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Journal articles on the topic 'Film space'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Chen, Sha Tong, Xin Lyu та Ye Wang. "영화 아키텍처에 기초한 기념식 공간디자인 방법 연구: 프랑스 누벨바그를 중심으로". Korea Institute of Design Research Society 9, № 1 (2024): 35–51. http://dx.doi.org/10.46248/kidrs.2024.1.35.

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This study investigates the design of French Nouvelle Vague films converted into monumental spaces based on the theory of cinematic architecture. The purpose of the study is to further develop the design method of converting the film into monumental space by exploring the correlation between film and monumental space and to prove the feasibility of the design method of converting the film into monumental space through the virtual design of the French Nouvelle Vague Memorial Museum. The object of the study is the French Nouvelle Vague film and monumental space. The content and scope of the stud

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Dunat, Silvana. "Film space as mental space." Semiotica 2015, no. 207 (2015): 475–87. http://dx.doi.org/10.1515/sem-2015-0039.

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AbstractThis paper explores the hypothesis that the three-dimensionality and continuity of film space is a mental construct based on our perception of the images projected on the screen and our knowledge of/about the world and our knowledge of/about film. Starting from Alberti’s (1804 [1435]) visual pyramid as a geometric representation of the vision of a stationary observer, such as a painter, and Gardies’ (1993) mirror ball representing the vision of a dynamic spectator, such as a camera, the paper proposes a new schema aiming to explain how the three spaces – real, virtual, and mental – par

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Yang, Wenjing. "The Construction of the Female Image and Social-Cultural Metaphor in Tuya's Marriage from the Perspective of Space Narration." Communications in Humanities Research 6, no. 1 (2023): 143–48. http://dx.doi.org/10.54254/2753-7064/6/20230166.

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The rural film Tuya's Marriage, directed by Wang Quan'an, constructs profound and rich spatial metaphors, promotes the development of film narrative, shapes the character characteristics of female characters and completes the unique expression of the female experience. Based on the theory of space narration, this paper makes an in-depth analysis of three narrative Spaces, which are enclosed space, social space and imagination space. It reveals the internal relationship between spatial metaphor and the image-building of female characters in movies as well as the profound cultural connotation. T

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Wang, Danqi. "A Brief Analysis of the Perfect Integration of Narrative Elements and Space-time Construction." Lecture Notes in Education Psychology and Public Media 47, no. 1 (2024): 226–30. http://dx.doi.org/10.54254/2753-7048/47/20240984.

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As a comprehensive art, film often has the dual attributes of time and space. "Time and space" is one of the most special and free features of film, and it is also the basic element and main content of film narrative, and it is also the necessary condition for the audience to establish the imagination space. From the perspective of narratology, this paper will analyse the text of several domestic films in terms of their thematic narrative space-time construction and the design features of narrative elements, study the specific integration and practical application of lens narrative and space-t

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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.

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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the gen

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Uddin, Kazi Ashraf. "Understanding Deviant Space:." Crossings: A Journal of English Studies 11 (September 1, 2020): 198–208. http://dx.doi.org/10.59817/cjes.v11i.58.

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This paper, preoccupied with intersectionality in spatial criticism and broadly portraying the visual representation of urban space in popular culture (film), critically looks into the lived experiences around the Delhi neighborhood, Paharganj, as illustrated in Rakesh Ranjan Kumar’s 2019 film Paharganj. Theoretically grounding on Henri Lefebvre’s spatial triad and production of space, and on Michel Foucault’s “panopticon” and “heterotopia,” this paper investigates (a) ways in which Paharganj turns into a deviant and dangerous space with its countercultural brooding and camouflaged criminality

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Dixon, Oliver. "The chronotopes of radical film: Collective exhibition and the social practice of ‘Cinema Action’." Moving Image Review & Art Journal (MIRAJ), The 14, no. 1 (2025): 11–28. https://doi.org/10.1386/miraj_00138_1.

