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Journal articles on the topic 'Film and cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

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 (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 “tha

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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 (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 pure

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Karinkurayil, Mohamed Shafeeq. "The Islamic Subject of Home Cinema of Kerala." BioScope: South Asian Screen Studies 10, no. 1 (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

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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 (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

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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 (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

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Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia." Media International Australia 131, no. 1 (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,

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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 qualitativ

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Nagib, Lúcia. "Non-Cinema, or The Location of Politics in Film." Film-Philosophy 20, no. 1 (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 defenc

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Косинова, Марина, and Marina Kosinova. "Technical base of soviet cinema in the period of “stagnation”." Servis Plus 10, no. 1 (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 198

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (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-Chin

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Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptab

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Rovai, Mauro Luiz. "MANHÃ CINZENTA: SOCIOLOGIA E CINEMA / Gray morning: sociology and cinema." arte e ensaios 26, no. 40 (2020): 347–59. http://dx.doi.org/10.37235/ae.n40.24.

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O artigo analisa o filme Manhã cinzenta (1969), dirigido e produzido por Olney São Paulo e fotografia de José Carlos Avellar. A trama gira em torno de um acontecimento (um golpe de Estado) ocorrido em lugar não mencionado (embora identificável). A ideia é identificar as relações encenadas entre os grupos sociais mencionados no filme, com ênfase nas duas personagens principais, tomando como hipótese a ideia de que o filme pode ser visto como uma espécie de “dispositivo de alerta”.Palavras-chave: Sociologia; Análise de filme; “Dispositivo de alerta”.AbstractThe article analyzes the film Morning

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Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.

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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema pr

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Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.

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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expressi

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Sorfa, David. "Introduction: Cinema Is." Film-Philosophy 20, no. 2-3 (2016): 195–97. http://dx.doi.org/10.3366/film.2016.0010.

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Косинова, Марина, and Marina Kosinova. "Distributing and returning mechanism of Soviet cinema in the period of «stagnation»." Servis Plus 10, no. 2 (2016): 64–73. http://dx.doi.org/10.12737/19460.

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The article discusses the process of film distribution in Soviet cinema in the 1970s. This complex, multi-path way of the film to the viewer that begins with scenarios of application, and finishes with the replication of film prints. This article describes the mechanism of film award, the system of payment of fees (“production fees”) of the Soviet filmmakers, depending on the category and the payment process “potirazhnye” («printing fees»). The author analyzes the work of «GUKK»- General Directorate of cinema spreading and the distribution, the specifics of its work in the “stagnation”, consid

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Betancourt, Manuel. "Whose Latin American Cinema?" Film Quarterly 70, no. 2 (2016): 9–16. http://dx.doi.org/10.1525/fq.2016.70.2.9.

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What do we talk about when we talk about Latin American cinema within the borders of the United States? Discussions of cinema from the region remain limited to the means of production: which films are produced and financed; how local filmmakers secure the money and access to make the films that then get tied to any given country's national cinema; the aesthetic and cultural movements that these films engender and replicate. But what of the distribution templates that circumscribe the kind of films and filmmakers that can make it to the United States, and under which circumstances? Looking at e

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Rifeser, Judith. "Patricia White (2015) Women's Cinema, World Cinema: Projecting Contemporary Feminisms." Film-Philosophy 21, no. 1 (2017): 142–45. http://dx.doi.org/10.3366/film.2017.0037.

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Fuica, Beatriz Tadeo. "The Foundational Manifesto of New Argentine Cinema? Israel Adrián Caetanos ‘Agustín Tosco Propaganda‘ (1995)." Film Studies 16, no. 1 (2017): 89–93. http://dx.doi.org/10.7227/fs.16.0007.

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Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have ma

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BEUGNET, MARTINE. "Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This article is part of a larger research project published in 2007 by Edinburgh University Press as a monograph entitled Cinema and Sensation: French Film and the Art of Transgression." Paragraph 31, no. 2 (2008): 173–88. http://dx.doi.org/10.3366/e0264833408000187.

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One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of

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Sheremeta, Bozhena, Nataliya Chukhray, and Oleh Karyy. "Marketing tools as the competitiveness enhancer of the Ukrainian film distribution market entities." Innovative Marketing 15, no. 4 (2019): 88–101. http://dx.doi.org/10.21511/im.15(4).2019.08.

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The main goal of the article is to study the features of film marketing and distribution of film products in Ukraine and to determine what kind of marketing tools are appropriate to be used within a cinema network to ensure their competitiveness in the national film distribution market.This article determines the characteristics of the movie market services and their compliance with modern consumer requirements, outlining the directions for increasing the usefulness of cinema-related services to consumers and developing a set of marketing tools to ensure the competitiveness of the cinema marke

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Fleming, David H. "Alain Badiou (2013) Cinema and Alex Ling (2010) Badiou and Cinema." Film-Philosophy 17, no. 1 (2013): 468–79. http://dx.doi.org/10.3366/film.2013.0027.

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Brown, William, and David H. Fleming. "Voiding Cinema: Subjectivity Beside Itself, or Unbecoming Cinema inEnter the Void." Film-Philosophy 19, no. 1 (2015): 124–45. http://dx.doi.org/10.3366/film.2015.0008.

