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Journal articles on the topic 'Landscape in cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Lefebvre, Martin. "On Landscape in Narrative Cinema." Canadian Journal of Film Studies 20, no. 1 (2011): 61–78. http://dx.doi.org/10.3138/cjfs.20.1.61.

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2

Camacho, Sandra. "International Conference on Landscape and Cinema." Aniki : Revista Portuguesa da Imagem em Movimento 6, no. 2 (2019): 201–4. http://dx.doi.org/10.14591/aniki.v6n2.538.

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Entre 3 e 5 de Dezembro de 2018 decorreu, na Faculdade de Letras da Universidade de Lisboa, a ‘International Conference on Landscape and Cinema’ no âmbito do programa desenvolvido pelo cluster Cinema e o Mundo do Centro de Estudos Comparatistas.

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Ginsberg, Terri. "Palestinian Cinema: Landscape, Trauma, and Memory." Middle East Journal of Culture and Communication 2, no. 2 (2009): 315–21. http://dx.doi.org/10.1163/187398509x12476683126626.

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4

Bottomore, Stephen. "Carmontelle’s landscape transparencies: cinema of the Enlightenment." Early Popular Visual Culture 10, no. 1 (2012): 96–97. http://dx.doi.org/10.1080/17460654.2012.646758.

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5

Benson-Allott, Caetlin. "On Platforms." Film Quarterly 73, no. 1 (2019): 68–72. http://dx.doi.org/10.1525/fq.2019.73.1.68.

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FQ Columnist Caetlin Benson-Allott explores the long-standing relationship between alcohol and cinema-going. She traces the history of this growing trend in movie concessions, beginning with cinema's debut at the Grand Café de Paris, whose menu certainly included alcohol. Noting the physiological effects of alcohol consumption on the viewer, she argues that moderate drinking can make mediocre movies more enjoyable. Alcohol has also helped shaped the current landscape of cinema exhibition by providing a profitable revenue stream for independent and microcinemas in addition to helping them foste

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6

Laberge, Yves. "Cinema and Landscape: Film, Nation and Cultural Geography." Journal of Cultural Geography 28, no. 3 (2011): 462–64. http://dx.doi.org/10.1080/08873631.2011.615650.

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7

Hanson, Stuart. "‘Entering the age of the hypermarket cinema’: The First Five Years of the Multiplex in the UK." Journal of British Cinema and Television 14, no. 4 (2017): 485–503. http://dx.doi.org/10.3366/jbctv.2017.0390.

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During the first five years of its development from the opening of The Point in Milton Keynes in 1985, multiplex cinemas radically changed the previous exhibition landscape, modernising the business of cinema exhibition and shifting the site of film consumption to new, out-of-town shopping and leisure centres. This article considers certain key developments in that initial period of the multiplex cinema's introduction into the UK, with particular emphasis on three aspects of its diffusion: the importance of regeneration and enterprise, the multiplex's role in stimulating associated leisure and

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Past, Elena. "Itinerant Ecocriticism, Southern Thought, and Italian Cinema on Foot." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (2020): 26–33. http://dx.doi.org/10.37536/ecozona.2020.11.2.3501.

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This short essay explores an impulse guiding Italian ecocriticism, and also a recurrent trend in Italian cinema: that of thinking on foot. Drawing on the work of sociologist and philosopher Franco Cassano, I consider why contemporary philosophers seek to understand Italy at a pace that works strategically (sometimes defiantly) against petroleum-fueled speed. Brief examples from three recent Italian films that proceed on foot (Basilicata Coast to Coast [2010], La lunga strada gialla [2016], and Il cammino dell’Appia antica [2016]) attempt to reanimate southern Italian landscapes as “vehicles of

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Petrie, Duncan. "A Changing Visual Landscape: British Cinematography in the 1960s." Journal of British Cinema and Television 15, no. 2 (2018): 204–27. http://dx.doi.org/10.3366/jbctv.2018.0415.

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British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white

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10

Mishra, Naveen. "What’s in the Backdrop: Representation of Landscape in Bollywood Cinema." CINEJ Cinema Journal 7, no. 1 (2018): 116–41. http://dx.doi.org/10.5195/cinej.2018.191.