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In 1970s Britain, film collectives like Cinema Action (CA), Amber and Newsreel used cinema to support working-class struggles through collective production and itinerant exhibition practices. Contemporaneous film theorists analysed such practices through notions of collective space in which collaborative film analyses and discussion produced active political subjects. More recently, scholars have critiqued this theoretical model for its de facto connection of collective space to active spectatorship and politicization. Equally, contemporary scholarship overemphasizes textual analysis over the

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Li, Jialu, Hong Zhang, and Meng Guo. "On the Unnatural Spaces Narration of the Film Stranger Than Fiction." Learning & Education 10, no. 2 (2021): 10. http://dx.doi.org/10.18282/l-e.v10i2.2248.

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Space is one of the important dimensions of film narrative strategy, and the space narrative of film has received more and more attention from narratologists The film “Stranger Than Fiction” uses unnatural narration to The film “Stranger Than Fiction” uses unnatural narration to convey the themes of love, death and life to the audience through the presentation of unnatural narrative space. discusses the unnatural spaces narration of “Stranger Than Fiction” from the perspective of external materialization of inner This paper discusses the unnatural spaces narration of Stranger Than Fiction from

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Glade, Jonathan. "The Korean Restaurant: Beyond Violence in Zainichi Korean Film." Seoul Journal of Korean Studies 36, no. 1 (2023): 117–38. http://dx.doi.org/10.1353/seo.2023.a902136.

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Abstract: Depictions of conflict, frequently in the form of physical violence, occupy a prominent space within Zainichi Korean film. Even the most violent of films, however, depict other divergent forms of interaction that shape social ties and inform explorations of identity. These divergent forms of interaction, in many cases, revolve around the consumption or production of Korean food and frequently take place within the shared culinary space of the Korean restaurant. Focusing on the films Yakiniku Dragon (2018), GO (2001), and Blood and Bones (2004), this article analyzes the ways in which

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Ren, Xuyan. "Spatial Research on Tibetan Film Images --Taking the Works of Local Tibetan Directors in China Since the New Century as an Example." Communications in Humanities Research 17, no. 1 (2023): 149–56. http://dx.doi.org/10.54254/2753-7064/17/20230900.

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Tibetan films, as a branch of Chinese national cinema, have produced many excellent works in recent years with the focus of film creators, and have made remarkable achievements in terms of filming techniques, artistic style, aesthetic value and film language, presenting a thriving scene in creation and dissemination. This paper explains the establishment of the external image space of Tibetan films since the new century, the construction of the internal spiritual space of Tibetan films, and the aesthetic presentation of the image space of the Tibetan New Wave, analyses and summarizes the ethni

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Naghavi, Nasim, and Carmela Cucuzzella. "The sociality of driverless cars in Life on Wheels." Journal of Urban Cultural Studies 10, no. 2 (2023): 195–221. http://dx.doi.org/10.1386/jucs_00071_1.

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The ubiquity of automobiles has made it so that a considerable amount of space is devoted to them in cities. In the past, urban scholars considered these car-dedicated spaces to be ‘non-places’ that hindered place attachment and social life in cities. This article investigates new place-making efforts in these spaces by examining the documentary film Life on Wheels that offers alternatives. Within the ‘new mobility paradigm’, social space is considered an assemblage of social interactions, objects (e.g. technologies), geographical locations, emplacements and communication networks. Through the

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Zang, Jinying. "Symbolic Tension in Contemporary Chinese Urban Film: Culture, Space and Community." Tobacco Regulatory Science 7, no. 5 (2021): 3664–70. http://dx.doi.org/10.18001/trs.7.5.1.143.

