Relevant bibliographies by topics / Film and cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film and cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Film and cinema"

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Косинова, Марина, Marina Kosinova, Артур Аракелян, and Artur Arakelyan. "Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry." Servis Plus 9, no. 4 (December 1, 2015): 17–26. http://dx.doi.org/10.12737/14569.

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In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in 1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957, and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from films increased annually in largely through the construction and commissioning of new cinemas, and due to the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly centralized administrative-command system which had been formed in the 1930s continued to operate until the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films. Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.
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Косинова, Марина, and Marina Kosinova. "Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”." Servis Plus 9, no. 3 (August 28, 2015): 59–69. http://dx.doi.org/10.12737/12541.

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The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.
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Karinkurayil, Mohamed Shafeeq. "The Islamic Subject of Home Cinema of Kerala." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 30–51. http://dx.doi.org/10.1177/0974927619855451.

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Migration to the Arabian Gulf as the experience of the state of Kerala has mostly been elided in mainstream Malayalam cinema. The digital revolution towards the end of the last century has spurred a local film practice in northern Kerala, usually called ‘Home Cinema’/‘home video’/‘home film’ and so on. Home Cinema of Kerala is locally produced low-quality CD/DVD video productions which are full-length feature films distributed through video shops, stationeries, bookstores and so on. Home Cinema, synonymous in its beginning with the films of Salam Kodiyathur, began as an attempt to oppose what was perceived as the immoral qualities of mainstream cinema, both global and regional. As a counter to the mainstream, Kodiyathur attempted to formulate Islamic cinema but in the idiom of a strand of mainstream Malayalam cinema. This article looks at the constitution of the Islamic subjects of these cinemas as negotiating the figure of the migrant Muslim in the dominant idiom of Malayalam cinema.
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Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (September 5, 2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.

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‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.
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Kosinova, Marina Ivanovna. "Soviet cinema as a state budget’s contributor. Distribution in the 1930s." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 8–22. http://dx.doi.org/10.17816/vgik618-22.

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The idea of replacing revenues from alcohol sale with income from cinema attendance was put forward by L. Trotsky in Soviet Russia in the early 1920s. At the stage of transition from silent cinema to the sound one this idea received a significant number of supporters. Anyhow attendance statistics proved a considerable gap between alcohol profitability and yield, calculated on theatre booking. In order to heal the situation quite a number of new cinemas had to be built. Since the state did not have adequate resources at its disposal, it was decided to refurbish the churches into cinema theatres. As a result the two important aims were to be gained: efficient increase of attendance and effective antireligious propaganda. Achievements of Soviet cinema in the early 1930s supported the idea of cinema to triumph over alcohol. Iosif Stalin proclaimed the replacement of the income from vodka with income from cinema as an official party and state program: expanding industrial base of the Soviet cinema, making more films, increasing the film circulation, building more cinemas. I. Stalins idea was to be realized by the chairman of the GUKF B. Shumyatsky. Acquainted with American and European experience, he proposed a number of reforms in the film industry, the key to which was the creation of the Cinema city in the South of the country, the Soviet Hollywood. As a result, the Soviet film industry had to be increased 10 times. But the project of the Cinema city was not approved by the government. While B. Shumyatsky was working over this project, the assets of the Soviet cinema were actually put on the slide. As a result, the output of film production in Russia decreased significantly, not allowing to execute the annual plan. Thus the idea to replace vodka income into cinema one turned out unfulfilled.
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Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia." Media International Australia 131, no. 1 (May 2009): 83–94. http://dx.doi.org/10.1177/1329878x0913100110.

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Cinema-going is a cultural experience shaped by logistics and mobility, as film distributors and exhibitors operate to enable films to be screened in places and at times when audiences can physically assemble to view them together. A historical understanding of the geography of cinema distribution, exhibition and attendance can therefore help us to understand what factors other than the choice of film title may have shaped the experience of the cinema audience. This article uses samples of trade commentary on small country cinemas in the late 1920s from the Australian trade journal Everyones, and suggests that historical GIS maps could help us to understand regional differences in the cinema-going experience, or track phenomena such as the diffusion of racial and social segregation in cinemas. Nevertheless, we need to remain mindful of the limits of maps to adequately explain the cultural experience of encountering these phenomena.
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Thissen, Judith. "Understanding Dutch film culture." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 23–36. http://dx.doi.org/10.33178/alpha.6.02.

