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Journal articles on the topic 'Filmic media'
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Kümmerling-Meibauer, Bettina. "Paratexts in Children's Films and the Concept of Meta-filmic Awareness." Journal of Educational Media, Memory, and Society 5, no. 2 (September 1, 2013): 108–23. http://dx.doi.org/10.3167/jemms.2013.050208.
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This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.
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Lee, Laura. "Between frames." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 25–43. http://dx.doi.org/10.33178/alpha.5.02.
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This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape.
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Bort-Mir, Lorena. "Going Up Is Always Good: A Multimodal Analysis of Metaphors in a TV Ad with FILMIP, the Filmic Metaphor Identification Procedure." Complutense Journal of English Studies 28 (September 21, 2020): 177–89. http://dx.doi.org/10.5209/cjes.66959.
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Conceptual Metaphor Theory developed by Lakoff & Johnson (1980) suggested that we use metaphors to evaluate and communicate in our various environments. Although metaphors encompass a large variety of taxonomies, orientational metaphors are those that rely on spatial position to map concepts into other ones, referring to a relation of valence and verticality. Stated by Kövecses (2010) conceptual metaphors such orientational ones draw ‘upward’ and ‘downward’ spatial positions in which ‘upward’ is usually referred to as having positive connotations, whereby their opposites, ‘downwards’, are understood as negative. This paper seeks to unveil how the orientational metaphor good is up is employed in a filmic narrative of a language learning application for technological devices named Babbel. The present analysis is developed under the application of FILMIP (Filmic Metaphor Identification Procedure, Bort-Mir 2019). In the analyzed narrative, the orientational metaphor good is up is represented in the Babbel TV commercial (2018) as a tool for persuading customers that the best way of escalating positions at work is by learning new languages. This analysis demonstrates how orientational metaphors in multimodal media emerge as a convenient device for marketing campaigns in the context of social status improvement.
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EVANS, MEGAN. "Chinese Xiqu Performance and Moving-Image Media." Theatre Research International 34, no. 1 (March 2009): 21–36. http://dx.doi.org/10.1017/s0307883308004215.
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This article analyses various approaches to the transposition of Chinese xiqu performance into moving-image media in terms of preserving xiqu's aesthetic aims. Pre- and post-Cultural Revolution filmic examples, as well as contemporary television serials, are discussed. I argue that within a ‘cinema of attractions’ rather than a realist line of inquiry, ‘filmed theatre’ continues as a viable and valued stream of access to xiqu performance for contemporary audiences.
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구현경 and 홍재범. "A Study in Conversion of Media from Novel to Filmic Adaptations." Drama Research ll, no. 38 (October 2012): 5–36. http://dx.doi.org/10.15716/dr.2012..38.5.
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Sjö, Sofia, and Andreas Häger. "Filmic constructions of the (religious) other: Laestadians, abnormality, and hegemony in contemporary scandinavian cinema." Temenos - Nordic Journal of Comparative Religion 51, no. 1 (June 8, 2015): 25–44. http://dx.doi.org/10.33356/temenos.9477.
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Religious themes and characters have lately assumed center stage in a number of Scandinavian films. As with films from other parts of the world, so also in Scandinavian films a suspicion of certain religious traditions can be observed. In Scandinavian films this is not only true of traditionally foreign religions, but for some domestic religious groups as well, among them the Laestadian revival movement. In this article we analyze how this movement and its members are constructed as Other in four Scandinavian films. We theorize this ‘Othering’ with the help of Gramsci’s concept of hegemony and argue that the ‘othering’ of Laestadians helps present the contrasting views as ‘normal’ and unproblematic. In the final section of the article we discuss the findings from the perspective of media and religion in a post-secular society, arguing that the media are today central to our understanding of religion, but at the same time shape religion in accordance with their own logics. We suggest that what is needed in order to understand how religion and groups such as the Laestadian revival movement are constructed in the media is religious media literacy.
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Nwachukwu, Charles, and Onyebuchi Udochukwu Joel. "Jadesola Osiberu’s Isoken: A Filmic Postulation for Feminism." Studies in Media and Communication 7, no. 1 (May 29, 2019): 49. http://dx.doi.org/10.11114/smc.v7i1.4306.
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While other media of mass communication such as Television, Radio and Print have to contend, largely, with the expectations of informing, educating and entertaining, film ascends over all these to find a niche in “expressing”. Film, therefore, can set out for the singular purpose of expression. This study intends to analytically expose those indicators and determinants of feminism locked in within the film content of Isoken, a 2017 Nollywood movie produced and directed by Jadesola Osiberu. These components should lend evidence to the central argument in this paper that this particular film displays a strong tendency towards feminist sentiments.The Feminism Theory is, aptly, adopted to buttress the standpoint here. A theoretical study, it utilizes the qualitative research approach, relying on personal analysis and interpretation of the film. It found that a good number of elements exist within the film content to suggest that ISOKEN leans sufficiently towards feminism. These include Isoken's defiance of communal and family values, the predominantly female cast as well as the brazen usurpation of certain privileged roles that the Nigeria society had hitherto reserved for men, amongst others.The study concludes that both the scriptwriter and the director have succeeded in focusing on the female gender and putting forward female related issues. Wittingly or unwittingly, they have also ended up producing a film that is clearly within the sphere of feminism. Thus, this paper has added to the activity level in that particular aspect of knowledge, whilst also increasing available stock.
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Virginás, Andrea. "Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 81–96. http://dx.doi.org/10.2478/ausfm-2019-0016.
