through films with not simple action and adrenaline but rather ones with depth and aesthetics. Maya Deren’s films, specifically, reflect her own experiences as an artist and feminist director with many metaphors and foreshadowings to uncover the true depth behind the aesthetic of gestures. During this style of filmmaking, different cinematic skills and the progress of

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Ferreira, Emmanoel. "Agency, Appropriation, Politics: Three Epistemological Keys Towards an Aesthetics of Play." Acta Ludologica 6, no. 2 (2023): 62–78. http://dx.doi.org/10.34135/actaludologica.2023-6-2.62-78.

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Based on a dialogue with authors of pragmatist philosophy, game studies, and communication, this article intends to understand the relationship between aesthetic experience and ludic media, in particular digital games, in what this relationship distinguishes from the aesthetic experiences provided by different media, such as literature, music, film and the arts in general. To better understand this relationship, we propose the presentation and development of three epistemological axes (or keys), namely: i) aesthetics and agency, ii) aesthetics and appropriation, and iii) aesthetics and politic

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Strugova, E. A. "Что бы ни случилось с киноопытом: от чувственных данных к опытности в истории эстетики". Studia Culturae, № 58 (21 березня 2024): 188. http://dx.doi.org/10.31312/2310-1245-2023-58-188-204.

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<p>The aesthetics of sensuality is rightfully considered an interdisciplinary field. One of the principles of such reasoning is the shift from the particular to the general, since sensuality is able to resist the 'majors' of rationality among topics (aesthetic judgment, art expertise). Even the most non-reductive approaches, standing apart from the Theories, emphasize the absence of common features that many aesthetic experiences would inherit. Whereas experience, along with observation, has a base that acts as an aid to academic texts. In the language of film criticism, there are seemin

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Rohma, Naafi Nur. "ESTETIKA FORMALIS FILM POHON PENGHUJAN SUTRADARA ANDRA FEMBRIARTO." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (2017): 41. http://dx.doi.org/10.24821/rekam.v13i1.1579.

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Penelitian berjudul Estetika Formalis Film Pohon Penghujan Sutradara Andra Fembriarto menggunakan metode penelitian kualitatif, pendekatan estetika formalis Sergei Eisenstein dan teori estetika formalis Sergei Eisenstein. Adapun tujuan dari penelitian adalah untuk mengetahui estetika formalis dari film Pohon Penghujan sehingga dapat diketahui makna dibalik film Pohon Penghujan. Permasalahan yang muncul dalam penelitian adalah estetika formalis dalam film Pohon Penghujan Sutradara Andra Fembriarto. Analisis yang dilakukan adalah analisis interpretasi pendekatan estetika formalis Sergei Eisenste

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