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Journal articles on the topic 'Heritage film'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Galpin, Shelley Anne. "Harry Potter and the Hidden Heritage Films: Genre Hybridity and the Power of the Past in the Harry Potter Film Cycle." Journal of British Cinema and Television 13, no. 3 (2016): 430–49. http://dx.doi.org/10.3366/jbctv.2016.0328.

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The heritage film is generally considered to be a less commercial form of film-making, one which eschews populism for ‘quality’. This article seeks to question the distinctions drawn between the heritage film and more commercial film franchises by examining the links between the conventions of heritage cinema and the Harry Potter films. Bringing together scholarship on the heritage film, the Harry Potter series and film genre, the article considers these productions in the light of their themes, with the political or class-centred aspects of the narrative examined in relation both to the visua

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2

Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.

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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the Br

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Oktafiyani, Elve. "Bride and Prejudice sebagai Film Transnasional dan Heritage." Buletin Al-Turas 20, no. 1 (2020): 133–46. http://dx.doi.org/10.15408/bat.v20i1.3752.

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Abstrak Fokus penelitian ini adalah membuktikan film Bride and Prejudice sebagai film bergenre transnasional dan heritage. Melalui proses produksi serta naratif film, ditemukan ciri-ciri film transnasional dan heritage pada Bride and Prejudice. Genre tersebut menjadi alat yang digunakan Gurinder Chadha untuk memperkenalkan India pada penonton universal, serta menjadi media penetrasi budaya India ke dunia internasional.---Abstrack This research focuses on prooving the evidences from the Bride and Prejudice films categorized as transnational and herritage genre. Through the production proses as

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4

Clarembeaux, Michel. "Film education: Memory and heritage." Comunicar 18, no. 35 (2010): 25–32. http://dx.doi.org/10.3916/c35-2010-02-02.

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Film education in the digital age should be based on three closely-related and complementary fundamentals: to see, to analyze and to make films with young people; three basics that must interact and support each other. The concept of creative analysis could be the glue the binds this subject together, making it coherent and efficient for educational purposes. If cinema is an art, it is above all the art of memory, both individual and collective. This article suggests that we can join the pedagogy of film education to the citizen’s desire to perpetuate memory and preserve cultural heritage. The

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Kapse, Anupama. "Producing film heritage." South Asian Popular Culture 13, no. 1 (2015): 89–93. http://dx.doi.org/10.1080/14746689.2015.1033812.

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6

Liang, Jiajia. "A Study on Modern Film and Television Communication and the Development of Dunhuang Intangible Cultural Heritage Art." International Journal of Asian Social Science Research 2, no. 1 (2025): 23–28. https://doi.org/10.70267/gzmnja18.

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Dunhuang non-legacy art is one of the valuable cultural heritages of the Chinese nation, with a deep historical background and unique artistic charm. In today's internet era, how to skillfully communicate Dunhuang culture to the public is an important task for cultural workers. The development of modern film and television technology has provided a new path for the inheritance of intangible cultural heritage art. This article explores the use of Dunhuang in the film and television creation of intangible cultural heritage art through the analysis of contemporary intangible cultural heritage art

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7

Antoniazzi, Luca. "Film heritage and neoliberalism." Museum Management and Curatorship 34, no. 1 (2018): 79–95. http://dx.doi.org/10.1080/09647775.2018.1512053.

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Phuc, Nguyen Phuong Hong, and Dinh Thi Yen. "The Role of Cultural Heritage in The Development of Tourism and Some Cultural Industries in Vietnam." International Journal Papier Public Review 5, no. 4 (2024): 32–40. http://dx.doi.org/10.47667/ijppr.v5i4.324.

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Many nations now view the cultural industry as a significant role in the country's cultural life and as a vital economic sector supporting sustainable development. Vietnam has an affluent cultural history with diverse cultural identities and is valuable in every way. The development of various cultural industries benefits greatly from the resources provided by cultural heritages. In order to elucidate the significance of cultural heritage in the growth of particular cultural industries, such as music, film, and cultural tourism, we employ synthetic analysis techniques and field research in thi

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9

Pan, Steve, and Chris Ryan. "Film-Induced Heritage Site Conservation." Journal of Hospitality & Tourism Research 37, no. 1 (2011): 125–50. http://dx.doi.org/10.1177/1096348011425497.

