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Journal articles on the topic 'Ideology in cinema'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Khalilov, Vladimir. "Contemporary American Cinema and Neoliberal Ideology." США ܀ Канада: Экономика, политика, культура, no. 2 (2019): 112–27. http://dx.doi.org/10.31857/s032120680003769-9.

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2

Chattopadhyay, Saayan. "Boyhood, Ideology, and Popular Hindi Cinema." Thymos: Journal of Boyhood Studies 5, no. 2 (2011): 138–51. http://dx.doi.org/10.3149/thy.0502.138.

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3

Al-anbiya, Dzulfikar, Aquarini Priyatna, and R. M. Mulyadi. "REPRESENTASI MUSIK SEBAGAI SEBUAH IDEOLOGI DI PESANTREN DALAM FILM BAIK-BAIK SAYANG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 3 (2018): 403. http://dx.doi.org/10.30959/patanjala.v10i3.432.

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Artikel ini membahas musik di pesantren yang direpresentasikan sebagai sebuah ideology dalam film Baik-Baik Sayang.Perdebatan ideologi yang membolehkan dan melarang musik masih diperdebatkan di kalangan ulama dapat diargumentasikan sebagai manifestasi ideologi sebuah instansi pendidikan berbasis agama Islam tertentu. Perdebatan ideologi tersebut direpresentasikan dalam film Baik-Baik Sayang dengan mengangkat cerita perjalanan sebuah band musik bernama Wali yang dibentuk di Pesantren La Tansa. Penelitian ini menggunakan pendekatan kualitatif dengan konsep media representasi Stuart Hal dan kajia

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ALPASLAN, Bahtiyar Ahu, and Kübra Özarslan. "READING THE IDEOLOGY OF CINEMA: CONSERVATIVE IDEOLOGY AND THE IRON LADY." Uluslararası Sosyal Bilimler ve Sanat Araştırmaları 2, no. 2 (2025): 1–16. https://doi.org/10.32955/neuissar2023221047.

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We are witnessing revival of conservative ideology that underlines nationalism, adapting to the crises of modernism, free market, traditions and locality in our postmodern age that represents rupture from mo-dernity and with the spread of Neoliberal economic policies all over the World. This ideology being very close to the thinking of Social Darwinism and quite problematic with the understanding of the social state, is also reflected on the cinema and is intellectually reproduced. The Iron Lady movie (“The Iron Lady”, 2011) is one of the films in which this ideology is reproduced. As a means

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Santhosh, H.K. "The Tradition of Cinema and the Tradition in Cinema - A Cultural analysis based on the history of Malayalam Cinema." International Journal of All Research Education and Scientific Methods (IJARESM) 5, no. 9 (2017): 45–50. https://doi.org/10.5281/zenodo.5622544.

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This essay seeks to analyze the evolution of Malayalam cinema by linking it with the evolution of Malayalee social identity. Here we examine how a narrative tradition that reaffirms traditional feudal values has evolved in cinema and is rooted in a caste-centric and patriarchal ideology.

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Krašovec, Primož. "Ideology placement in the context of cinema's emancipation from narrative via atmosphere." Srpska politička misao 91, no. 3 (2025): 171–91. https://doi.org/10.5937/spm91-57642.

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As advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found its way into cinema, it also allowed TV series and later films to break free from narrative and exploit the full potential of cinema as technology. With its emancipation from narrative, cinema became less representational and increasingly science-fictional at the level of (visual) form. This process

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Kuntoh, Sarah. "Is the African Cinema Definition ‘Real’ or ‘Idealistic’." International Journal of Current Research in the Humanities 26, no. 1 (2023): 25–38. http://dx.doi.org/10.4314/ijcrh.v26i1.2.

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To a large extent, the world seems to have seen more films from the West than from anywhere else. In sub-Saharan Africa for example, it was not until the early 1960s that the Africans had the opportunity to stand behind the lens to tell their own story. Unlike the cinema of the West, ‘African cinema’ was borne more out of the resistance to its representation by the West. From Ousmane Sembene’s time till now, other filmmakers from Anglophone as well as Lusophone countries have made different films on different subjects about nation and culture. But in many scholarly writings, for several years,

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8

Berliner, Todd. "Hollywood Aesthetic: Pleasure in American Cinema." Projections 14, no. 2 (2020): 90–101. http://dx.doi.org/10.3167/proj.2020.140209.