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Film semiotics is an important theory produced in the modern film period, and urban film closely responds to the process of contemporary Chinese urbanization. Borrowing the theory of film semiotics to analyze Chinese contemporary urban films, it can be found that typical cities have formed a unique symbolic tension, referring to urban culture, and having multiple symbolic elements sets to interpret the new imagination of the city. Urban film and film semiotics should jointly promote the poetic integration of various classes in the city, construct an urban emotional community, and form emotiona

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Li, Yidong. "Study on the Spatial Narrative of Li Changdong's Green Film "Trilogy"." International Journal of Education and Humanities 13, no. 3 (2024): 130–37. http://dx.doi.org/10.54097/kky2qz29.

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Space is one of the important areas of film industry research. It is not only an important medium to simply understand the relationship between film and social reality, but also an important channel to read artists' thoughts and analyze what artists want to express and how to express them. South Korean director Lee Chang-dong is known as the "poet who asks for life" and his unique spatial awareness builds a personal influence vein full of writing. The space in Lee Chang-dong's films not only records the growth of individuals and the changes of cities, but also becomes a place where various pow

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Shofia, Ghina, and Arnis Rochma Harani. "A SENSORY READING OF SPATIAL EXPERIENCE FROM A FILM'S SETTING." Jurnal Arsitektur ARCADE 8, no. 2 (2024): 105–9. http://dx.doi.org/10.31848/arcade.v8i2.3375.

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Abstract: The purpose of this article is to explore spatial experience through the lens of film settings. Films have been structured to depict a narrative about a space and its experiences to date. There have been few studies examining how a spatial setting in a film can evoke an architectural experience. Through the analysis of sensory-centered experiences derived from spatial settings in films, this paper aims to contribute to the understanding of architecture, particularly the relationship between the body and the space. Using a qualitative approach, this article discusses the film "Later W

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Thornham, Sue. "Space, Place, and Realism." Feminist Media Histories 2, no. 2 (2016): 133–54. http://dx.doi.org/10.1525/fmh.2016.2.2.133.

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John Hill has described the ways in which male-centered narratives of British “working-class films” of the 1980s and 1990s mobilize the idea of the working-class community as “a metaphor for the state of the nation.” Writing on films of the same era by women directors, Charlotte Brunsdon deems it more difficult to see these films as “representations of the nation.” There are, she writes, “real equivocations in the fit between being a woman and representing Britishness.” This article explores this issue, arguing that the history of British cinema to which Hill's chapter contributes is not only

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K. Anaswara Krishna and Shemin Balachandran Nair. "Relevance of Tea Shops and Cafes as Spaces for plot progression in Malayalam Cinema." Journal of Advanced Zoology 44, S-5 (2023): 2455–65. http://dx.doi.org/10.17762/jaz.v44is-5.1900.

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Currently One of the most significant mass media for communication and storytelling is film. The film uses images, music, and sound effects to convey creative ideas, concepts, and emotions. Through its capability for visual portrayal, films engage, comprehend, and influence audiences. This paper entitled ‘Relevance of Teashops and Cafes as Spaces for Plot Progression in Malayalam Movies’ studies how films especially Malayalam films use the space of teashops and cafes in movies as a space of plot progression. Even though these locations are a necessary component in the production of Malayalam f

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Spadoni, Robert. "The Old Dark House and the Space of Attraction1." Cinémas 20, no. 2-3 (2011): 65–96. http://dx.doi.org/10.7202/045145ar.

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Writers have invoked the concept of the “cinema of attractions,” from early cinema studies, to claim that horror films sacrifice narrative integrity to deliver sudden frights and spectacular shocks. An examination of the history of the concept of the attraction, however, finds it heavily theorized by Sergei Eisenstein as something that can bind films together in powerful ways. In one horror film, The Old Dark House (1932), slamming doors, quaking thunder, shattering glass and a rampaging mute butler, while scary, also figure in James Whale’s scheme to criss-cross his film with motifs and other

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Shon, Estrelita, and Otto Hamberg. "Packaging Films for Electronic and Space-Related Hardware." Journal of the IEST 28, no. 4 (1985): 46–52. http://dx.doi.org/10.17764/jiet.1.28.4.d82464457q83687h.

