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Journal articles on the topic 'Film styles'
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Saputra, Ellen Agustine. "KAJIAN STRUKTURAL DAN KOMPARATIF FILM BEFORE TRILOGY DAN BOYHOOD KARYA AUTEUR: RICHARD LINKLATER." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 01 (April 16, 2022): 10–26. http://dx.doi.org/10.33633/andharupa.v8i01.4654.
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The classic theory of authorship has sparked debate among academics, practitioners, and film critics for many years. In film education, the theory of auterism is widely discussed because it provides an interesting overview of film techniques and styles that is developed by an auteur. Richard Linklater is an auteur serving as director and screenwriter in many of his films. This study uses qualitative research methods with structural and comparative methods, where structural approach is used to deconstruct Richard Linklater’s film through the characters, themes, and visual styles (types of frames and camera movements). The comparative method is used to find similarities and differences in Before Trilogy and Boyhood, also to reveal Richard Linklater’s authorship style. To conclude the research, Richard Linklater is a collaborative auteur. In his experimental approach of filmmaking specificially in the making of Before Trilogy and Boyhood, Richard Linklater always worked collaboratively with actors or editors. The difference between Richard Linklater’s films can be seen through visual aspects of the film, on the contrary, in terms of narrative aspect, Before Trilogy and Boyhood do not have significant differences. Many similarities can be found throughout the narrative aspects of his films.
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Kempen, Aldo. "Two Cats, One Fish: The Animal, Leviathan and the Limits of Theory." Film-Philosophy 26, no. 1 (February 2022): 44–62. http://dx.doi.org/10.3366/film.2022.0189.
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Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan (2012), these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us with what Jacques Derrida describes as “the point of view of the absolute other”. Similarly, recent texts stage encounters with animals – thus distributing agency towards a larger variety of beings, carving out space for a previously excluded non-human other. Yet these encounters are mediated in profoundly different ways. In researching how encounters with the animal are differentially inflected and “defracted” respective to the medium in which they are staged, this article invokes questions of form and style within the critical dialogue that attempts to centre non-human animals. Highlighting how formal decisions are not accidental, but rather integral, to the praxis of the philosophy of animality, this article aims to draw attention to how specific forms and styles allow for a moment of contact with a non-human other. To this end, this article examines three oft-cited encounters: Derrida's encounter with his cat, an intense stare with a fish in Leviathan, and Barad's inflection of Schrödinger's cat. This juxtaposition gives insight into the (ethical) limits of certain styles of producing thought and critically reflects on these works in their discussion of non-human life and agency.
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Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.
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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.
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Smyth, J. E. "Against the Beat." Film Quarterly 67, no. 1 (2013): 7–13. http://dx.doi.org/10.1525/fq.2013.67.1.7.
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The opening sequence of Ragtime (1981) takes place in a theater during the silent film era where the protagonist, Coalhouse Walker Jr. (Howard Rollins, Jr.), accompanies a newsreel featuring the stars of American public life in the early decades of the twentieth century. While postmodern theorists and film historians have linked the content and form of textual and visual fictions with their historical counterparts, less attention has been given to musical and aural styles as historiographic interventions. And while new research in historical film studies has revealed the flirtations of mainstream feature films with postmodern critique, much of this work skirts the racially coded structures of historiography. This article explores screenwriter Michael Weller and director Milos Forman’s decision to focus on Coalhouse’s story (over novelist E. L. Doctorow’s objections) and to deploy ragtime as both African American counter-beat and explosive historical style.
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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (January 13, 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).
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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Ingram, Susan. "Berlin." Space and Culture 17, no. 4 (November 2014): 366–78. http://dx.doi.org/10.1177/1206331214543867.
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Historical films about Hitler and Nazi Germany are perennially popular both within and beyond the academy. However, even in films not set in, or in any way involving, Nazi Berlin but rather only filmed on location in the city, material memories of the city’s fascist spaces can be shown to exert their influence. In comparing the eerily similar geo-aesthetic styles of two relatively obscure, relatively recent science fiction action films—Kurt Wimmer’s Equilibrium (2002) and Karen Kusama’s Aeon Flux (2005)—this contribution seeks to understand how the historically inflected spatial dimension of its urban imaginary has translated into a discernibly dark and spectacularly gendered film style.
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Mellor, Felicity. "Configuring Epistemic Authority: The Significance of Film Style in Documentaries about Science." Science in Context 31, no. 1 (March 2018): 39–59. http://dx.doi.org/10.1017/s0269889718000042.
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ArgumentAmong the many limitations of the deficit model of science communication is its inability to account for the qualities of communication products that arise from creative decisions about form and style. This paper examines two documentaries about the nature of time – Patricio Guzmán's Nostalgia for the Light and the first episode of the BBC's Wonders of the Universe series – in order to consider how film style inflects science with different meanings. The analysis pays particular attention to the ways in which authority is assigned between film author, narrator, and depicted subjects and the degree to which different film styles promote epistemological certainty or hesitancy.