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In this reply to four commentaries on my book, Hollywood Aesthetic: Pleasure in American Cinema, I address several conceptual and methodological issues raised by the respondents. Those issues include the book’s focus on aesthetic pleasure; the functions of narrative, style, ideology, and genre in Hollywood cinema; the relationship between ideology and aesthetics; the use of scientific research in the humanities; normative aesthetic evaluations; real versus hypothetical spectators; and the practices of aesthetic film analysis.

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Brown, William. "Cinema against spectacle: technique and ideology revisited." New Review of Film and Television Studies 14, no. 2 (2015): 268–73. http://dx.doi.org/10.1080/17400309.2015.1097027.

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10

Cavendish, Philip, and David Gillespie. "Early Soviet Cinema: Innovation, Ideology and Propaganda." Modern Language Review 99, no. 1 (2004): 273. http://dx.doi.org/10.2307/3738974.

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11

Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.

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Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writer

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12

Burns, Tom. "O Cinema Anti-guerra." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 133–43. http://dx.doi.org/10.17851/2317-2096.8..133-143.

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Resumo: O presente trabalho procura estabelecer algumas características do filme anti-guerra a partir da premissa de que as diferenças culturais e raciais dos inimigos de guerra são apagadas e a noção de uma humanidade em comum, emotivamente atraente mas teoricamente problemática, é transmitida ao espectador. Argumenta-se, aqui, no entanto, que tal mensagem humanística não constitui uma proposta utópica para pôr fim à guerra, mas sim uma proposta que vem a contrapor a ideologia patriótica usada pelos governos para justificar a guerra.Palavras-chave: filmes de guerra; filmes anti-guerra; patrio

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de Vargas, Ferran. "Japan’s New Left and New Wave. An Ideology’s Perspective as an Alternative to That of National Cinema." Arts 8, no. 1 (2018): 1. http://dx.doi.org/10.3390/arts8010001.

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Starting from the perspective that national cinema is not a neutral concept, but rather a film expression with ideological implications, in this article I will argue that what should be analysed in films is not what connects them to certain nations, but with certain ideologies. Rather than claiming the national nature of a film, it is more accurate to identify for instance elements of a national ideology underlying the film. It can be more enriching to analyse different film trends that are based on their connections with different ideologies, thus stressing their political nature, and then hi

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Çalışkan, Özgür. "Ideology in Science-Fiction Film Genre: TRON: Legacy / Bilim-Kurgu Film Türünde İdeoloji Örneği: TRON Efsanesi." Kurgu 24, no. 1 (2016): 86–110. https://doi.org/10.5281/zenodo.4564068.

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Every film genre has its own ideological set of rules and every film that belongs to its genre follows those rules to strengthen ideological perspective and features of the genre. For this matter, in producing blockbuster films, science fiction is a genre in which it is possible to combine the ideological discourse with the elements of popular culture under the audio-visual narrated representation of cinema. TRON has a specific place in the history of science-fiction cinema because it is computer-generated animation and claims an alternative world, not a future world, where machines oppose hum

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Akter, Tutku, and Serife Incirlili. "The Reciprocal Relationship between Turkish Cinema and Politics: The Portrayal of ‘Atatürk’ as a Political Leader in Filmic Narrative." Academic Journal of Interdisciplinary Studies 6, no. 1 (2017): 77–86. http://dx.doi.org/10.5901/ajis.2017.v6n1p77.

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Abstract As is known, various studies on the history and development of cinema have shown the reciprocal relationship between cinema and politics. In this regards, it is possible to assume that Hollywood cinema, is not the only cinema that draws attention. During the study, for the purposes of clarifying the interrelationship between “representation” and “ideology” as a modus operandi of Turkish cinema, the portrayal of Atatürk in “Mustafa” will be investigated. The main reason for analyzing this movie in particular it that it is one of the most widely criticized (ideologically) movies on Atat

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Karamanić, Slobodan, and Ivana Momčilović. "Cinema antikomunisto, or how ideology doesn't move anything." Studies in Eastern European Cinema 8, no. 3 (2017): 211–31. http://dx.doi.org/10.1080/2040350x.2017.1302313.

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17

McKenzie, Susan. "Review: Canadian National Cinema: Ideology, Difference and Representation." Media International Australia 104, no. 1 (2002): 131–33. http://dx.doi.org/10.1177/1329878x0210400117.

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18

Weiher-Sitkiewicz, Krystyna. "W poszukiwaniu głównego nurtu w polskim kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 56–68. http://dx.doi.org/10.26881/pan.2018.19.04.