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Representation of landscape images is a ubiquitous feature of Bollywood films that provides cinematicscape to the storyline and aims to appeal to the sentiments and emotions of the audience by engaging with the narrative. Landscape images engage in the process of making and unmaking of meanings because of their symbolic value that constitute a sense of place and underpin human relations with immediate and distant spaces. Notwithstanding the ubiquity of its images in Bollywood cinema and its centrality to forming the collective imagination and, thereby, the sense of place for audience, landscap

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11

Verheul, Jaap. "Italy in Early American Cinema: race, landscape, and the picturesque." Historical Journal of Film, Radio and Television 31, no. 2 (2011): 327–29. http://dx.doi.org/10.1080/01439685.2011.574460.

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12

Smyer Yu, Dan. "Pema Tseden's Transnational Cinema: Screening a Buddhist Landscape of Tibet." Contemporary Buddhism 15, no. 1 (2014): 125–44. http://dx.doi.org/10.1080/14639947.2014.890355.

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13

Shi, Qian Fei, and Yu Tao Wang. "Discussion on Guidance Space and Mediation Space Environment Design in Cinema." Advanced Materials Research 224 (April 2011): 12–16. http://dx.doi.org/10.4028/www.scientific.net/amr.224.12.

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In recent years, with the accelerating process of urbanization and increasing environmental problems, there has been increasing awareness of environmental quality for the taste of the importance of building space. Therefore, many buildings actively create the garden space environment in order to further improve the environment, enhance the image of architectural space and taste the environment. China has a rich cultural heritage and development advantages. Chinese contemporary landscape design should fully learn the traditional classical garden design, construction techniques and artistic expr

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14

Weik von Mossner, Alexa. "Empathy, Emotion, and Environment in Alternative Australian Landscape Cinema: The Case of Rabbit-Proof Fence." Emotions: History, Culture, Society 3, no. 2 (2019): 245–65. http://dx.doi.org/10.1163/2208522x-02010059.

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Abstract The article aims to complement contextual analyses of the political, ideological and commercial uses of natural environments in Australian landscape cinema by exploring from a cognitive perspective exactly how such environments are foregrounded in ways that affect viewers’ emotional relationships to both characters and the environments themselves. Phillip Noyce’s Rabbit-Proof Fence (2002) serves as an example of a film that aims for a realistic portrayal of the physical hardship of the Australian outback, while also using that cinematic environment strategically to reinforce viewers’

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15

Straube, Wibke. "Ecological Aesthetics of Intimate Otherness in Swedish Trans Cinema." lambda nordica 25, no. 3-4 (2021): 79–102. http://dx.doi.org/10.34041/ln.v25.709.

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This article is an exploration of trans and non-binary representation in independent Swedish film productions. Two award-winning films, Pojktanten (She Male Snails, 2012) and Nånting måste gå sönder (Something Must Break, 2014), created by director Ester Martin Bergsmark (in collaboration with author Eli Levén), will be in focus and discussed through their ecological aesthetics that build on what I call intimate otherness. The two films represent not only a significant debut moment for Swedish trans cinema, but also offer a radical engagement with nature and the unnatural. While Bergsmark’s fi

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16

Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Ham

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17

Bertellini, Giorgio. "The Earth Still Trembles: On Landscape Views in Contemporary Italian Cinema." Italian Culture 30, no. 1 (2012): 38–50. http://dx.doi.org/10.1179/0161-462211z.0000000002.

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18

Dickinson, K. "Palestinian Cinema: Landscape, Trauma, and Memory * Lebanese Cinema: Imagining the Civil War and Beyond * Insights into Syrian Cinema: Essays and Conversations with Contemporary Filmmakers." Screen 50, no. 3 (2009): 351–54. http://dx.doi.org/10.1093/screen/hjp022.

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19

Lee, Young Ji. "Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019)." Asian Cinema 31, no. 2 (2020): 279–83. http://dx.doi.org/10.1386/ac_00029_5.

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20

Eugenia Fioravante, Karina. "Geografia e Cinema: a releitura dos conceitos de espaço, paisagem e lugar a partir das imagens em movimento." Ateliê Geográfico 12, no. 1 (2018): 272–97. http://dx.doi.org/10.5216/ag.v12i1.43532.