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Flexible packaging films are used to bag and/or wrap precision cleaned electronic or space hardware to protect them from environmental degradation during shipping and storage. Selection of packaging films depends on a knowledge of product requirements and packaging film characteristics. The literature presently available on protective packaging films has been updated to include new materials and to amplify space-related applications. Presently available packaging film materials are compared for their various characteristics: electrostatic discharge (ESD) control, flame retardancy, water vapor

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Afandi, Haekal Ridho, and Matius Ali. "FILM A MAN SPACE: (FILM TANPA PEREMPUAN)." Capture : Jurnal Seni Media Rekam 9, no. 1 (2018): 27–37. http://dx.doi.org/10.33153/capture.v9i1.2054.

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A Man Space is a short fiction film that adopts masculine and feminism in a human body, which tells of a family consists of a father and three sons without a woman in the house. All was gone smoothly before there is occurs a problem where the father wanted to replace their mother figure. The filmâ€™s problems are not only the father wants to get married again, but also the problems that arise in the community. A man was called as a man because of what? The third childâ€™s question to his father because he was the last son and still searching for his identity while his old brothers already have

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Han, Jiaoran. "An Exploration of the Genre of Korean Space Science Fiction Movies — Taking the Movie Space Sweepers as an Example." Studies in Art and Architecture 3, no. 2 (2024): 87–94. http://dx.doi.org/10.56397/saa.2024.06.18.

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Although Korean science fiction films started late and developed slowly, the Korean film industry is developed and has never stagnated in the exploration of film genres. The movie Space Sweepers is South Korea’s first exploration and attempt at the science fiction sub-genre of space science fiction. Since its launch on the streaming media platform Netflix in February 2021, it has topped the global movie popularity list for five consecutive days and won 29 countries. It ranks first in broadcasts in the region, and it has also made space science fiction a genre trend in South Korea. This article

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Bonjour, Mini Mark. "Pedagogic Spaces and Identities: Film as Text." Artha - Journal of Social Sciences 17, no. 3 (2018): 37–52. http://dx.doi.org/10.12724/ajss.46.3.

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This article aims to explore pedagogic spaces in autonomous institutions and the identities they enable. It situates this exploration in the undergraduate General English classrooms and works with the uses of differing printed-literary and audio-visual media. It also attempts to show how both writing as text and film as text have equal value in undergraduate classrooms. Films, it is proposed, can be more than supplementary/ complementary texts to the much more conventional written-printed ones. They can and ought to occupy an equally privileged position in the teaching-learning process because

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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.

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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ev

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Stutz, Olivia Kristina. "The Hybrid Color Film: Multiplicity of Space, Time, and Matter." Comparative Cinema 9, no. 17 (2021): 100–122. http://dx.doi.org/10.31009/cc.2021.v9.i17.06.

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Hybrid color films of the 1920s such as The King of Kings (Cecil B. DeMille, 1927)—that is, films comprising a mix of different historical color processes—are a particularly fruitful resource for the comparison of the silent era’s various color technologies. This article analyzes these cinematic hybridizations and argues that this type of film is much more than the sum of its parts. In embodying a multiplicity of layers of space, time, and color on a literal and metaphorical level, hybrid color films are not only symptomatic of the transformation of the medium in the 1920s but also symbolic of

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Zaitcev, Aleksei Yakovlevich. "On the issue of classification of parameters of artistic space in an animated film." Человек и культура, no. 6 (June 2024): 13–31. http://dx.doi.org/10.25136/2409-8744.2024.6.72272.