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Abstract The paper discusses pertinent aspects of the screen as a device of framing and re-ordering. Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström’s extracommunicational and intracommunicational actual and virtual spheres (2018). The visibility through noise of the televisual and of the video media is theorized based on Sybille Krämer’s media theory (2015) and three pre-digital arthouse films: Videodrome (David Cronenberg, 1984), Irma Vep (Olivier Assayas, 1996), and Lost Highway (David Lynch, 1997).1
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Vitols, Maruta Z., and Caitrin Lynch. "Back in the Saddle Again: Ethics, Visibility, and Aging on Screen." Anthropology & Aging 36, no. 1 (May 22, 2015): 11–19. http://dx.doi.org/10.5195/aa.2015.85.
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This paper engages with filmic portrayals of older adults in the U.S. in order to ask questions about the impacts of mass media on reproducing, critiquing, or interrogating mainstream values and assumptions about aging. The study considers the recent Hollywood works The Expendables (2010) and R.E.D. (2010), as well as the independent documentary Young@Heart (2007). We forefront questions of visibility, invisibility, and recognition both in terms of what experiences and realities are rendered visible or invisible by mass media, but also in terms of the subjective experiences of many older adults in the United States.
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Kesting, Marietta. "Performing history/ies with obsolete media." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 24–38. http://dx.doi.org/10.33178/alpha.12.02.
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The article addresses the tension between old (analogue) media and new (digital) media usage and their specific materialities by discussing the question of the preserving and re-telling of (subjective and national) history and histories. It analyses Pied Piper’s Voyage (2014), a photo-film of emerging South African artist Lebohang Kganye in the context of the South African photographic and filmic archive. In order to address the question of agentiality and transmission of memory through media this article interrogates the strategies of this piece, using a “hand-made” or analogue aesthetic in a high-definition video, and focuses on how the usage of obsolete media formats resonates both with the artists’ own subjective history and with the (chrono-)politics of representation and in/visibility in South Africa’s transnational history—including the often absent photo and film archive of black South Africans’ lives under apartheid and thus the negotiation of cultural memory in the present. It asks how media technology performs historicity: how can outdated formats invoke or announce pastness? Which different temporalities can they project? What desires and “atmospheres” may they create by staging or presenting “auratic” qualities?
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GRĂDINARU, Olga. "The Cossacks’ Bordering Process in the Civil War. Filmic Representations." Territorial Identity and Development 5, no. 2 (November 16, 2020): 41–63. http://dx.doi.org/10.23740/tid220203.
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The Russian Revolution(s) and the Russian Civil War represent topics revisited by the recent Russian media and film-making. Mikhail Sholokhov’s novel And Quiet Flows the Don as a masterful case of fictionalisation of historical events is the basis for four subsequent film adaptations. Whereas the destiny of the Russian Cossacks is a generous theme, we would like to focus on the filmic representation of Cossacks’ bordering process in the Civil War. Two Soviet film adaptations and two post-Soviet ones present in different manners the impact of the shifting borders on people’s lives during the Russian fratricide war. Tzar’s abdication had caused confusion in the midst of the Cossack population loyal to the state father figure, while contributing afterwards to a territorial identity construction and a fight to obtain and maintain the autonomy of the Cossack region. Soviet and post-Soviet directors’ approaches of the geographical, mental and cultural borders during the Civil War in the Cossack region offer insights into the debatable loyalties and multiple sides shifting. The analysis of the four film adaptations is focused on concepts such as questioned loyalty, divisive Cossack territorial identity, nuanced and shifting identity and active/ passive territoriality. We argue that the Cossacks’ territorial identity and their bordering process is differently reflected in subsequent film adaptations of the novel.
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Adamson, Joni. "Networking Networks and Constellating New Practices in the Environmental Humanities." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 347–55. http://dx.doi.org/10.1632/pmla.2016.131.2.347.
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Academic institutionalization of the environmental humanities began in the early 1990s, and since 2000 the field has grown rapidly because of infrastructural support and because of funding for curricular innovation and programming. The environmental humanities include historical, philosophical, aesthetic, religious, literary, filmic, and media studies; they are informed by the most recent research in the sciences of nature and the anthropogenic factors that contribute to increasingly extreme weather events—drought, fire, hurricanes, melting glaciers, and warming and rising oceans (see Adamson, “Humanities” 135; Nye et al. 22-28).
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Mogilevich, Mariana. "Charlie's Pussycats." Film Quarterly 55, no. 3 (2002): 38–44. http://dx.doi.org/10.1525/fq.2002.55.3.38.
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The recent films Charlie's Angels and Josie and the Pussycats, filmic remakes of 1970s television series, and furthermore of each other, may be indicative of a new direction for film, which is precisely the direction of television. These new films serve as indexes of each other and of the popular culture from which they have been compiled. As remakes become more common and films rely ever more on our familiarity with other forms of mass media, the vast cultural-industrial complex Theodor Adorno denounced a half-century ago seems to be at its most effective.
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Chang, Yu-Ching, and Chi-Min Hsieh. "Filmic framing in video games: a comparative analysis of screen space design." Multimedia Tools and Applications 77, no. 6 (March 20, 2017): 6531–54. http://dx.doi.org/10.1007/s11042-017-4564-6.
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Stasiowski, Maciej. "Built as Rain. Film Analysis of Unbuildable Architectural Speculations – a Case Study of „Instant City” (dir. Peter Cook and Ron Herron, 1968) and „The Zero Theorem” (dir. Terry Gilliam, 2013)." Kwartalnik Filmowy, no. 109 (May 25, 2020): 159–76. http://dx.doi.org/10.36744/kf.279.