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Kulezic-Wilson, Danijela. "A Musical Approach to Filmmaking: Hip-hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky’s π." Music and the Moving Image 1, no. 1 (April 1, 2008): 19–34. http://dx.doi.org/10.5406/musimoviimag.1.1.0019.
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ABSTRACT Inspired by hip-hop and techno-music, Darren Aronofsky applied various musical techniques and models of structuring typical of the aforementioned musical styles in his film π, which resulted in an innovative approach to editing and an inherently musical audiovisual style.
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Ellsworth, Elizabeth. "Educational Films against Critical Pedagogy." Journal of Education 169, no. 3 (October 1987): 32–47. http://dx.doi.org/10.1177/002205748716900304.
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Teachers committed to practicing critical pedagogy often must do so in spite of the curriculum materials available to them. This paper analyzes the conventions of form and style that typify traditional educational film. The argument is made that while teachers and students are active producers and negotiators of meaning, the aesthetic conventions of most educational films negate this classroom reality. The paper analyzes a sample of films produced between 1940 and 1960 to determine the norms that were set in place during the time when the dominant style of educational films became fully established. It then compares these norms to the forms and styles of two contemporary educational films that deal with social issues. It suggests that while some conventions have changed across time, they continue to be employed in ways that actively work against critical thinking and liberatory education.
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Yao, Zhuozhi, Ting-Jung Chang, David Wentzlaff, and Barry P. Rand. "Benchmarking organic thin film transistor inverter design styles." Synthetic Metals 278 (August 2021): 116825. http://dx.doi.org/10.1016/j.synthmet.2021.116825.
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Octaviani, Annisa, and Purwarno Purwarno. "INTIMATE LANGUAGE STYLE IN NICHOLAS SPARKS’ MOVIE SCRIPT THE NOTEBOOK." JOURNAL OF LANGUAGE 3, no. 1 (May 24, 2021): 54–64. http://dx.doi.org/10.30743/jol.v3i1.3715.
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This research is aimed at analyzing the intimate language style used by the characters in The Notebook movie. In this research, the characteristics of the intimate language style used by the characters and the factors that influence these figures using intimate language styles in the movie would be revealed. The researchers apply a descriptive qualitative design. The research data are in the forms of film transcripts. The main theory used in this research is the theory proposed by Martin Joos. The results show that the researchers find 22 intimate language style utterances. In detail, the 22 intimate language style utterances include Addresse with 6 data, Extraction with 4 data, Jargon 3 data, Close relationship with 5 data, and Family relationship with 4 data. In addition, it is also found that there are four social factors that influence the characters to use intimate language styles. The first factor is the participants. The film's participants have very close relationships such as Family members or Close friends. The second factor is topic. The topics discussed in this film are privacy and love. The third factor is setting. Conversations in the film are often completed in several informal and private places such as beaches, houses and so on. The fourth factor is function. The speech functions produced by these characters vary; however, most of them have the same aim; that is to convey or show their intimacy to each other.
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Kitsnik, Lauri. "Record. Reenact. Recycle. Notes on Shindō Kaneto’s Documentary Styles." Arts 8, no. 1 (March 22, 2019): 39. http://dx.doi.org/10.3390/arts8010039.
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In his work, the filmmaker Shindō Kaneto sought to employ various, often seemingly incongruous, cinematic styles that complicate the notions of fiction and documentary film. This paper first examines his ‘semi-documentary’ films that often deal with the everyday life of common people by means of an enhanced realist approach. Second, attention is paid to the fusion of documentary and drama when reenacting historical events, as well as the subsequent recycling of these images in a ‘quasi-documentary’ fashion. Finally, I uncover a trend towards ‘meta-documentary’ that takes issue with the act of filmmaking itself. I argue that Shindō’s often self-referential work challenges the boundaries between fiction and non-fiction while engaging in a self-reflective criticism of cinema as a medium.
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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Taufiq, Ahmad, and Syaiful Islam. "Teaching Style Portrayed in Dead Poets’ Society Film." International Journal of English Education and Linguistics (IJoEEL) 3, no. 2 (January 12, 2022): 98–114. http://dx.doi.org/10.33650/ijoeel.v3i2.3231.
