Relevant bibliographies by topics / Link cinema / politics

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Link cinema / politics'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Link cinema / politics"

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Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.

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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expressi
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Marchetti, Gina. "The gendered politics of sex work in Hong Kong cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 12–30. http://dx.doi.org/10.33178/alpha.10.01.

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The portrayal of women as prostitutes is common in Hong Kong cinema, and filmmakers have looked at sex work from various perspectives: as a social problem, as an index of women’s economic exploitation more generally, as a way to explore the relationship between economics and sexuality, as a window onto the world of sexual minorities and as erotica. Scriptwriter Elsa Chan, working in conjunction with director Herman Yau, has made two features about women in the Hong Kong sex industry—Whispers and Moans (性工作者十日談, 2007) and True Women for Sale(性工作者2 我不賣身·我賣子宮, 2008)—based on Chan’s anthropologica
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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.

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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the C
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Oudadene, Hassane. "Reinventing the ‘Native Other’ in Early Hollywood: The Moroccan Woman between Native Resistance and Orientalist Episteme in Robert Florey’s Outpost in Morocco (1949)." MANUSYA 20, no. 1 (2017): 1–12. http://dx.doi.org/10.1163/26659077-02001001.

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The link between the American cinema and Morocco was established during the early twentieth century when North Africa became a central concern of both Europe and America. Western travel writers drew on generic conventions centered on wonder and the fantastic to fashion stories about the ‘other side’ of the world in which the West was positioned as morally and culturally superior to the East. The shift from textual to visual narratives did little to dismantle the imperialistic and Orientalist politics of cultural representation. The period between 1930 and 1956 witnessed considerable visual pro
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Cyfer, Ingrid. "JUDITH BUTLER E HANNAH ARENDT VÃO AO CINEMA: narrativa, psicanálise e subjetivação no filme “Eu, Mamãe e os Meninos”." Caderno CRH 33 (December 18, 2020): 020015. http://dx.doi.org/10.9771/ccrh.v33i0.35459.

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<div class="trans-abstract"><p class="sec">Neste artigo, proponho uma análise do filme Eu, Mamãe e os Meninos (Les garçons et Guillaume, à table! Direção: Guillaume Gallienne. França, 2013) tendo-se em vista uma perspectiva política e relacional das conexões entre psicanálise, narrativa e processo de subjetivação. Minha inspiração para isso está no modo como Judith Butler articula essas dimensões em seu livro Relatar a Si Mesmo: Crítica da Violência Ética ([2005], 2015), no qual a autora propõe uma teoria da formação do sujeito em que a concepção de narrativa de Hannah Arendt cumpr
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Brancato, Sergio. "Italy in the digital age: Cinema as new technology." Modern Italy 6, no. 2 (2001): 215–22. http://dx.doi.org/10.1017/s135329440001200x.

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SummaryItalian cinema is lagging behind in international standards, both culturally and in production terms. Starting in the mid-1970s, the Italian communication system has begun an irreversible transformation, and yet the ideologies of Italian cinema have remained impervious to the changes and they have consequently severed Italian cinema's links with the dynamic processes taking place in the other western film industries. The result is that today's Italian cinema fails to achieve either a decent production standard or essential synergies with other sectors of the cultural industry. A new pol
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Toropova, Anna. "Science, Medicine and the Creation of a ‘Healthy’ Soviet Cinema." Journal of Contemporary History 55, no. 1 (2019): 3–28. http://dx.doi.org/10.1177/0022009418820111.

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Cinema had long been hailed by Bolshevik party leaders as a crucial ally of the Soviet mass enlightenment project. By the mid-1920s, however, Soviet psychologists, educators and practitioners of ‘child science’ (pedology) were pointing to the grave effects that the consumption of commercial cinema was exerting on the physical, mental and moral health of Soviet young people. Diagnosing an epidemic of ‘film mania’, specialists battled to curtail the NEP-era practices of film production and demonstration that had rendered cinema ‘toxic’ to children. Campaigns to ‘healthify’ Soviet cinema, first m
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Denes, Nick. "Between Form and Function." Middle East Journal of Culture and Communication 7, no. 2 (2014): 219–41. http://dx.doi.org/10.1163/18739865-00702008.