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The introduction of time-based media into the design stage opened up a new understanding of architectural and represented space as a dematerialized, dynamic, and user-dependent concept. Unbuildable architectural projects always relied on specific techniques and media. Their radical nature usually channelled innovative artistic currents and visualization tools, like collage and pop art aesthetics in the works of Archigram. Cinema is yet another ground for such deliberations. With Instant City (Archigram’s Peter Cook and Ron Herron) and The Zero Theorem (Terry Gilliam) the problem of dematerialization is being channelled by architectural/spatial proposals that involve a range of literary tropes, cultural texts, and filmic intertexts, in order to create a rich embroidery of references that forward a new look upon architectural production as a practice of creating protocols for dynamic and all the more elusive imagery. This article’s central objective lies in the task of reframing a discussion on iconicity, media facades, and mutative building skins, so as to include modes of cinematic portrayal that are not just contents of architectural “messages”, but also their “media”.
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Rochet, Bénédicte. "A State Cinematographic Practice in Wartime." TMG Journal for Media History 19, no. 1 (April 4, 2016): 23. http://dx.doi.org/10.18146/2213-7653.2016.248.
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Mass media widely disseminated iconographic representations of the war. In this profusion of images, the behaviour of state authorities changed, while they had previously looked down on these two types of media. The alleged power of images led belligerents to take control of war pictures which circulated in newspapers or in newsreels. Both the reputation of the Army, and, behind it, that of the Nation, were at stake. At the beginning of the war the image of Poor Little Belgium was an effective symbol that was largely fuelled by Allied propaganda and one-off Belgian initiatives. Nevertheless, when the Belgian Army was mentioned in Allied propaganda, the soldiers looked pitiful and exhausted. Because it was growing increasingly worried of this feeble image, the Belgian government decided in 1916 to change course and to coordinate its propaganda efforts to propagate a favourable portrayal of Belgium as a tenacious belligerent nation and equally worthy ally. The Belgian Army Film Unit, established in 1916, was part of this development. Her task was to shoot images of the Belgian Army in action and of its soldiers under the leadership of their commander-in-chief, King Albert and his wife Queen Elisabeth. A state cinematographic practice developed for the first time in Belgium, in the form of a rigorously controlled military film production. This article aims sketching a first approach to this Belgian Army Film Unit and to its filmic sources. The goal is to understand why the Belgian War Department gradually established an Army film unit and how it used its filmic production to write its own history at the Yser front.
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Kaur, Ravneet. "Framing the Body and the Body of Frame: Item songs in popular Hindi cinema." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 101–24. http://dx.doi.org/10.15388/aov.2011.1.3929.
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University of DelhiThe basic framework of this paper is to deliberate upon the emergence of item songs as a reinstatement of the dominance of the ‘song and dance sequences’ in popular Hindi cinema, and its inferences as a sub-text in contemporary cultural forms. While doing so, the paper argues that the transition in consumption and the circulation/distribution of Hindi film songs, and other visual/ audio media has affectively facilitated the course. In the given context, the paper further attempts to address shifts in the filmic techniques that have consistently regulated the production of such songs, revealing a spectrum of negotiations between and among the ‘body’, ‘performance’, and ‘frame’, with which the spectator becomes familiarized over a series of visual/ audio leaps that have taken place in the traditional media forms like that of television and in newer forms like the internet.
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Shell, Hanna Rose. "Cinehistory and Experiments on Film." Journal of Visual Culture 11, no. 3 (December 2012): 288–306. http://dx.doi.org/10.1177/1470412912455617.
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This article considers what time-based audio-visual media can bring to historical scholarship in science and visual culture studies. The author argues that the history and critical analysis of cinematography and other time-based optical research methods used in the social, life and physical sciences, are productively accomplished through a simultaneously theory- and practice-bound model of multimedia history. She introduces the concept and term cinehistory through analysis of her own film and video installation work, focusing specifically on her Experiments on Film project (2004–2011), a series of multisensory, filmic histories of physiologist and inventor Étienne-Jules Marey’s development of underwater chronophotography in the 1890s.
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Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (June 1, 2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.
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The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.
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Tobías-Martínez, Miguel Ángel, María do Carmo Duarte-Freitas, and Avanilde Kemczinski. "A Digital Repository of Filmic Content as a Teaching Resource." Comunicar 22, no. 44 (January 1, 2015): 63–71. http://dx.doi.org/10.3916/c44-2015-07.
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The use of video as a teaching resource stimulates the construction of new knowledge. Although this resource exists in several genres and media, the experience of professionals that use this resource in class is not appreciated. Furthermore, online spaces guiding and supporting the appropriate use of this practice are unavailable. In the online learning field, a proposal has emerged for a repository of short videos aimed at instructing how to use them as a teaching resource in order to stimulate the exchange of ideas and experience (fostering and creating knowledge) in the teaching-learning process, which serves as a resource for professionals in the construction of MOOCs (Massive Open Online Courses). A three-stage architecture is methodologically proposed: identification/recognition, dissemination and collaboration in the use of videos as a teaching resource supported by an extensive exploratory research, based on existing educational technologies and technological trends for higher education. And this leads to the creation of a repository of Informational Content Recovery in Videos (RECIF), a virtual space for the exchange of experience through videos. We conclude that through methodologies that facilitate the development of innovative processes and products, it is possible to create spaces for virtual or face-to-face motivational classes (MOOCs) thereby completing an interactive and collaborative learning toward stimulation of creativity and dynamism. El uso de vídeos como recurso didáctico estimula la construcción de nuevo conocimiento. A pesar de la existencia de este recurso en diversos géneros y medios, no se valora la experiencia de los profesionales que lo aprovechan en clase y además no se cuenta con espacios online que orienten y apoyen el uso apropiado de esta práctica. En el ámbito del aprendizaje online, surge la propuesta de un repositorio de vídeos de corta duración, con el objetivo de orientar acerca de su uso como recurso didáctico, a fin de incentivar un intercambio de ideas y experiencias (fomentar y crear conocimiento), en el proceso enseñanza-aprendizaje, sirviendo esto como recurso para profesionales en la construcción de los MOOC (Massive Open Online Courses). Metodológicamente se propone una arquitectura en tres etapas: identificación/reconocimiento, diseminación y colaboración, para el uso de vídeos como recurso didáctico, sustentándose en una extensa investigación exploratoria, basándose en las tecnologías educativas existentes y tendencias tecnológicas para la educación superior. El resultado es la creación de un repositorio de Recuperación de Contenido de Información en Vídeos (RECIF), un espacio virtual de intercambio de experiencias por medio de vídeos. Se concluye que por medio de metodologías que faciliten el desarrollo de procesos y productos innovadores, se pueden crear espacios de clases motivadoras, virtuales o presenciales, que completen un aprendizaje interactivo y colaborativo, estimulando la creatividad y el dinamismo.
