Journal articles: 'Film consciousness'

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Boyd, R. D., and S. K. Wertz. "Does Film Weaken Spectator Consciousness?" Journal of Aesthetic Education 37, no. 2 (2003): 73. http://dx.doi.org/10.2307/3527456.

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Boyd, Robert, and Spencer K. Wertz. "Does Film Weaken Spectator Consciousness?" Journal of Aesthetic Education 37, no. 2 (2003): 73–79. http://dx.doi.org/10.1353/jae.2003.0012.

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Charlebois, Justin. "Developing Critical Consciousness Through Film." TESL Canada Journal 26, no. 1 (June 1, 2008): 124. http://dx.doi.org/10.18806/tesl.v26i1.133.

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Recent instructional trends in the field of TESOL emphasize teaching language through course content. The dual focus of content-based English instruction (CBI) provides a way for language teachers to engage learners with challenging material while increasing their linguistic proficiency. This article describes a unit in a CBI course at a Japanese university that was designed to promote the development of critical consciousness (Freire, 2005) through the analysis of a film. Students identified race- and gender-related issues, engaged in discussions about these issues, and finally wrote a critical response paper to the film.

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Marcus, Laura. "Dreaming and Cinematographic Consciousness." Psychoanalysis and History 3, no. 1 (January 2001): 51–68. http://dx.doi.org/10.3366/pah.2001.3.1.51.

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This paper examines the historical and conceptual relationship between film and psychoanalysis, and, more particularly, film and dream. The advent of cinema, to which Freud was apparently indifferent, in fact produced or focused ambiguities and complexities at the heart of psychoanalytic thought, and dream-theories in particular: the relationship between images and representations (cinematic and psychical) as moving and/or still; visual and/or verbal. The essay closes with an exploration of the interrelationship between film and the borderline between sleeping and waking as a way of understanding the forms of attention and distraction which characterize modernity and its projections, using examples from literary texts, including the writings of the poet H.D.

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Shin-dongsoon. "ZhangLu’s Film and Diaspora Double Consciousness." Journal of the research of chinese novels ll, no. 40 (August 2013): 301–20. http://dx.doi.org/10.17004/jrcn.2013..40.013.

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Uabumrungjit, Chalida. "Sleepy Consciousness of Thai Documentary Film." Asian Cinema 16, no. 1 (May 26, 2012): 71–77. http://dx.doi.org/10.1386/ac.16.1.71_1.

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Balan, Canan. "Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God." Film-Philosophy 20, no. 1 (February 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 for reconsidering topics already much discussed in film-philosophy, such as that of time in the works of Gilles Deleuze.

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Minissale, Gregory. "Beyond Internalism and Externalism: Husserl and Sartre's Image Consciousness in Hitchcock and Buñuel." Film-Philosophy 14, no. 1 (February 2010): 174–201. http://dx.doi.org/10.3366/film.2010.0006.

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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film." Leonardo 36, no. 1 (February 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.

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The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.

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McCosker, Anthony. "Deleuze and the New Camera Consciousness." Cultural Studies Review 10, no. 2 (August 30, 2013): 224–28. http://dx.doi.org/10.5130/csr.v10i2.3512.

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Deamer, David. "Deleuze's Three Syntheses Go to Hollywood: The Tripartite Cinema of Time Travel, Many Worlds and Altered States." Film-Philosophy 23, no. 3 (October 2019): 324–50. http://dx.doi.org/10.3366/film.2019.0119.

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What is called “time travel” cinema is but one aspect in a tripartite series of interweaving modes of disjunctive narration which is also – simultaneously – a cinema of “many worlds” and “altered states”. Exploiting Gilles Deleuze's three syntheses of time, space, and consciousness from Difference and Repetition (1968) allows a conceptual development of these cinematic series through three popular Hollywood film cycles beginning with Planet of the Apes (Franklin J. Schaffner, 1968), The Terminator (James Cameron, 1984), and Back to the Future (Robert Zemeckis, 1985). In so doing, film and philosophy are deployed as two series which together create inexhaustible atemporal, aspatial, and ahuman disjunctions, ungrounding everyday spatio-temporal identities, and affirming productive images of cinematic thought.

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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (February 2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.

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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’

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Shek, KW, and CYH Chan. "Film Quiz: Loss of Consciousness in a Young Gentleman." Hong Kong Journal of Emergency Medicine 22, no. 6 (November 2015): 393–95. http://dx.doi.org/10.1177/102490791502200610.