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In this text, the author seeks what the main stream in contemporary domestic cinematography is. Following the definitions of mainstream by Mirosław Przylipiak from the text “The Notion of Mainstream Film in Contemporary Cinema”, the author distinguishes two ways of understanding this phenomenon in the context of Polish cinema. First of all, these productions are commercial, with a large budget, with stars in the cast, profit-oriented, aimed to appeal to a mass audience (e.g. copying global Hollywood formats and presenting it through Polish lenses); secondly, they are films propagating a domina

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Val, Perrine. "Imaginer une Allemagne socialiste : le rôle du cinéma dans la construction de l’identité nationale est-allemande." Caietele Echinox 40 (June 28, 2021): 89–104. http://dx.doi.org/10.24193/cechinox.2021.40.07.

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"DEFA, the company responsible for film distribution and production in the Eastern part of Germany, was founded in 1946, three years before the GDR. This shows the central place of cinema in the GDR, which seeks to build a socialist German identity in the ruins of post-war and fascism while asserting itself against the neighboring FDR. The DEFA’s cinema first served the official socialist ideology by proposing historical productions depicting communist heroes fighting against fascism. Whether the film directors agree with this ideology or not, their films also illustrate the flaws that charact

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Ingle, Hrishikesh. "Book Review: Swarnavel Eswaran Pillai, Madras Studios: Narrative, Genre, and Ideology in Tamil Cinema." BioScope: South Asian Screen Studies 9, no. 1 (2018): 110–13. http://dx.doi.org/10.1177/0974927618767298.

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21

Zhdankova, E. A. "“GIVE THE WORKER A REST AT THE CINEMA”: UNDERSTANDING LEISURE IN THE 1920s." Вестник Пермского университета. История, no. 2 (2024): 168–80. http://dx.doi.org/10.17072/2219-3111-2024-2-168-180.

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The paper examines the emergence of discussions about urban leisure culture in the USSR and its purpose in the context of a new ideology in the first post-revolutionary decade. Particular emphasis is placed on the evolution of the very ideas about the concepts of rest, leisure and entertainment, and the use of free time in the context of ideas about control over working time and experiments with the calendar. What is a worker’s leisure time and why is rest needed? The free time of the so-called new Soviet man was understood through the dichotomy of leisure time and work time. Criteria for “cor

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22

Yudin, Kirill. "Cinema politics and ideology of the USA during the Cold War." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-1 (2020): 84–97. http://dx.doi.org/10.31166/voprosyistorii202012statyi07.

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The article analyzes the specifics of American ideology and cultural space, its influence on the activities of state and public institutions, the position of representatives of the theater and cinema corporation in the United States under conditions of control and censorship, propaganda pressure. Conclusions are drawn about the consequences of forced segregation of filmmakers into «friends» and «strangers» - the need to adapt in an atmosphere of «cold» information and ideological challenges, the examination of media-texts (films) and their images for political reliability. The ambiguity and in

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Chowdhury, Elora Halim. "Ethical Reckoning." Meridians 20, no. 1 (2021): 151–73. http://dx.doi.org/10.1215/15366936-8913151.

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Abstract In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins’s conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patter

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Fornoff, Carolyn. "Mexican cinema as petrocinema." Studies in Spanish & Latin-American Cinemas 18, no. 3 (2021): 377–87. http://dx.doi.org/10.1386/slac_00063_1.

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What if thinking about Mexican cinema in concert with the environment had implications beyond representation? This article brings ecocritical methodologies into conversation with industry studies to propose that reading Mexican cinema in tandem with energy has sweeping repercussions for the study of Mexican cinema. It highlights several potential avenues of inquiry that consider Mexican cinema as petrocinema. These include the film industry’s funding, infrastructure, material footprint and inextricability from the ideology of energy surplus as the driver of modernity. This capacious approach t

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Zhang, Yingjin. "Industry and Ideology: A Centennial review of Chinese Cinema." World Literature Today 77, no. 3/4 (2003): 8. http://dx.doi.org/10.2307/40158167.

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Cooper, Mark Garrett. "Love, Danger, and the Professional Ideology of Hollywood Cinema." Cultural Critique, no. 39 (1998): 85. http://dx.doi.org/10.2307/1354552.

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Zhong, Ouyuan. "The Values in the Hollywood Cinema Market." Highlights in Business, Economics and Management 22 (December 27, 2023): 41–46. http://dx.doi.org/10.54097/48wmag55.