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Su, Hao, and Weina Fu. "Enhancement method for edge texture details of the filmic and visual three-dimensional animation." Multimedia Tools and Applications 79, no. 23-24 (February 9, 2019): 16351–67. http://dx.doi.org/10.1007/s11042-019-7319-8.
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Rozi, Romdhi Fatkhur, and Renta Vulkanita Hasan. "PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI." Journal of Urban Society's Arts 5, no. 1 (December 31, 2018): 49–57. http://dx.doi.org/10.24821/jousa.v5i1.2195.
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ABSTRAKPara Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. ABSTRACTPara Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.
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Basu, Anustup. "The Passion of the Digital: the Ontology of the Photographic Image in the Age of New Media." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 175–202. http://dx.doi.org/10.7202/1027447ar.
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Using Mel Gibson’s 2004 film and cultural phenomenonThe Passion of the Christas a launching pad, this essay meditates on some questions about the twentieth century legacy of competing realisms, the graphic imperative of contemporary digital image cultures, and the ontological conundrums involving technology and mass media.Passionis an onto-theological filmic ‘event’ that derives equally from an almighty religiosity as well as a cultish process of being enraptured by certain ritual values of a new-age technologism of sound and image. This endographic writing out of the Gospel narrative at the level of the tissue and nerve of the committed viewer affirms a transcendental truth already there in an internal cosmos of belief instead of working in terms of an externally navigable ‘realist’ representation of the world that seeks to ‘bear away our faith’. This is rendered possible when unquestioning belief in Christ and in his momentous sacrifice is met by an embracing of technologywithout the skepticism of a scientific temper.
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Treglia, Laura. "Mondo-ing Urban Girl Tribes: The Boom of 1960s–70s Erotic Cinema and the Policing of Young Female Subjects in Japanese sukeban Films." Film Studies 18, no. 1 (2018): 52–69. http://dx.doi.org/10.7227/fs.18.0004.
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The purpose of this article is to analyse the ambivalent politics of looking and discourses of gender, class and sexuality in a variety of 1960s–70s Japanese studio-made exploitation films, known as sukeban films. It first contextualises their production within a transnational and domestic shift emphasising sex and violence in film and popular culture. The article then highlights instances where the visual, narrative and discursive articulation of non-conforming femininities flips the gendered power balance, as in the sketches that satirise men’s sexual fetishes for girls. In conclusion, it suggests to understand the filmic construction of young women’s agency, and their bodily and sexual performance, in terms of a recurring modus operandi of Japanese media that ambivalently panders to and co-constitutes youth phenomena.
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Morales Campos, Arturo. "Prototipos mexicanos y el conflicto migratorio en el filme Coco, de Walt Disney." Sincronía XXV, no. 79 (January 3, 2021): 475–98. http://dx.doi.org/10.32870/sincronia.axxv.n79.25a21.
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In the present paper, we propose to analyze a filmic text that, supposedly, was created for a children’s audience, it is the recent Walt Disney’s work Coco (2017), by directors Lee Ulrich and Adrian Molina. We will be guided by sociosemiotic notions and the critical analysis of discourse in order to study certain semantic marks related to the migratory phenomenon that is recorded along the border between Mexico and the United States. These semantic marks, due to their constant presence in other texts and situations, are assumed to be prototypical. According to the above, far from “paying tribute” to Mexican culture, Coco stigmatizes certain practices of that culture. The “media machine” with which Disney supports this product allows the “naturalization” of such prototypical vision.
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Lopez, Lucrezia. "Filmic Gendered Discourses in Rural Contexts: The Case of the Camino de Santiago (Spain)." Sustainability 12, no. 12 (June 22, 2020): 5080. http://dx.doi.org/10.3390/su12125080.
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Rural areas have turned into multifunctional areas. They satisfy different economic and social requirements; among these, they are consolidating their position as film production locations. Becoming a film location ensures visibility and provides new forms to access sustainable economic trajectories to promoting rural areas and rural vitality. In some cases, filmic discourses present unequal gender treatment that may be associated with their locations. Considering this, the aim of this research was to explore cinematic discourses based on the symmetry or asymmetry in gendered cinematic representations that mainly occur in the rural space of the Camino de Santiago (Spain). This First European Cultural route crosses urban and rural centers that have benefited in different ways from its international recognition. By combining both the linguistic and visual codes, I engaged in a qualitative film discourse analysis concerning female pilgrims along the route. Despite of the feminization of the Camino, the results prove the permanence of gendered norms and societal roles in audio-visual productions based on a common latent ideology. The conclusions introduce the concept of social and relational sustainability as a way to achieve equal gender treatment when creating media discourses.