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10

Terry-Chandler, Fiona. "Vanished Circumstance:Titanic, heritage, and film." International Journal of Heritage Studies 6, no. 1 (2000): 67–76. http://dx.doi.org/10.1080/135272500363742.

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11

Frick, Caroline. "Repatriating American film heritage or heritage hoarding? Digital opportunities for traditional film archive policy." Convergence: The International Journal of Research into New Media Technologies 21, no. 1 (2014): 116–31. http://dx.doi.org/10.1177/1354856514560999.

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12

Higgins, Scott. "Saturday Afternoon Blockbuster: James Bond‘s Serial Heritage." Film Studies 17, no. 1 (2017): 73–91. http://dx.doi.org/10.7227/fs.17.0005.

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Just six years after the last American sound-era serial, Albert Broccoli and Harry Saltzman brought James Bond to the screen, launching the longest-lived and most influential film series of the post-studio era. This article considers how the first Bond films adapted the regular imperilments,and operational aesthetics of sound-serials. Early Bond films benefitted from a field of expectations, viewing strategies and conventions planted by the over 200 B-grade chapter-plays produced between 1930 and 1956. Recourse to these serial strategies conferred tactile immediacy and ludic clarity to the fil

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Hernández-Escampa, Marco, Fausto Rodríguez-Acuña, Franco Millán-Cruz, et al. "Electrochemical Evaluation of a Recycled Copolymer Coating for Cultural Heritage Conservation Purposes." International Journal of Polymer Science 2013, no. 1 (2013): 751056. https://doi.org/10.1155/2013/751056.

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Acrylonitrile-butadiene-styrene (ABS) is a well-known discard product from the industry. This copolymer can be dissolved in organic solvents, and thin films can be created by immersion. Two requirements for coatings used for cultural heritage conservation purposes are transparency and reversibility, both fulfilled by ABS films. The aim of this work was to characterize the copolymer and to evaluate the electrochemical properties of ABS coatings applied to copper. Such performance was compared to that of a commercial varnish commonly used in conservation. The results indicate high protection val

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Jiawei, Liu. "Research on the promotion of intangible cultural heritage on the example of cinema." Uchenyy Sovet (Academic Council), no. 8 (August 7, 2023): 480–90. http://dx.doi.org/10.33920/nik-02-2308-03.

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A film can be described as follows: it is a bright and intuitive picture that can quickly convey information and have a wide impact on the audience. The film performs the functions of distribution, recording, narration, and popularization of intangible cultural heritage. Consequently, films are central to the protection and promotion of the intangible spiritual values of the state.

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Van, Eecke Christophe. "Phantasmagoria: Ken Russell's Gothic (1986) as Neo-Victorian Meta-Heritage Film." Neo-Victorian Studies 12, no. 1 (2019): 135–56. https://doi.org/10.5281/zenodo.3471308.

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Ken Russell’s film <em>Gothic</em> (1986) dramatises one of the key foundational myths of nineteenth-century British literature: the night at the Villa Diodati when Mary Shelley allegedly had the initial idea for her novel <em>Frankenstein</em> (1818). While the film can be enjoyed as a costumed horror film, this article argues that it is in fact an intricate response to the heritage film genre and to heritage tourism within the cultural and political context of Britain in the 1980s. Russell’s film subverts heritage film conventions and mobilises early film techniques and forms of

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Turczyn, Katarzyna. "Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films." Panoptikum, no. 18 (December 29, 2017): 178–90. http://dx.doi.org/10.26881/pan.2017.18.11.

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This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: Mania. The history of a cigarette factory worker (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), Pan Tadeusz ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and Zew morza ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (200

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Stoddard, Matthew. "FILM HERITAGE AND THE CINEMATIC COMMON." Angelaki 18, no. 4 (2013): 179–94. http://dx.doi.org/10.1080/0969725x.2013.869019.