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Drubek, Natascha. "The Birth of Cinema in the Russian Empire and Film Censorship." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 8–21. http://dx.doi.org/10.17816/vgik948-21.

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The article analyses two closely interrelated research topics: the nature of pre-revolutionary film censorship and the question of the beginnings of cinema in Russia. Early film censorship cannot be studied without considering the arrival of cinema, and, vice versa, since the birth of cinema in the Russian Empire is related to the first cases of censorship. The author argues that the widely accepted date of 1907/8 as the starting point needs to be revised. Even before large-scale commercial production and distribution of feature films such as Stenka Razin, in different parts of the Russian Emp

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Stojanova, Christina. "The Great War: Cinema, Propaganda, and The Emancipation of Film Language." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (2017): 131–56. http://dx.doi.org/10.1515/ausfm-2017-0006.

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AbstractThe relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, rele

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Balan, Canan. "Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God." Film-Philosophy 20, no. 1 (2016): 47–62. http://dx.doi.org/10.3366/film.2016.0004.

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The early 20thcentury works of Kurdish Islamic thinker Said Nursî explore how cinema can provide access to the divine. Yet, considering the periods of Nursî’s life that were spent in prison, or in exile in remote locations, it is likely that the cinema he was discussing was, very specifically, the early silent cinema of attractions. Thus the distinctive format of this cinema can be uncovered in, and seen to structure, Nursî’s formulation of ‘God's cinema’. With this proposition in mind, this article indicates something of the potential that an engagement with Nursî’s cinematic writing offers f

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Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exe

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Higgins, MaryEllen. "The Winds of African Cinema." African Studies Review 58, no. 3 (2015): 77–92. http://dx.doi.org/10.1017/asr.2015.76.

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Abstract:This article argues for a departure from theories of new cinema “waves” and proposes the notion of cinema “winds” as a more compelling conceptual framework for studies of African film movements. Building on the work of Ngũgĩ wa Thiong’o, Manthia Diawara, Ken Harrow, and Nwachukwu Frank Ukadike, in addition to commentaries by various African film directors, this article looks at various dimensions of global visibility and the elusive movements of African cinemas. It also explores how African directors challenge habits of seeing and interpreting world cinema.

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Akopyan, A. R., A. M. Arakelyan, Yu V. Vorontsova, and V. V. Krysov. "Evaluation of approaches to the regulation of digital film distribution." Vestnik Universiteta, no. 4 (June 5, 2021): 32–36. http://dx.doi.org/10.26425/1816-4277-2021-4-32-36.

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The article considers approaches to the state regulation of digital film distribution, evaluates them. The paper generalizes them in the form of proposals for anti-piracy regulation, promotion of original content of online cinemas in international markets, as well as for effective interaction of online cinemas with the Ministry of Culture and the Cinema Foundation. This will resolve the issue of serious competition to traditional cinemas, since the viewer has the opportunity to watch their favorite films without leaving home, and also related to the start of work on their own exclusive content

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Efird, Robert. "Sergei Parajanov's Differential Cinema." Film-Philosophy 22, no. 3 (2018): 465–83. http://dx.doi.org/10.3366/film.2018.0090.

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The films of Sergei Parajanov (1924–1990) remain some of the most stylistically unique in the history of the medium and easily place him within the pantheon of the world's great filmmakers. This article offers a new perspective on Parajanov's art through a detailed examination of the two works at the center of his oeuvre, The Colour of Pomegranates (1969) and The Legend of Suram Fortress (1985). In addition to their undeniable aesthetic value, these films may be appreciated as meaningful discourse on our conceptions of time, perception, and identity. Like Parajanov's other films, they dismantl

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Harvey, James. "Kriss Ravetto-Biagioli (2017) Mythopoetic Cinema: On the Ruins of European Cinema." Film-Philosophy 24, no. 2 (2020): 241–44. http://dx.doi.org/10.3366/film.2020.0141.

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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of

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Rice, Tom. "Distant Voices of Malaya, Still Colonial Lives." Journal of British Cinema and Television 10, no. 3 (2013): 430–51. http://dx.doi.org/10.3366/jbctv.2013.0149.

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Through the example of the Crown film Voices of Malaya (1948), this article examines interrelated postwar shifts in colonial history and British documentary cinema. Produced over three tumultuous years (1945–8) – in Malaya and England, with local film-makers and British documentarians – Voices of Malaya is a hybrid text torn between traditions of British documentary cinema and an emerging instructional, colonial cinema; between an international cinema for overseas audiences and a local cinema used within government campaigns and between an earlier ideal of empire and a rapidly changing, late l

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Спивакова, Карина, Karina Spivakova, Артур Аракелян, and Artur Arakelyan. "ANALYSIS OF THE CURRENT STATE OF THE DOMESTIC FILM INDUSTRY." Servis Plus 10, no. 3 (2016): 42–52. http://dx.doi.org/10.12737/21122.