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Elsaesser, Thomas. "Trapped in Amber: The New Materialities of Memory." Panoptikum, no. 19 (June 30, 2018): 144–58. http://dx.doi.org/10.26881/pan.2018.19.10.
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The term ‘obsolescence’ has in recent years re-entered the vocabulary of the art world, memory studies and new media historians. In the process, it has significantly changed its meaning and enlarged its semantic and evaluative range, even signifying something like heroic resistance to relentless new-ness or superficial novelty, even becoming the badge of honour for all that is no longer useful (for capitalism, for appropriation, for instrumental objectification). Anyone engaged with ‘found footage’ films, with home movies or our analogue cinematic legacy knows that the strategic use of obsolescence lies in the fact that it is a term that inevitably associates with both capitalism and technology. Hence obsolescence is of special interest in the context of contemporary cinema, since it provides a counterweight – the materiality of memory, and the methodology of media archaeology – to the immateriality and virtuality of the digital. But the obsolescence of celluloid also gives us a kind of ‘fossil record’ of what has become of the filmic ‘medium’ when we see it in the broader context of the ‘geological’ time of media, and as part of the ‘archival’ turn that memory studies have taken in the 21st century.
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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.
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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.”
I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.
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Ogrodnik, Benjamin. ""The Theatricality of the Emulsion!"." Screen Bodies 4, no. 2 (December 1, 2019): 1–22. http://dx.doi.org/10.3167/screen.2019.040202.
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This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.
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Gomes, Francisco Wellington Borges, and Isabella Nojosa Ribeiro. "Translating Lucy." Literartes 1, no. 12 (December 8, 2020): 112–43. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2020.168938.
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Since the beginning of the cinema industry, literature has been influencing movies both in direct and indirect forms. Intersemiotic translation is the main tool on that process once it involves transferring meaning from a system of signs to another. It generally consists of the translation of written media into an audiovisual text (JACOBSON, 1969), taking into consideration all the different specifications and characteristics of each support. Under the perspective of Translation Studies, this article aims to reflect upon the intersemiotic translation of the character Lucy Pevensie, from the literary work “The Chronicles of Narnia: The lion, The Witch and The Wardrobe” to the cinematic narrative released in 2005, directed by Andrew Adamson and produced by Walden Media. For that, the presence of feminist aspects in both written and filmic depiction of the character are analyzed. The results show that being produced in different cultural moments, book and film bring different perspectives on feminism, as the film intends to update the literary work by recovering similar meanings though different narrative audiovisual strategies.
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Lippert, Florian. "Public self-reflection in the context of the European migrant crisis: Towards a new transdisciplinary model of discourse analysis in politics, media and the arts." Journal of European Studies 49, no. 3-4 (August 16, 2019): 336–53. http://dx.doi.org/10.1177/0047244119859173.
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While the European migrant crisis is omnipresent in political and medial discourses, two of its key causes are only seldom addressed by politicians and journalists: mistakes in Europe’s domestic, foreign and development policies; and Eurocentric, clichéd or ill-informed press coverage on migration. What impedes such political and medial self-criticism? What happens if politicians or journalists publicly address their own mistakes? Creative culture, in turn, has a long tradition of public self-reflexivity. In the wake of the crisis, many literary texts and films self-critically reflect on the literary and filmic framing of migrants, and challenge the political and medial ‘externalization’ of the crisis. Building upon these observations, this contribution suggests a new direction for discursive research: the analysis of self-criticism as an ethical challenge for public communication. It highlights research desiderata, discusses the theoretical foundations for comparing self-reflexivity across discourses, and outlines a transdisciplinary terminology and exemplary methods for future research.
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Deaca, Mircea Valeriu. "Hypertheatre or Media Entanglement in the Theatre of Jay Scheib." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (December 1, 2016): 21–42. http://dx.doi.org/10.1515/ausfm-2016-0012.
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Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are in an entangled state. Media is understood as “potential materials or forms for future practices,” or “automatisms” (Rodowick 2007, 42). At the same time, theatrical or cinematic media is apprehended by the audience in a dynamic way, not defined as a static bundle of defining features. Dynamic conceptualization will modulate or “tune” the comprehension of one of the media considered to be a subordinate system in the duplex. The blending of the two media presupposes a local conceptualization unfolding dynamically and an entangled one manifested nonlocal. The distinction between film and theatre is also to be seen as a difference in the cognitive model which posits a detached display (a screen/a scene), an imaginary world (a diegesis) and a spectator (observer). In theatre, the body of the observer is inside the theatrical display setting, while in film, the body of the viewer is conceptualized to be separated from the cinematic display. The notion of threshold, introduced by Dudley Andrew (2010), renders this shift of attention from one side of the display to the other.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Wójcik, Katarzyna. "(Re)visions télévisuelles de la colonisation du Nord – série médiatique d’Un homme et son péché de Claude-Henri Grignon." Romanica Silesiana 18, no. 2 (December 28, 2020): 86–97. http://dx.doi.org/10.31261/rs.2020.18.07.
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Claude-Henri Grignon’s novel Un homme et son péché presents the life of French Canadian colonial settlers of the Laurentides region at the end of XIXth century. It depicts a realistic image of the colonisation period of Quebec history. The novel is at the origin of a media series that englobes a radio adaptation, three filmic adaptations, theater adaptations, a comic, and two television series. The aim of this article is to discuss the vision of colonisation by analysing two television series based on Un homme et son péché: Les Belles Histoires des pays d’en haut broadcast from 1956 to 1970 and Les Pays d’en haut broadcast from 2016 to 2019 on ICI Radio-Canada Télé 1. The analysis will try to trace modifications inherent to the process of adaptation on different levels (protagonists, representation of space, ideological discourse) and their influence on the vision of the colonisation period.