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Resumo A relação entre a Geografia e o Cinema é cada vez mais expressiva. Quando observamos o número de publicações, especialmente a partir dos anos 1980, é possível perceber que o interesse dos geógrafos pelas imagens em movimento tornou-se, também, consideravelmente plural. Os problemas de pesquisa construídos pelos pesquisadores fascinam pela diversidade e encantam pelo refinamento conceitual alcançado. Nesse sentido, esse artigo tem como objetivo refletir acerca das novas problematizações dos conceitos de espaço, paisagem e lugar criadas a partir da aproximação entre a Geografia e Ci

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21

Bhattacharya, Binayak. "Seeing Kolkata: Globalization and the Changing Context of the Narrative of Bengali-ness in Two Contemporary Films." Asiatische Studien - Études Asiatiques 73, no. 3 (2020): 559–74. http://dx.doi.org/10.1515/asia-2019-0050.

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AbstractThe article engages with the question of an exclusivity, an ‘otherness’ of the Bengali culture, in the available representative modes of Indian cinema. It studies the socio-cultural dynamics through which this ‘otherness’ can be found reorienting itself in recent years in a globalized perspective. It takes two contemporary films, Kahaani (Hindi, 2012) and Bhooter Bhobishyot (Bengali, 2012) to dwell upon. The analysis aims to historicise the construction of a cultural stereotype called ‘Bengali-ness’ in Indian cinema by marking some significant aspects in the course of its historical de

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22

Twomey, Robert, and Michael McCrea. "Transforming the Commonplace through Machine Perception: Light Field Synthesis and Audio Feature Extraction in the Rover Project." Leonardo 50, no. 4 (2017): 400–408. http://dx.doi.org/10.1162/leon_a_01458.

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Rover is a mechatronic imaging device inserted into quotidian space, transforming the sights and sounds of the everyday through its peculiar modes of machine perception. Using computational light field photography and machine listening, it creates a kind of cinema following the logic of dreams: suspended but mobile, familiar yet infinitely variable in detail. Rover draws on diverse traditions of robotic exploration, landscape and still-life depiction, and audio field recording to create a hybrid form between photography and cinema. This paper describes the mechatronic, machine perception, and

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23

Kempna-Pieniążek, Magdalena. "Beneath the surface: On the significance of the underground and underwater landscapes in selected documentaries by Werner Herzog." Polish Journal of Landscape Studies 3, no. 6 (2020): 121–29. http://dx.doi.org/10.14746/pls.2020.6.8.

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Werner Herzog’s films grow out of landscapes. The frames opening his works very often present landscapes whose role goes beyond illustrative or informative functions. Analyzing films such as Encounters at the End of the World, Cave of Forgotten Dreams, and Into the Inferno, the text reconstructs the meanings inscribed in Herzog’s underground and underwater landscapes. The journey beneath the surface of spaces dominated by nature usually constitutes an equivalent of the journey into culture in the director’s works. In a sense, they are films laced with reflection about experiencing landscapes.

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24

Andersson, Johan. "Landscape and Gentrification: The Picturesque and Pastoral in 1980s New York Cinema." Antipode 49, no. 3 (2016): 539–56. http://dx.doi.org/10.1111/anti.12310.

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25

Martins, India Mara. "A paisagem potencializando a atmosfera filmica em Viajo porque preciso, volto porque te amo // The landscape enhancing the filmic atmosphere in Viajo porque preciso, volto porque te amo." Contemporânea Revista de Comunicação e Cultura 17, no. 2 (2019): 305. http://dx.doi.org/10.9771/contemporanea.v17i2.26213.

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O objetivo deste artigo é refletir sobre a representação da paisagem no cinema contemporâneo brasileiro e sua capacidade de potencializar determinadas atmosferas. O cinema contemporâneo brasileiro, de ficção e não ficção, tem apostado na representação de paisagens muito diversas, do sertão nordestino às grandes cidade. Neste artigo retomamos os principais estudos sobre a representação do espaço no cinema e algumas noções sobre paisagem e atmosfera fílmica, que serão os aspetos analisados em Viajo porque preciso, volto porque te amo (2009), de Karim Ainouz e Marcelo Gomes.

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26

Uffreduzzi, Elisa. "Tarantella Dance in Early Cinema: A Pillar of Neapolitan Urban Architecture." Nineteenth Century Theatre and Film 46, no. 2 (2019): 210–23. http://dx.doi.org/10.1177/1748372719865552.