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In 1968, the first cinema unit of the Palestinian liberation movement was founded in Amman by Mustafa Abu Ali, Sulafa Jadallah and Hany Jawhariyyeh. Affiliated with Yasser Arafat’s rapidly ascendant Fateh movement, from 1969 to 1974 this organization completed a stylistically eclectic series of films addressing revolutionary changes in Palestinian society and politics. This essay identifies some of the more striking formal experiments undertaken in these early works, reading these in contact with historical and political conditions. It links a reading of the Fateh movement’s response to questi
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Koçer, Suncem. "KURDISH CINEMA AS A TRANSNATIONAL DISCOURSE GENRE: CINEMATIC VISIBILITY, CULTURAL RESILIENCE, AND POLITICAL AGENCY." International Journal of Middle East Studies 46, no. 3 (2014): 473–88. http://dx.doi.org/10.1017/s0020743814000555.

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AbstractWithin the last few years, “Kurdish cinema” has emerged as a unique discursive subject in Turkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora, Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema as an orienting framework for the production and reception of films by and about Kurds. In this article, my argument is threefold. First, Kurdish cinema has emerged as a national cinema in transnational space. Second, like all media texts, Kurdish films are nationalized in discourse. Third, the communicative strat
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Czerkawski, Piotr. "Peryferie mają głos. O książce Jarosława Pietrzaka "Smutki tropików. Współczesne kino Ameryki Łacińskiej jako kino polityczne", Warszawa 2016, ss. 312." Studia Filmoznawcze 39 (July 17, 2018): 185–90. http://dx.doi.org/10.19195/0860-116x.39.13.

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PERIPHERIES HAVE VOICE. THE REVIEW OF THE BOOK SMUTKI TROPIKÓW. KINO AMERYKI ŁACIŃSKIEJ JAKO KINO POLITYCZNE BY JAROSŁAW PIETRZAK, WARSZAWA 2016, 312 PP.This text is a review of the book by Jaroslaw Pietrzak Smutki tropików. Kino Ameryki Łacińskiej jako kino polityczne Tristes Tropiques. The Cinema of Latin America as a Political Cinema. The review draws attention to the specifics of the author’s viewpoint, which connects his interest in politics, culture, cinematography, while drawing from a strong influence of leftist sensibilities. In the line of arguments presented in the text, the essayis
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Dissertations / Theses on the topic "Link cinema / politics"

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Moussaoui, Nedjma. "Max Ophuls et l’œuvre de Goethe : matériau génétique et substrat esthétique." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20106.

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Max Ophuls reste un cinéaste méconnu. Plusieurs de ses films (Liebelei, Lettre d’une inconnue, La Ronde) l’ont associé à la Vienne fin de siècle et à la littérature autrichienne, faisant oublier sa relation avec l’Allemagne, son pays natal, et avec Goethe. Cette thèse propose une nouvelle approche auctoriale fondée sur l’étude de sa relation avec l’écrivain. Il s’agit d’examiner la façon dont le matériau goethéen travaille les œuvres inspirées de Goethe et nourrit les conceptions esthétiques du cinéaste. La première partie s’attache à Goethe en tant que source d’inspiration créatrice. Elle rep
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Vanore, Ines. "Ding Ling Ricerca estetica, denuncia civile e profezia politica nella Cina degli anni ‘20." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20866/.

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Ding Ling è fra le principali autrici cinesi del ventesimo secolo. Il suo maggior merito è quello di aver trattato questioni riguardanti il mondo delle donne e la loro sensibilità in un’epoca particolare per la Cina, epoca di grandi e costanti cambiamenti politici, culturali e sociali determinati, in primis, dal Movimento del 4 maggio. Il predetto movimento, che ha influenzato in maniera evidente la prosa e la coscienza dell’autrice, ha inciso sui giovani intellettuali cinesi che, pur mantenendo la loro identità, hanno iniziato ad acquisire una visione geopolitica, percependosi parte di un mon
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VENUTA, MARIA LUISA. "La città da energivora a nodo attivo delle reti di produzione e di scambio energetico." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/85.

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Il concetto di rete dell'informazione può diventare uno schema logico con cui descrivere l'evoluzione delle politiche sulle energie rinnovabili e sulla sostenibilità? La ricerca è stata svolta analizzando l'architettura delle due reti (internet e reti energetiche) e l'evoluzione del bene prodotto e distribuito nella rete energetica, l'energia, esplicitando l'accessibilità da parte della distribuzione mondiale delle risorse petrolifere tradizionali e delle risorse rinnovabili. La struttura metodologica del progetto di ricerca si basa due tipi di analisi teorica: 1) l'analisi della nascita delle
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Books on the topic "Link cinema / politics"

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Papadimitriou, Lydia, and Ana Grgić, eds. Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.001.0001.