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Richards, Morgan. "Digitising Dinosaurs." Media International Australia 100, no. 1 (August 2001): 65–79. http://dx.doi.org/10.1177/1329878x0110000108.
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This article reflects on the intersection of science, art and technology in the construction of the televisual dinosaur. In particular, it is concerned with the class of digital dinosaurs hatched in Jurassic Park (1993) and The Lost World (1997), powered by the latest digital technologies for the reinscription of the filmic and televisual image, and recently grafted to that most domestic of media genres, the animal documentary. Focusing on the BBC television series Walking with Dinosaurs (1999), the digital dinosaur is proposed as an object of mimetic desire in which narratives of intimacy and otherness, resurrection and loss, anthropomorphism and monstrosity are played out. In analysing exactly how the mimetic is achieved, an alternative balance between science and art is proposed, one that foregrounds the complexities and paradoxes of a television program that offers realistic depictions of things we know don't exist in the familiar guise of an animal documentary.
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Pethő, Ágnes. "Between Absorption, Abstraction and Exhibition: Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson and Joanna Hogg." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 39–76. http://dx.doi.org/10.1515/ausfm-2015-0015.
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Abstract The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.
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Nall, Jeffrey Allen. "FADE TO WHITE OR STEREOTYPE: PATRIARCHAL POLICING OF GENDER NORMS IN TELEVISION AND FILMIC REPRESENTATIONS OF CHILDBIRTH." Gender Questions 2, no. 1 (September 21, 2016): 12–34. http://dx.doi.org/10.25159/2412-8457/1562.
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Drawing on the examination of five feature films, including Twilight: Breaking Dawn – Part 1, and more than half-a-dozen popular television programmes, including Parenthood, The L Word and The Secret Life of the American Teenager, this work argues that dominant cultural representations foster a narrow and potentially damaging, disempowering and dehumanising depiction of childbirth. Together these works foster a dominant conceptualisation and representation of childbirth that narrowly represents childbirth, emphasising themes including ‘bitter birth’ or birth as affliction, a reproductive double bind affirming women’s fundamental procreative role while also pathologising their reproductive processes, and the trivialisation of women’s birthing agency through the broad failure to recognize maternal magnificence. This work further argues that dominant representations of maternity pervading mass media, as indicated in the examined examples, normalise patriarchal gender roles, particularly emphasised femininity, and mark gender noncomformists as deviant. The promotion of such norms is clear in contemporary cultural depictions of childbirth, including birth-related hit films such as Knocked Up and The Back-up Plan. In the last of these an important component of patriarchal gender codes is further shown to include heteronormativity.
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Wright, Geoffrey A. "The Desert of Experience: Jarhead and the Geography of the Persian Gulf War." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1677–89. http://dx.doi.org/10.1632/pmla.2009.124.5.1677.
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The censored media coverage of the Persian Gulf War obscured the region's geography and erased the suffering of combatants and civilians. In contrast, the literature and film on the war emphasize the human rather than the technological dimension of the fighting. The words and images used to represent the foot soldiers' deeply personal experiences are bound to the landscape. This essay sets forth a geographic semiotics of Persian Gulf War combat narratives, which entails the study of an array of geographically oriented codes for making meaning out of wartime experience. The study of geographic signs in these narratives revolves around images and descriptions of the desert, which permeate such literary and filmic accounts of the ground fighting as Anthony Swofford's memoir Jarhead (2003), Sam Mendes's film adaptation Jarhead (2005), and David Russell's Three Kings (1999). Practicing a geographic semiotics of Persian Gulf War combat narratives allows us to rethink the war, to reimagine what its stories might signify—morally as well as politically.
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Melnikova, Irina. "Intermedial references and signification: Perception versus conception." Semiotica 2020, no. 236-237 (December 16, 2020): 231–50. http://dx.doi.org/10.1515/sem-2018-0098.
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AbstractThe paper focuses on the issue of intermedial references, the matters of conditions, necessity and relevance of their interpretation. It discusses the question of semantic value of an intermedial reference rather than of its aesthetic, pragmatic, modal or other aspects. It considers the lack of coherence between the theoretical propositions of intermedial studies, grounded in the studies of intertextuality, and the practice of analysis. In theory, every intermedial reference configures semantic dialogue between qualified media (configurations), thus requires conceptualisation. Yet, the practice of analysis reveals that some of them perform exclusively aesthetic function and invite to keep reception within the limits of perception. Therefore I make an attempt to define the criteria of textual request for conceptualisation/interpretation set up in a text as such. I propose to revise the relevant insights of different intertextual and semiotic approaches, to perform their revision, modification and extension, to articulate possible solution and exemplify it by filmic references to painting.
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Lee, Gregory B. "Leaving China: Media, Migration and Transnational Imagination. By Wanning Sun. [Lanham, Boulder, London, Oxford: Rowman and Littlefield, 2002. 243 pp. $24.95. ISBN 0-7425-1797-7.]." China Quarterly 178 (June 2004): 536–37. http://dx.doi.org/10.1017/s0305741004400290.