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In the early years of the twentieth century, cinema joined the multitude of images (such as paintings, photographs, and engravings) which were spreading worldwide postcard stereotypes of Naples and its surrounds. The icons of this topographical myth included the natural beauties of the region and the monuments of the city, but also the citizens themselves. In fact, from macaroni eaters to tarantella dancers and brigands, they were an essential part of the urban landscape. This paper especially focuses on the Neapolitan tarantella dance and its local variants in silent cinema, examining how the

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27

Barnes, Anne. "Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema." Critical Arts 31, no. 5 (2017): 156–70. http://dx.doi.org/10.1080/02560046.2017.1386702.

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28

Wheeler, Duncan. "The Malaga Festival: Cinema, Celebrity, and Culture." Film Quarterly 73, no. 1 (2019): 85–91. http://dx.doi.org/10.1525/fq.2019.73.1.85.

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Now in its twenty-second edition, the Malaga Festival of Film in Spanish can hardly compete for cultural capital with Spain's renowned San Sebastián Film Festival or, for that matter, with its long-standing counterparts in Valladolid, Seville, or Gijón. As the only major forum of its kind dedicated to Spanish cinema and, since 2016, to cinema in Spanish, the Malaga Film Festival nevertheless occupies a unique place in the national film landscape and consciousness. Culture has been central to the recent makeover of the Andalusian city, the birthplace of Pablo Picasso and Antonio Banderas. Festi

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Uthaman, Arya. "Film as a Mirror: Redefining Witi Ihimaera’s The Whale Rider." SMART MOVES JOURNAL IJELLH 7, no. 11 (2019): 8. http://dx.doi.org/10.24113/ijellh.v7i11.10127.

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This article attempts to discuss the cultural and comparative analysis between the visions in the novel The Whale Rider and the cinematic adaptation of the same. The novel and the cinema concentrated on the central character in the film Paikea and her struggles to break out of the hyper masculine orthodox visions of her grandfather Koro. It would then try to understand the implications of the cinema and its visions on gender and its reverberation and how it resonate the modern world in the cultural and political landscape of the present New Zealand and modern people. Maori culture of New Zeala

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Chirumbolo (book editor), Paolo, Luca Pocci (book editor), and Andrea Mirabile (review author). "La rappresentazione del paesaggio nella letteratura e nel cinema dell’Italia contemporanea. The Representation of Landscape in Contemporary Italian Literature and Cinema." Quaderni d'italianistica 35, no. 1 (2015): 175–77. http://dx.doi.org/10.33137/q.i..v35i1.22372.

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31

Horak, Laura. "Landscape, Vitality, and Desire: Cross-Dressed Frontier Girls in Transitional-Era American Cinema." Cinema Journal 52, no. 4 (2013): 74–98. http://dx.doi.org/10.1353/cj.2013.0041.

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32

Pett, Emma. "A new media landscape? The BBFC, extreme cinema as cult, and technological change." New Review of Film and Television Studies 13, no. 1 (2014): 83–99. http://dx.doi.org/10.1080/17400309.2014.982910.

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Silva, Felipe Santos, Genilda Maria da Silva, and Ricardo Santos de Almeida. "CINEMA E ENSINO DE GEOGRAFIA: o uso do filme Rio 2 em sala de aula - uma proposta didática para além das paisagens." Revista Brasileira de Educação em Geografia 7, no. 14 (2018): 254–66. http://dx.doi.org/10.46789/edugeo.v7i14.410.

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Esta prática tem como intuito propor a linguagem fílmica como recurso didático no ensino de Geografia, pois acreditamos que o cinema é uma arte capaz de aproximar os fenômenos geográficos, que podem parecer distantes do universo escolar, a realidade dos alunos. Com base nos Parâmetros Curriculares Nacionais: Geografia (PCN’s) de 1998, desenvolvemos uma proposta de plano de aula com o a utilização do Filme Rio 2, à luz do entendimento dos elementos geográficos presentes no quarto ciclo do ensino fundamental, em específico o nono ano. A proposta de plano de aula encontra-se sustentada, principal

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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 si

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Burgin, Alice, Andrew McGregor, and Colin Nettelbeck. "Not dead yet: Three takes on auteurism in contemporary French and Francophone cinema." French Cultural Studies 25, no. 3-4 (2014): 396–407. http://dx.doi.org/10.1177/0957155814534146.