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Rogers, A. B. "Film and Female Consciousness: Irigaray, Cinema and Thinking Women." Screen 53, no. 4 (December 1, 2012): 477–80. http://dx.doi.org/10.1093/screen/hjs042.

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DeBlasio, Alyssa. "Mamardashvili on film: cinema as a metaphor for consciousness." Studies in East European Thought 71, no. 3 (June 17, 2019): 217–27. http://dx.doi.org/10.1007/s11212-019-09329-2.

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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (May 18, 2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.

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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.

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Efird, Robert. "Sergei Parajanov's Differential Cinema." Film-Philosophy 22, no. 3 (October 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 dismantle the perceptual and narrative structure of classical cinema in order to stimulate awareness of an expressly raw layer of reality beneath what we customarily take to be static, indivisible essences or identities. With specific attention to the correlation of difference, repetition, and perception, this article also focuses on the effects this presentation of perpetual flux and variation has on consciousness and subjectivity within the films.

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Arysheva, Anastasiya S. "Mass scenes as a way of manipulating the consciousness of the viewer." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 64–72. http://dx.doi.org/10.17816/vgik11164-72.

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The essay explores the significance of mass scenes in the history of cinema. It analyzes the directorial style of Sergei Eisenstein and his concept that the human mass becomes observable only with the invention of cinema. The image of the mass is created by the editing. Long shots transform the real human mass into an infinitely growing mass, while close-ups destroy its image. Film editing involves the audience in the creation of the mass: each foreshortening offers a new vision of the people united in the mass. Mass scenes of the film allow the spectator to become infected with the ideas of the mass and to experience the increase in emotions inherent in a crowd. The film appeals to the spectator whose properties are predetermined. The spectator agrees to the viewing conditions dictated by the film and dissolves in the spectacle. The full involvement of the spectator in what he sees on the film screen is the main feature of cinema. Therefore, the manipulation of the spectators consciousness during the film screening is inevitable. Due to the psychological characteristics of their perception, mass scenes are one of the most powerful ways to control the spectator's emotional and intellectual reactions.

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Martin, Michael. "Meditations on Blade Runner." Journal of Interdisciplinary Studies 17, no. 1 (2005): 105–22. http://dx.doi.org/10.5840/jis2005171/26.

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The 1982 film, Blade Runner, presents many questions conceming the position and relevance of the human being in the postmodern epoch. The audience is confronted with androids, called replicants, incredibly handsome "beings" whose language rises at times to poetic beauty, while the humans in the film are embarrassing physical and moral examples of the species. With whom will the audience identify or sympathize, the human or the simulacrum? The film further complicates this issue by incorporating traditional Christian symbols and language in relation to the replicants. The film seems to suggest that consciousness is the defining characteristic of humanness, whether one speaks of an organic human being or a replicant. Current debate between scientists, philosophers, and theologians centers on the question of consciousness and its relationship to the brain and, for some, the soul This essay addresses the dilemmas in the film, while keeping in mind the central question: What is a human being?

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Eck, Carly, and Hannah Kauffman. "The Screen Archive South East: Non-Fiction Film in Fashion History." Costume 45, no. 1 (March 1, 2011): 75–84. http://dx.doi.org/10.1179/174963011x12978768537618.

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Regional screen archives, including film, video and digital media, protect the local vicinity’s film heritage. Such archives generally fall outside the fashion historian’s consciousness. There is a wealth of information on fiction film and fashion, but non-fiction film remains an underused source. This article examines the Screen Archive South East (SASE) based at the University of Brighton. The archive has a rich collection of amateur and professional non-fiction film from the late nineteenth century to the present day. The archive’s resources inspired a collaborative project between the SASE and the Royal College of Art (RCA) entitled Screen Search Fashion. It investigated dress from the inter-war period, an era that saw significant changes in fashion. The resulting online resource includes film clips, stills, descriptions, contextual information and links to further archival sources. This article iscusses the Screen Search Fashion project and presents three case studies showing how the films at SASE offer a rare glimpse into people’s lives and their clothing choices.

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Nas, L. "The ‘unreel’ in Woody Allen’s Zelig." Literator 13, no. 3 (May 6, 1992): 93–100. http://dx.doi.org/10.4102/lit.v13i3.775.