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Anne Galpin, Shelley. "Auteurs and Authenticity: Adapting the Brontës in the Twenty-First Century." Journal of British Cinema and Television 11, no. 1 (2014): 86–100. http://dx.doi.org/10.3366/jbctv.2014.0193.

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This article examines two recent adaptations of Brontë novels and how they relate to discussions surrounding the adaptation of literary texts into film. The position of Cary Joji Fukunaga and Andrea Arnold as auteurs is considered, as is the way in which this was used in the marketing of the films prior to release. Fukunaga's Jane Eyre (2011) and Arnold's Wuthering Heights (2011) are evaluated as examples of British film-making in terms of heritage/anti-heritage discourses, concluding that while they both reject aspects of the traditional ‘heritage film’, overtly in Arnold's film but more subt

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Krämer, Marie. "In search of a lost cinema." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 72–88. http://dx.doi.org/10.33178/alpha.21.04.

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This article shows how creative approaches can contribute to a productive engagement with losses in film heritage. By (re)producing and (re)circulating images, sounds and narratives, documentaries on film heritage in particular relate to larger contexts of cultural and moving image memory. On the one hand, they are premediated by older productions, including feature films. On the other hand, they bring in new artistic, political and/or social perspectives. Golden Slumbers (Davy Chou, 2012), a documentary about Cambodia's lost film heritage before the Khmer Rouge period, serves as an example to

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Zhou, Linjuan, and Sharulnizam Bin Ramli. "From Photochemistry to AI: The Evolution and Multiple Values of Film Cultural Heritage Restoration Technology." Scientific and Social Research 6, no. 12 (2025): 37–41. https://doi.org/10.26689/ssr.v6i12.9258.

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As an art form rising in the 20th century, film has not only made important achievements in history and art but also become an important object of global cultural heritage protection. With the advent of the digital age, especially the rapid development of artificial intelligence (AI) technology, the restoration of film cultural heritage has emerged. This paper traces the historical evolution of film restoration techniques, analyzing the technological advancements from photochemical restoration to digital restoration and then to AI restoration. It discusses how film restoration has undergone re

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Kolotvina, Olga V. "THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)." Articult, no. 1 (2021): 49–58. http://dx.doi.org/10.28995/2227-6165-2021-1-49-58.

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The author analyzed the symbolic narrative of the films and the cinematic technologies, which were developed by J. Val del Omar for his film trilogy. This study revealed that the use of the suggestive metaphorics of Spanish poetry (St. John of the Cross, F. García Lorca, Rosalía de Castro) and the artistic heritage of Spanish mysticism dominates in his film aesthetics. As a result, the film director created an allegorical multidimensional narrative about the stages of the spiritual path of a person and as well as about the specifics of the national spirit of the Spain’s different regions. Such

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22

Liu, Zhan, Yanghe Liu, and Xing Liu. "Research on Automatic Subtitle Generation Technology for Intangible Cultural Heritage Documentary Films." Advances in Education, Humanities and Social Science Research 12, no. 1 (2024): 97. https://doi.org/10.56028/aehssr.12.1.97.2024.

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With the rapid development and application of artificial intelligence technology, automatic subtitle generation technology has shown extensive application potential in the field of Intangible Cultural Heritage (ICH) documentary film-making. This technology utilizes advanced speech recognition algorithms to efficiently and accurately transcribe speech from video footage into subtitles, significantly enhancing the efficiency and quality of documentary production. This paper aims to explore in depth the application of automatic subtitle generation technology in ICH documentary films, including it

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Bezruchko, Oleksandr, and Volodymyr Bardyn. "Presentation of the Sacred Heritage of Boikos by Means of Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 38–45. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256950.

