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Journal articles on the topic 'Link cinema / politics'

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

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1

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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2

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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Granger, Serge. "‘Other Diplomacy’ in Paradiplomacy: Quebec’s Cinema and China." Hague Journal of Diplomacy 11, no. 4 (2016): 383–403. http://dx.doi.org/10.1163/1871191x-12341348.

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China has had an important impact on the political mobilization of other forms of diplomacy in the Canadian province of Quebec. Quebec’s missionaries and Maoists have used cinema for propaganda purposes aimed at forging political opinions towards China. Quebec’s modest non-state actor (nsa) — the Quebec cinema lobby — has developed expertise and links with other institutions or actors — both non-state and state — and has had an impact on international relations. Quebec’s cinema is an important lobby participating in a coalition of nsas that triggered and monitors the unesco Convention on the P
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HAINGE, GREG. "“Un film français et fier de l’être”: Gaspar Noé’s Climax in Context." Australian Journal of French Studies 58, no. 1 (2021): 100–116. http://dx.doi.org/10.3828/ajfs.2021.09.

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Reading Gaspar Noé’s 2018 film Climax against the grain of the majority of critical reactions and the director’s own pronouncements, this article argues that this is a deeply political film. In line with West’s analysis of the films of the New French Extremity as works that are not (as suggested by Quandt) passive but a committed and politically engaged form of cinema, this article suggests that Climax can be read as an allegory of France’s current Realpolitik. Noé’s vision of this reality is revealed to be particularly bleak, for in line with the metaphysical stance of his other films, his is
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SEVİNDİ, Koray. "IDEOLOGICAL DISCOURSE ANALYSIS IN SOVIET ANIMATION CINEMA." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (2021): 594–605. http://dx.doi.org/10.7456/11102100/017.

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In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda conte
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Fore, Devin. "The Metabiotic State: Dziga Vertov's The Eleventh Year." October 145 (July 2013): 3–37. http://dx.doi.org/10.1162/octo_a_00146.

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One of the most important units within Dziga Vertov's conceptual system is the lexeme that means BOND. It recurs throughout his writings, most often appearing as the noun sviaz' although sometimes it also surfaces as the verb sviazat' (“to link”). Occasionally it is alloyed with a second lexeme to forge strange and unprecedented compounds, as in Vertov's definition of “kino-eye” as a “film-bond [kino-sviaz'] between the peoples of the USSR and those of the entire world.” Such insistence on film's status as a visual link, or copula, explains why Vertov, in contrast to contemporaries like Lev Ku
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15

Kobialka, Dawid. "Time travels in archaeology. Between Hollywood films and historical re-enactment?" AP: Online Journal in Public Archaeology 3 (January 6, 2017): 110. http://dx.doi.org/10.23914/ap.v3i0.32.

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One of the recently most popular ways of experiencing the past is time travelling. It is ‘an experience and social practice in the present that evokes a past (or future) reality’ (Holtorf 2009: 33). In this article, I mainly discuss the political aspect of time travelling. I focus on cinema as a medium which closely links archaeology with the time travel phenomenon. Two Oscars galas, of 2010 and 2012, are scrutinised as case studies. The text is a political intervention to start dreaming dangerously, to contribute as an archaeologist to the critique of the utopia of capitalism (see also Hernan
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Hasso, Frances S. "“I Have Ambition”: Muhammad Ramadan's Proletarian Masculinities in Postrevolution Egyptian Cinema." International Journal of Middle East Studies 52, no. 2 (2020): 197–214. http://dx.doi.org/10.1017/s0020743820000033.

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AbstractThis article provides a close reading of two popular Egyptian action films, al-Almani (The German, 2012), the first blockbuster since the 25 January 2011 revolution, and Qalb al-Asad (Lion heart, 2013), both starring Muhammad Ramadan as a socially produced proletarian “thug” figure. Made for Egyptian audiences, the films privilege entertainment over aesthetics or politics. However, they express distinct messages about violence, morality, and revolution that are shaped by their moments of postrevolutionary release. They present the police state in salutary yet ambivalent terms. They off
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17

Hayir, Celal, and Ayman Kole. "Cinematic Search for Identity in the Shade of Turkey’s 1960 Coup: The Social Realism Debate and The Hope." BORDER CROSSING 6, no. 1 (2017): 153–68. http://dx.doi.org/10.33182/bc.v7i1.483.