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Education cannot be separated from the role of a teacher and the teaching style used. The teaching style is a technique in presenting the teaching content. So that the teaching style can attract students' interest. Dead Poets Society is an educational film with the theme of Education. This film tells the story of an English teacher who inspires his students by teaching poetry using his unique teaching style named John Keating. He uses a different teaching style from other teachers in giving lessons till the students are interested to learn poetry. The object of this research is the main character in this film that is Mr. John Keating and the students’ interest in the teaching style used by the main character. The method This research uses qualitative descriptive. The result of this research was found that there were two types of teaching styles used by the main character in Dead Poets Society film. Those are Personalize Teaching Style and Interactional Teaching Style. Meanwhile, the students’ interest in responding to the teaching style used by the main character are only some of the appropriate indicators, those are Concentration while learning, focusing while the teacher explains the material, Enthusiastic to follow the lesson, trying to do the task difficult as any, enjoying in doing the task or exercise given by the teacher at school, having a high enthusiastic to the lesson and the teacher, and the last is answering the question from the teacher.
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Önen, Ufuk. "The Voice as a Narrative Element in Documentary Films." Resonance 2, no. 1 (2021): 6–18. http://dx.doi.org/10.1525/res.2021.2.1.6.
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Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries.
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Riis, Johannes. "Naturalist and Classical Styles in Early Sound Film Acting." Cinema Journal 43, no. 3 (2004): 3–17. http://dx.doi.org/10.1353/cj.2004.0023.
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Usuvaliev, Sultan I. "The Issue of Unity of Style in Soviet Cinema in the Late 1920s — Early 1930s (By the Example of Nikolay Iezuitov’s Works)." Observatory of Culture 17, no. 1 (February 27, 2020): 26–35. http://dx.doi.org/10.25281/2072-3156-2020-17-1-26-35.
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This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new archival sources into scientific circulation for the first time; and its main tasks are the historiographic study of the subject and the analysis of its key concepts and provisions. The article examines the unity of style in Soviet film studies of the 1920s — early 1930s on the example of works by Nikolay Mikhailovich Iezuitov (1899—1941), one of the founders of Russian film studies, who proposed in 1933 a concept of Soviet cinema development, the main category of which was style. Linking the concepts of “style” and “art movement (trend)”, Iezuitov identified two styles: the one of socialist concepts and the other of socialist feelings. In this, Iezuitov followed the logic of the book “Art Movements in Soviet Cinema” (1930) by Adrian Piotrovsky (1898—1937) — the author of the “intellectual” and “emotional” film classification. Iezuitov’s concept was criticized, especially at the jubilee session of the Scientific and Research Sector of the State Institute of Cinematography (now VGIK) in 1934. In the same year, the first history of Soviet cinema “The Ways of Feature Film” was published. It regarded the movements and their contribution to the development of Soviet cinematography according to the criteria of innovation and realism. Socialist realism was declared a platform, a common style that included all the various trends and styles of Soviet cinema. Iezuitov, who died in the war in 1941, did not get a chance to complete his fundamental study “The History of Soviet Film Art”. The story of the victory of socialist realism was declared one of the main tasks of the textbook, and the process of formation of socialist realism became the content of the science of film history. The article shows that socialist realism, as a unity of diversities and contradictions, allowed Iezuitov, on the one hand, to adhere to its normative aesthetics and, on the other hand, to conduct a stylistic analysis of schools and specific movies within this aesthetics.
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Gunning, Tom. "Notes and Queries about the Year 1913 and Film Style : National Styles and Deep Staging." 1895 Mille huit cent quatre-vingt-quinze 1, no. 1 (1993): 194–204. http://dx.doi.org/10.3406/1895.1993.1024.
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Layne, Priscilla. "Halbstarke and Rowdys: Consumerism, Youth Rebellion, and Gender in the Postwar Cinema of the Two Germanys." Central European History 53, no. 2 (June 2020): 432–52. http://dx.doi.org/10.1017/s0008938920000187.
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ABSTRACTIn the second half of the 1950s, American films about “delinquent youth” took West Germany by storm. Although these films were not screened in East Germany, the still open border between the FRG and GDR allowed young people in both states to see these films. Many adopted American clothing styles and music in both Germanys. Two films, the West German production Die Halbstarken (1956) and the East German production Berlin–Ecke Schönhauser (1957) addressed “delinquent youth” in the German context and became quite popular. The article compares the competing images of femininity in both films, which linked the problem of “delinquent youth” to consumerism, pop culture, and “weak parents,” but portrayed young women very differently. While consumerism in the West German film was in a gender-specific way linked to femininity, the East German film linked consumerism to a class society and displaced it to the West. Contemporary film reviews and press treatment of main actresses reflected these differing attitudes toward gender and consumption.
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Ayuningtyas, Nawang Asri, and Sulis Triyono. "SATIRE LANGUAGE STYLE BY BU TEJO IN THE SHORT FILM “TILIK”." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 16, no. 2 (January 6, 2022): 261–70. http://dx.doi.org/10.18860/ling.v16i2.11355.