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Leaving China is, in part, a study of the televisual and filmic representation of Chinese emigration. The book is partly autobiographical, since it draws on the author's own lived experience as a China-born scholar established abroad. The author, born in the PRC, is now based in Australia, but as the list of acknowledgements indicates, she is imbricated in a global network of China-related academics. The other strand of Wanning Sun's research is imaginary travel and virtual migration: the Chinese spectator's consumption of a filmed elsewhere – especially the elsewhere inhabited by émigré Chinese.This is a book about recent migration from the PRC and Chinese perceptions of emigration. Leaving China does not attempt to address the history of the older diaspora of the 19th and 20th centuries, for instance, the now forgotten communities whose story is told in the Chinese-Australian writer Brian Castro's book Birds of Passage (Allen & Unwin, 1983). In the parts of the book that focus on lived migratory experience, Sun is concerned more with people like herself, her generation, and her class.
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Lucas, Martin. "The New Political Subject: Affect and the Media of Self-Organizing Politics." Afterimage 46, no. 2 (June 2019): 43–58. http://dx.doi.org/10.1525/aft.2019.462005.
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This paper looks at new articulations of the subject found in documentary films about the Indignado or 15-M (15 May) movement and the Occupy Wall Street movement in 2011. These movements rejected representation in favor of a call for direct democracy on a political level. The paper suggests that their rejection had significant implications for documentary film, forcing makers to embrace new routes to portraying thought and action in a collective context. The paper uses the work of theorists of affect including Franco Berardi and Brian Massumi, as well as of political theorists and social scientists including Jodi Dean and Zeynap Tufekci to suggest that the groups that rose up in the aftermath of the Great Recession of 2008 were reacting specifically to a rise of an attention economy, an economic system that depends on the exploitation of the “immaterial labor” of human affect and attention to extract profit. The paper shows how the film Tres Instantes, Un Grito (Three Moments, One Cry, 2013) by Chilean-Spanish filmmaker Cecilia Barriga uses various strategies to avoid typical narrative approaches to character identification and development, and focuses instead on the shared space of discussion where a collective understanding is produced, and demonstrates how this strategy is appropriate for the depiction of a self-organizing movement. Other films emerging from the Occupy Wall Street and 15-M movements are analyzed to show how approaches using filmic rhythm and bodily entrainment give a sense of how these movements create new affective protocols for shared political action. I suggest finally that affective logics deployed in these films offer a way of understanding how films, specifically political documentaries, function beyond representation per se to help open a new kind of shared political space.
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Krajka, Wiesław. "Crossing Over Media: Prose Narrative ("To-morrow") into Drama (One Day More) into Filmic Opera/Musical Drama (Baird, Hussakowski, and Sito's Jutro)." Conradiana 48, no. 2-3 (2016): 257–69. http://dx.doi.org/10.1353/cnd.2016.0030.
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Moen, Kristian. "Expressive Motion in the Early Films of Mary Ellen Bute." Animation 14, no. 2 (July 2019): 102–16. http://dx.doi.org/10.1177/1746847719859194.
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Between 1935 and 1938, Mary Ellen Bute began her career as a filmmaker with a series of mostly animated films, including Rhythm in Light (1935), Synchromy No. 2 (1936), Parabola (1938) and Escape (1938). This article examines how these films offered an innovative, subtle and purposeful investigation of the potentials of animation to create artistic and expressive motion. Paying close attention to Bute’s own writing, the article explores how these films related to Bute’s expansive vision of cinema as a new form of kinetic art that was both composed and free-flowing. Drawing upon painting, music, sculpture and chronophotography, Bute’s work was highly intermedial, investing these arts and media with the dynamic potentials of filmic and animated motion. Tracing how Bute composed motion, displayed motion and used motion expressively, this article aims to develop our understanding of a pivotal 20th-century filmmaker, while at the same time investigating the distinctive ideas of the aesthetics, forms and effects of animated motion that were articulated in her filmmaking practice and theoretical writing.
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Thouaille, Marie-Alix. "“Nice White Ladies Don’t Go Around Barefoot”." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 96–112. http://dx.doi.org/10.33178/alpha.10.06.
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Not only is The Help(2009; 2011) a text within which a white woman author (Eugenia “Skeeter” Phelan, played by Emma Stone) profits from the lives of women of colour, but it is also a text originally written by a white woman author (Kathryn Stockett) who profits from the real and/or imagined lives of women of colour. Both authors rely on the invisibility of their whiteness and white privilege in order to inhabit, and, appropriate from, marginalised subjectivities. Through an analysis of The Help’s filmic strategies for inscribing whiteness as a form of absence, this article posits that women of colour are erased and excluded by our continuing cultural reluctance to “see” whiteness and its privileges. I go on to argue that the film simultaneously offers a sceptical reading of Stockett’s and Skeeter’s appropriative projects, finding ways to make characters’ whiteness visible, embodied and accountable. Only in interrogating this cultural invisibility can we contest the ways in which neoliberalism and postracism interplay to reify middle-class whiteness as the default subject position for women in screen media in the twenty-first century.
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Kapaló, James A. "Performing Clandestinity: The Religious Underground, the Secret Police and the Media in Communist Eastern Europe." Journal of the British Association for the Study of Religion (JBASR) 22 (December 15, 2020): 16. http://dx.doi.org/10.18792/jbasr.v22i0.45.