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Artistic space in animation art is a multifaceted concept, including various aspects that influence the perception of an animated film. This topic is actively discussed in theoretical discourse and covers various approaches to its terminological definition and classification. The purpose of this scientific study is to justify the choice of universal parameters, from the point of view of the author of the work, characterizing the artistic space of an animated film. The object of the study was animation cinema as a phenomenon of art and culture. The subject of the study is the artistic space of

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Fei, Shang, Ji-kang Jian, Wu Rong, Zheng Yu-feng, and Sun Yan-fei. "Texture-tuned growth of CdTe thin films by closed-space sublimation technique." Powder Diffraction 23, no. 1 (2008): 31–34. http://dx.doi.org/10.1154/1.2837041.

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CdTe thin films were grown on indium tin oxide glass substrates by a closed-space sublimation method using a resistor heater. Crystalline structure, morphology, and band gaps of the films were characterized by X-ray diffraction (XRD), scanning electron microscopy (SEM), and optical absorption, respectively. The XRD analysis showed that the textures of the films were found to depend on the rate of increase in the heating current. The CdTe thin film had an (111) texture when the heating current rate was 2.0 A/min. The SEM analysis revealed that the film is composed of polyhedral grains of micron

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Ekpe, Bassey, and Joseph Akpabio. "‘New Normal’ and Gendered Violence in Nigerian Film Space." Tripodos, no. 50 (July 1, 2021): 75–89. http://dx.doi.org/10.51698/tripodos.2021.50p75-89.

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Arguably, film is the most magical form of storytelling. It is that genre that is most similar to our dreams; a place where a lot of possibilities abound. In the case of Nigerian films, there is little or no holding back as creativity and imagination are often interlaced with biased and unbiased social constructs. This study considers ‘New Normal’ as the current thematic preoccupation of Nigerian films to trivialise women’s rights and promote abuses. This phenomenon is contextualised as intrusive narratives which are now present as a discomforting trope underscored by subtle and at times brash

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Domalewski, Adam. "Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, no. 36 (2020): 71–92. http://dx.doi.org/10.14746/i.2020.36.05.

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The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments a

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Wang, Yichen. "The Analysis of Surreal Space’s Expression in Science Fiction Films: A Case Study of Interstellar." Frontiers in Humanities and Social Sciences 4, no. 9 (2024): 172–76. http://dx.doi.org/10.54691/4xpc8x26.

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This research analyzes surreal space expression in science fiction films, using Interstellar as a case study. The study aims to identify the expression forms and visual effects of surreal space in science fiction films and to summarize the underlying scientific principles, aesthetic principles, and audience psychological interaction. The findings of this research will contribute to the improvement and industrial development of science fiction film scene design. By proposing instructions that combine scientific theories and physical space design, the study aims to address the issues of immature

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Hunter, I. Q. "The Far Side of Moon Zero Two." Science Fiction Studies 28, Part 3 (2001): 355–64. https://doi.org/10.1525/sfs.28.3.0355.

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Moon Zero Two, made by Hammer Films in 1969, was British cinema’s last space opera. A modest and rather camp production aimed at juvenile audiences, the film has the rare distinction of being a “space western,” which updates the iconography of the classic American Western to the setting of a colonized Moon. This article considers three key aspects of the film: its use of Western motifs to underline the ideological continuity of the Old West and the New Frontier; its symptomatic interest as an example of British sf’s continuing failure to match the ambition of American sf films; and its unexpec

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Suwarto, Dyna Herlina, Benni Setiawan, and Gilang Jiwana Adikara. "The Fragmentation of Indonesian Film Audience." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (2021): 74–87. http://dx.doi.org/10.17576/jkmjc-2021-3701-05.

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Nowadays, films can not only be watched in conventional media such as cinema, screening and television but also digital media such as streaming, download and shared archives. This study aims to determine the pattern of audience fragmentation, especially in the cinephile segments. The research employs an explorative qualitative method. The data collection methods include diaries and interviews. Informants were determined using a purposive sampling technique which includes visitors of the movie screened by the Jogja Movie Night, DIY Watching Club, and Cultural Department in July 2018. The result

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Amelia, Adilla, and Meilani. "Expanding Horizon: Exploring Sustainable Movie Screening Venues for Student Films in Indonesia’s Evolving Exhibition Landscape." Ultimart: Jurnal Komunikasi Visual 18, no. 1 (2025): 80–91. https://doi.org/10.31937/ultimart.v18i1.4190.