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The use of satire language style by a film creator aims to convey meaning to the public. This study aims at analyzing the use of satire language styles used by Bu Tejo in a short film entitled "Tilik." This research used a qualitative descriptive method. The object of this research is satire utterances spoken by Bu Tejo in the film "Tilik." The data collection techniques in this study used observation, listening, and note-taking techniques. The results demonstrate three types of satire languages used by Bu Tejo in the film “Tilik": cynicism, irony, and sarcasm. It is also found that cynicism is the most spoken language than sarcasm. The study highlights that the use of satire language uttered by Bu Tejo aims to convey ideas and perspectives related to problems occurring in society and express dissatisfaction.
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Fairuz, Adina. "The Relationship of Costume Design in Film With the Interest of Young Adult Women as Fashion Product Consumers in Indonesia." Eduvest - Journal Of Universal Studies 1, no. 9 (September 20, 2021): 850–57. http://dx.doi.org/10.36418/edv.v1i9.200.
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This study discusses the relationship between costume design in films and the interest of the audience, especially young adult women, triggers of their interest in similar fashion products as consumers by using outfit styles from three films, The Devil Wears Prada (2006), Sex and The City: The Movie (2008) and Crazy Rich Asians (2018), which were selected through a questionnaire answered by 20 experts in the fashion field. The analysis was conducted on 258 young adult women (18-24 years old) domiciled in Indonesia through a questionnaire to find out their perceptions and preferences on outfit styles from the costume designs in those three films. Based on this analysis, it can be seen that if the audience is interested and feels that the outfit worn by the character fits them, then they will have the desire to wear fashion products that are similar to the appearance of the costume design in the film.
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Denny, Matt. "Deconstructing Depth: Proximity and Contemplation inDéjà Vu." Film-Philosophy 22, no. 2 (June 2018): 240–60. http://dx.doi.org/10.3366/film.2018.0075.
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This article interrogates the persistence of critical frameworks informed by depth-models of hermeneutics, and the repercussions the equation of “depth” with meaningfulness has for the appreciation of the “shallow” aesthetics of post-classical action cinema. Oppositions such as depth/surface, body/mind, and proximity/distance associated with a hermeneutics of depth are not neutral, but rather exist in a “violent hierarchy” ( Derrida, 2010 , p.39). This ensures that works or styles that foreground surface are automatically deemed to be meaningless. One influential example of this logic is Fredric Jameson's dismissal of postmodern superficiality in favour of modernist depth. In contrast, this article will explore alternative models of postmodern superficiality. Taking up Catherine Constable's reading of Linda Hutcheon, I will endeavour to demonstrate the benefits of adopting a postmodern critical perspective when engaging with texts that resist or problematise depth-models. Through a close reading of a key sequence in Tony Scott's Déjà Vu (2006), I will explore the ways in which the film reworks the stylistic conventions of action cinema in its promotion of engaged closeness over critical distance.
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Fadirepo, Adejoke Adetoun, and Adeyemi Oluwadamilare Oresanya. "Acting Styles, Nuances and Linguistic Aesthetics: A Case Study of Ibrahim Chatta in Yoruba Films." Yoruba Studies Review 6, no. 2 (January 27, 2022): 1–10. http://dx.doi.org/10.32473/ysr.v6i2.130286.
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Acting style is the artistic feature and ingenuity of the actor exhibited over a long period of time acting in films. It is the attainment and acquisition of skills, ingenious and professional creativity, exhibited by the actor in the process of carrying out a role in film or play production. Acting style can be inferred to be individualistic. In Yoruba films, there is a crop of non-native actors who are fluent in the language of their nativity as well as being conversational in the Yoruba language movies which aid their celebrity status. The inability to acculturate to the expected character through diction, gesticulation and socio-linguistic nuances create disorientation between the actors and the audience. This study is hinged on Whorpian Theory on language which posits that the individual perceives his or her environment through the process of thought which is influenced by the language he uses. The method of research is content analytical. Film content is analyzed to raise awareness on the style, nuances linguistic aesthetics of Ibrahim Chattah in selected films. Our findings show that producers and casting directors are the culprit of this deficiency, due to their sense of profit making by using casts with celebrity status in order to increase their profit margin at the show room. This study thereby concludes that directors, producers and casting directors should be more creative by developing a sense of professionalism, making preference for quality over quantity in the Yoruba films. This research recommends adequate training for all actors, especially multilingual ones to increase their versatility, develop skill and technique in order to sustain them and increase their market value in the industry.
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Wahl, Alexander. "The global metastereotyping of Hollywood ‘dudes’." Pragmatics and Society 1, no. 2 (November 17, 2010): 209–33. http://dx.doi.org/10.1075/ps.1.2.02wah.