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The Cold War was frequently cast in the West as a religious war, a conflict between Christianity and atheism of the Marxist-materialist kind. Propaganda narratives produced by the opposing sides pitted faith against godlessness or science and progress against superstition and exploitation. The religious underground, which was at the centre of much of this propaganda activity, had both a metaphorical and literal meaning. With the opening of the secret police archives in the region, scholars of religions have been presented with important new sources to understand the relationship between anti-religious propaganda, western projections of religious life under communism and the actual clandestine practices of underground religious groups. Whilst the textual materials found in the archives have been the primary focus of attention for both historians and transitional justice projects, the search for ‘truths’ about the past has largely overlooked the visual and material traces of religion produced by and about religious groups. In this article, I explore the complex intersection of the religious underground and the secret police and how this was reflected in the public media and film during communism. Through an exploration of photographic and filmic representations of religious clandestinity produced by or with the help of the secret police, this article illustrates how such imagery, despite its complicity in the construction of a certain image of the religious underground, nevertheless also reveals aspects of the lived reality, creativity and agency of underground communities. This research is based on the findings of the European Research Council Project, Creative Agency and Religious Minorities: Hidden Galleries in the Secret Police Archives in Central and Eastern Europe (project no. 677355).
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Wiegand, Daniel. "Tableaux Vivants, Early Cinema, and Beauty-as-Attraction." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 9–32. http://dx.doi.org/10.1515/ausfm-2018-0001.
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Abstract This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates processes of intermedial exchange not only at the level of form but also at the level of modes of address and reception. More specifically, the study is concerned with how bourgeois notions of beauty were transferred to the film image and reconciled with the attraction value of cinema. As a discussion of early film theory reveals, the concept of “beauty in film” depended on a taming of filmic motion, something that had already been realized in performance practices of tableaux vivants. In the subsequent analysis of the cultural context of tableaux vivants in European variety theatres, I outline a specific mode of address, which I term “beauty-as-attraction:” an overlap of the older aesthetics of the beautiful and the more modern aesthetics of attraction. Through concluding film analysis, I show how tableaux vivants became a model and source of inspiration for early cinema, thus bringing to fruition the two-fold address of beauty-as-attraction in a new media context.
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Pereira, Ana Cristina. "Otherness and identity in Tabu from Miguel Gomes." Comunicação e Sociedade 29 (June 27, 2016): 331–50. http://dx.doi.org/10.17231/comsoc.29(2016).2423.
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Portuguese national identity has been constructed over time, across various media, including the cinema, in contrast to the identity of an African “other”, who is simultaneously close and distant, an heir and a challenger, an object of seduction and repulsion. These dualities are reflected in Miguel Gomes’ Tabu (2012), which reifies and questions various representations. It is a post-colonial film which reflects about the way how stereotypes and social and “racial” representations created during colonialism have repercussions on present-day Portuguese society. The film offers a critical vision of a certain Portuguese elite in Africa and the manner in which this elite experienced the War for Independence, confronting this period in Portuguese history with the present day.The director’s filmic discourse is analysed using a multimodal semiotic approach: an analysis of Tabu, taking into account the processes of categorisation, either in terms of inclusion or exclusion. The texts present a dialogic interpretation of semiotic resources, such as rhythm, composition, informal linking and dialogues. The goal of this multimodal analysis is to understand the representation of the African “other” in the film and how Portuguese identity is constructed in the relationship to this other.
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Peabody, Seth. "Image, Environment, Infrastructure: The Social Ecologies of the Bergfilm." Humanities 10, no. 1 (February 26, 2021): 38. http://dx.doi.org/10.3390/h10010038.
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The German mountain film (Bergfilm) has received extensive critical attention for its political, social, and aesthetic implications, but has received remarkably little attention for its role in the environmental history of the Alps. This article considers the Bergfilm within the long history of depictions of the Alps and the growth of Alpine tourism in order to ask how the role of media in environmental change shifts with the advent of film. The argument builds on Verena Winiwarter and Martin Knoll’s model of social-ecological interaction, Adrian Ivakhiv’s theoretical framework for the environmental implications of film, and Laura Frahm’s theories of filmic space. Through an analysis of Arnold Fanck’s films Der heilige Berg [The Holy Mountain, Fanck 1926] and Der große Sprung [The Great Leap, Fanck 1927], which are compared with Gustav Renker’s novel Heilige Berge [Holy Mountains, Renker 1921] and set into the context of the environmental history of the Alpine regions where the films were shot, the author argues that film aesthetics serve as a creative catalyst for environmental change and infrastructure development. While some ecocinema scholars have argued that environmental films teach viewers new ideas or change modes of behavior, this analysis suggests that film aesthetics are most effective at accelerating processes of environmental change that are already underway.
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Mukherjee, Madhuja. "Speaking with Suhasini Mulay: A short story about a long strife." Studies in South Asian Film & Media 11, no. 2 (December 1, 2020): 225–43. http://dx.doi.org/10.1386/safm_00030_7.
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This article is connected to my project concerning the Indian film industry, questions of work and women’s labour; and, this interview-based article grows from my ongoing audio-visual documentary work tentatively titled The Shadow and The Arc Light. It enables me to reflect upon my previous book project, and takes shape in the light of contemporary feminist historiography. Suhasini Mulay began her career as an actor with Bhuvan Shome (Mrinal Sen 1969), and thereafter, shifted to filmmaking and obtained technical training from McGill University, Montreal. Upon her homecoming she initially worked with the International Film Festival of India, and later assisted Satyajit Ray (for Jana Aranya [1975]) and Mrinal Sen (for Mrigayaa [1976]). While Mulay has made documentaries, and also acted in Bhavni Bhavai (Ketan Mehta 1980), she eventually resumed full-time acting in 1999. As narrated by her, she endured hierarchical, gendered and precarious work conditions, which inform us about the arduous production milieu. Through such conversations, I propose gender as a lens for studying film history, and underscore filmmaking as labour; as well, analyse the nature of filmic work. I aspire to demonstrate how women involved in various capacities, negotiate networks of media forms and capital, and persist perilously.
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Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (February 1, 2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.
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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)