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In terms of cinema attendance, the Netherlands has always differed from other European countries. During the first decade of permanent film exhibition "a crucial phase in cinema's development as a mass medium" the movies failed to gain a firm foothold in Dutch society. After a discussion of the prevailing explanations for the low provision of cinemas in the Netherlands, this article develops a comparative analytical framework to better assess the regional dynamics at work within Dutch film culture. In particular, it looks at cinemagoing in the industrialised countryside, combining a qualitative examination of the local social and cultural infrastructure with a quantitative analysis of census data. The agro-industrial North Eastern part of Groningen and the mining district in the South of Limburg are singled out because in both regions we witness a very high density of film venues, suggesting metropolitan patterns in cinema attendance.
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Nagib, Lúcia. "Non-Cinema, or The Location of Politics in Film." Film-Philosophy 20, no. 1 (February 2016): 131–48. http://dx.doi.org/10.3366/film.2016.0007.

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Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).
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Косинова, Марина, and Marina Kosinova. "Technical base of soviet cinema in the period of “stagnation”." Servis Plus 10, no. 1 (February 26, 2016): 70–80. http://dx.doi.org/10.12737/17485.

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The article is devoted to such technical aspects of Soviet cinema as cinema spreading, film, movie taking and film equipment. We consider the activities of NIKFI [National Research film and photo institute] in the 1970s. One of the major problems in cinema spreading is a deep-rooted lag of the cinema network from the audience needs. There was not only few cinemas, but also there was less technical equipment which often left much to be desired. In addition, large one-hall cinemas, which always prevailed in the USSR, significantly narrowed the choice of repertoire. In the late 1970’s – early 1980’s in the Soviet Union there was dramatically reduced cinema building, while the number of urban residents continued to grow. Status of rural cinema network also left much to be desired: it was often increased at the expense of the reorganization of rooms poorly adapted for this purpose into cinemas. The technical base of the Soviet film industry has always been its Achilles heel. In our country, there was always a certain gap between the level of scientific research and their practical realization. The reason is that all the forces were at the defense industry. A huge number of people (even in “peaceful” factories there were often secret workshops) employs on the “defense industry”. So in many fields we had advanced science (because the “defense industry” science always moves forward) and backward production. The perversity of this approach negatively affected the efficiency of NIKFI. Laboratories operating according to the plans approved by Institute of State cinema were busy with works which were not directly related to the cinematography; as the result, every year the Soviet Cinema equipment remained more and more behind the world standards, equipment dilapidated and were gradually replaced by foreign novelties. Especially serious lag observed in a number of areas cinema techniques: in the projection, the developing and copying equipment, new types of imaging optics, carrier transport. The most difficult situation was in the production and development of new varieties of film. In the late 1970s and early 1980s the problem of the quality laid on the problem of the quantity. Soviet film industry began to have trouble with positive film, which resulted in a forced reduction in circulation of new films.
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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.
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Dissertations / Theses on the topic "Film and cinema"

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Kohli, Gurdeep Singh. "Film or film brand? : investigating consumers' engagement with films as brands." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16312.

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This study offers an in-depth account of how, when and why consumers engage with films as brands, using 38 exploratory, semi-structured consumer interviews and 1030 consumer survey responses. Extant film branding literature is scarce, dominated by filmmakers' and marketers' perspectives of films as brands and is confined to exploring points of parity associations films have as brands, rather than ways films may differentiate themselves as brands. Taking on a consumer centric view, our findings show although filmmakers, production houses and marketers may jointly develop and market films with the vision of becoming brands, this doesn't necessarily guarantee consumers' engagement with such films as brands. Instead, consumers initially evaluate the coherency of a film's identity and subsequently go on to engage with films as brands, a process which is fully mediated by the emotional bonding a consumer may develop for a film and partially mediated by a film's popularity and sequels. Films' marketing/franchising efforts, iconic status and sense of timelessness moderate consumer-film brand engagement, resulting in positive word of mouth and purchase intention. Our sequential, consolidated and specified film brand engagement framework guides filmmakers and marketers on how to tactically engage consumers with their films as brands, in order to differentiate themselves within this risky and competitive market.
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com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O’Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed—economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation’s text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation’s emphasis on three resilient and potent signifiers of Thai identity—nation, religion, and monarchy—and their interrelationship and influence in the development of Thai National Cinema. These three ‘pillars’ of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Peirano, María Paz. "Contemporary Chilean cinema : film practices and narratives of national cinema within the Chilean 'film community'." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50776/.