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Some have misled Hollywood cinema with impressions due to some conception that it is limited to big budgets, stars, special effects, and extensive publicity campaigns. However, it encompasses more than investment diversification, production, and commercial propaganda feature. In other words, beyond the illustrative classic Hollywood pre-sold mechanism, monopoly, and overseas market, it supports values and serves as multicultural, sexual and race equality. This paper lists the phenomenon that contemporary Hollywood cinema is revenue-driven, resulting in many low-quality and quantity reproductio

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Khalilov, Vladimir. "Hollywood and the Left Ideology." Russia and America in the 21st Century, no. 9 (2024): 0. http://dx.doi.org/10.18254/s207054760032419-7.

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. The article is focused on the reflection of Leftist ideas and the portrayal of their advocates in Hollywood filmmaking, as well as leftist activism within the cinema industry itself. The author examines the filmmakers&apos; appeal to leftist narratives throughout Hollywood history, from the first &quot;Red Menace&quot; to the current struggle for social equity and justice. The author suggests that despite the temporary preoccupation of Hollywood figures with radical belief systems, these systems find themselves reflected on the screen only in exceptional cases, and that the domin

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Yulia, V. Nikolaeva, A. Grimalskaya Svetlana, V. Petrosyants Daniel, E. Zulfugarzade Teymur, V. Maystrovich Elena, and A. Shestak Victor. "Philosophical view of multiculturalism in modern European cinematography." European Journal of Science and Theology 14, no. 6 (2018): 205–14. https://doi.org/10.5281/zenodo.1472151.

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The article focuses on presenting the importance of the recent changes in the European cinema industry. For the last twenty years we have been witnessing the changes in the process of creating films and in their meaning content. The shift from the classical national cinema (traditional films representing the country in the international arena, with their specific plots, genres, persons, names and means) to lots of films created by descendants from different ethnics and cultures, with their unexpected ideas and solutions their films are based on and that astonish us, as well as the methods used

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de Vargas, Ferran. "Japanese New Left's Political Theories of Subjectivity and Ōshima Nagisa's Practice of Cinema." positions: asia critique 30, no. 4 (2022): 679–703. http://dx.doi.org/10.1215/10679847-9967305.

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Abstract Although much has been written about the political theories of several thinkers associated with the Japanese New Left, to gain a better understanding of those theories a perspective that conceives them as a conversation within a unitary ideology is needed. Likewise, we know little about how media forms other than the written word contributed to this conversation. To address these gaps in our understanding, this article investigates how the practice of cinema, through the paradigmatic example of Ōshima Nagisa's film Kōshikei 絞死刑 (Death by Hanging) (1968), intervened in the Japanese New

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İnce, Selami. "Ideological Representation in Turkish Cinema and Turkish Cinema During the AK Party Era." Border Crossing 15, no. 1 (2025): 15–31. https://doi.org/10.33182/bc.v15i1.2903.

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Cinema has long been recognized by governments for its societal influence, and Turkey is no exception. During the early years of the Republic, while all fine arts flourished under state protection, cinema did not receive the same level of support. However, Turkish cinema evolved in line with the Republic's official ideology, emphasizing values such as modernization and secularism. As the government acknowledged cinema's power, it began directing the industry to align with state interests, promoting a "Western" worldview. Following the rise of the Justice and Development Party (AK Party) in 200

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Kniaziuk, Olesya V., and Veronika V. Sennikova. "Identity construction in children's cinema: the experience of cinema in the USSR and the practice of modern Russia." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 53–72. http://dx.doi.org/10.17223/22220836/46/5.

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The article is devoted to the formation spectator-child's identity problem by cinematography means. The authors rely on the social constructionism position. The position allows us to talk about the socio-cultural reality construction by cinematography means: about the creation of an artistic and symbolic world model. The values or ideology system guidelines developed within the framework of the USSR ideology and meeting the tasks socio-political, socio-economic structure is the model based. Cinematography, namely children's cinema, aimed at an educational role, broadcasts these attitudes, incl

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Chakrabarti, Pritha. "The disavowal of dance as labour in popular Hindi cinema." Studies in South Asian Film & Media 11, no. 2 (2020): 209–23. http://dx.doi.org/10.1386/safm_00029_1.

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In this article, I analyse screendance texts from Hindi cinema to introduce a theoretical framework called the ideology of amateurism which, I argue, made space within the narrative of the Hindi film for the ‘ideal’ Indian woman to dance publicly while simultaneously disavowing modernity. Through an analysis of selected film dance texts, I show how this turned the dancing heroine into the restorer of the moral order of the narrative. I argue that this ideology of amateurism amounted to a denial of dance labour, which was a necessary precondition for the cultural legitimation of the viewers’ de

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Vaux, Sara Anson. "Transnational Cinema and Ideology: Representing Religion, Identity and Cultural Myths." Journal of Contemporary Religion 31, no. 1 (2015): 149–51. http://dx.doi.org/10.1080/13537903.2016.1109898.