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The purpose of the study is to analyze the coverage of the Boiko church heritage in live-action films and documentary films, in mass media and in photographs. To determine the role of audio-visual art in the coverage of sacred objects of Boikivshchyna and to prove the necessity to preserve works of sacred heritage by means of photo art. The researh methodology consists in the application of the following methods: theoretical – the analysis of television plots and documentaries providing information about the church art of Boikivshchyna, synchronous and comparative method for deeper analysis of

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Haddad, Naif Adel. "Insights on the Film Tourism and Archéocinema for the Promotion of Heritage Tourism: A Critical Review." Global Journal of Cultural Studies 2 (June 22, 2023): 16–30. http://dx.doi.org/10.6000/2817-2310.2023.02.02.

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The link between Cultural Heritage (CH), media, and film tourism has gained increasing attention in the literature over the last two decades. The 21st-century film tourism industry edutainment must reflect the experiences of 21st-century digital/virtual requirements. Film tourism is often considered a potential marketing channel for World Heritage Sites (WHS) and CH tourism. Limited research addresses how heritage film tourism providers employ and deal with the film industry and Archéocinema media for marketing communication. This paper attempts to discuss the relationship between the capabili

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Hetayothin, Chanya. "Analyzing Concepts and Forms of Intangible Cultural Heritage in Animated Features from Five Countries: Japan, France, Ireland, USA, and Thailand." Asian Creative Architecture, Art and Design 38, no. 1 (2025): 1–15. https://doi.org/10.55003/acaad.2025.275416.

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The integration of cultural heritage in animated films has indeed sparked significant discussions among both audiences and professionals within the animation industry. Critics argue that relying on cultural elements can constrict storytelling possibilities and limit creative expression. However, the researcher posits that this incorporation can serve as a bridge to universality in narrative while preserving the distinctiveness of each animated piece. This research paper aims to analyze the concepts and forms of cultural heritage in five animated films: 1) Kirikou and the Men and Women (Ocelot,

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Gierszewska, Barbara Lena. "Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 157–72. http://dx.doi.org/10.14746/i.2023.34.43.10.

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   Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreov

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Li, Chenxiao, and Kun Yu. "Digital Communication and Preservation of Cultural Heritage in the Context of New Media: A Case Study of Anyang." International Journal of Social Science Studies 12, no. 4 (2024): 16. http://dx.doi.org/10.11114/ijsss.v12i4.6934.

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Anyang is rich in diverse cultural heritage, including the famous Yin Ruins, oracle bone script, Shang Dynasty culture, and divination beliefs. These heritages are core carriers of cultural transmission and important academic research areas. This study analyzes the adaptability of Anyang's cultural heritage amidst modern social changes, focusing on its integration with local economic development strategies. By activating the tourism market and image industry, it promotes economic growth and cultural transmission. The study also explores the digitization of literature and new media tools in mod

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Stigsdotter, Ingrid. "Heritage Film Audiences: period films and contemporary audiences in the UK." Historical Journal of Film, Radio and Television 33, no. 1 (2013): 172–74. http://dx.doi.org/10.1080/01439685.2012.728335.

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Bezruchko, Oleksandr, and Volodymyr Bardyn. "Presentation of the Sacred Heritage of Boikos by Means of Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 38–45. https://doi.org/10.31866/2617-2674.5.1.2022.256950.

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<em>The purpose of the study is </em>to analyze the coverage of the Boiko church heritage in live-action films and documentary films, in mass media and in photographs. To determine the role of audio-visual art in the coverage of sacred objects of Boikivshchyna and to prove the necessity to preserve works of sacred heritage by means of photo art. <em>The researh methodology </em>consists in the application of the following methods: theoretical – the analysis of television plots and documentaries providing information about the church art of Boikivshchyna, synchronous and co

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González Zarandona, José Antonio. "Making heritage at the Cannes Film Festival." International Journal of Heritage Studies 22, no. 10 (2016): 781–98. http://dx.doi.org/10.1080/13527258.2016.1212388.

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31

Zhu, Fan. "The Interweaving of Film Media and Cultural Inheritance: A Case Study of Chang An." Communications in Humanities Research 34, no. 1 (2024): 60–64. http://dx.doi.org/10.54254/2753-7064/34/20240101.