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This thesis presents an anthropological perspective on the film production practices and narratives underlying the construction of contemporary Chilean national cinema. Based on a multi-sited ‘travelling’ ethnography, it reflects on small, peripheral film production in a transnational neoliberal context, where ‘local’ and ‘global’ trends converge, and focuses on the case of Chilean cinema, which has expanded its production, global circulation and exhibition. The research is grounded in the film experiences of the Chilean film community, a network of film professionals (filmmakers, critics, exhibitors and other film agents) involved in the construction of national cinema. The thesis provides a contextually-based perspective on national film, which is uncommon in both Anthropology and Film Studies, seeking to expand the still emerging field of anthropology of cinema. More than as a group of ‘national’ films, Chilean cinema is understood as both an art world and a field of cultural production, arguing that ‘national cinema’ is both a cultural artifact and a social practice, which is constructed in permanent negotiations between Chilean professionals and other agents in the field. The thesis claims that the film experience of Chilean professionals is part of a broader experience of globalisation, and discusses the formation of artistic, professional and national subjectivities in the neoliberal context, where the identity of Chilean ‘national’ cinema is often contested. It then deconstructs the idea of national cinema as a bounded cultural product, highlighting the overlapping social and cultural traits that affect Chileans’ creative processes. The thesis examines the ways in which Chilean professionals have made sense of this transnational context, reshaping both their social performances and their cinematographic imagination. By referring to the case of Chilean cinema, the thesis shows the complexities of building a contemporary peripheral film industry. It discusses the construction of national communities, cultural commodification, precarious global labour conditions, and the role of national and international social networks in media production. It argues that Chilean cinema practices, particularly at international film festivals, evince overlapping narratives of art and business as well as localism and cosmopolitanism, revealing some of the cultural paradoxes of local film production.
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Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.

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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.
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Diestro-Dópido, Mar. "Film festivals : cinema and cultural exchange." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8900.

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Historically the focus of journalistic reports, film festivals have recently started to attract the attention of academics, applying concepts from crossdisciplinary fields such as cultural studies and ethnography. As a result, film festivals are now gradually being institutionalised as a field of study within the wider discipline of Film Studies. This thesis adds to this growing body of literature by exploring film festivals as sites of cinematic, cultural, social, political and economic exchange, as well as the multiple ways in which these events produce cultural value. This thesis draws on three detailed case studies: the Buenos Aires Festival de Cine Independiente, known as BAFICI, in Argentina; the BFI London Film Festival in the UK; and the San Sebastián International Film Festival in Spain. Issues of national identity, history and memory inform and become crystallised in each festival. They acquire a particular resonance in the tensions between national and regional allegiances in San Sebastián, as well as the pressures between cinema as culture and entertainment in the case of London. The focus on BAFICI allows for a development of the argument beyond critics and academics’ habitual focus on Western film festivals. Transnational events by nature, all three festivals relate in complex ways to their own national cinemas and localities, as well as to other festivals within the international circuit. My personal experience as film critic and reporter at festivals is underpinned by academic research, giving this project a dual perspective. With findings based on extensive interviews (primary research) with the teams responsible for programming the three festivals, this thesis aims to bring into the public domain the views of those who have shaped these festivals, creating a new body of material that can be drawn on by future scholars working in this area.
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Smith, Justin T. "Cult films and film cults in British cinema 1968-86." Thesis, University of Portsmouth, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429782.

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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Morcom, Anne Frances. "Hindi film songs and the cinema." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.

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This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.
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Mendes, Maria Teresa Silva Guerreiro. "Cinema e experiência moderna." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29929.

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Vernet, Marc. "Narrateur, personnage et spectateur dans le film de fiction à travers le film noir." Paris 3, 1985. http://www.theses.fr/1985PA03A061.

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Books on the topic "Film and cinema"

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Useful cinema. Durham [NC]: Duke University Press, 2011.

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Roma, Istituto svizzero di, ed. Film, Kino, Zuschauer: Filmrezeption = Film, cinema, spectator : film reception. Marburg: Schüren Verlag, 2010.

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Brito, João Batista de. Literatura no cinema. São Paulo: Unimarco, 2006.

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Cinema di carta: Storia fotografica del cinema italiano. Alessandria: Falsopiano, 2000.

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Reteuna, Dario. Cinema di carta: Storia fotografica del cinema italiano. Alessandria: Falsopiano, 2000.

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Expanded cinema: Art, performance, film. London: Tate Gallery Pub., 2011.

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International Short Film Festival (1988- ) (3rd 1993 Dhaka, Bangladesh). Short film as alternative cinema. Edited by Mokāmmela Tānabhīra. Dhaka, Bangladesh: Festival Committee, Gold Leaf 3rd International Short Film Festival, Dhaka '93, 1993.

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Italian film. Cambridge: Cambridge University Press, 2000.

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A cinema of nonfiction. Rutherford: Fairleigh Dickinson University Press, 1990.