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Egorov, Stanislav O. "Cinema, History, Ideology: Possible Approaches to the Film Text Interpretation." Historical Courier, no. 5 (October 28, 2022): 11–20. http://dx.doi.org/10.31518/2618-9100-2022-5-1.

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Diez Puertas, Emeterio. "Cine español en la Argentina: La exportación del nacionalismo ruralista." RIHC. Revista Internacional de Historia de la Comunicación 2, no. 15 (2020): 42–65. http://dx.doi.org/10.12795/rihc.2020.i15.03.

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The first Francoism created a film policy based on autarky, that is, on strict control of foreign trade for both economic and ideological reasons. It was necessary to control the balance of payments and the ideology of foreign governments. This is how, after the Second World War, Argentina became the main partner of the regime. Above all because the importation of cereals is vital to alleviate hunger. Moreover, to solidify these relationships, a cultural exchange is encouraged in which the cinema plays an important role. Specifically, the purpose of these pages is to study the commercial, arti

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Danaher, David S. "Ideology as Performance in The Power of the Powerless." East European Politics and Societies: and Cultures 32, no. 2 (2018): 266–70. http://dx.doi.org/10.1177/0888325417742490.

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While ideology is a central concept in Václav Havel’s master essay, at no point does he operate with a standard definition of the term. Instead, Havel “defines” ideology in metaphorical and performative terms, reframing our understanding of its meaning and power in the modern world by focusing on its pre-political operation. This point has yet to be appreciated by scholars of Havel. To better understand the import of Havel’s approach, this essay details metaphorical contexts for ideology in The Power of the Powerless and draws connections to ideological performativity in Havel’s plays from the

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Kenez, Peter. "The Cultural Revolution in Cinema." Slavic Review 47, no. 3 (1988): 414–33. http://dx.doi.org/10.2307/2498389.

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The NEP was an inherently unstable social and political system: It contained within itself the seeds of its own destruction. The Bolsheviks carried out policies in which they did not fully believe and with implications that worried them. Although the Tenth Party Congress in 1921 forbade factions within the party, the struggle for power during Lenin's final illness and after his death inevitably created factions. The struggle for power and the conflict between contrasting views concerning the future of society came to be intertwined. For the sake of economic reconstruction the party allowed pri

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

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Modern social science pays more attention to the study of social consciousness, forms and means of communication, methods of self-identification of human communities. A sufficient number of studies can be found on the influence of information on mass consciousness. In this regard, some thoughts and research have arisen about how a certain ideology can penetrate the consciousness of people through the media. This interest of scientists is largely related to various sources (text, visual, etc.) of information in modern society, which is accessible to the masses. This work focuses on the forms of

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Rees, Ellen. "Norwave: Norwegian Cinema 1997-2006." Scandinavian-Canadian Studies 19 (December 1, 2010): 88–110. http://dx.doi.org/10.29173/scancan51.

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ABSTRACT: This article will examine Norwegian cinema from 1997 to 2006, a period marked by a growing awareness of both the international film market and the demands of an increasingly sophisticated domestic market on the part of Norwegian filmmakers. This period has come to be known as “Norwave.” It will be argued that the films of the Norwave attempt a two-fold task—on the one hand they seek to gain international acclaim of the kind associated with the likes of the Danish Dogma 95 directors and Finnish director Aki Kaurismäki, while on the other hand they attempt to create a public forum for

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Sokołowski, Marek. "Polskie kino lat 1949–1955 wobec realizmu socjalistycznego. Ideologiczna mobilizacja jako kontekst dla myśli pedagogicznej." Problemy Wczesnej Edukacji 39, no. 4 (2017): 105–13. http://dx.doi.org/10.26881/pwe.2017.39.10.

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The article concerns a specific period in the history of Polish cinematography, called socialist realism (1949–1954). The new style of filmmaking (according to the ideology of the Polish Communist Party), was imposed by the filmmakers, but was not accepted by the cinema audience.

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Sarı Aksakal, Betül. "The Ultimately Determinant Role of Economy in Yilmaz Güney's Movies: An Essay From the Perspective of Marxist Theory." CINEJ Cinema Journal 12, no. 2 (2024): 93–143. https://doi.org/10.5195/cinej.2024.622.