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By presenting Zelig (1983) in the form of a historical documentary using archival film footage, film - director Woody Allen breaks down the conventional distinction between documentary and fiction film. Through metacinematic self-consciousness Zelig hybridly 'chameleonizes’ recorded historical 'truth' exposing this truth to be ‘unreal’: it explodes the notion of the cinematic ‘real’, turning it into the ‘unreel’.

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Cavallini, Roberto. "Staging thought: The essay film and the consciousness of cinema." New Cinemas: Journal of Contemporary Film 15, no. 1 (March 1, 2017): 33–47. http://dx.doi.org/10.1386/ncin.15.1.33_1.

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Bona, Joseph Di. "The Formation of American Educational Consciousness: educational history through film." Compare: A Journal of Comparative and International Education 15, no. 1 (January 1985): 67–77. http://dx.doi.org/10.1080/0305792850150107.

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Giukin, Lenuta. "Consciousness and spirituality in New Romanian Cinema." Journal of European Studies 48, no. 3-4 (October 22, 2018): 327–40. http://dx.doi.org/10.1177/0047244118801234.

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Representations of the individual, family and collective groups within New Romanian Cinema reveal the nation’s social, political and psychological transformations, as well as its values and beliefs in times of intense transition. Focusing on Behind the Hills (Cristian Mungiu, 2012) and Sieranevada (Cristi Puiu, 2016), this article analyses the new cinema’s dual position (apolitical yet engaged) and reflection on such aspects as religion, ideology and globalization; it emphasizes mechanisms of identity (trans)formation, the shaping of global citizenship and the shifts in public discourses, such as film, to continue to engage individuals and groups in social debate and events.

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Potempski, Jacob. "Revisiting Michael Snow’s Wavelength, after Deleuze’s Time-Image." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 7–17. http://dx.doi.org/10.2478/ausfm-2014-0001.

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Abstract Michael Snow’s Wavelength (1967) is one of the most written about avant-garde films. It has served as “a blue screen in front of which a range of ideological and intellectual dramas have been played out,” as Elizabeth Legge put it in a book-length study of the film, whose recent publication testifies to the continuing relevance of the film (Legge 2009). This paper takes Annette Michelson’s article, Toward Snow, one of the first and most often cited encounters with Snow’s cinema, as its point of departure (Michelson 1978). Michelson sees the film as a reflection which reveals the cinema as a temporal narrative medium. Drawing on Husserl’s phenomenology of time-consciousness, she argues that this reflection on the medium is at the same time a reflection on the structures of consciousness. However, the paper also draws on the work of Gilles Deleuze, whose two-volume study of the cinema has opened up new possibilities for thinking about time and the cinema (Deleuze 1983, 1985). The paper is not an interpretation of Deleuze. It appropriates and puts to work his idea that the cinema is not essentially a narrative medium; but a medium that disrupts linear time, making visible a non-chronological dimension of time, which fragments the subject and exposes it to liminal situations. Wavelength, I argue, reverses the flow of time, to make visible an abyss at the heart of time, which shatters the unity of the subject

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Wright, Terence, and Peter Loizos. "Innovation in Ethnographic Film: From Innocence to Self-Consciousness 1955-1985." Anthropology Today 10, no. 1 (February 1994): 11. http://dx.doi.org/10.2307/2783596.

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Grimshaw, Anna, and Peter Loizos. "Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955-1985." Man 29, no. 3 (September 1994): 782. http://dx.doi.org/10.2307/2804428.

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Silvester, Rosalind. "Intermediality and Film Consciousness in Gao Xingjian’s La Silhouette sinon l’ombre." Forum for Modern Language Studies 55, no. 1 (January 1, 2019): 53–74. http://dx.doi.org/10.1093/fmls/cqy068.

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Cameron, Evan William. "Innovation in ethnographic film: From innocence to self-consciousness, 1955–1985." History of European Ideas 21, no. 4 (July 1995): 579–81. http://dx.doi.org/10.1016/0191-6599(95)90207-4.

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Câmpean, Noemina. "Film comme non-film – Samuel Beckett et le spectacle vivant de l’angoisse." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 135–50. http://dx.doi.org/10.24193/subbdrama.2021.1.08.

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"Film as Not-Film – Samuel Beckett and the Vivid Show of Anxiety. This paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time. Keywords: nothingness, I, eye, language, anxiety, real."