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Silent cinema: An introduction. London: BFI Pub., 2000.

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Book chapters on the topic "Film and cinema"

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Lacey, Nick. "Transnational Cinema." In Introduction to Film, 224–48. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46386-9_6.

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Rawle, Steven. "Transnational Film Production." In Transnational Cinema, 137–70. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53014-1_6.

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Mennel, Barbara. "Ghetto film." In Cities and Cinema, 149–74. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge critical introductions to urbanism and the city: Routledge, 2019. http://dx.doi.org/10.4324/9781351016193-11.

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Medeiros, Paulo de. "Lusophone African cinema as world cinema." In Contemporary Lusophone African Film, 15–31. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Remapping world cinema: regional tensions and global transformations: Routledge, 2020. http://dx.doi.org/10.4324/9780429026836-1.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Silent cinema." In A Level Film Studies, 363–86. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-17.

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Hole, Kristin Lené, and Dijana Jelača. "Cinema and the body." In Film Feminisms, 89–133. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-4.

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Coelho, Inês Rebanda. "Cinema and Television." In Philosophy and Film, 319–41. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-19.

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Rockett, Kevin. "Irish Film Censorship: Refusing the Fractured Family of Foreign Films." In Silencing Cinema, 207–20. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_13.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Contemporary American cinema." In A Level Film Studies, 246–70. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-13.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Contemporary British cinema." In A Level Film Studies, 282–307. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-14.

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Conference papers on the topic "Film and cinema"

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Ostrelich, Michael, and Lewis Merritt. "The Digital Enhancement of High-Resolution Multi-Format Cinema Imagery." In SMPTE Spring Film Conference. IEEE, 1997. http://dx.doi.org/10.5594/m00568.

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Rassy Marques, Sarah, André Araujo, Ivan Picanço, WAGNER SANTOS, and gerardo alves nogueira braga neto. "ACOUSTIC AND CINEMA: PROJECTION ROOM CASE STUDY FILM OF OLYMPIA CINEMA S." In 25th International Congress of Mechanical Engineering. ABCM, 2019. http://dx.doi.org/10.26678/abcm.cobem2019.cob2019-2227.

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Alkhuraiji, Samar M. "Cinema Station Application (CSA): An augmented reality application for accessing film information and online cinema booking." In 2020 8th International Symposium on Digital Forensics and Security (ISDFS). IEEE, 2020. http://dx.doi.org/10.1109/isdfs49300.2020.9116419.

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Tinker, Michael. "Film versus digital cinema: the evolution of moving images." In Electronic Imaging 2003, edited by Bhaskaran Vasudev, T. Russell Hsing, Andrew G. Tescher, and Touradj Ebrahimi. SPIE, 2003. http://dx.doi.org/10.1117/12.476611.

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González Cubero, Josefina. "Mirada objetiva y dimensión subjetiva del cine en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.803.

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Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803
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Bojkovic, Zoran, and Andreja Samcovic. "Film archives as a future enhancement of digital cinema technology." In TELSIKS 2009 - 2009 9th International Conference on Telecommunications in Modern Satellite, Cable, and Broadcasting Services. IEEE, 2009. http://dx.doi.org/10.1109/telsks.2009.5339537.

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Nielsen, Loren, and Matt Cowan. "Improving the Quality of Film to Digital Transfers for Digital Cinema." In SMPTE Technical Conference. IEEE, 1998. http://dx.doi.org/10.5594/m00296.

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Rolland-Nevière, Xavier, Bertrand Chupeau, Gwenaël Doërr, and Laurent Blondé. "Forensic characterization of camcorded movies: digital cinema vs. celluloid film prints." In IS&T/SPIE Electronic Imaging, edited by Nasir D. Memon, Adnan M. Alattar, and Edward J. Delp III. SPIE, 2012. http://dx.doi.org/10.1117/12.908346.

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LI, Mei-Xuan, Wen-Ying ZHANG, Si-Qi ZHANG, Xue WANG, and Hong WANG. "Research on wavelength division film of glasses based on 3D technology in cinema." In Sixth Symposium on Novel Photoelectronic Detection Technology and Application, edited by Huilin Jiang and Junhao Chu. SPIE, 2020. http://dx.doi.org/10.1117/12.2558372.

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RAMOS, Igor, and Helena BARBOSA. "The orient and the occident through cinema and film posters: A Portuguese case study." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_008.

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Reports on the topic "Film and cinema"

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, May 2014. http://dx.doi.org/10.5783/rirp-7-2013-02-05-24.

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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, May 2014. http://dx.doi.org/10.5783/rirp-7-2014-02-05-24.

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