To see the other types of publications on this topic, follow the link: Film - Cinematography.
Journal articles on the topic 'Film - Cinematography'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Film - Cinematography.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (November 16, 2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.
Full textAbstract:
This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as framing, lighting, and camera movement. It also intents to manipulate tone and mood through those cinematographic elements. To further understand the cinematography of this film, three main theories are used: low-key lighting, head-room and lead-room, and handheld camera movement. These theories are to help the cinematographer to convey the genre of psychological suspense, with the subgenre of crime drama. An in-depth analysis in this report will talk in details about how cinematography achieved the desired effects towards characterization, mood, and tone.
2
Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.
Full textAbstract:
Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
3
Taras, Katarzyna. "“I like it close” – Jolanta Dylewska’s art of cinematography." Panoptikum, no. 23 (August 24, 2020): 77–86. http://dx.doi.org/10.26881/pan.2020.23.06.
Full textAbstract:
The author presents the cinematographer and director Jolanta Dylewska, striving to define her cinematographic style. Although Dylewska began working independently as a cinematographer only after the turn of 1989, her position in the history of Polish and European cinema can be determined through awareness of her female pioneership in this profession, set against the background of generations of graduates of the Cinematography Department at the Lodz Film School. The researcher focuses on films that are the result of Dylewska’s collaboration with transnational directors, Agnieszka Holland (In the Darkness, Spoor) and Sergey Dvortsevoy (Tulpan, Ayka). The cinematographer denies that she has developed her own individual style, her goal is to find a style that will communicate the director’s vision. The researcher, however, finds characteristic features in her images, such as telling stories through landscapes and faces, including animals, and immersing the viewer in images – by using light and sharpness and bringing all the cinematographer’s technical expertise into play.
4
Tokoeva, Gulabovo Toktosunovna. "Key aspects of interrelation between Kyrgyz cinematography and music." Культура и искусство, no. 1 (January 2020): 8–16. http://dx.doi.org/10.7256/2454-0625.2020.1.31956.
Full textAbstract:
In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.
5
Mishchenko, Igor' Evgenyevich. "Representation of the images of army and military man in the U.S. mass cinematography of the 2010s." Философская мысль, no. 12 (December 2020): 61–75. http://dx.doi.org/10.25136/2409-8728.2020.12.34522.
Full textAbstract:
The author explores the problematic of the images of army and military in mass cinematography on the example of U.S. film industry of the second decade of the XXI century. The object of this research is the sociocultural representation of army and war via expressive means of cinematographic art. Within the Russian science, this problematic is poorly studied; at the same time, its relevance cannot be overestimated, since cinematography is an important component in formation of “soft power” of the country. According to the testimony of numerous Russian experts, namely cinematography of the United States has highest impact potential and forms mental images of the army and military not only among the U.S. citizens, but also for the Russian society, which always triggers questions related to the cultural aspects of national security. It is worth noting that modern U.S. military cinematography becomes the special subject of scientific research for the first time. The author comes to the conclusion that in the recent decade, U.S. film production in military genre has undergone substantial transformations. The films on the World War II and the Vietnam War are replaced with the films on global war on terrorism and local national conflicts. Among other peculiarities of recent years in U.S. military cinematography, the author notes female film directors in this sphere, personification of the images of enemy, deconstruction of the image of military man as a mythological defender and rescuer. The latter noticeably contradicts the Russian film tradition and culture, for which the army and military history remain the important points of national self-identity, key components of formation of images of the great past and common future.
6
Reghita, Lavena. "Perilaku Penemuan Informasi pada Mahasiswa UKM Sinematografi Universitas Airlangga." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 11, no. 1 (September 7, 2020): 46. http://dx.doi.org/10.20473/pjil.v11i1.21889.
Full textAbstract:
Abstract Information seeking behavior among students of Cinematography to produce film work, is motivated by a gap that can lead to information needs based on the interests of students of Cinematography. Information needs of students Cinematography UKM is based on information needs based on environmental factors, namely information relating to the storyline. In addition, most students of Cinematography UKM produce films with the theme of one's experience. To meet these needs, students of UKM Cinematography have obstacles in the process of finding information, this proves that students of UKM Cinematography carry out the process of finding information. This study aims to determine the description of information seeking behavior in students of cinematographic, therefore this study uses the Wilson-Ellis Information Seeking Behavior Model. The method used in this research is quantitative descriptive method using total sampling technique. This study provides results regarding information related to the story line (65.6%) as the needs needed by Sinematogarfi UKM students, with the theme of one's experience (67.2%) which is done by conducting research (50.8%) first. The obstacle that is often experienced by students of UKM Cinematography is the difference of opinion (36.1%) when discussing with other UKM. For the references that are often used by students of UKM Cinematography, most of them are articles (73.8%) that are done at the browsing stage. In addition, seminars, workshops, film operations and film festivals (50.8%) are the preferred access for most students of Cinematography.Keywords: Information Searching Behavior; Information Needs; Student Cinematography AbstakPerilaku pencarian informasi di kalangan mahasiswa Sinematografi untuk menghasilkan karya film, dilatarbelakangi oleh adanya kesenjangan yang dapat menimbulkan kebutuhan informasi berdasarkan minat mahasiswa Sinematografi. Kebutuhan informasi mahasiswa UKM Sinematografi didasarkan pada kebutuhan informasi yang didasarkan pada faktor lingkungan yaitu informasi yang berkaitan dengan jalan cerita. Selain itu, sebagian besar mahasiswa UKM Sinematografi memproduksi film bertema pengalaman sendiri. Untuk memenuhi kebutuhan tersebut mahasiswa UKM Sinematografi mengalami kendala dalam proses pencarian informasi, hal ini membuktikan bahwa mahasiswa UKM Sinematografi melakukan proses pencarian informasi. Penelitian ini bertujuan untuk mengetahui gambaran perilaku pencarian informasi pada mahasiswa sinematografi, oleh karena itu penelitian ini menggunakan Model Perilaku Pencarian Informasi Wilson-Ellis. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kuantitatif dengan menggunakan teknik total sampling. Penelitian ini memberikan hasil mengenai informasi terkait alur cerita (65,6%) sebagai kebutuhan yang dibutuhkan oleh mahasiswa UKM Sinematogarfi, dengan tema pengalaman seseorang (67,2%) yang dilakukan terlebih dahulu dengan melakukan penelitian (50,8%). Kendala yang sering dialami mahasiswa UKM Sinematografi adalah perbedaan pendapat (36,1%) saat berdiskusi dengan UKM lain. Untuk referensi yang sering digunakan mahasiswa UKM Sinematografi, sebagian besar berupa artikel (73,8%) yang dikerjakan pada tahap browsing. Selain itu, seminar, lokakarya, operasi film dan festival film (50,8%) merupakan akses yang disukai oleh sebagian besar mahasiswa Sinematografi. Kata Kunci: Perilaku Mencari Informasi; Kebutuhan Informasi; Sinematografi Mahasiswa
7
Silveira, Vanilson Pereira, and Maria Luiza Cardinale Baptista. "Tourism and Cinema: Cinematographic Production and Tourist Attractivity In Garibaldi-RS, Brazil." Revista Rosa dos Ventos - Turismo e Hospitalidade 12, no. 4 (October 22, 2020): 982–96. http://dx.doi.org/10.18226/21789061.v12i4p982.