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Stanaliev, N. M. "THE IMAGE OF A FEMALE HEROINE OF THE WITHIN THE FRAMEWORK OF IDEOLOGY: ON THE EXAMPLE OF THE MOVIE «THE SNIPERS» BY B.SHAMSHIEV." Herald of KSUCTA n a N Isanov, no. 4-2020 (December 23, 2020): 580–87. http://dx.doi.org/10.35803/1694-5298.2020.4.580-587.

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Modern social science pays more attention to the study of social consciousness, forms and means of communication, methods of self-identification of human communities. A sufficient number of studies can be found on the influence of information on mass consciousness. In this regard, some thoughts and research have arisen about how a certain ideology can penetrate the consciousness of people through the media. This interest of scientists is largely related to various sources (text, visual, etc.) of information in modern society, which is accessible to the masses. This work focuses on the forms of representation of ideology aimed at the masses. Within the framework of the work, a brief history of Soviet cinema, cinema as a means of building the ideology of the Soviet era, and a review of literature in the context of this topic were presented. In order to identify the forms of transmission of ideology, the Van Dyck method of ideological discourse is used. An example of the study is the film " Snipers” by Bolotbek Shamshiev, a film based on the exploits of Aliya Moldagulova during the Great Patriotic War. Using this method of analysis, the film examined the forms of ideological construction through ideological discourses. Soviet sniper Aliya Moldagulova, who was awarded the title Hero of the Soviet Union, presented as a female hero in the 1985 film "Snipers", is considered an ideological icon. The transformation of Moldagulova into an icon was carried out within the framework of socialist ideology in the form of militarism, equality of men and women, courage, etc.

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Paes Leme, Patricia, and Diogo da Silva Roiz. "‘VISTA MINHA PELE’ E ‘BRANCO SAI, PRETO FICA’: POSSIBILIDADES E DESAFIOS DA UTILIZAÇÃO DE CENAS FÍLMICAS NA APRENDIZAGEM HISTÓRICA." COLLOQUIUM HUMANARUM 15, no. 4 (October 1, 2018): 83–96. http://dx.doi.org/10.5747/ch.2018.v15.n4.h392.

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This paper aims at analysing the use of film scenes to teach the African-Brazilian and African History and Culture. In order to do so, it was anchored on the historical consciousness typology created by the German historian and philosopher Jörn Rüsen and on his concept of historical learning. The purpose is to elucidate if the use of films, as a contemporary cultural language of acknowledged pedagogical value, regarding the problematization of topics related to the teaching of African-Brazilian and African History and Culture could provoke changes in the historical consciousness of young students at high school and influence their historical learning process. Hence, from a participating research performed with two groups of students enrolled at high school integrated with a professionalising course, which were based upon qualitative techniques, such as participating observation, conflicts mediation, elaboration and consolidation of reflections through group debates and written narratives, semi-structured questionnaires and a qualitative analysis of the data, it was proposed to: a) proceed to the analysis of the narratives written by the researched subjects; b) investigate the level of competences of these students to attribute meanings and locate themselves intime. Amongst the reached results it could be pinpointed that the use of films scenes presents promising possibilities regarding making the historical thinking complex and consequently the development of the historical consciousness of these subjects.

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Mayo, Sherry. "A Model for a Collective Aesthetic Consciousness." International Journal of Art, Culture and Design Technologies 1, no. 2 (July 2011): 14–24. http://dx.doi.org/10.4018/ijacdt.2011070102.

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During the 20th century, the modern media was born and viewed as an industrial factory-model machine. These powerful media such as film, radio, and television transmitted culture to the passive masses (Enzensberger, 1974). These art forms were divorced of ritual and authenticity and were reproduced to reinforce their prowess (Benjamin, 1936). In the 21st-century post-media condition, a process of convergence and evolution toward a social consciousness, facilitated by a many-to-many social network strategy, is underway. Web 2.0 technologies are a catalyst toward an emergence of a collectivist aesthetic consciousness. As the prophecy of a post-industrial society (Bell, 1973) becomes fulfilled, a post-media society emerges whose quest is for knowledge dependent upon an economy that barters information. This paper identifies a conceptual model of this recent paradigm shift and to identify some of the possibilities that are emerging.

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Laba, Suzanne Cataldi. "Trust and Truth in Shutter Island." Film-Philosophy 23, no. 3 (October 2019): 351–71. http://dx.doi.org/10.3366/film.2019.0120.