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Emerging new exhibition venues and platforms have created an evolving landscape of sustainable movie screening spaces for film students in Indonesia. Using descriptive research and observational methods this study aims to analyze multiple movie screening venues that can sustain film students’ showing. From the traditional theatrical exhibition spaces, alongside recent developments in the Indonesian film exhibition ecosystem. The research identifies six different screening space categories: commercial franchised theaters in major cities, regional cinema chains, serving smaller cities and regenc

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Peña, Lauren. "Revolutionary ruralities: Spaces of surveillance and exclusion in Carlos Lechuga’s Santa y Andrés (2016)." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 427–42. http://dx.doi.org/10.1386/slac_00031_1.

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The abundance of rural and provincial settings as spaces belonging to or determined by revolutionary time are recurrent elements in Cuban cinema prior to 1989. Many documentaries and films from the late 1960–80s focused on ‘scaping’revolutionary accomplishments and struggles in the construction of a socialist society. At that time, the depiction of provincial and rural towns of Cuba were aligned with and echoed the Revolution’s political and social agenda of collective work, struggle and revolutionary virtue. This article explores rural space, surveillance and exclusions through Carlos Lechuga

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Zhou, Xiaotao, Huanxiao Li, and Xiaofei Ma. "Analysis of Structural Boundary Effects of Copper-Coated Films and Their Application to Space Antennas." Coatings 13, no. 9 (2023): 1612. http://dx.doi.org/10.3390/coatings13091612.

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Copper-coated films are a solution for flexible electronic devices. One of the applications is a flexible-tension film-deployable antenna, which is a large deployable space antenna with broad application prospects. To analyze the possibility of applying coated films to the antenna, surface accuracy evaluation is required. The finite element method (FEM) was used to analyze the surface accuracy of the copper-coated thin-film structures. Both wrinkling and stretching–bending coupling deformation were considered. Simplified models were applied to study factors influencing the surface accuracy und

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계운경. "Space of the Interactive Film-Virtual Space, Cyberspace, Remmediation Space-." Contemporary Film Studies 15, no. 2 (2019): 7–33. http://dx.doi.org/10.15751/cofis.2019.15.2.7.

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Saiki, Atsushi, Shogo Miwa, and Takashi Hashizume. "Reciprocal Space Map Measurement of Ceramics Thin Films for Unequal Lattice Change at High Temperature." Materials Science Forum 985 (April 2020): 218–22. http://dx.doi.org/10.4028/www.scientific.net/msf.985.218.

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Ceria and zirconia are very important for their thermal, mechanical, and chemical stability, and their thin films have attracted much attention for applications such as buffer layers for growing electric devices, thermal-shield or optical coatings, corrosion-resistant coatings, oxygen sensors and ionic conductors for fuel cells. To investigate and control the thin film orientation and phase is important to improve those performances. In this study, the reciprocal space maps of CeO2/YSZ/Si(001) were obtained at high temperature by adding a heater to the sample stage. CeO2 and YSZ thin films wer

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Smilgies, Detlef-M., and Daniel R. Blasini. "Indexation scheme for oriented molecular thin films studied with grazing-incidence reciprocal-space mapping." Journal of Applied Crystallography 40, no. 4 (2007): 716–18. http://dx.doi.org/10.1107/s0021889807023382.

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Thin films of small molecules relevant to organic electronics applications often show a confusing degree of polymorphism. An effective reciprocal-space mapping scheme has been developed in order to find and index thin-film reflections which are related to previously known molecular structures. By method of elimination, thin-film reflections due to novel thin-film phases can thus be identified.