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The explosion of the new cultural animated film series Chang An has opened a new prelude to the interweaving of traditional culture and modern media, and has become a new focus of research on cultural heritage. With the advent and challenges of the new media era, Chang An, as a film that presents the profound heritage of Chinese culture, cleverly uses unique narrative techniques and visual presentation. Based on the focus of telling good Chinese stories, modern media plays a powerful role in communication, driving the prosperity and development of the cultural industry. This paper aims to expl

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Poch, Esther San Sebastián, Urtzi Llano Castresana, and Ander de la Fuente Arana. "Traditional Cultural Heritage vs. Film Sceneries: Evaluating the Degree of Sustainability of Cultural Landscapes." International Journal of Design & Nature and Ecodynamics 15, no. 5 (2020): 621–30. http://dx.doi.org/10.18280/ijdne.150502.

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Cultural tourism is a good way to promote and, consequently, safeguard the cultural heritage of sites. Film tourism is an increasingly demanded form of cultural tourism more focused on the fictional rather than on the authenticity of sites, depriving them from their true identity. This article is proposing a system of indicators of sustainable development in order to evaluate and guarantee long-term sustainability in those sites identified with traditional cultural heritage and where films have been shot. The Historic Centre of Peñíscola, which was declared a Historic-Artistic Site in 1972 and

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Mukusheva, Nazira Rahmanovna. "Reflection of Historical Time in Kazakh Documentaries." Ethnic Culture 4, no. 2 (2022): 17–20. http://dx.doi.org/10.31483/r-101536.

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The article deals with the unity of the national cultural heritage and historical time in Kazakh documentary films. The purpose of the article is to analyze the features of the use of time in the depiction of the spiritual world, national customs and traditions in the films of documentary film masters OrazAbishev, BakhytGafu-Kaiyrbekov and others. Based on the formal stylistic method, the significance of historical time in documentary films is explored. The author, considering the unity of the national cultural heritage and historical time in the Kazakh documentary, concludes that in the Kazak

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Ciszewska, Ewa. "Who Benefits from the Past? The Process of Cultural Heritage Management in the Field of Animation in Poland (The Case of the Se-Ma-For Film Studio in Łódź)." Animation 14, no. 2 (2019): 117–31. http://dx.doi.org/10.1177/1746847719857837.

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With a view to studying the social and institutional practices related to the post-1989 approaches to film animation under socialism, this article addresses the transformation of the state-owned Se-Ma-For Film Studio in Łódź and the private company that later took over its name (the Se-Ma-For Film Company). The chronological scope of the study extends from 1989 to 2016; however, to identify the impact of the 1989 watershed on the animation market in Poland, modalities of operation of animation film studios in state-socialism era are presented. This article addresses the question of which herit

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Tilton, Lauren. "Preservation First?: Re-Viewing Film Digitization." Collections: A Journal for Museum and Archives Professionals 12, no. 4 (2016): 391–400. http://dx.doi.org/10.1177/155019061601200404.

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This article addresses the politics of film digitization by arguing that we should reconsider archival and preservation “best practices” that require film restoration. Instead, it advocates for digitizing films “as is,” which, in turn, captures the film's current materiality (i.e., fading, scratches, and other facets that reveal age, wear, and use). Using the work of Luis Vale, one of the youth filmmakers from New York City's Lower East Side's Young Filmmaker Foundation's Film Club, as a case study, the article points to the importance of archiving and saving these youth films as part of a gro

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Santyaputri, Lala. "Film Tourism and Transmedia Storytelling: Exploring Yogyakarta’s Heritage." APLIKATIF: Journal of Research Trends in Social Sciences and Humanities 4, no. 2 (2025): 148–63. https://doi.org/10.59110/aplikatif.v4i2.643.