Full textAbstract:
This paper aims to discuss the relationship between cinema and tourism, taking as its analysis the municipality of Garibaldi, located in Rio Grande do Sul, Brazil. Theoretically, it’s a transdisciplinary approach Tourism – Communication with a literature review to approach the theme and to identify locations contained in audiovisual productions. It’s possible to point movies as a resource to promote and disseminate tourist destinations. The cinematographic productions that take place in Garibaldi represent a differential strategy to reaffirm the region's vocation to tourism and cinematography. The Garibaldi Film Commission and the cinematography route ‘Garibaldi a cinematography city’ are strategic to capture productions and to diversify the local tourism. In addition, the places used as sceneries can be directed to promote historical and cultural attractions in the region.
8
Korobko, Roman V. "Framing as a method of creating a film's metaphorical context." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 79–86. http://dx.doi.org/10.17816/vgik11279-86.
Full textAbstract:
This essay continues the study of the semiotics and synergetics of Framing in the Art of Cinematography which substantiates the hypothesis that framing (perspective) constitutes one of the most important codes of screen communication in its cinematographic and metaphorical contexts. Thus, framing is represented by two hierarchical levels of representation of contextual semiotic connections: the connection between mise-en-cadre and mise-en-scne (the level of the cinematographic form of film sign); and the relationship between cinematographic imagery, action and meaning (the level of the cinema sign).
Framing consolidates the process of cinematography divided by the artistic and production dichotomy, which is especially important in the context of mass culture determined by the total industrialization of all areas of life, including cinema.
The essay is based on the statement of Sergei Eisenstein that each high film work has the unity of two dialectical categories: the content (abstract language, part of logical thinking) and the form (emotional language, part of emotional-sensory thinking). It identifies and analyzes the spatial-temporal and linear-tonal features of cinematic framing as a method of expressing the metaphorical existential context of the crisis of Russian self-identification, using as examples a number of expressive episodes of the documentary film Anna: 618 (1980-1993; dir. Nikita Mikhalkov, DOPs: Pavel Lebeshev, Vadim Yusov, Vadim Alisov, and Elizbar Karavaev). This film work is explored as a study of the socio-cultural situation in modern Russia undertaken from a multi-faceted and multi-level authorial perspective associated with expressive cinematographic framing.
9
Stanik, Mariusz. "UWAGI DO WYKŁADNI ART. 19 UST. 1 USTAWY O KINEMATOGRAFII." Zeszyty Prawnicze 11, no. 3 (December 20, 2016): 335. http://dx.doi.org/10.21697/zp.2011.11.3.17.
Full textAbstract:
Comments to the Interpretation of art. 19 Clause 1 of the Cinematography ActSummary The text describes a dispute between entities conducting cinemas and film distributors regarding the interpretation of art. 19 clause 1 of the Cinematography Act. The dispute concerned the question whether under the aforementioned provision film distributors are obliged to participate in financing the fee towards Polish Film Art Institute. Analysis of this issue is based on the Warsaw District Court and Appeal Court judgments issued in 2008 and 2009. Analysis also takes into consideration the stenographic records of the parliamentary committee working under the Cinematography Act and interpretation of art. 19 clause 1 of the Cinematography Act made by Polish Film Art Institute itself. In conclusion the author states that according to art. 19 clause 1 of the Cinematography Act the only entities obliged to finance and pay the fee towards Polish Film Art Institute are entities conducting cinemas. Possible changes in this scope may be made only under the appropriate provisions of civil law agreements between such entity and film distributor.
10
MANAKBAYEVA, Aigerim, and Serik SEIDUMANOV. "ACTUAL ISSUES OF PUBLIC POLICY IN THE FIELD OF CINEMATOGRAPHY." Public Administration and Civil Service, no. 2-77 (June 29, 2021): 32–40. http://dx.doi.org/10.52123/1994-2370-2021-252.
Full textAbstract:
Cinematography is one of the least studied and emerging areas of research in public administration. The main principles of state policy in the field of cinema are support for domestic cinema and providing access to Kazakhstani film products. The purpose of the article is to analyze the topical problems of domestic cinematography, taking into account the principles of state policy in the field of cinematography. The methodological basis of the research is based on scientific works on the issues under consideration, regulatory legal acts. The work used the official statistics of services in the field of cinema. A factorial analysis of the current state of the film industry was carried out using the analytical tool PEST-analysis. In addition, a discursive analysis of the representation of ideas of state policy in modern Kazakhstani cinema was carried out. Modern Kazakhstani films of the last 10 years were considered as additional materials. The study showed that the support of national films is an important direction in the public administration in the field of cinematography. Socially significant films have non-commercial, spiritual and artistic value. Financial profit belongs to commercial films of private companies. The sharp decline in industry statistics confirms that the global pandemic in 2020 was a tough time for the film industry. Further development of the industry should be a common task not only of the state, but also of all interested parties.
11
Khmelnytska, Liudmyla. "REPRODUCTIVE POLICY OF THE SOVIET AUTHORITY AGAINST THE CREATORS OF THE UKRAINIAN CINEMATOGRAPH OF THE SECOND HALF OF THE 1960s - THE FIRST HALF OF THE 1980TH CENTURY." Journal of Ukrainian History, no. 39 (2019): 53–60. http://dx.doi.org/10.17721/2522-4611.2019.39.7.