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This study investigates the phenomenon of metastereotyping — that is, the linguistic parody of stereotypic mediatized personas. The analysis draws on data from the 2008 reality television program Big Brother Africa 3, in which contestants ironically perform the lead characters from a 1989 Hollywood teen comedy film who exemplify a highly mediatized California male slacker youth stereotype, the ‘dude’ persona. By examining the linguistic and embodied features deployed by the reality show contestants in their stylization of the film characters, the article shows how metastereotyping involves forms both from within the original representation and beyond. The use by these African contestants of features with such varied semiotic trajectories reveals their globalized ideologies about California and American youth styles as well as their understanding of the film characters’ positions within these styles.
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Fong, Siao Yuong, and How Wee Ng. "Unpacking the ‘Singapore New Wave’." Asian Cinema 31, no. 1 (April 1, 2020): 3–15. http://dx.doi.org/10.1386/ac_00010_2.
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As the cinema of a small nation, Singapore cinema punches above its weight. The series of international film festival awards won by Singaporean filmmakers alongside the multiple books published on Singapore cinema since the 2010s seem to signal a revival of the industry. This editorial introduction unpacks the term ‘Singapore New Wave’ as a starting point for this Special Issue to raise questions about the changes that appear to be happening in Singapore’s film industry. By situating the ‘Singapore New Wave’ within global cinema, this article argues for the importance of considering the issue of survival in the cinema of a small nation, and for an expansion of ways in which film scholars can gain the critical insights traditionally obtained from conventional new wave films. More positively, this more expansive working definition adds to broader new wave literature by exploring unconventional ways in which films can constitute or contribute to a new wave beyond traditional genres, auteurs, styles or themes associated with new wave cinema.
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Rajendran, Diana, and Martin Andrew. "Using Film to Elucidate Leadership Effectiveness Models: Reflection on Authentic Learning Experiences." Journal of University Teaching and Learning Practice 11, no. 1 (January 1, 2014): 92–108. http://dx.doi.org/10.53761/1.11.1.8.
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Abstract This paper examines how students in a third year management unit at a university of technology in Australia evaluate the usefulness of film as a tool for developing a deeper understanding of the theoretical leadership effectiveness model developed by Robbins (1997). The study reviews the range of studies describing the use of films in teaching leadership, playing into a perceivable gap in empirical studies demonstrating how students engage in applying the concepts of leadership. This study specifically considers whether films are effective interventions for achieving engagement in an assessment task aimed at identifying applications of theory to cases of leadership in action. As part of an action research cycle, thirty students (30) participated in three different focus groups. Transcriptions subsequently produced thick descriptions on which thematic analysis was conducted to extract key themes (Ryan & Bernard, 2003). The results suggest that films can communicate, embody and articulate the effectiveness of behaviours of leadership Robbins conveyed. The results also indicate that students value films as a medium for contextualising actions that demonstrate different leadership styles. It is perceived as a way of catering to diverse learning styles and as a way of building autonomy. We conclude that while films can be motivating and lend authenticity to assessment tasks, students need clear direction in making links between theoretical concepts and narrative filmic constructions of leaders and leadership behaviour. This leads to the next stage of our action research cycle.
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Koutsourakis, Angelos. "The Politics of Humour in Kafkaesque Cinema: A World-Systems Approach." Film-Philosophy 24, no. 3 (October 2020): 259–83. http://dx.doi.org/10.3366/film.2020.0145.
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Kafka's work has exercised immense influence on cinema and his reflections on diminished human agency in modernity and the dominance of oppressive institutions that perpetuate individual or social alienation and political repression have been the subject of debates by philosophers such as Theodor Adorno, Walter Benjamin, Gilles Deleuze, Félix Guattari, and Alexander Kluge. Informed by a world-systems approach and taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of the future, and André Bazin's suggestion that literary concepts, characters and styles can exceed “novels from which they emanate”, I understand the Kafkaesque as an elastic term that can refer to diverse films that might share thematic preoccupations, but also aesthetic and formal differences. In this article, I explore the politics of humour in Kafkaesque cinema with reference to the following films: The Overcoat ( Шинель, 1926, Gregor Koznitzev and Leo Trauberg), The Shop on Main Street ( Obchod na korze, 1965, Ján Kadár), and Death of a Bureaucrat ( La muerte de un burócrata, 1966, Tomás Gutiérrez Alea). I draw attention to the dialectics of humour and the connection between the Kafkaesque and slapstick so as to show how humour is deployed as a means of political critique.
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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.
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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.
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Shaw, Tony, and Denise J. Youngblood. "Cold War Sport, Film, and Propaganda: A Comparative Analysis of the Superpowers." Journal of Cold War Studies 19, no. 1 (January 2017): 160–92. http://dx.doi.org/10.1162/jcws_a_00721.
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Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. and Soviet sports films adopted and pinpoints the political functions they performed. It considers what Cold War sports cinema can tell us about political culture in the United States and the Soviet Union after 1945 and about the complex battle for hearts and minds that was so important to the East-West conflict.