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SAIBI, MUHAMMAD RITZKY. "DISAIN PENCIPTAAN FILM PAKASIAH BABIOLA." Melayu Arts and Performance Journal 4, no. 2 (2021): 130. http://dx.doi.org/10.26887/mapj.v4i2.2209.

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Minang Creating the fictional film "Pakasiah Biola" departs from several parts of the film's elements, where the film, when viewed from a genre perspective, is divided into three parts, namely fiction films, documentary films, and experimental films. The choice of the fiction genre that the author makes here is because films with that genre have a very wide space in transforming ideas and space to realize the imaginative thoughts that the author gets when analyzing the script "Pakasiah Biola" either visually/cinematically or narratively. In the concept of the work of Pakasiah Biola that will b

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Hunt, Kevin. "Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk." Film-Philosophy 26, no. 3 (2022): 308–30. http://dx.doi.org/10.3366/film.2022.0203.

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This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres

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Aryawaningrat, I. Gusti Ayu Agung, Hendra Santosa, and I. Komang Arba Wirawan. "ACTUALIZATION OF WOMEN IN DOMESTIC AREAS IN THE GALUH FILM." Capture : Jurnal Seni Media Rekam 11, no. 1 (2019): 46–59. http://dx.doi.org/10.33153/capture.v11i1.2651.

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This research focuses on the actualization of women in the domestic area in the film Galuh. This film is an interesting study because the content in this film that contains local wisdom with the source of film ideas from marriage Pada Gelahang and also emphasizes the identity of conventional women with their domestic space. The formulation of the problem in the research is how the actualization of women in their domestic areas in the film Galuh. The purpose of this study is to study the actualization of women in their domestic territory in the film Galuh. This study uses descriptive qualitativ

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Dutton, James. "The Monstrous Mark of Cinema: Mulholland Drive, Spherology, and the “Virtual Space” of Filmic Fiction." Film-Philosophy 27, no. 3 (2023): 553–78. http://dx.doi.org/10.3366/film.2023.0246.

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This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and reality – one often inverting or uncannily ironising the other – relies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of space – especially the spherology developed in his Spheres trilogy – and Bernard Stiegler's approach to cinematic phenomenolog

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Dunat, Silvana. "Time Metaphors in Film: Understanding the Representation of Time in Cinema." Film-Philosophy 26, no. 1 (2022): 1–25. http://dx.doi.org/10.3366/film.2022.0187.

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According to conceptual (cognitive) metaphor theory (CMT), there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego (character), movement, time and space also play basic roles. I compare the two linguistic models to Gilles Deleuze’s conceptualization of filmic t

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Antsiferova, A. N. "Role of dysphemisms in the English-language film space." Vestnik of Samara University. History, pedagogics, philology 30, no. 3 (2024): 195–200. http://dx.doi.org/10.18287/2542-0445-2024-30-3-195-200.

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The topicality of undertaken research is determined by the constantly changing social norms in modern society, which are reflected in the cinematographic world. Cinematography provides a golden opportunity to consider and analyze a range of unique linguistic phenomena. The major purpose of the present paper is to study the phenomenon of dysphemisation in the English-speaking film space based on the set of the following films in English: Green Book by the American film director, Peter J. Farrelly, the screen adaptation of the autobiography 12 Years a Slave by Terrence S. McQueen, the well-known

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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.

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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role a

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Chakravorty, Swagato. "Real Bodies in (Un)real Spaces: Space, Movement, and the Installation Sensibility in Lech Majewski’s The Mill and the Cross." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 7–27. http://dx.doi.org/10.1515/ausfm-2015-0013.

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Abstract Live-action bodies traverse digitally-constructed and digitized spaces in Lech Majewski’s The Mill and the Cross (Młyn i krzyż, 2011). Majewski, a Polish artist who has worked across media, imagines his film as an animation of the world represented in Pieter Bruegel’s painting, The Procession to Calvary. His unprecedented blending of real and painted bodies, spaces, and worlds in The Mill and the Cross draws attention to the necessity of acknowledging space and movement in contemporary approaches to embodied spectatorial experience. This essay considers how the film imagines and treat

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ROY, R. VALÉRY, A. J. ROBERTS, and M. E. SIMPSON. "A lubrication model of coating flows over a curved substrate in space." Journal of Fluid Mechanics 454 (March 10, 2002): 235–61. http://dx.doi.org/10.1017/s0022112001007133.