Full textAbstract:
The purpose of the paper is to unblended analysis of sources and literature on the repressive policy of Soviet power against the representatives of Ukrainian cinema. In general, the main principles of party-state policy in the field of cinematography, including the mechanism of the influence of ideology on the cinematographic process in the Ukrainian SSR, are grounded, and the interaction between public administration and creative organizations is grounded; The main methods and forms of the repressive policy directed against the artists of Ukrainian cinema are described. The existing structure severely restricted the powers and independence of the respective republican units of management. In Ukraine, the general management of cinematography was carried out by the Council of Ministers of the Ukrainian SSR through the State Committee of the Council of Ministers of the Ukrainian SSR on cinematography - a union republican body that did not have the necessary independence in determining the main principles of the development of cinema art. Derzhkino's powers included economic, financial functions and control over the ideological content of film production. Derzhkinos powers included economic, financial functions and control over the ideological content of film production. It was in its structure that the Cinema Repertoire Control Inspection functioned, the decision of which depended on the fate of films: from the approval of the script to the release of the film on the screen. In those years, the practice of «film on the shelf» was extended, when films that were fully licensed for rental by all instances were fully prepared for rental, in the final version they did not satisfy the authorities, they were banned from showing. A more liberal requirement was the processing of unsatisfactory moments. The control over the repertoire of films that fell into the audience was reliant on the Main Directorate of Film and Film. The article uses the following research methods: comparative-historical, typologies, classifications, problem-chronological, objectivity, multifactor, which allow to study complex social phenomena, concrete events and facts in their dynamics. In the course of the study, it was found that during this period there was a structuring and centralization of the management system of the cinematographic industry, the general leadership of which belonged to the State Committee of the USSR. It is proved that during the years of stagnation the influence of the command-administrative system and the rigorous subordination to the principles of party ideology, which involved interference with creative processes, increase of authorizing powers of administrative structures and increase of censorship, was intensified. It was found out that after the thaw was extinguished, Ukrainian cinema was subject to strict regulation of the canons of «socialist realism». Ideological policy was secured by relevant party and state regulations, which provided a party assessment of the development of cinematography, criticized areas that were not interested in the party-bureaucratic system, the thematic orientation of cinema was normalized. Against the representatives of this course, the authorities used the usual spectrum of methods of struggle: blatant criticism and discredit in the media, in party and government decisions at the gathering of cinematographers; prosecution and imprisonment. The process of organization of the state campaign against the school of poetry films in the context of implementation of the policy of narrowing the sphere of application of the Ukrainian language and reducing the production of films in the Ukrainian language is analyzed. The planning of the work of film studios, censorship on the subject of films became the main tools for enhanced control over the development of Ukrainian cinema during the studied period. The interaction of public administration and creative organizations - the Union of Cinematographers of Ukraine, which was a pro-government structure and controlled by the party bureaucracy, was grounded, although one of its statutory tasks was protection of the creative, professional, copyright and public rights of its members.
12
Bedenko, Vladimir Nikolaevich. "Comedy film as a modern embodiment of the culture of laughter." Философия и культура, no. 8 (August 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.8.33452.
Full textAbstract:
The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society through the means of cinematography as an audiovisual art. The main conclusions of the conducted research consist in the determined functions of comedy film as a manifestation of the culture of laughter in the modern era; an idea that comedy cinematography along with manifestations of the culture of laughter of the previous historical eras, forms a specific anti-cultural world that demonstrates an underside of the surrounding world , and mostly of the society. The author’s special contribution into this work lies in consideration of the comedy genre of cinematography within the concept of the culture of laughter, which allowed highlighting the new aspects of this phenomenon and substantiating its significance in the spiritual life of modern society. The novelty consists in application of the conceptual framework of the culture of laughter with regards to the analysis of comedy film, which views the phenomenon at hand from the universal worldview perspective.
13
Zheltikova, Inga Vladislavovna. "Possible future options in the Russian modern cinematography." Культура и искусство, no. 11 (November 2020): 36–52. http://dx.doi.org/10.7256/2454-0625.2020.11.34473.
Full textAbstract:
The subject of this research is ten Russian science-fiction films released over the period from 2013 to 2020. The goal of this article consists in examination of scenarios of seeing the future presented in the Russian modern cinematography. An overview of approaches towards studying visual images is provided, based on which the author offers a new strategy for studying film images of the future that demarcates three groups of elements in the film – cognitive, visual, and emotional-modal, and four thematic components that correspond to the spheres of social life. As a result of implementation of the aforementioned method, the author determines four underlying themes in cinematographic representation of the future – space, armed conflicts, entertainment industry and drastic changes of human personality. It is established that the visual representation of the future is resembled in the four groups of images – universal images, images of the present, images of the past, and images unfamiliar to the audience that imply something unprecedented that makes the future attractive. It is acknowledged that in most films the future is presented as unfair, wrong, which causes moral discord. It is not the world we would like to live in. Most of the Russian films are dedicated to the local future for approximately 50 years from now. This approach engages the audience in the events, and conveys an pessimistic spirit about tomorrow, which is traced not only in the plot, but also in visual imagery of most films. Holistic mages of the future, functioning in a certain culture, can be determined based on the comparison of various sources, where cinematography is just one of such sources. Therefore, the conclusions on perception of the future by our contemporaries should not be made based on this alone. However, films are a valuable source of information on visualization of the future and transmission of general moods associated with it.
14
Kalenichenko, Mariya Vladimirovna. "The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s." Культура и искусство, no. 4 (April 2021): 19–29. http://dx.doi.org/10.7256/2454-0625.2021.4.35584.
Full textAbstract:
This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.
15
Roman, Sergei N. "FILMS ABOUT SHERLOCK HOLMES FROM 1900 TO 1920 IN THE CONTEXT OF THE HISTORY OF THE DEVELOPMENT OF CINEMATIC ART." Articult, no. 3 (2020): 117–23. http://dx.doi.org/10.28995/2227-6165-2020-3-117-123.
Full textAbstract:
The article deals with the artistic specifics of the films about Sherlock Holmes made during the first two decades of cinematography. These films are researched through the lenses of the general tendencies of the development of cinematic art characteristic of the mentioned period, as opposed to low-grade works lacking any aesthetic trait virtues. In the 1910s, as the role of realism in the delivery of the material in cinematography increases, the films about Sherlock Holmes appear to be disconnected from the action film genre – they acquire the detective basis proper and mostly dwell on the disclosure of the personality of the main character. The first film serials become a model for the genre of detective feuilleton, which was considered to be universal, capable of revealing the cultural specifics of the epoch.
16
Mahmud, Nadia. "In the Presence of Photons: Portraying Light through Cinematography." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 8–14. http://dx.doi.org/10.33093/cm.2020.1.1.2.
Full textAbstract:
Film is a medium that is impossible to exist without light. Essential to its production process is cinematography, a discipline in filmmaking that is directly responsible with visually presenting the information of a shot through a camera using the manipulation of time, lighting and framing. Frame distance describes the distance between a subject and the camera but more vital is the intent of application of frame distance as it is capable of implying meaning or eliciting a feeling in the viewer. The grammar of frame distance can be utilized to present structures, themes and styles of a film. Experimental, abstract films, although non-conformist to the rules of conventional cinema, may still be confined to the concepts and techniques in cinematography. Frame distances can help to distinguish patterns as well as emphasize details in an experimental film. The abstract, short film “Trapped Light”, explores the possibility of depicting the movement of light through transmissive and reflective materials.