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Orozbaev, Kasym N. "Style “Noir” in Classical and Contemporary Art History." Journal of Flm Arts and Film Studies 9, no. 1 (March 15, 2017): 102–15. http://dx.doi.org/10.17816/vgik91102-115.
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The article explores the key traits of classic film noir: its periods, criteria, filmography, as well as styles and genres. tte author also gives a concise survey of the most recent research in this area with reference to both classical and modern studies in film noir. Most of the texts referred to in the article are analyzed in Russian academic practice for the first time.
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Adejunmobi, Moradewun. "Neoliberal Rationalities in Old and New Nollywood." African Studies Review 58, no. 3 (November 23, 2015): 31–53. http://dx.doi.org/10.1017/asr.2015.73.
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Abstract:This article focuses on shifts, or “new waves,” within contemporary African film as sites of struggle and moments of exposure of the divergent forces at work in the struggle. From this perspective, attempts at initiating a new style in commercially oriented storytelling do not so much culminate in a break with previous styles of storytelling as they create a new space for tension over ideological claims and narrative coherence. As illustration, the article considers the competing logics at work in the strategies or rationalities associated with the branch of Nigerian filmmaking described as New Nollywood.
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Decker, Todd. "The Filmmaker as DJ." Journal of Musicology 34, no. 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.
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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.
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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.
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Lönroth, Linn. "‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation." Animation 16, no. 1-2 (July 2021): 36–50. http://dx.doi.org/10.1177/17468477211025666.
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This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.
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Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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Reizen, Olga Kirillovna. "The Image of Home in Cinema." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 86–94. http://dx.doi.org/10.17816/vgik42-386-94.
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The article is a review of the most widely used images of home in the world cinema. Different film styles, genres, trends create a patchwork of various and more often than not antipodal representations. But at the same time there are certain universal characteristics of images of home on the screen, determinated by the specific film language and literature traditions.
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Makarichev, F. V. "USING FILMS AT THE LESSONS OF ENGLISH TO EXPAND STUDENTS’ VOCABULARY (LIVING AND DEAD WORDS IN THE FILM “DEAD POETS SOCIETY”)." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 514–20. http://dx.doi.org/10.35634/2412-9534-2021-31-3-514-520.
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The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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Kaprzyk, Marta. "Niewidzialne, niezauważalne, nieeksportowane, niepromowane? Kino hiszpańskie jako kino transnarodowe." Dziennikarstwo i Media 7 (June 30, 2017): 147–58. http://dx.doi.org/10.19195/2082-8322.7.11.
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Invisible, unnoticeable, not exported, not promoted? Spanish cinema as transnational cinemaTraditionally, the term „national cinema” referred to films produced within the boundaries of one particular country, and it ignored the complexity of the movie as a social and cultural practice. However, changes in film production in past decades have made it exceptionally difficult to delimit the national borders of particular cinematographies: the development of systems of co-productions, international film crews, and movements across borders of filmic styles and genres make it possible to conceive Spanish cinema in terms of transnationality. The aim of this article is to discuss the most important factors that shape Spanish contemporary cinematography, as well as to suggest the possible means of analysing and describing it within the concepts of “national” and “transnational” cinema.
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Yasa, Desak Putu Yogi Antari Tirta, and I. Nyoman Payuyasa. "PEMANFAATAN FILM DOKUMENTER THE COVE SEBAGAI MEDIA KAMPANYE PENYELAMATAN LUMBA." Gorga : Jurnal Seni Rupa 8, no. 2 (December 22, 2019): 440. http://dx.doi.org/10.24114/gr.v8i2.16072.