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Consider the three-dimensional flow of a viscous Newtonian fluid upon an arbitrarily curved substrate when the fluid film is thin as occurs in many draining, coating and biological flows. We drive the lubrication model of the dynamics of the film expressed in terms of the film thickness. The comprehensive model accurately includes the effects of the curvature of the substrate, via a physical multiple-scale approach, and gravity and inertia, via more rigorous centre manifold techniques. This new approach theoretically supports the use of the model over a wide range of parameters and provides a

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Lipiński, Kamil. "Strata, Narrative, and Space in Ici et ailleurs." Film-Philosophy 27, no. 2 (2023): 173–96. http://dx.doi.org/10.3366/film.2023.0225.

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This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-imag

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Uner, Gülşah, and Ebru Erdogan. "Reading the Simultaneous Motion and Reality Bending Concepts through Doctor Strange." CINEJ Cinema Journal 9, no. 2 (2021): 1–38. http://dx.doi.org/10.5195/cinej.2021.301.

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In order to exemplify the interaction between architecture and science fiction films, Doctor Strange (2016), one of today's cinema examples, was chosen because of that the special effects created in computer environment by transferring the dreams to the film have a surrealist effect on the film; of the fantastic spaces that arise with the deformation of real places become the main character of the film; of foreseeing a different future in terms of architecture. Within the scope of the study, the film was read through the changes of time and space of the concepts of “reality bending” and “simul

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Ejsmunt-Wieczorek, Izabela. "Ways of depicting speech deficits in the cinematic space: selected examples." Logopaedica Lodziensia, no. 7 (November 29, 2023): 13. http://dx.doi.org/10.18778/2544-7238.07.03.

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The article discusses an important social aspect concerning speech disorders, also in people with disabilities, and the methods of their presentation in the film space. The main aim of the article is the way of presenting dysfunctions in the field of communication in a cinematic work. Other tasks of the article include attempts to answer the following questions: “does the environment influence the development of communication skills of people with disabilities?”, “how does the film show the relationships of people with speech disorders and disabilities in contacts with loved ones?”, and to “wh

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Turner, Stephen. "Particles of Light." Film and Philosophy 26 (2022): 103–22. http://dx.doi.org/10.5840/filmphil2021113014.

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This article addresses recent science fiction films about the colonization of outer worlds, or space-steading, in the context of the longer colonial history of the frontier. Paying particular attention to Interstellar (Christopher Nolan, 2014), Serenity (Joss Whedon, 2005) and The Wild Blue Yonder (Werner Herzog, 2005), I argue that colonizing outer space is not only a race to the new frontier, but that this takes place because technologies that picture space have quickened the pulse. Through its imagining of the end of times as a reiteration of colonizing adventure, and the emptying of people

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Vinogradov, V. V. "Alexander Dovzhenko. Poetic Space of Immortality." Vestnik VGIK 13, no. 3(49) (2024): 25–40. http://dx.doi.org/10.69975/2074-0832-2021-49-3-25-40.

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The article focuses on the theme of death and rebirth in the works of A. Dovzhenko. In fact, the theme of death has been essential throughout the history of cinema. It is a matter of concern and representation in almost every film. But the authors do not always have an original concept of death. Among those for whom this topic is a through line are K. T. Dreyer, I. Bergman, A. Tarkovsky, J.-L. Godard, A. Sokurov, J. Cocteau. Death and resurrection play a key role in the films of A. Dovzhenko whose creation marked a milestone in the history of world cinema and set a special trend in its develop

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