17
Han, Xiaoxin, and Feng Sun. "The Origin and Initial Development of Chinese Documentaries (1905-1931)." Russian and Chinese Studies 4, no. 2 (June 30, 2020): 170–75. http://dx.doi.org/10.17150/2587-7445.2020.4(2).170-175.
Full textAbstract:
This article discusses the origins and early development of Chinese documentaries. Cinematography in almost all countries began with documentaries, because from the very beginning cinema existed as a means of recording. Chinese documentaries, which appeared in 1905, are no exception either. Documentaries reveal the history of Chinese cinematography. The first film produced by the Chinese was a piece from the Beijing Opera. The development of science and technology, especially photography, created necessary preconditions for the invention of cinema. In 1839, a photography emerged. In 1840, a reduction in exposure time was invented. In 1851, a photograph with moving person and an animal was taken. In 1851, the first photograph was taken. In 1878, a camera roll was invented. In 1888, the French physiologist Dules Marey presented the French Academy of Sciences with the world’s first film camera. In 1888, the film was invented. In 1892, Mr. Marei’s assistant showed moving photographs on the screen. On 28 December 1895, the Frenchman Louis Lumière in one of the cafes of Paris officially showed his films: «The doors of the factory», «The arrival of the train» etc. It is believed that in different countries of the world that this show started the era of cinematography. In early 1896, Lumière hired more than 20 people as assistants, and sent them around the world to show his film. At this time, China, India and Japan had their first film screenings. In addition, Lumière had sent many cameramen around the world to shoot the film, including to China. Therefore, the earliest films about China were not made by the Chinese themselves, but by foreign entrepreneurs. Under the influence of «Western Shadow Theatre» the Chinese also began their attempts in film production organization. In 1905, the Chinese made their first silent film in Beijing.
18
Hess, Agnieszka, and Joanna Najbor. "Promotion of Polish Cinema Abroad as an Element of Nation Branding. Case Study of “Cold War” (2018) by Pawel Pawlikowski." Sustainability 12, no. 14 (July 13, 2020): 5621. http://dx.doi.org/10.3390/su12145621.
Full textAbstract:
The subject of this article is nation branding in the culture market, namely the role cinematography plays in creating a nation brand. Sustainability and sustainable development in the film industry is conditioned by variety in cultural promotion channels. The aim of the authors is to prove that appropriately organised cinematography promotion abroad can positively influence the image of a given country. The first section deals with the relationship between media and sustainable development, as well as with theoretical definitions of branding and the nation brand. Subsequently, cinematography in the context of branding is discussed. The core of this work is a case study of film promotion abroad from the institutional perspective of the Polish Film Institute. The promotional strategy for “Cold War” (2018) directed by Paweł Pawlikowski has been analysed, as this motion picture is considered one of the biggest successes of post-1989 Polish cinematography. Factors positively influencing its popularity were analysed alongside their influence on the general perception of Polish cinema abroad. Based on the results of empirical studies, the authors present their discussion of the functional state and the role of Polish cinematography on the global circuit, as well as attempt to verify its importance in relation to sustainability.
19
Zhang, Liwei. "Chinese cinematography in Russia in the context of “One Belt, One Road” initiative." Neophilology, no. 17 (2019): 90–95. http://dx.doi.org/10.20310/2587-6953-2019-5-17-90-95.
Full textAbstract:
In this study we consider Chinese cinema in Russia distribution condition. It is proved that a serious stimulus for the development of cinematography in the People's Republic of China was a rational combination of commercial tools in the production of films with the solution of serious image problems for China, that modern Chinese cinematography has acquired another extremely important load – it has become an important media instrument of “soft power” for the dissemination abroad of information about Chinese culture, history and politics, as well as for the formation of a positive image of China, creating a trust relationship to Chinese civilization and nation. For Russia, as a country located along the “One Belt, One Road”, cooperation with China is especially valuable. The study substantiates that the interaction of the two countries in the field of cinematography is one of the main components of maintaining good – neighborly relations. It has been established during the conducted study that Chinese films actively participate in the international film festival in Russia, winning various awards, since February 1935, when at the First Moscow International Film Festival (or the Soviet Film Festival in Moscow) the social drama “Song of the Fishermen” directed by Cai Chusheng received an incentive prize of the festival jury. It was the first international prize in the history of Chinese cinema.
20
Franckiewicz-Olczak, Izabela. "Cinema for children in Poland – a bastard child of popular culture, an element of cultural education." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 77–88. http://dx.doi.org/10.18778/0208-600x.73.05.
Full textAbstract:
In the mid-1950s, film sealed its place in the world of art with the voice of essentialist theories. At the same time, it did not give up its status as mass entertainment, which it had acquired at the beginning of cinematography’s development. Over the years, it has also developed its position as an educational medium, and its importance and impact on culture created the need for film studies. And although knowledge of film and cinematography is being introduced to school curricula, not only in Poland, the negative view that film is purely for entertainment purposes still prevails. Focusing on the subject outlined, the article refers to the results of research on film knowledge among children and young people, and on the cultural choices (using data on film choices) of parents and caregivers, to analyze the place and role of film in children’s and young people’s development.
21
Bedenko, Vladimir Nikolaevich. "Parody film as a postmodernist deconstruction in cinematography." Человек и культура, no. 2 (February 2021): 82–100. http://dx.doi.org/10.25136/2409-8744.2021.2.34754.
Full textAbstract:
Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.
22
Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (September 3, 2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.
Full textAbstract:
Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
23
Cybulski, Marcin. "Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera." Acta Polono-Ruthenica 3, no. XXIV (September 30, 2019): 85–100. http://dx.doi.org/10.31648/apr.4662.
Full textAbstract:
This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.
24
Shamova, Nadezhda. "A Comparative-Contrastive Analysis of Corpus Tools (Case Study: Working with Corpora of Cinematic Discourse)." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 82–95. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-82-95.