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This article examines questions of trust in cinema through the lens of Shutter Island (Martin Scorsese, 2010). With its self-referential allusion to the mechanical “eye” of a camera, a stage-managed fantasy embedded within its plot and image of a dark lighthouse, Shutter Island explores its spectators' and its own cinematic sense of suspicion. The plot revolves around a protagonist who has locked himself out of certain memories and into a fantasy world. The article links pathological and therapeutic aspects of trust with interpersonal and institutional trust issues in ways that blur distinctions between trusting others and trusting oneself, and shows how reliant each is on the other. Construing trust as a type of participant attitude and highlighting techniques used to render it cinematically, the article tracks its emergence and erosion, both in terms of the diegesis and its bearing on film spectatorship. As a post-classical commentary on film-making, Shutter Island is viewed as intricately exemplifying what Robert Sinnerbrink (2016) describes as an action-driven film with “a highly reflective consciousness of cinematic spectatorship” (p. 70), as well as what Thomas Elsaesser (2009) describes as a “mind-game film”. To make sense of its ending, which may strike viewers as baffling and unnerving, and show how the protagonist's seemingly irrational decision is part of its film-philosophical point, traumatic disturbances in subjectivity and “monstrosities” depicted in the film are linked to Jean Epstein's notion of “something monstrous” in cinematic imagery. The protagonist's deliberately chosen fate is interpreted as a reparative gesture, expressing a desire for psychological healing and a way of helping him to marshal and recover a semblance of moral order and integrity under demoralizing circumstances.

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Acciari, Monia. "Film festivals as cosmopolitan assemblages." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 111–25. http://dx.doi.org/10.33178/alpha.14.06.

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In this article, I seek to explore the use and development of the notion of cosmopolitanism within the context of film festivals. I will examine the specific case study of the Leicester Asian Film Festival from the perspective of an insider—as a Film Programmer and Associate Director of the event. The questions that I intend to answer are: what happens to our understanding of film festivals when we frame it through discourses of cosmopolitanism and borders and, conversely, what happens to our understanding of cosmopolitanism when we frame it through film festival studies? Accordingly, I will place cosmopolitanism in conversation with the developing literature on film festival studies. The aim is to offer an idea of film festivals as “cosmopolitan assemblage”, within a frame of fluidity, exchangeability and multiple functionalities (Deleuze and Guattari). In developing this concept, I will draw on Ulf Hannerz’s use of the term cosmopolitanism that includes being open to and involved with otherness. The aim is to theorise the idea of festivals as borders, and inspire new forms of consciousness and cultural competency applied to film festival programming.

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Taehyeon, Song. ""A Study on the Ecological Consciousness in the Film Belle et Sébastien"." Journal of Humanities and Social sciences 21 11, no. 5 (October 30, 2020): 1851–66. http://dx.doi.org/10.22143/hss21.11.5.132.

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김영혜. "Film as a ‘Stream of the Artist’s Consciousness’: Focusing on Tarkovsky’s Mirror." Film Studies ll, no. 70 (December 2016): 45–73. http://dx.doi.org/10.17947/kfa..70.201612.002.

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Rezoničnik, Lidija. "Modernist narrative techniques in the screen adaptation of the novel „Minuet for Guitar”." Balcanica Posnaniensia. Acta et studia 24 (February 20, 2018): 143–54. http://dx.doi.org/10.14746/bp.2017.24.9.

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This contribution focuses on the novel „Minuet for Guitar”, by Slovenian author VitomilZupan, and its film adaptation, entitled „Farewell until the Next War”, by Serbian director Živojin Pavlović. Firstly the article deals with the novel from the perspective of modernistnarrative devices, and secondly it focuses on the analysis of its cinematic adaptation. Basedon the anthropological-morphological method of film analysis it establishes that ŽivojinPavlović used modernist narrative devices in film. Furthermore it studies how and throughwhich cinematic forms of expressions and methods stream of consciousness and memories areshown, as well as how essayistic style, fragmentariness, and associative style are expressed inaudio-visual representation.

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Gazi, Jeeshan. "Soiveillance: Self-Consciousness and the Social Network in Hideaki Anno’s Love & Pop." Surveillance & Society 16, no. 1 (April 1, 2018): 84–111. http://dx.doi.org/10.24908/ss.v16i1.6434.