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When the Turkish army seized power on May 27th, 1960, a new democratic constitution was carried into effect. The positive atmosphere created by the 1961 constitution quickly showed its effects on political balances in the parliament and it became difficult for one single party to come into power, which strengthened the multi-party-system. The freedom initiative created by 1961’s constitution had a direct effect on the rise of public opposition. Filmmakers, who generally steered clear from the discussion of social problems and conflicts until 1960, started to produce movies questioning conflict
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18

Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews su
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Cantey, Seth. "Filmic representations of radicalization and terrorism: The silver screen as a catalyst for social science." Media, War & Conflict 12, no. 3 (2018): 317–30. http://dx.doi.org/10.1177/1750635218779953.

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Recent years have seen increased attention to depictions of terrorism in film and, as a consequence, scholars have learned a great deal about why and how such films are made. Too often, however, work in this area has been confined to examination of the film(s) in question, where links between what appears on the silver screen and lived experience are implied but not fully explored. Grounded in the rapidly-growing literature on pop culture and world politics, this article seeks to bridge that gap by showing that comparative film analysis can serve as a catalyst for social scientific inquiry int
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Mirizio, Annalisa. "From Pasolini to Moro: Notes on two unburied corpses and Italian cinema." Comparative Cinema 7, no. 13 (2019): 9–23. http://dx.doi.org/10.31009/cc.2019.v7.i13.01.

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This text sets out to present the cinematic representation of Pier Paolo Pasolini and Aldo Moro from the idea of the “unburied corpse”. I propose here that, due to the circumstances of their deaths, the lifeless bodies of the filmmaker and the politician do not endorse their public identity but rather overflow and unfold it. Their corpses configured an identity of ordinary man that replaced the image of the public man in the Italian collective imagination and contended to the public character the space of representation. The text recovers some proposals of The Moro Affair (L’affaire Moro, Leon
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Elsaket, Ifdal. "SOUND AND DESIRE: RACE, GENDER, AND INSULT IN EGYPT'S FIRST TALKIE." International Journal of Middle East Studies 51, no. 2 (2019): 203–32. http://dx.doi.org/10.1017/s0020743819000023.

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AbstractThis article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's filmAwlad al-Dhawat(Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the fi
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Alves Silva Junior, Humberto. "INDÚSTRIA CULTURAL E IDEOLOGIA." Caderno CRH 32, no. 87 (2019): 505. http://dx.doi.org/10.9771/ccrh.v32i87.32099.

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<p>O trabalho parte da análise de conteúdo para abordar as discussões sobre o conceito de indústria cultural cunhado e analisado por Theodor Adorno e Max Horkheimer e seu desdobramento no livro Teoria Estética de Adorno, em especial sobre o cinema. O conceito compreende o caráter comercial e o modo de produção industrial das produções culturais no capitalismo, tratadas, inclusive, como mercadorias e suas consequências sobre o público, atuando principalmente como instrumento de manipulação ideológica na visão adorniana. Entretanto, em Teoria Estética, o autor avança a discussão e admite q
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Demers, Joanna. "Sampling the 1970s in hip-hop." Popular Music 22, no. 1 (2003): 41–56. http://dx.doi.org/10.1017/s0261143003003039.

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Musical borrowings, or samples, have long been a means of creating lineage between hip-hop and older genres of African-American music such as funk, soul, and rhythm and blues. DJs who sample from this so-called ‘Old School’ attempt to link hip-hop to older, venerable traditions of black popular music. This article investigates the importance of 1970s pop and culture to hip-hop music. This era is depicted as a time in which African-American identity coalesced, and a new political consciousness was born. The primary source for images of the 1970s was and continues to be blaxploitation film, a ge
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Galpin, Shelley Anne. "Harry Potter and the Hidden Heritage Films: Genre Hybridity and the Power of the Past in the Harry Potter Film Cycle." Journal of British Cinema and Television 13, no. 3 (2016): 430–49. http://dx.doi.org/10.3366/jbctv.2016.0328.

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The heritage film is generally considered to be a less commercial form of film-making, one which eschews populism for ‘quality’. This article seeks to question the distinctions drawn between the heritage film and more commercial film franchises by examining the links between the conventions of heritage cinema and the Harry Potter films. Bringing together scholarship on the heritage film, the Harry Potter series and film genre, the article considers these productions in the light of their themes, with the political or class-centred aspects of the narrative examined in relation both to the visua
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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, cont
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Palomo Molina, Yordan, Kenia Herrera Izquierdo, and Luis Boffill del Pino. "The Cuban Revolution through cinema. Between a real world and a possible world." Latin-American Historical Almanac 30, no. 1 (2021): 225–42. http://dx.doi.org/10.32608/2305-8773-2021-30-1-225-242.