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Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial empire, the end of the Cold War and the rise of a vastly transformed global order, the French cinema industry, including many historians and critics, see

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36

LAVRENOVA, OLGA A. "CINEMA SPACES: AN IMAGINATIVE WORLD OF THE CULTURAL LANDSCAPE. REVIEW OF THE 6TH INTERNATIONAL SCIENTIFIC CONFERENCE “GEOGRAPHY OF ART”." Art and Science of Television 16, no. 3 (2020): 159–76. http://dx.doi.org/10.30628/1994-9529-2020-16.3-159-176.

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The international scientific conference “Geography of Art” is devoted to the development of a wide problematic field of interaction between art and geographic space. It traditionally considers not only spacing of artifacts and monuments over the earth’s surface, but also specific features related to the reflection of geographical space in art and creation of fantasy worlds in which the dependence on consistent patterns of the real world formation can easily be traced. The conference has been held since 2009; it was initiated by the geographer Yu.A. Vedenin and carried forward by the philosophe

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37

Lippit, Akira Mizuta. "Hong Sangsoo's Lines of Inquiry, Communication, Defense, and Escape." Film Quarterly 57, no. 4 (2004): 22–30. http://dx.doi.org/10.1525/fq.2004.57.4.22.

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Abstract This article looks at the first four films of contemporary Korean filmmaker Hong Sangsoo. It seeks in particular to explore Hong's use of ““lines”” as geographical and behavioral figures that chart the contemporary landscape of South Korea at a complex moment in its history. The lines that traverse Hong's world produce a cinema of tangled webs and knotted relations.

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Stroeva, Olesya V. "The ‘hero archetype’ in the neo-mythological context of contemporary screen culture." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 116–26. http://dx.doi.org/10.17816/vgik112116-126.

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The essay examines the image of the hero in the contemporary neo-mythological field of mass screen culture. The author identifies the main features of the hero archetype and the core cultural meanings forming this concept and analyzes images of the neo-mythological heroes of our time, taking examples of mass cinema and authorial cinema and revealing differences between these two categories. According to the author, mass culture creates the hero model according to the principle of bricolage, remaining within the framework of the Christian eschatological paradigm and synthesizing it with scienti

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Eckert, Wojciech. "Conservation of the ‘Piast’ Cinema in Słubice: An Architectural, Urban or Moral Problem?" Civil And Environmental Engineering Reports 23, no. 4 (2016): 43–50. http://dx.doi.org/10.1515/ceer-2016-0049.

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Abstract For many years, attempts have been made to remove the relic of the ‘Piast’ Cinema in the western town of Słubice from Poland’s monuments register. This would allow for its demolition and construction of a modern commercial building on the site. The majority of the building has already be demolished, with only the front elevation remaining. The façade of the cinema has unique artistic value, representing a rare example of the art deco style in the region. The building also forms an important part of the cultural landscape of this border town, representing the history of both Słubice an

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El Khachab, Walid. "Face of the Human and Surface of the World." Envisager, no. 8 (August 10, 2011): 121–34. http://dx.doi.org/10.7202/1005543ar.

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In this article, the surface of the world is envisaged as a face. Cinema as a record of this surface, and as a medium which “re-invented” the face in the close-up shot, makes it possible to reflect on the status of the human subject in the universe, thanks to the concept of cinematic pantheism. Following Elie Faure, the author underscores the pantheistic nature of cinema and claims that cinematic pantheism is the way by which film produces simultaneously transcendence and immanence, and materializes the unity of both, thus confirming Siegfried Kracauer's theory according to which man, nature a

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Melbye, David. "Modernist Embodiment." Screen Bodies 6, no. 1 (2021): 18–43. http://dx.doi.org/10.3167/screen.2021.060104.

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This article embarks from George Lakoff and Mark Johnson’s embodied understanding of metaphor in linguistic contexts and proceeds beyond merely an extended notion of “visual” metaphor toward an operational understanding of the term “allegory” in the cinematic context. Specifically, a pattern of Sisyphean landscape allegory in a global array of postwar narrative cinema is identified and explored, in which a psychologically conflicted protagonist struggles against a resistant natural landscape, connoting varying degrees of existential “futility.” The recurrent experiential configuration of this

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Ra, Seungdo. "The Landscape of Deconstruction: The Visual Representations of the Arctic in Contemporary Russian Cinema." Journal of international area studies 23, no. 3 (2019): 211–28. http://dx.doi.org/10.18327/jias.2019.7.23.3.211.