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This article analyses the surveillance aesthetic of Hideaki Anno’s 1998 film Love & Pop. It is proposed that the film communicates the concept of “soiveillance”—a watching (veillance) that is of one’s self (soi). What underpins soiveillance is the paranoia associated with social surveillance (Marwick 2012), specifically the self-consciousness involved in the image sharing that constructs the virtual self of the social media user (Willett 2009). With its theme of enjo kosai—or “paid-dates” between adult males and female teenagers—Love & Pop’s communication of soiveillance further illuminates the impact of one’s gender status within the social network, and the manner in which real-world patriarchy and misogyny pass into the virtual construction of selves. The methodology used to argue these points rests on a reconfigured take on the term “scopophilia” within the study of visual media. Scopophilia, rethought as a love of vision itself, aligns with Murakami’s (2000) theory of the superflat on three key points: the acknowledgment that emerging technologies have created new image-functions and image-structures that require a broadening of our theoretical vocabulary; an atemporal approach to the reading of images, such that a late-nineties film like Anno’s can provide important insights into 21st century concerns; and a recognition of intermedial convergence, which allows us to read the activity of online video sharing as a form of narrative equivalent to the sequencing of shots within a cinematic montage.

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Krauss, Rosalind E. "Montage October: Dialectic of the Shot." October 162 (December 2017): 133–44. http://dx.doi.org/10.1162/octo_a_00313.

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In “Montage October,” which appeared in Artforum in January 1973, Rosalind Krauss argues that Sergei Eisenstein's 1928 film was not only a celebration of a Marxist victory but also a demonstration of Marxist dialectical reasoning through montage. Krauss contends that rather than passively reconstructing the chain of circumstances that culminated in the storming of the Winter Palace in 1917, Eisenstein hoped to draw a filmic equivalence between the leap of revolutionary consciousness, which opens up access to the future by transcending the real, and the leap of visual consciousness, which goes beyond the normal bounds of filmic space.

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Rusinova, Elena A. "The Techniques of Visual and Audial Distinction between Diegesis and Metadiegesis in a Motion Picture." Journal of Flm Arts and Film Studies 9, no. 1 (March 15, 2017): 20–26. http://dx.doi.org/10.17816/vgik9120-26.

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The article opening the cycle of publications Audiovisual Means of Creating Metadiegetic Space in Cinema systemizes means and technologies in sound direction that enable to create various spaces in a film as well as to convey the altered consciousness and the inner world of the character.

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Zhabskiy, Mikhail I., Faina V. Novoselova, and Кirill А. Tarasov. "The film star — the phenomenon of a parasocial relation." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 54–64. http://dx.doi.org/10.17816/vgik11354-64.

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The parasocial relation is a reality of interaction of the communica- tor, integrated into a complex media structure, and of his fans. The relationship between them are regulated not by a mutuality of rights and obligations. The film star as a communicator addresses a (de facto) anonymous audience. At the same time the formers message is received, pondered upon and mastered individually which engenders the spectators impression of a face-to-face interaction. In the capacity of a film star the given actor comes on as a good virtual acquaintance for a large number of the audience, kindred to them in spirit, bringing out their amicability, a desire to become actually acquainted. In pursuit of commercial goals, the film industry purposefully constructs and utilizes this feature of an actor. Fielding itself on the screen in a specific social role, the film star thanks to the fans parasocial relation to it promotes for the mass consciousness behavior patterns, norms and values of the given society that are embodied in it. The article adduces sociological evidence for the transplantation in the transit period of the 1990s into young Russians mass consciousness of values disseminated by Western cinema. The film star also constitutes a factor of the competitiveness of a given cinematography on a given spectator market. In this regard the Russian cinema loses to Hollywood on its home market. As a sociological study has shown (the city of Kirov, 2016), Russian-filmgoer rating of stars is headed by American masters: Johnny Depp with 60% of the spectator votes; Leonardo Di Caprio 58%; Anjelina Joli 56%. The top three of Russian actors noticeably lag behind: Sergey Bezrukov 55%, Daniil Kozlovsky 44%; Konstantin Khabensky 43%.

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Malamud, Randy. "MIX Copenhagen at Thirty: Projecting a Triumphant Queer Moment." Film Quarterly 69, no. 3 (2016): 84–90. http://dx.doi.org/10.1525/fq.2016.69.3.84.