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The study examines a different aspect of the films of actor, screenwriter, and director Yılmaz Güney, who brought a new sense of reality to Turkish cinema. Güney's film Umut (The Hope), which he acted and directed in 1970, is a turning point for Yılmaz Güney cinema and Turkish cinema. The breath of Marxism can be felt in almost all of Yılmaz Güney's films after The Hope. In his films, Güney aimed to convey to the audience the fundamental contradictions of Turkish capitalism, the socioeconomic inequalities it created, and the resulting class differences. It can be argued that Güney's films disc

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Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 55. http://dx.doi.org/10.25038/am.v0i16.254.

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In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online

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Sellier, Geneviève. "André Bazin, Film Critic for Le Parisien libéré (1944–1958): An Enlightened Defender of French Cinema." Paragraph 36, no. 1 (2013): 118–32. http://dx.doi.org/10.3366/para.2013.0081.

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This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day (plot summary and evaluation of actors' performances) to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war France. Four, Bazin remains blind t

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Raj, Sony Jalarajan, and Adith K. Suresh. "Forbidden spectacles of a bygone era: An analysis of Malayalam cinema’s soft-porn noon-show culture." Studies in South Asian Film & Media 16, no. 2 (2024): 221–38. https://doi.org/10.1386/safm_00091_1.

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The cultural paradigms of the soft-porn era in Malayalam cinema had an emancipatory quality where the precarious body of the ‘bombshell’ starlets captivated the voyeuristic perceptions of regional spectators. The celebration of these films by a suburban audience constructed a new public space for the realization of carnal desires and taboo fantasies. This article investigates how the soft-porn noon-shows contributed to a unique cultural experience of film-viewing in Kerala in the late 1990s that challenged the cultural elitism associated with regional cinema. It investigates the role of the au

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

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

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Kazurova, Natalia V., and Ekaterina Yu Trushkina. "THE SPACE OF WOMEN’S FREEDOM IN AZERBAIJANI CINEMA OF THE 1920-1930S. BETWEEN ADAT AND SOVIET IDEOLOGY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2024): 118–34. http://dx.doi.org/10.28995/2686-7249-2024-2-118-134.

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Azerbaijani cinema is considered in the article as a phenomenon of national Art in the transit period on the cross of avant-garde trends of the 1920s and the ‘great’ Stalinist style of the first half of the 1930s. That time film directors of the republic like many others in the Soviet Union were focused on ‘the women’s issue’. The local specifics combined with the cross-cultural and interregional dialogue in cinema formed the common thematic tasks that were all across the Soviet Union but the same time, local and national specific emerged on the screens. The article studies four films that exp

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Kozyryanov, Anton. "THE STATE OF THE SOVIET FILM INDUSTRY IN THE 1930s." Izvestia of Smolensk State University, no. 1 (49) (May 26, 2020): 187–97. http://dx.doi.org/10.35785/2072-9464-2020-49-1-187-197.

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Soviet cinema of the 1930s has long been of particular interest for historians from Russia and abroad. For a long time in historiography, the Soviet art of the 1930s has been associated with the Soviet ideology and propaganda of the stated period. This topic was considered by the outstanding historians such as David Brandenberg, Boris Ilzarov, Yevgeny Gromov, Alexander Dubrovsky, Katerina Clark, etc. At the same time, in the studies on this topic, as a rule, focuses is made on the formation of Russian national ideology in the Soviet Union in the 1930s. In the center of historical r

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Slesarchuk, V. A. "SOVIET CINEMATOGRAPH AS A HISTORICAL SOURCE IN CONTEMPORARY RUSSIAN HISTORIOGRAPHY." Bulletin of Udmurt University. Series History and Philology 32, no. 6 (2022): 1339–49. http://dx.doi.org/10.35634/2412-9534-2022-32-6-1339-1349.

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The article is dedicated to the use of soviet cinema as a historical source in modern Russian historiography. The purpose of the study is a definition of current trends and main streams in this field of historical science. The author considers some methodological aspects and most popular topics raised by the researchers, highlighting the works of a historical perspective. The following approaches in historiography are distinguished: the study of cinema as a historical source of daily and political history of a particular era; cinematography as a tool of official soviet ideology and indoctrinat

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Stefanson, Blandine. "Renewal in African cinema: genres and aestheticsIssue 2: Aesthetics and ideology." Journal of African Cinemas 1, no. 2 (2009): 139–40. http://dx.doi.org/10.1386/jac.1.2.139/2.

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