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AbstrakFilm dokumenter merupakan sebuah film yang menyajikan fakta kepada penontonnya dan dapat menjadi sebuah media kampanye mengenai suatu permasalahan. Film The Cove menampilkan kekejaman industri penangkaran dan pertunjukkan lumba-lumba dari sudut pandang seorang aktivis bernama Richard O’ Barry. The Cove kemudian tidak hanya menjadi sebuah film dokumenter, tapi juga menjadi media kampanye untuk bergerak melawan kekejaman terhadap industri tersebut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dimana metode analisis data yang digunakan adalah metode kualitatif-interpretatif. Teori yang digunakan dalam penelitian ini adalah teori mengenai film dokumenter, genre dan gaya film dokumenter, unsur-unsur film dan teori komunikasi terkait dengan kampanye. Film The Cove menggunakan gaya participatory atau yang dikenal dengan istilah observasi partisipan. Gaya ini dapat membawa penonton merasa berada pada situasi yang sama dengan pembuat film sehingga dapat menimbulkan pengaruh yang kuat dalam diri penonton. Unsur-unsur dalam film The Cove terdiri dari unsur visual dan unsur verbal, dimana kedua unsur tersebut membangun satu kesatuan dalam film. Pemanfaatan The Cove sebagai media kampanye penyelamatan lumba-lumba mampu memberi dampak yang kuat di masyarakat berkat pemilihan gaya dokumenter serta pemanfaatan unsur visual dan verbal film yang tepat, sehingga pesan penyelamatan lumba-lumba dapat sampai kepada masyarakat.Kata Kunci: film dokumenter, media kampanye, cove.AbstractDocumentary film is a film that presents the facts to the audience and can be a media campaign about an issue. The Cove film shows the cruelty of the captivity industry and dolphin shows from the point of view of an activist named Richard O 'Barry. The Cove then not only became a documentary film, but also became a media campaign to move against cruelty to the industry. The method used in this study is a qualitative method, where the data analysis method used is a qualitative-interpretative method. The theory used in this study is the theory of documentary film, documentary film genre and style, elements of film and communication theory related to the campaign. The Cove film uses a participatory style, known as participant observation. This style can bring the audience to feel in the same situation as the filmmaker so that it can cause a strong influence in the audience. The elements in the film The Cove consist of visual elements and verbal elements, where the two elements build a unity in the film. Utilization of The Cove as a media campaign to save dolphins can have a strong impact on the community thanks to the selection of documentary styles and the use of appropriate visual and verbal elements of the film, so that the message of saving dolphins can reach the public.Keywords: documentary film, campaign media, cove.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Levshina, Natalia. "Online film subtitles as a corpus: ann-gram approach." Corpora 12, no. 3 (November 2017): 311–38. http://dx.doi.org/10.3366/cor.2017.0123.
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In this paper, I investigate online film subtitles from a quantitative perspective, treating them as a separate register of communication. Subtitles from films in English and other languages translated into English are compared with registers of spoken and written communication represented by large corpora of British and American English. A series of quantitative analyses based of n-gram frequencies demonstrate that subtitles are not fundamentally different from other registers of English and that they represent a close approximation of British and American informal conversations. However, I show that the subtitles are different from the conversations with regard to several functional characteristics, which are typical of the language of scripted dialogues in films and TV series in general. Namely, the language of subtitles is more emotional and dynamic, but less spontaneous, vague and narrative than that of normally occurring conversations. The paper also compares subtitles in original English and subtitles translated from other languages and detects variation that can be explained by differences in communicative styles.
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Bombola, Gina. "Searching for a Fresh Point of View." Journal of Musicology 35, no. 3 (2018): 368–96. http://dx.doi.org/10.1525/jm.2018.35.3.368.
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In the early 1940s Aaron Copland cultivated an identity as an authority on film composition through public lectures, interviews, and his own film scores. Championing film music’s potential as a serious art form, Copland sought to show Hollywood that film composers could branch out from the romantic and post-romantic aesthetics that infused contemporary soundtracks and write in a more modern, even American, style. During the 1940s the film industry was already embracing an abundance of new production styles, techniques, and genres that fostered innovation in the development of cinematic musical codes. When Copland returned to Hollywood in 1948 to score William Wyler’s psychological melodrama The Heiress (1949), he chose to take on a set of new challenges. Copland attempted to discover a new idiom for love music, on the one hand, and began to use leitmotifs as a structural device, on the other. Copland’s experience with The Heiress opens a space in which to reassess his opinions about appropriate film-scoring techniques as well as his public endorsement of film composition. His perspectives on film composition—as demonstrated in his writings, correspondence, and film scores as well as in interviews and reviews of his film music—reveal a tension between the composer’s artistic sensibilities and his attitude toward the commercialism of film music. Indeed he maintained a more ambivalent attitude toward cinematic composition than he publically professed. Understood in this context, Copland’s scoring decisions in The Heiress reflect a turn away from the Americana of Rodeo (1942) and Appalachian Spring (1944) and the Russian-themed score of The North Star (1943), as he sought to refashion his identity as a composer in the post-war years.
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Tembo, Kwasu David. "Couture of the Corpse: Fashion, Class, Time, and the Undead in The Hunger." Interações: Sociedade e as novas modernidades, no. 39 (December 31, 2020): 165–81. http://dx.doi.org/10.31211/interacoes.n39.2020.a7.
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When viewed from the lens of couture and class, the contemporary portrayal of the vampire as iconic in both sociopolitical and aesthetic spheres, and as icons of various subaltern, outsider, or what I call 'demimondeur' lifestyles, subcultures, and their attendant styles/fashions, offers an interesting analytical frame through which to examine the dialogic relationship between ideology, time, fashion, and class. Referring to Marxist thought concerning vampire capitalism and time, this chapter will discuss the issues and debates surrounding the portrayal of the figure of the vampire as what I will theorize to be a 'pure consumer', sociopolitical elite, and sociopolitical outsider, and its figuration of both the atemporality and spuriousness of ideology in The Hunger (1983). Using the Bauhaus post-punk couture or style of the undead in the film as an analytical frame, the methodology of this paper will be to perform a close reading of the film as a case study, focussing on its engagement with the sociopolitics, cultures, and phenomena of wealth, style, privilege, and time(lessnes).