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The formation of scientifically grounded approaches to improve the management of the film industry needs to analyze the contemporary state of film industry in order to identify its most important problems and untapped opportunities for further dynamic and effective development. The analysis of the status and trends of Russian cinema-business development, the peculiarities of its historical development and study of logic interdependent processes are relevant prerequisites for solving the problem of forming of risk management system of project im- plementation; because in many cases these risks

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López, Ana M. "The State of Things: New Directions in Latin American Film History." Americas 63, no. 2 (2006): 197–203. http://dx.doi.org/10.1017/s0003161500062969.

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Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (fo

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Sokoloff, Naomi. "Cinema Studies/Jewish Studies, 2011–2013." AJS Review 38, no. 1 (2014): 143–60. http://dx.doi.org/10.1017/s0364009414000075.

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In an era of massive university budget cuts and pervasive malaise regarding the future of the humanities, cinema and media studies continue to be a growth industry. Many academic fields have been paying increasing attention to film, in terms of both curriculum development and research. Jewish studies is no exception. Since 2011, a boom in publications has included a range of new books that deal with Jews on screen, Jewish themes in cinema, and the construction of Jewish identity through film. To assess what these recent titles contribute to Jewish cinema studies, though, requires assessing the

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Joseph, Jenson. "Cinema and the political in Kerala: On Mukhamukham and Amma Ariyan." Studies in South Asian Film & Media 10, no. 2 (2019): 149–61. http://dx.doi.org/10.1386/safm_00011_1.

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Abstract This article contrasts two seminal Malayalam films from the 1980s to understand the fraught relations between the Left politics and cinema in Kerala. The first part of the article argues that Mukhamukham ('Face to face', 1984) is a film in which its auteur director Adoor Gopalakrishnan identifies the Left political discourse and the medium of cinema as two powerful-popular epistemic tools at disposal in the region, but ultimately elevating cinema's resources as superior in taking us closer to truth. In the second part, I look at John Abraham's iconic Amma Ariyan ('Report to mother', 1

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Giuliani, Luca, and Sabrina Negri. "Missing Links: Digital Cinema, Analogical Archives, Film Historiography." Intermédialités, no. 18 (May 7, 2012): 71–84. http://dx.doi.org/10.7202/1009074ar.

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The sudden and permeating rise of digital technologies has been widely investigated by film critics and scholars. However, most studies tend to focus on the impact of digital technologies on contemporary film production, distribution, exhibition and the finished products it brings forth, reserving too little attention to the massive digitization of born-analog films. The production of digital motion pictures marks an unprecedented breaking point in history, putting the very nature of “film” and “cinema” at stake, while the digitization of film prints risks having an irreversible feedback effec

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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History." Journal of British Cinema and Television 13, no. 2 (2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.

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It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especial

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Hoyle, Brian. "When Peter Met Sergei: Art Cinema Past, Present and Future in Eisenstein in Guanajuato." Journal of British Cinema and Television 13, no. 2 (2016): 312–30. http://dx.doi.org/10.3366/jbctv.2016.0315.

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Peter Greenaway has established himself as one of British cinema's most distinctive film-makers. Yet he also remains one of its most controversial and problematic figures. In the 1980s and early1990s, alongside Derek Jarman, Greenaway came to embody British art cinema. He subsequently has taken on the paradoxical status of a major film-maker who simultaneously exists on the margins. He has also become a self-imposed exile who believes that his unique brand of art cinema is best appreciated on the continent. In effect, Greenaway has become British art cinema's prodigal son. This article focuses

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Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.

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Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades. Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments. Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand an

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Iordanova, Dina. "Women’s Place in Film History: the Importance of Continuity." Panoptikum, no. 23 (August 24, 2020): 10–23. http://dx.doi.org/10.26881/pan.2020.23.01.

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The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often as

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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the

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Casas-Tost, Helena, and Sara Rovira-Esteva. "Chinese cinema in Spain." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 4 (2019): 581–603. http://dx.doi.org/10.1075/babel.00109.cas.

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Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding

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RAZLOGOV, KIRILL E., and EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.

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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education,

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Ryan, Mark David. "Film, Cinema, Screen." Media International Australia 136, no. 1 (2010): 85–89. http://dx.doi.org/10.1177/1329878x1013600111.

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Astorino, Claudia Maria. "Cinema and Tourism." Revista Turismo em Análise 30, no. 3 (2019): 539–61. http://dx.doi.org/10.11606/issn.1984-4867.v30i3p539-561.

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It is not a recent phenomenon that films encourage viewers to visit the places where they are set. This movement is called film-induced tourism and it has been gaining more and more studies and supporters. The associations that can be established between cinema and tourism, however, go far beyond this type of tourism, and this essay intends to present one of these associations: the one that investigates how films can be tools for teaching and learning in a Bachelor’s Degree in Tourism Course. With this scope, an eclectic study corpus was carried out, from which 40 films were selected in order

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Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.

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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. Fro

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Aveyard, Karina, and Albert Moran. "Cinema-Going, Audiences and Exhibition." Media International Australia 139, no. 1 (2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape th

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Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38–41. http://dx.doi.org/10.1017/s004716070050153x.

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There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?

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