Full textAbstract:
A broad scope of application of corpus technologies indicates their importance in applied linguistics. Employing the comparative-contrastive method and the method of computer analysis, the author seeks to compare and contrast the main corpus tools of the programs Sketch Engine, AntConc, and WordSmith Tools, focusing on texts from specialized periodicals about cinematography ‘Total Film’ and ‘American Cinematographer’ for 2019–2020. The primary goal of this comparison is to provide recommendations for optimal choice of tools and programs for obtaining certain types of information. The author processed the total volume of texts that contained over 900,000 words, using the functions “concordance”, “word list”, “collocations” + “word s etch”, “N-grams”, “keywords” in Sketch Engine and AntConc (Word-Smith Tools has only “concordance”, “wordlist,” and “keywords”). Information about specific tools available in various corpora is collected and presented in a specially developed table. Different software programs described in the article have functions that perform the same tasks, but there are some differences in how data is presented. Among the software programs featured in this case study, the Sketch Engine platform gives the most options for choosing personal settings. The “concordance” function shows the word in context, “Wordlist” shows all the words on a given list with a record of their frequency in the corpus. The “collocation” function (or “word s etch”) recognizes fixed expressions, “N-grams” finds phrases that comprise a certain number of elements, while the “ eywords” function allows users to identify words that are specific to a particular subject area. Information thus obtained from the corpora may be helpful in updating English LSP dictionaries and glossaries of cinematography. The theoretical significance of the present study lies in systematizing the material about existing corpus tools, while its practical value is in using the tools of three corpus programs for the study of cinematic discourse, understood here as language used by the community of movie goers and filmmakers in their discussions of cinematography in specialized periodicals ‘Total Film’ and ‘American Cinematographer’.
25
Klimov, Yaroslav. "Representation of reality in filmmaking: philosophical and culturological aspects." Философия и культура, no. 4 (April 2020): 46–54. http://dx.doi.org/10.7256/2454-0757.2020.4.32527.
Full textAbstract:
This article explores the issues pertaining to perception of reality through cinematography, including modern film editing. Analysis is conducted on modern surrealistic portraying of the world in movies, highlighting the importance of created reality in movies and its perception by the viewers. The article presents brief analysis of the works of such renowned philosophers as André Bazin, Henri Bergson, Jean Baudrillard, Maurice Merleau-Ponty and Walter Benjamin. Modern cinematography in form of “movie universes” and “movie franchises” is used as an example. This research covers modern films, which reflect popular demand for maximal realism as an opportunity to identify and reach maximal immersion into story on the screen. Cinematography began be showing real events as chronicles, later undergoing changes, and with development of technology becomes more distant from portrayal of specific reality and people. In the 1980s the conceptual idea changes, and cinematography becomes more realistic. However, in the early XXI century, while chasing realism modern movies became hyper-realistic, causing gradual degradation of sense of reality of the picture.
26
Gorbachev, Mikhail Valer'evich, and Egor Aleksandrovich Dibrov. "Information space of military-political conflicts in Donetsk and Luhansk through the prism of modern Ukrainian cinematography." Конфликтология / nota bene, no. 3 (March 2020): 9–15. http://dx.doi.org/10.7256/2454-0617.2020.3.32805.
Full textAbstract:
This article is dedicated to the analysis of information space of the zone of military-political conflicts in Donetsk and Luhansk. The authors shift away from the traditional models and patterns of its explanation, which relate to examination of databases, their maintenance technologies and application mechanism, information systems, and information needs of the information environment. Structural and content analysis of modern Ukrainian cinematography, which reflects the key components of information space of the zone of military-political conflicts in Donetsk and Luhansk is proposed as an alternative explanatory model. In accordance with the substantiated criteria, the author selected the film footages for further examination. Research methodology is based on the content analysis and intent analysis for interpretation of the content and focus of dialogues of the core storylines. Additional methods include the models of comparative analysis of film plots, narrative analysis of film micro-plots, and ideological assessment of films. As a result of the conducted research, the author determined the mechanisms of binary structuring of information space of the zone of military-political conflicts, as well as techniques and methods used for implementation of these mechanisms. The peculiarities of “distortion” of information space of the zone of military-political conflicts are described. Techniques of the film director that comprise the backbone of strategies for positioning information space of the zone of military-political conflicts in modern Ukrainian cinematography are explored. The author is first to analyze the films of modern Ukrainian cinematography regarding the positioning of information space of the zones of military-political conflict in Donetsk and Luhansk.
27
Afrianti, Muflikhatun. "DEWI IZANAMI DAN DEWA IZANAGI DALAM AGAMA SHINTO JEPANG (STUDI SEMIOTIK DALAM FILM NORAGAMI ARAGOTO)." RELIGI JURNAL STUDI AGAMA-AGAMA 14, no. 2 (January 7, 2019): 169. http://dx.doi.org/10.14421/rejusta.2018.1402-02.
Full textAbstract:
This study examines the mythology of Izanami Goddess and Izanagi God in Japanese Shinto religion and representations of Izanami Goddess and Izanagi God in the film Noragami Aragoto Adachitoka’s creation directed by Kotaro Tamura. This study is important because the story of Izanami Goddess and Izanagi God has never been adopted in modern scientific literature even though it has been listed in several anime in Japan. The research data was collected through documentation on the Kojiki and Nihonsoki books as well as capturing scenes of Noragami Aragoto films. Then analyzed using Christian Metz's language cinematography theory and Rudolf Otto's sacred theory. The results showed that firstly, based on the phenomenological perspective and sacrity from Rudolf Otto, Izanami Goddess and Izanagi God in Japanese Shinto mythology were the ancestors of the Mother and Father of the Gods and divine beings and played an active role in the creation of islands in Japan along with its contents. Secondly, in the Noragami Aragoto film, the perspective of cinematographic language Christian Metz, Izanami Goddess and Izanagi God are represented as mysteries of Father and Mother of Ebisu God (Hiruko) and Yaboku God (Awashima or Aha) with backgrounds that are very different from each other.Key Words: mythology, Shinto, Izanami, Izanagi, cinematographic language, and sacred.
28
Shestak, Viktor, and Yulia Plutalovskaya. "History of international legal regulation of genetics." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 118–23. http://dx.doi.org/10.31166/voprosyistorii202012statyi38.
Full textAbstract:
The authors analyze in retrospect the impact of the film industry on society. Crimes «inspired» by cinematography are considered, as well as crimes that became the basis for popular films. Both recently released films and other products of the film industry are analyzed, as well as works that are internationally recognized as “masterpieces” of cinema. The authors study the impact of the film industry on ordinary people, especially young people and people with an unstable psyche, and also consider such a phenomenon as «copycat crimes» and identify its possible causes.
29
Forecki, Piotr. "Kojenie obrazem, leczenie snem. Konstruowanie pamięci o Zagładzie w polskich filmach fabularnych po 1989 roku." Przegląd Politologiczny, no. 3 (November 2, 2018): 97–114. http://dx.doi.org/10.14746/pp.2012.17.3.7.