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This study investigates how film tourism and transmedia storytelling contribute to meaningful and memorable cultural experiences in Yogyakarta, Indonesia. Using a qualitative design, 25 interviews with filmmakers, tourism officials, and film tourists were analyzed with thematic coding in NVivo 14. Three core themes emerged: immersive experience, visual appreciation, and cultural enrichment. NVivo used to organize interview transcripts, identify themes, and cross-analyze stakeholders' responses. This study finds that transmedia storytelling—through social media, cinematic landscapes, and on-sit

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Gauthier, Christophe. "1927, Year One of the French Film Heritage?" Film History: An International Journal 17, no. 2-3 (2005): 289–306. http://dx.doi.org/10.2979/fil.2005.17.2-3.289.

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Zhang, Hua. "From the history of the development of Chinese cinema." OOO "Zhurnal "Voprosy Istorii" 2023, no. 2-1 (2023): 240–47. http://dx.doi.org/10.31166/voprosyistorii202302statyi24.

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In 1905, the first film “Ding Jun Shan" was finally made in China, which marked the birth of Chinese cinema. In article is a review of the development history of Chinese films in the context of the time of development of Chinese films. In this process, Chinese films have gone through six stages, including the budding period, the golden period and the period of rapid development. Although Chinese cinema started late, thanks to its profound cultural heritage, it has developed into an important part of oriental cinema and has become an important player in the world film market.

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Mazor, Yael. ""In the Interest of the State of Israel": Notes Toward a Future History of Israeli Cinema." Journal of Jewish Identities 18, no. 1 (2025): 9–25. https://doi.org/10.1353/jji.2025.a963595.

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ABSTRACT: This article considers the vicissitudes and challenges of writing a history of Israeli cinema as a history of Israeli cinema culture. With the current state of film archiving in Israel, particularly regarding non-filmic elements and paratextual materials, the notion of a film archive as museum is presented through prominent examples of established film archives. Such examples induce a warranted examination of the concept of a 'national' film archive and consequently, of what is to be considered as a filmic artifact, and of how film archives might proceed to capitalize on new research

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Vaishnav, Ankit, Mahesh Kumar Meena, Neha Nandani, and Annapurna Sharma. "Digital is Not the Alternative: Dilemma and Preserving Films in India." Preservation, Digital Technology & Culture 53, no. 3 (2024): 133–46. http://dx.doi.org/10.1515/pdtc-2024-0020.

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Abstract Films deteriorate over time and archival methods are still being developed to prevent this. Digital technology enables the conversion of films, but there are various issues with digital approaches that present Indian archivists with the dilemma of choosing the appropriate one to film preservation. It is perceived that digital technology is inferior to film and, thus, archivists in India are struggling to preserve their film heritage for future generations. Film archivists, curators and restorers in India were interviewed as part of this study, with a thematic analysis conducted to und

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Frick, Caroline. "Beyond Hollywood: Enhancing Heritage with the ‘Orphan’ Film." International Journal of Heritage Studies 14, no. 4 (2008): 319–31. http://dx.doi.org/10.1080/13527250802155828.

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Gauthier, Christophe, and Laure Brost. "1927, Year One of the French Film Heritage?" Film History: An International Journal 17, no. 2 (2005): 289–306. http://dx.doi.org/10.1353/fih.2005.0018.

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Bąkiewicz, Justyna, Anna Leask, Paul Barron, and Tijana Rakić. "Management Challenges at Film-Induced Tourism Heritage Attractions." Tourism Planning & Development 14, no. 4 (2017): 548–66. http://dx.doi.org/10.1080/21568316.2017.1303540.

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Wantoch-Rekowski, Jacek, and Krzysztof Czarnecki. "Polish Film Institute: Selected Legal and Financial Aspects." Prawo Budżetowe Państwa i Samorządu 11, no. 3 (2024): 69–89. http://dx.doi.org/10.12775/pbps.2023.015.

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Legal issues concerning cinematography are part of the constitutional regulations concerning national heritage and cultural heritage. Supporting the development of cinematography is the main task of the Polish Film Institute. The aim of this article was to examine the legal and financial issues concerning this state legal entity (in particular, its revenues and expenses). In addition, the authors set out to determine whether the Polish Film Institute is an effective entity and whether its functioning is beneficial to Polish culture and national heritage. The publication uses a dogmatic-legal m

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Sophia Novita. "Cultural and Spiritual Representation in 'Jiwa Jagad Jawi' for Destination Branding." Mediator: Jurnal Komunikasi 17, no. 2 (2024): 412–25. https://doi.org/10.29313/mediator.v17i2.4811.