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The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars working within and beyond the region to explore its industrial contexts and textual dimensions. Exploring both mainstream and arthouse cinemas, the authors identify patterns, trends and common characteristics in the subject matter and aesthetics of films produced and distributed since the global economic crisis. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational i
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Atakav, Eylem. Feminism and Women’s Film History in 1980s Turkey. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0010.

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This chapter explores the relationship between feminism and women's film history in the context of 1980s Turkey. In discussing women's film history, the chapter includes not only the history of women filmmakers and the films they have made but also the link between the history of Turkish film industry and feminism. It begins with a historical overview of the feminist movement in Turkey and then examines its visible traces in film texts produced during the 1980s in order to argue that those films can be most productively understood as explorations of gendered power relations. The chapter then c
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Church, David. Post-Horror. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.001.0001.

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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first f
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Book chapters on the topic "Link cinema / politics"

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Tsika, Noah. "Ballistics, Bertillonage, and Ballyhoo." In Screening the Police. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.003.0005.

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This chapter considers some key intersections between cinema and criminal science, centering on a little-known case study: so-called suspect films—observational shorts produced initially by the New Jersey State Police and an assortment of municipal counterparts and later by private companies like RCA, Universal, and General Electric. As this case study reveals, cinema’s utility as a tool of policing was far from simple or self-evident. It had to be carefully constructed, aggressively promoted, and rendered profitable in a political economy in which the line between public service and private profit was rarely very distinct.
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Behlil, Melis. "Turkey: Transnational Dimensions of a Large National Film Industry." In Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.003.0014.

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The chapter on Turkey draws a multifaceted portrait of the film (and television) industry in the country, including ongoing struggles between state and filmmakers, while also presenting a critical overview of the films made. It highlights thematic and stylistic contradictions between box office hits and arthouse cinema and supports its analysis of audience numbers with dedicated charts. The chapter charts the transnational links of this large and self-sustaining industry, while also pointing to the oppressive political environment that results in both state- and self-imposed censorship.
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Conde, Maite. "The Modern Foundations of Brazilian Cinema." In Foundational Films. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0001.

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The introductory chapter outlines a theory of early cinema in Brazil and its relationship to the country’s invention of modernity. Theories and examinations of early film’s relationship to modernity have by and large focused on the medium’s links to changes and transformations wrought by the advent of industrialization. Noting that such transformations were not present in Brazil, the introduction outlines how early film in Brazil—that is, its arrival and dissemination—were linked instead to a political project impelled by the first Republican regime, one that sought to transform the country into modern nation-state of order and progress. The chapter maps ways in which this imbrication between film and this project laid the foundations for the birth Brazilian cinema and modernity in Brazil. In doing so, it provides an alternative modernity of early cinema.
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Jayamanne, Laleen. "A Gift Economy: G. W. Pabst’s Pandora’s Box (1929)." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726245_ch01.

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The first chapter offers a fresh approach to this canonical silent film by focusing on Louise Brooks’s kinetic performance as Lulu and the tradition of dance and abstract movements she draws on. The early twentieth-century feminist political slogan, the ‘New Woman’, is embodied, contested, and rendered ambiguous in this late Weimar silent film through Brooks’s technical skills as a modern dancer. Pabst and Brooks as co-creators draw an intimate link between the dynamism of the silent-film image and that of Lulu as dancer. I see these as a gift to the rather sedentary female scholar of cinema.
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McGonagle, Joseph. "Changing notions of national identity: engaging with ethnicity." In Representing Ethnicity in Contemporary French Visual Culture. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719079559.003.0002.

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This chapter probes several of the ways in which ethnicity in relation to France and Frenchness has been represented visually since the 1980s across a wide variety of media and sectors, including popular and auteur cinema, photography and television. It argues that, during a time of significant political and cultural debate regarding the relationship between French national identity and ethnicity, notions of French national identity across these different media have remained far from static since the 1980s. It concludes, however, that the continuing importance of whiteness as dominant cultural norm, and its links with French republican universalism as main French political philosophy, should not be underestimated.
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Tierney, Dolores. "Revolutionary Road Movies: Walter Salles’ Diarios De Motocicleta (Motorcycle Diaries 2004) and On The Road (2012)." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0008.