Full textAbstract:
In the period between the end of World War II and the late 1980s the Polish film industry produced nearly twenty films on the Holocaust which approached the topic within secure lim- its. Those films that were permitted to be shown did not disturb the good feeling of the na- tional community, did not refer to the Polish version of anti-Semitism, and first and foremost avoided the sensitive issue of Polish society’s attitude to the annihilation of the Jews. Each film complied with the then current historical policy, which either treated this issue instru- mentally or simply ignored it. After 1989, both historiography and cinematography began to fill in the blank spots and address topics that were formerly forbidden, taboo or distorted in the official state discourse. Due to the abolishment of political restrictions and the liberation of public discourse, Polish cinematography embarked upon a belated examination of conscience and revision of the memories of the Holocaust cultivated till then. At least it seemed so. Has it actually happened, though? Have Polish filmmakers actually taken the trouble to deconstruct the myths, fill in the gaps and correct the deformed Polish memories of the Holocaust? Even if the answers to these superficial questions are affirmative, at least in terms of their intentions, what has become of it? This paper is an attempt to identify how the memory of the Holocaust has been constructed in Polish feature movies since 1989.
30
Nevill, Alexander. "Cinematography and filmmaking research." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 188–96. http://dx.doi.org/10.33178/alpha.17.13.
Full textAbstract:
This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.
31
Bezruczko, Oleksandr. "Два маловідомі міжнародні кінопроекти українських кінематографістів." Studia Ucrainica Varsoviensia 6 (April 20, 2018): 305–20. http://dx.doi.org/10.5604/01.3001.0011.7967.
Full textAbstract:
The article is devoted to two unknown international cinemaprojects of the National Film Studio of Feature Films named of Oleksandr Dovzhenko: made in Kyiv, Lviv, Mukachevo, Bakhchisaray, Yalta, Balaklava and Sevastopol by the Ukrainian and Chinese cinematography two twenty-series of television feature fi lms „As steel was tempered” (1999) and „Gad-fl y” (2003).
32
Kalenichenko, Mariya Vladimirovna. "Production of popular science films in Leningrad: late 1940s – 1960s." Genesis: исторические исследования, no. 4 (April 2021): 75–85. http://dx.doi.org/10.25136/2409-868x.2021.4.35594.
Full textAbstract:
This article is dedicated to the history of the Soviet popular science cinematography on the example of the Leningrad film studio “Lentekhfilm” / “Lennauchfilm"” during the late 1940s – 1960s.The goal of this work consists in tracing the development and production stages of popular science films at the Leningrad film studio “Lennauchfilm”. The author sets the following tasks: follow the work of the film studio “Lennauchfilm” based on the archival materials, as well as determine the main plotlines of popular science films of the period under review. The article employs archival documents stored in the fund No. 243 of the St. Petersburg Central State Archive of Literature and Art. Namely, based on the materials of the annual financial and production reports of the film studio, using the quantitative methods, the author carries out the sampling of films that were classified as popular science. The author also applies the problem-chronological method for studying the stages of operation of the film studio. The novelty of this research consists in determination of production volumes of popular science films at a particular film studio, as well as their main themes. As a result, the author highlights six main plotlines: natural sciences, geography of the country, industry and agriculture, education of children and adolescents, history of culture and art, historical-revolutionary. The conclusion is made that the Soviet popular science cinematography was aimed not only at popularization of scientific knowledge (as follows from the definition of the term “popular science film” given in the Great Soviet Encyclopedia), but also performed the important political and civic functions on youth education, distribution of technical knowledge, as well as illustration of the achievements of the Soviet Union in economic and social policy.
33
Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.
Full textAbstract:
The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.
34
Grodź, Iwona. "Religia i film. Stylizacje na język religijny w filmach Wojciecha Jerzego Hasa." Studia Filmoznawcze 40 (June 27, 2019): 187–200. http://dx.doi.org/10.19195/0860-116x.40.15.
Full textAbstract:
Religion and film. Stylizationson religious language in films made by Wojciech Jerzy HasThe main aim of the article is to answer the question about, how religious language functions in cinematography. It is both about specifying an aim of introducing it to a plot or narration of a film and about when it is introduced. It will be crucial to specify what goal the director attains by using religious language in his films. How important it is for the plot development. Is it connected with the will to remind the viewers about the world which does not exist currently or is it rather parodying the defined view.The next stage is an analysis of the particular examples of the use of religious language in Wojciech Has’s films, for example The Codes, The Sandglass, The Manuscript Found in Saragossa, The Personal Diary of the Wicked… Written by Himself, The Amazing Journey of Balthazar Kober. Next, the ways of showing its functioning in cinematography: stylization, allusion, form of quotations, collage, parody, pastiche, travesty.Concluding, the director uses the religious language stylisations and quotations for example the Holy Scripture or other cultural texts, like Juliusz Słowacki’s Anhelli in the considerate way. Using the religious language, he characterizes setting and time of action, the film characters and, above all, his attitude towards religion. Love language gets the markers of religious language in his films. In this way, Has approaches to understanding the new version of religion and religiousness, not consistent with the Old Testament, but rather with New Testament’s message which means: “Love your neighbor as yourself”.
35
Paksiutov, Georgii D. "Transformation of the Global Film Industry: Prospects for Asian Countries." Russia in Global Affairs 19, no. 2 (2021): 111–32. http://dx.doi.org/10.31278/1810-6374-2021-19-2-111-132.
Full textAbstract:
The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian cinema is becoming increasingly important in terms of the size of national film markets, but for a variety of reasons the U.S. remains the world’s most important exporter of motion pictures. The position of Asian countries in world cinematography is undermined by such global institutions as award ceremonies and film festivals that are held in the U.S. and Europe and tend to favor Western filmmakers. This article emphasizes the dramatic influence of digital transformation on modern cinematography and the opportunities it opens up for Asian film producers in creating a new, global streaming services market. Finally, the paper discusses development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.
36
Semenova, Oksana. "National Cinematography as a Response to Russian Information Aggression (A Case Study of Historical and Patriotic Films)." Ukrainian Studies, no. 2(79) (August 3, 2021): 30–49. http://dx.doi.org/10.30840/2413-7065.2(79).2021.234951.