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Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion." Artium Quaestiones 31, no. 1 (December 20, 2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.
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Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.
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Putra, Kristyannanda Aprilia, Mahendradewa Suminto, and Pandan Pareanom Purwacandra. "“Gadget Freak (Smartphone)” Animasi Motion Graphic Iklan Layanan Masyarakat." Journal of Animation and Games Studies 4, no. 1 (August 8, 2018): 91–132. http://dx.doi.org/10.24821/jags.v4i1.2127.
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Melihat banyaknya pengguna smartphone dan menjadikan generasi anak muda sekarang menjadi generasi individualis, menjadikan ide pada film animasi ‘Smartphone Addiction’ yang menggugah keinginan untuk merubah prilaku anak muda sekarang untuk lebih bersikap bijak terhadap perkembangan teknologi lewat animasi motion graphic, yang berisi gambaran-gambara perilaku kita sekarang ini yang terlalu menjadi pecandu smartphone.Teknikanimasimotion graphic digunakandalampenciptaankaryaanimasi, ‘Remaja dan Smartphone’denganalasaninginmemberikan penyajian yang sederhana dan mudah dipahami lewat style gambar flat designdan teknik animasi motionyang di padukan dengan narasi untuk memperjelah isi dan pesan pada film animasi ‘Remaja dan Smartphone’.Film animasi‘Remaja dan Smartphone’ sebuah film infografis yang di dalamnya berisi kebiasaan-kebiasaan anak muda sekarang yang terlalu menjadi pecandu smartphoneyang mengakibatkan masa muda mereka menjadi generasi individualis, kehidupan yang membosankan dan mereka hanya hidup di ruang lingkup dunia maya saja, di dunia nyata hanya menjadi manusia asing, sehingga mulai dari sekarang generasi anakmuda yang cerdas harus lebih bias bersikap bijak terhadap perkembangan teknologi. Kata kunci: Smartphone, Perkembangan Teknologi, Iklan Layanan Masyarakat Abstract Seeing the number of smartphone users and making the generation of young people now become an individualist generation, making the idea of an animated film 'Smartphone Addiction' that arouses the desire to change the behavior of young people now to be more wise about technological developments through animated motion graphics, which contain images of behavior we are now too much of a smartphone addict.Motion graphic animation techniques are used in the creation of animated works, 'Teenagers and Smartphones' with the reason that they want to provide a simple and easy-to-understand presentation through flat design drawing styles and motion animation techniques that are combined with narration to fill the contents and messages in the animated film' Teenagers and Smartphone '.Animated film “Remaja dan Smartphones' an infographic film that contains the habits of young people who are now too addicted to smartphones which results in their youth becoming an individualist generation, a boring life and they only live in the scope of cyberspace, in the world the real thing is only being a foreign human, so that from now on the generation of smart youngsters must be more biased to be wise about technological developments. Keywords: Smartphone, Technology Development, Public Service Advertising
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Sachschal, Juliane, Elizabeth Woodward, Julia M. Wichelmann, Katharina Haag, and Anke Ehlers. "Differential Effects of Poor Recall and Memory Disjointedness on Trauma Symptoms." Clinical Psychological Science 7, no. 5 (May 23, 2019): 1032–41. http://dx.doi.org/10.1177/2167702619847195.
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Clinical theories of posttraumatic stress disorder (PTSD) suggest that trauma memories are disorganized. In the present study, we examined how trauma-film exposure affects two aspects of memory disorganization, poor memory recall and memory disjointedness, and their relationship to PTSD-like symptoms. In Session 1, 90 healthy participants were exposed to a trauma ( n = 60) or a neutral film ( n = 30). Cognitive processing styles, memory characteristics, and intrusive memories of the film were assessed. The trauma-film group reported greater memory disjointedness of the worst moments of the film but better memory recall of the film than the neutral-film group. In the trauma-film group, cognitive processing and memory disjointedness were related to intrusive memories and PTSD-like symptoms in the week after film exposure. Memory disjointedness but not poor memory recall mediated the relationship between cognitive processing and intrusions. The findings suggest that different aspects of memory disorganization need to be distinguished to explain PTSD symptoms.
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Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.
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AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.
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MUZONO, DAIJIRO, GEKE VAN DIJK, and BAS RAIJMAKERS. "‘Belonging and Belongings’- Short Film Installations ion the interrelationships of Techno-Social Styles." Ethnographic Praxis in Industry Conference Proceedings 2010, no. 1 (August 2010): 324. http://dx.doi.org/10.1111/j.1559-8918.2010.00046.x.
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