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Coleman, Tara. "From Translating for the World to Translation as the World." Journal of World Literature 6, no. 3 (2021): 314–30. http://dx.doi.org/10.1163/24056480-00603003.

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Abstract Grounded in the heterogenous linguistic and cultural landscape of Hong Kong, this article proposes a translational approach to the practice of world cinema, focusing on director Wong Kar-wai, via World Literature and the poetry of Leung Ping-kwan. Wong is a lyrical cinematic stylist, while Leung had a strong scholarly interest in cinema and produced many collaborations with visual artists. Both are highly attuned to the distinctiveness of daily life in Hong Kong despite its infusion of international influences. Moving beyond a model which sees translation as a secondary process carryi

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Fioravante, Karina Eugenia, and Almir Nabozny. "Os Espaços e Paisagens Fílmicos e a Teoria de Gêneros: um ensaio sobre o Western no Cinema / Filmic Spaces and Landscapes, and Genres Theory: an essay about the Western." Caderno de Geografia 29, no. 56 (2019): 195. http://dx.doi.org/10.5752/p.2318-2962.2019v29n56p195.

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O objetivo geral dessa reflexão é compreender a construção dos espaços fílmicos a partir da análise de um gênero cinematográfico específico, o western. O texto se constrói da seguinte forma: primeiramente, discutimos a antiga e pouco explorada relação existente entre a Geografia e o Cinema. A segunda subseção traz esclarecimentos essenciais acerca do que compreendemos por gênero cinematográfico. A discussão dos espaços fílmicos é defendida enquanto uma potente possibilidade de análise geográfica do cinema. Por fim, demonstramos a construção espacial no gênero western a partir dos: elementos ic

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Boczkowska, Kornelia. "Suspended Moments of the Mundane Routine: Testing the Possibilities of Slow Cinema in Sharon Lockhart’s "Lunch Break" (2008) and "Podwórka" (2009)." Ad Americam 18 (January 30, 2018): 17–33. http://dx.doi.org/10.12797/adamericam.18.2017.18.02.

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In this article, I analyze various ways in which Sharon Lockhart’s experimental films, Lunch Break (2008) and Podwórka (2009), develop the concept of an industrial landscape and local community by simultaneously incorporating and challenging narrative and visual conventions traditionally associated with the poetics of slow cinema. Focusing mostly on the realities of urban life, Lockhart’s unscripted and intimate portraits of American and Polish localities resonate with a highly meditative approach as well as blend rigorous film aesthetics with an anthropological and ethnographic sensibility to

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Raizen, Michal. "Review Essay." Review of Middle East Studies 51, no. 1 (2017): 66–70. http://dx.doi.org/10.1017/rms.2017.29.

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The field of Middle Eastern Studies has seen a recent spate of publications that offer a timely and nuanced look at the intersection of language, ideology, and visual representation in Israel-Palestine. Scholars of cultural studies, comparative literature, history, film studies, and the visual arts will appreciate the breadth of perspective offered by a combined reading of Lital Levy's Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine, Gil Z. Hochberg's Visual Occupations: Violence and Visibility in a Conflict Zone, and Yaron Shemer's Identity, Place, and Subversion in Con

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Szabó, Zoltán. "The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (2020): 73–87. http://dx.doi.org/10.2478/ausfm-2020-0004.

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AbstractThe link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question are inspired by the sensibilities of 19th-century Romanticism and explore similar topics, such as the works of Peter Hutton. The problem is essentially twofold: on the one hand, how to break away

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James, Jason. "Coming to terms through Cinema: The Lives of Others in Germany's Cultural Landscape of Memory." Journal of the Society for the Anthropology of Europe 10, no. 2 (2010): 29–40. http://dx.doi.org/10.1111/j.1556-5823.2010.00016.x.

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Tae Soo Chung. "The Landscape and Critique of Everyday Reality and Innovation in Filmmaking: Czechoslovak Cinema(1963-1968)." Film Studies ll, no. 50 (2011): 469–508. http://dx.doi.org/10.17947/kfa..50.201112.017.

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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.

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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the ma

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