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Jiwa Jagad Jawi is a film about spiritual and cultural tourism in Central Java that takes a symbolically rich and meaningful approach. By emphasizing cultural and spiritual symbols, tourism films can enhance perceptions of travel and contribute to the growth of tourist destinations. Previous studies have extensively explored the role of films as tools for destination marketing. This study analyzes how the film constructs a destination image through the prism of Roland Barthes' semiotic theory. Using Barthes' methodology, the film is examined at both the denotative and connotative levels of sig

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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. T

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Noordegraaf, Julia, Kathleen Lotze, and Jaap Boter. "Writing Cinema Histories with Digital Databases." TMG Journal for Media History 21, no. 2 (2018): 106. http://dx.doi.org/10.18146/2213-7653.2018.369.

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The increasing availability of films and cinema-related heritage in digital form, as well as the creation and use of structured datasets related to the contexts of film production, distribution and consumption, have invited the use of new, computational approaches for studying cinema and its history. In this article, we review the online database Cinema Context (www.cinemacontext.nl) and its impact on the study of historical film cultures. Cinema Context is a relational database and research instrument for studying the history of film culture in the Netherlands. After an introduction to Cinema

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Wartika, Enok, and Apip Apip. "Penerapan Gaya Ekspositori Dalam Karya Film Dokumenter “Bandung City Of Heritage”." Panggung 33, no. 2 (2023): 256–66. http://dx.doi.org/10.26742/panggung.v33i2.2621.

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Film adalah sebuah karya seni dalam bentuk media rekam yang merepresentasikan realitas sosial dan merupakan salah satu media massa yang memiliki efek kuat pada apresiatornya. Teknik dan prinsif yang diterapkan pada film telah memberi kekuatan untuk bercerita, mengeksresikan emosi dan menyampaikan ide dalam bingkai audio visual. Dokumenter merupakan salah satu genre film yang kontenya mengungkap fakta-fakta di mana sajiannya fokus pada subjeksubjek tertentu, misalnya; ilmu pengetahuan, perjalanan, budaya, sejarah, lingkungan alam dan lingkungan sosial. Kedalaman riset dalam mengungkap data dan

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Noorwatha, I. Kadek Dwi, Gede Basuyoga Prabhawita, and I. Kadek Puriartha. "Callaccitra Undagi Mahottama: A Documentary Film on “Undagi” Bali as a Cultural Heritage Digital Repository Content." Jurnal Bali Membangun Bali 4, no. 2 (2023): 114–25. http://dx.doi.org/10.51172/jbmb.v4i2.274.

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Abstract Purpose: A film entitled Calaccitra Undagi Mahottama (CUM) is used as a model for documenting cultural actors, as a starting point and inspiration for the development of a culture-based creative industry, as suggestions on synergies between villages, local governments, educational institutions, and centers in cultural conservation with digital cultural heritage repositories. Research methods: This descriptive research empirically examines objects with a qualitative-analytic approach. The research inductively dissects the film CUM as a case object, from concept to process,

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Reijnders, Stijn, and Nicky Van Es. "Unravelling imaginative heritage." Tourism and Heritage Journal 4 (January 12, 2023): 92–110. http://dx.doi.org/10.1344/thj.2022.4.6.

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This paper focuses on media tourism - people travelling to places associated with film, TV-series, games or other forms of popular culture. In order to investigate the roles and impacts of the multiple stakeholders that are involved in this booming phenomenon, the concept ‘imaginative heritage’ is introduced. In particular, we refer to the multitude of popular, fictional narratives that have been projected upon or appropriated by specific sites throughout time and that together make up an important part of local place identity. As is argued here, imaginative heritage results from an active inv

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