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Festival Report: Whether or not 2015 marks a crossing over into the postqueer era, LGBT cinematic traditions are being exuberantly reconfigured in ways that reflect widespread recent human rights victories in many parts of the world alongside once-unimaginable levels of enlightened acceptance. MIX Copenhagen's thirtieth anniversary film festival in October displayed a sense of a newly empowered and confident queer cultural consciousness, with films that embodied less angst and more unbridled celebration. If queer narratives have tended to deploy a strategy predicated upon confronting presumptive prejudice, many now seem more simply and resplendently straightforward—at least relatively unapologetic, unafraid, and uncomplicated. Films reviewed include: Hidden Away; Margarita, With a Straw; Stories of Our Lives; Do I Sound Gay?; and The Danish Girl.

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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.

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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.

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Loriguillo-López, Antonio, José Antonio Palao-Errando, and Javier Marzal-Felici. "Making Sense of Complex Narration in Perfect Blue." Animation 15, no. 1 (March 2020): 77–92. http://dx.doi.org/10.1177/1746847719898784.

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Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.

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Chen, Hazel Shu. "Acoustically Embodied." Prism 18, no. 1 (March 1, 2021): 114–37. http://dx.doi.org/10.1215/25783491-8922217.

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Abstract In 1950s and early 1960s Hong Kong, radio permeated in everyday life as a major source of entertainment and information. It subsequently gave rise to a peculiar genre in Cantonese cinema, film adaptations of “airwave novels” (tiankong xiaoshuo dianying 天空小說電影), which flourished in Hong Kong and Southeast Asia. According to the records of the Hong Kong Film Archive, from 1949 to 1968 there were ninety-three film adaptations of radio novels and dramas. Besides drawing the historical contours of the radio-film network in the postwar colonial city, this article studies two exemplary radio stories-turned-films, Niehai chihun 孽海痴魂 (A Devoted Soul; 1949) and Cimu lei 慈母淚 (A Mother's Tears; 1953), and scrutinizes their transmedial/transnational adaptation trajectories to shed light on intermedia aesthetic criticisms. This article describes how film technology reconstituted the oral and spoken in audiovisual space, in particular the embodiment and representation of the radio acoustic. The voice-over, indicative of the radio unconscious in the film, registers the existence of a consciousness already programmed by radio sounds that reconfigures the economy of filmic diegesis. This article further investigates how such medium self-reflexivity in the form of voice-overs destabilized the Manichean structure of melodrama as an established genre in Cantonese cinema, thus making space for forms of female agency amidst contending ideologies in early Cold War.

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Youngs, Tim. "Book Review: Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955–85." Media, Culture & Society 16, no. 2 (April 1994): 359–62. http://dx.doi.org/10.1177/016344379401600211.

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Long, Kristi S. "Man of Iron: Representing and Shaping Historical Consciousness Through Film-A Polish Case." Journal of Popular Culture 30, no. 1 (June 1996): 163–71. http://dx.doi.org/10.1111/j.0022-3840.1996.00163.x.

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Vinnikova, Tatiana Alexandrovna. "EXPERIMENTAL STUDY OF THE INDIVIDUAL CONSCIOUSNESS SEMANTIC TRANSFORMATION CAUSED BY FILM CONSTRUCT PERCEPTION." V mire nauchnykh otkrytiy, no. 5.8 (August 4, 2015): 2860. http://dx.doi.org/10.12731/wsd-2015-5.8-8.

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Belozerova, Anna. "Formation of Communicative and Linguocultural Consciousness Based on the Film Text: Linguosynergetic Approach." E3S Web of Conferences 273 (2021): 11002. http://dx.doi.org/10.1051/e3sconf/202127311002.

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The article describes the experience of work at the Children's University of the Don State Technical University, where the author's program for the development of oral and written speech is being implemented. Fragments of lessons conducted using the technology of a pedagogical workshop are presented; a set of exercises that contribute to the formation of communicative and linguocultural consciousness when working with non-traditional means - a film text and a linguocultural diary. The linguosynergetic approach, chosen as the leading one, allows considering the model of linguistic comprehension of the language, taking into account the possibilities of the interconnected work of the human brain, nonlinearity in speech activity. It is concluded that the selected technology and teaching aids contribute to the activation of the speech-thinking activity of students.

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Journal articles on the topic 'Film consciousness'

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