Full textAbstract:
The article reveals the influence of Russian information propaganda on cultural industries of Ukraine, in particular film making, and describes place and role of contemporary Ukrainian cinematography as a “soft power” in counteracting humanitarian expansion of the Russian Federation, as a factor having an influence on mass consciousness and social attitudes of Ukrainians, as means of counter-propaganda and construction of all-Ukrainian identity and formation of consolidated political nation as a whole. The author has studied the state of national cinematography during 2014–2021, analyzed the reasons which hindered its development and described public and state legislative initiatives directed at support and development of cinematography. The most popular Ukrainian historical and patriotic fiction and documentary films are examined and their role in counteracting Russia’s propaganda is defined.The article contains analysis of anti-Ukrainian films produced in the Russian Federation, annexed Crimea, and quasi-states "Donetsk People’s Republic" and "Luhansk People’s Republic"; reveals essential features of its information and psychological impact; defines manipulative techniques and methods. On the basis of analysis of Russian propaganda films, the author made a conclusion about portraying a negative image of Ukraine and broad usage of messages about the “unconstitutional coups d'etat”, “Kyiv regime” that fights against population of Donbas. We may see such negative narratives as: Ukrainians are “junta”, “fascists”, “Banderites”, “hardcore nationalists”, who fight against “common people” and “miners”. Russian propaganda concerning Crimea includes, first of all, creation of illusory picture which justifies Russia’s annexation of Crimea before the world, with meaning that this process was “inevitable” and “historically justified”.Ukrainian cinematography is considered as efficient means of opposing Russian information aggression, formation of patriotic feelings of Ukrainian people, and their aspiration for historical truth and justice. State system policy on counteracting propaganda has caused a powerful development of national cinematography, which pays considerable attention to making and promoting historical and patriotic fiction and documentary films.
37
Weiher-Sitkiewicz, Krystyna. "W poszukiwaniu głównego nurtu w polskim kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 56–68. http://dx.doi.org/10.26881/pan.2018.19.04.
Full textAbstract:
In this text, the author seeks what the main stream in contemporary domestic cinematography is. Following the definitions of mainstream by Mirosław Przylipiak from the text “The Notion of Mainstream Film in Contemporary Cinema”, the author distinguishes two ways of understanding this phenomenon in the context of Polish cinema. First of all, these productions are commercial, with a large budget, with stars in the cast, profit-oriented, aimed to appeal to a mass audience (e.g. copying global Hollywood formats and presenting it through Polish lenses); secondly, they are films propagating a dominant ideology. The designation of the Polish mainstream has specific goals: (1) to establish which direction Polish cinema is heading in, (2) to dissect it, (3) to note what makes Polish cinematography evolve and what it is that attracts more and more viewers.
In the summary, the author shows that what is most important in Polish Cinema is the dominant ideology that allows us to understand the phenomenon of its main stream. As a model example of the Polish mainstream, the film Gods by Lukas Palkowski is quoted.
38
Tam, Kwok-kan. "Cinematography in Motherhood: a Hong Kong film adaptation of Ghosts." Nordlit, no. 34 (February 24, 2015): 393. http://dx.doi.org/10.7557/13.3384.
Full textAbstract:
<p>This is a study of a Hong Kong Chinese film adaptation of <em>Ghosts</em> made in 1960. It deals with processes of cross-cultural and cross-media adaptation, and probes issues of how stage techniques are turned into cinematographic devices. Ibsen’s plays, except <em>Ghosts</em>, have been adapted numerous times for the Chinese stage and screen in Hong Kong and China. Unlike in China, the reception of Ibsen in Hong Kong is not meant for political purposes. In most Hong Kong adaptations, Ibsen is valued for the purpose of theatrical experimentation. Among the stage adaptations, <em>A Doll’s House</em> and <em>The Master Builder</em> are the most popular. However, there was a film adaptation of <em>Ghosts</em> in 1960, which has never been discussed in Ibsen scholarship. In this adaptation, Director Tso Kea borrowed the plot from <em>Ghosts</em> and made a perfect Chinese melodrama film highlighting the Chinese emotions and relations in a wealthy family that undergoes a crisis. In traditional Chinese drama, there is the lack of psychological rendering in characterization and characters act according to moral considerations. In Tso Kea’s film, the portrayal of the mother provides a new sense of characterization by combining Mrs Alving with the traditional Chinese mother figure. The borrowing from Ibsen makes it possible for the Chinese film to create a character with emotional and psychological complexities. Images from the film are selected as illustration in the article.</p>
39
Czardybon, Marcin. "Literature and Film Art." Tekstualia 1, no. 60 (May 5, 2020): 3–8. http://dx.doi.org/10.5604/01.3001.0014.1356.
Full textAbstract:
This editorial aims to cover the content of the presented issue of „Tekstualia”. It provides an introduction to the multifaceted problem of the relationships between literature and cinematic art. The text (according to the remarks of Alain Badiou, Peter Greenaway, Andre Bazin, Seweryna Wysłouch, etc.) discusses the widespread thesis of, allegedly diminishing, subservience of the cinematography to the literature’s domain. Furthermore, this article offers an overview of the scientific papers (and other publications) included in the „Tekstualia” issue.
40
Gordziejuk, Ewelina. "Polski film animowany – gdzie jest i dokąd zmierza?" Kultura Popularna 3, no. 57 (November 30, 2018): 2–10. http://dx.doi.org/10.5604/01.3001.0012.7284.
Full textAbstract:
The article aims to define Polish animated film and its place within contemporary Polish cinematography as well as to predict its future. Based on the literature review, the author's own reflections and the opinions of critics, film experts and filmmakers, the author provides her own definition of an animated film, presents facts related to the history of the genre and speculates on the future of Polish animated film.
41
Mendrala, James A. "Point of View: Electronic Cinematography for Motion-Picture Film." SMPTE Journal 96, no. 11 (November 1987): 1090–94. http://dx.doi.org/10.5594/j03017.
Full text
42
Цукер, А. М. "Rock in the Russian Cinematography of the 1980s." Музыкальная академия, no. 4(768) (December 20, 2019): 140–55. http://dx.doi.org/10.34690/24.
Full textAbstract:
В статье на материале анализа художественных и документальных фильмов периода перестройки (режиссеры С. Кулиш, Р. Нугманов, В. Огородников, Ю. Подниекс, С. Соловьёв, А. Учитель) выявляются социокультурные функции рок-музыки, ее роль как важнейшего элемента кинематографического языка в создании атмосферы картин, формировании характеров главных персонажей, основного конфликта. Автор раскрывает функцию рока в драматургии фильмов и в то же время показывает, как рок в союзе с кинематографом отражал дух времени, создавал социальный портрет поколения. Он влиял на их драматургическое решение не только своими собственно музыкальными качествами, своей звуковой атмосферой, но и всем социокультурным контекстом. Этот шлейф ассоциаций наполнял картины многослойным содержанием, активно «работал» в условиях новой концептуальной и аудиовизуальной среды. On the basis of the analysis of the feature films and documentaries of the Perestroika period (films directed by S. Kulish, R. Nugmanov, V. Ogorodnikov, Yu. Podnieks, S. Soloviev, A. Uchitel) the sociocultural functions of the rock music are revealed. The article considers the rock music as the most important element of the cinematic language, which creates the atmosphere of the film, forms the personalities of the main characters, reveals the main conflict of works. The author reveals the role of rock in the dramaturgy of the films and at the same time shows how rock in the union with the cinematography reflected the spirit of the times, created a social portrait of the generation. Rock influenced their dramaturgy not only with its musical qualities, sound atmosphere, but also with the whole sociocultural context. This series of associations filled the movies with multi-layer content, actively worked in the new conceptual and audiovisual environment.