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This chapter explores how Walter Salles’ Diarios de motocicleta and On the Road use road movie conventions to forward their political agendas. It establishes the interconnectedness of the near contemporaneous journeys recounted in the two films by Cuban revolutionary Ernesto ‘Che’ Guevara and author of the seminal novel On the Road (1957) Jack Kerouac and how these are linked to the genesis of the road movie genre. It goes on to analyse how both films use the political strategies of the road movie (rebellion) to (re)explore and update the beginnings of the interconnected social, cultural and political revolutions (the Cuban Revolution, the Beat Generation and their links to the counter culture in the United States). In keeping with the broader aims of the book, this chapter is also about defending the political potential of the genre film and how it is used to address rather than ‘gloss over’ the political history of the continent.
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McMahon, Laura. "Still/Moving: Bestiaire’s Lives in Limbo." In Animal Worlds. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446389.003.0003.

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This chapter explores Côté’s Bestiaire, an experimental documentary about a zoo that initially seems in thrall to Bazin’s idea that the onscreen animal reveals cinematic specificity. Exploring the exhibition of animals both living and dead, still and moving, Côté’s film invokes two key metaphorical positionings (cinema as zoo/taxidermy), privileging a self-reflexive form of ontological investigation. This chapter traces these ontological investments by drawing on accounts such as Lippit on the ‘electric’ animal, Bellour on hypnotic animal images and Haraway on taxidermy. Folded into Bestiaire’s set of somewhat essentialising, ontologising reflections, however, is an implicit questioning of the politics of the zoo and its links to biopower, neocolonialism, captivity and suffering. Structured by these tensions between the ontological, the aesthetic and the political, Bestiaire reflects on the zoo both as a metaphor for cinematic ‘animality’ qua cinematic specificity and as a set of lived, material conditions. While Bestiaire’s distension of ‘dead time’ keeps the focus above all on questions of captivity – its durational aesthetic bearing witness to lives left in limbo – its Deleuzian time-images invite attentiveness to animal worlds of embodiment, perception and meaning-making that reach beyond the biopolitical grid of imprisoned life.
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Round, Julia. "Horror and Gothic in the 1970s." In Gothic for Girls. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824455.003.0007.

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This chapter considers some of the possible influences on Misty, drawing links with other comics as well as a wider tradition of horror across multiple media in 1970s Britain. It explores the surrounding atmosphere of cultural horror, looking closely at the political context of 1970s Britain, which manifests in the presence of social commentary in Misty. It explores the large number of tales that revolve around animal rights, environmental issues, or social commentary (delinquency, poverty, and so forth). It then considers the surrounding atmosphere of British cultural and literary horror, with a particular focus on the horror and mystery stories being offered to children and shown on television and in schools. It argues that Misty’s stories are strongly influenced by the atmosphere of cultural horror emerging in Britain in the 1970s and particularly by ideas of transgression and punishment expressed in horror cinema and public information films.
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"Interview: ‘Visualising Our Voices’ – Hong Kong Scholar and Film Director Vivian Wenli Lin in Conversation with Boel Ulfsdotter." In Female Agency and Documentary Strategies, edited by Boel Ulfsdotter and Anna Backman Rogers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419475.003.0010.

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This interview revolves around Vivian Wenli Lin’s use of participatory arts-based methods in order to encourage and teach women in marginalised communities to empower themselves by making documentary film. Lin also talks about the development of a ‘cine-feminist’ framework which in many ways extend feminist film studies by introducing ‘rare materials of women’s self-representations’. These films thus give way to documentary narratives of overlooked groups of women, and results in a documentary practice that is framed by social politics and activism.
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Kelly, Catriona. "Big Hopes and Trouble, 1961–1969." In Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0002.

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In 1961, the government bodies responsible for film production (the Ministries of Culture of the USSR and RSFSR) forcibly imposed on a reluctant Lenfilm the complete reorganization of production planning. The old Scripts Department was shut down and three “creative units” set up. This change was pushed through by Lenfilm’s energetic and flamboyant new general director, Ilya Kiselev, who had begun his career as an actor. Of the creative units, the earliest to emerge was the Third Creative Unit, which soon had a role as the flagship of contemporary cinema, a genre heavily promoted during the Thaw. However, the Third Creative Unit ran into increasing trouble as political control tightened after Khrushchev was forced to resign, and in 1969, it was closed down altogether. Yet life was not always calmer in the other units, as witnessed in particular by the difficulties that gripped the Second Creative Unit’s efforts to produce movies commemorating the fiftieth anniversary of the October Revolution in 1967, and by the problems of the First Creative Unit in establishing its own character and repertoire. At the same time, the general political line at this period, while unpredictable, was not uniformly harsh, as manifested in the conclusion of Leningrad’s Party leader that audiences could “make up their own mind” about a film he disliked.
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