43
Wangsa, Edelin Sari, and Kemal Hassan. "Performa Film Pendek Mahasiswa Digital Cinematography Universitas Multimedia Nusantara Pada Online Platform Viddsee." ULTIMART Jurnal Komunikasi Visual 8, no. 2 (November 12, 2016): 10–17. http://dx.doi.org/10.31937/ultimart.v8i2.463.
Full textAbstract:
Penelitian ini bertujuan untuk melihat kualitas performa film pendek karya mahasiswa pada media ekshibisi dalam jaringan. Subjek penelitian dipersempit pada 1) film mahasiswa Digital Cinematography Universitas Multimedia Nusantara produksi tahun 2009 hingga 2015, 2) film yang sudah melalui tahap arsip dan kuratorial, 3) film yang ditayangkan pada media ekshibisi dalam jaringan, Viddsee. Film-film tersebut diteliti dengan metode kualitatif-deskriptif melalui triangulasi hasil pengumpulan data wawancara, observasi, studi literatur, dan dokumen audiovisual. Hasil penelitian menunjukan analisis karakter Viddsee sebagai ekshibitor, perbandingan karakter tersebut dengan film UMN, dan analisis indikator keberhasilan film UMN pada Viddsee.
Keywords : film pendek mahasiswa UMN, online platform distribusi, ekshibisi, arsip, kuratorial, Viddsee
44
Rolla, Natalia, and Lisa Sacchi. "Films from the graduates in directing at the Centro Sperimentale di Cinematografia (CSC): Festival nominations and awards1." Journal of Italian Cinema & Media Studies 8, no. 3 (June 1, 2020): 429–32. http://dx.doi.org/10.1386/jicms_00035_7.
Full textAbstract:
In our contribution to a Special Section dedicated to the Centro Sperimentale di Cinematografia in Rome (CSC) (Centre for Experimental Cinematography), we acknowledge the achievements of the school’s graduates in directing from 2004 to 2019. In particular, we provide a detailed list of the thesis films, short feature and animation films, as well as some long feature films, which have been selected for the Cannes and Venice Film Festivals, and have been nominated for and have been awarded national and international prizes such as the David di Donatello, the Silver Ribbon and the Golden Globe.
45
Koch, Julian. "“The False Appearance of Totality is Extinguished”: Orson Welles's The Trial and Benjamin's Allegorical Image." Film-Philosophy 23, no. 1 (February 2019): 17–34. http://dx.doi.org/10.3366/film.2019.0096.
Full textAbstract:
This article seeks to renegotiate Walter Benjamin's conception of allegory as an image that is a “fragment [… in which] the false appearance of totality is extinguished” ( 1998 , p. 176) in the context of Welles's The Trial. According to Benjamin, the allegorical image embodies its own limitations, displaying where its visuality falters. This article lifts Benjamin's notion of the allegorical image from its specific German Baroque discursive context and superimposes it onto the moving images of Welles's film. Welles's images in The Trial seem to perennially question their ability to meaningfully capture or represent the nature of the law. The faltering of the image is also apparent in Welles's use of cinematography, when offscreen space irrupts into Welles's images in unforeseeable ways, suggesting the powerlessness of the image over what is imposed upon it. In their displaying an absence of representation, Welles's images seem allegorical in Benjamin's sense.
46
Zhang, Ruifeng, and Yunho Yang. "Study of the Hand-held Cinematography Skills in War Film." Korean Society of Culture and Convergence 43, no. 8 (August 30, 2021): 839–63. http://dx.doi.org/10.33645/cnc.2021.08.43.8.839.
Full text
47
Koblenkova, Diana Viktorovna, and Diana Viktorovna Koblenkova. "Swedish Cinematograph at the beginning of the XXI century. The problem of national style." Journal of Flm Arts and Film Studies 2, no. 1 (January 15, 2010): 106–18. http://dx.doi.org/10.17816/vgik21106-118.
Full textAbstract:
This article explores the major tendencies of Swedish Cinematography at the beginning of the XXI century. It focuses on analyzing the peculiarities in the Swedish film genre, which was formed during the silent cinema era, however remained dominant until recently. The peculiarities in contemporary Swedish drama are considered to be an original synthesis of two contradictory tendencies of the 1950s and '60s: these are represented by the psycho-philosophical films by I. Bergman and the Socialogical films by B.Viderberg. The article gives a list of key topics in modern films and outlines the peculiarities of their given genres
48
Bulavina, Maria O. "Nikolai Gogol in silent films." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 179–84. http://dx.doi.org/10.34216/1998-0817-2021-27-1-179-184.
Full textAbstract:
The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Alexander Drankov, «Christmas Eve» and «The Portrait» by Ladislas Starevich, «The Overcoat» by Georgi Kozintsev and Leonid Trauberg are in the centre of the article. Each of the listed film adaptations has its own specifics determined by close connection with other types of art, fragmentariness, melodramatic, an abundance of phantasmagorias, etc. «The Overcoat» stands out in the list of silent interpretations, since presents a new look at the process of Gogol's translation from the language of literature into the cinema language. Compared to previous films, the creators of the 1926 cinematic version of «The Overcoat» took into account Gogol's style, the mood of his work, recreated through the picture of the ghostly expressionist Petersburg.
49
Limano, Ferric. "The Principle of Asymmetry Aesthetic in Cinematography." Humaniora 9, no. 1 (March 19, 2018): 75. http://dx.doi.org/10.21512/humaniora.v9i1.4267.
Full textAbstract:
The research showed the principle of asymmetry having a grasp of aesthetic in cinematography. It was needed the understanding of conceptual tools in filming, not only the physical tools. With this principle, the research presented the recommendations in practice that could be applied better in visual for the audience.Methods used in this research was qualitative descriptive. There was a connection of the principle asymmetry with object research (conceptual tools in cinematography) included; frame, light and color, lens, movement, texture, establishing, and point of view with comparison with symmetry principle, then simulate with 3D (three dimensional) editor. The result of this research is people can apply this principle to experience the constant that added the aesthetic in the film with hope to give advantages to the Indonesian movie industry.
50
Sutandio, Anton. "RESTRAINING THE MOOD FOR LOVE: A SEMIOTIC ANALYSIS OF WONG KAR WAI’S IN THE MOOD FOR LOVE." Capture : Jurnal Seni Media Rekam 12, no. 1 (December 1, 2020): 1–12. http://dx.doi.org/10.33153/capture.v12i1.3086.
Full textAbstract:
This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film.