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The Cuban Revolution meant transformations in all directions (eco-nomic, political, legal and sociocultural) depending on the internal and external contexts that took place. A Revolution; a country for workers, peasants, petty bourgeois and progressive intellectuals, where everyone was to be revolutionary. A Revolution; a policy of interaction that in-cludes the former marginalized sectors and links them with other sec-tors of the society without class distinction, proclaiming them all as equals. A Revolution that needed a new way of thinking, of behaving, of socializing, of living, under the
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Varol, Esra. "Being a style icon in fashion world: Iris Apfel." Global Journal of Arts Education 11, no. 1 (2021): 89–101. http://dx.doi.org/10.18844/gjae.v11i1.5727.

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The word fashion which expresses change and encompasses all areas of humanity is synonymous with clothing when taken in its narrow and common sense. People who can direct clothing fashion with their original clothing and appearances and are followed with great interest by public are called ‘style icons’. As style icons, people from many different disciplines such as cinema, music, design, politics and sports have emerged with fashion and had an impact on clothing styles of different periods. One of the style icons of this era is Iris Apfel, who was born in Astoria in 1921, studied art and is k
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Oumlil, Kenza. "Muslims and Media Images." American Journal of Islam and Society 29, no. 2 (2012): 105–8. http://dx.doi.org/10.35632/ajis.v29i2.1206.

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Ather Farouqi’s edited book Muslims and Media Images: News VersusViews examines the Hindi and Urdu press as well as Hindi and regional languagefilms. The uniqueness of the collection lies in the grounded approachtaken to study the topic of media images of Indian Muslims. Along with anintroduction and two appendices, this volume consists of nineteen mainlyshort chapters organized in four sections that highlight the experiences ofmedia practitioners, who provide their own accounts and testimonies. Consistingof journalists, newspaper editors, filmmakers, and academics ‒ thecontributors to this vo
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Sfyris, Panagiotis, and Spyridon Doukakis. "Transforming Students’ Knowledge about Democracy and Citizenship through Art and the Use of Educational Media." Journal of Education, Teaching and Social Studies 3, no. 2 (2021): p27. http://dx.doi.org/10.22158/jetss.v3n2p27.

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Democracy and citizenship are two values that are closely linked to the education of each individual. Most education systems seek to transform attitudes and enhance individuals’ knowledge by offering courses related to citizenship and democracy. In Greece until the school year 2019-2020, the course “Modern World, Citizenship and Democracy” was taught to 11th grade students. In a sample of 76 students, research was conducted to explore how different works of art can contribute to the expected transformation. Students were given a digital list of concepts related to “Democracy” and “Citizenship
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Nurjanah, Hidayatul. "BOAZ HAGIN’S PHILOSOPHY OF DEATH AS REFLECTED IN THE HUNGER GAMES TRILOGY FILMS." Rubikon : Journal of Transnational American Studies 8, no. 1 (2021): 38. http://dx.doi.org/10.22146/rubikon.v8i1.65482.

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The Hunger Games is one of Hollywood films that contains deaths and deadly scenes throughout its trilogy. There are plenteous meanings of deaths that can be analyzed from the films, which will develop new meanings and definitions of deaths as an interesting topic to discuss. The researcher employed Boaz Hagin's framework of death because Hagin provides a framework about deaths and how deaths can be meaningful. In his book, he writes a broader range of philosophical description about deaths in Classical Hollywood Cinema which explores the morality and ethical values of mainstream films that por
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Belov, S., and A. Zhidchenko. "The image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period." Journal of Political Research 4, no. 1 (2020): 25–37. http://dx.doi.org/10.12737/2587-6295-2020-25-37.

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The presented study is devoted to studying the practice of constructing the image of a phantom threat to children from the side of an external enemy through historical discourse in the cinema of the USSR and the USA during the Cold War. The aim of this work is to identify common and specific features in the approaches of filmmakers of the two countries to the formation of the image of a phantom threat for children from the side of an external enemy. The research methodology is built on the basis of a combination of historical genetic, comparative and descriptive, as well as content analysis. T
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SALNIKOVA, EKATERINA V. "THE FIRST SCREENING OF ALICE IN WONDERLAND (1903)." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 75–98. http://dx.doi.org/10.30628/1994-9529-2021-17.1-75-98.

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The article is dedicated to the British silent film Alice in Wonderland by Percy Stow and Cecil Hepworth, which was found and restored in 2010. The 12-minute film was unusually long for early cinema. Almost all of the survived credits annotate several short scenes at once, showing their interconnection or, conversely, apartness from each other. This suggests that some scenes were sold not separately, but as a series of scenes united by a credit. Structurally, each fragment of the film, consisting of 2–3 scenes, is similar to one episode of series. Therefore, the origin of the principles of ser
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Szabó, Miloslav. "From Protests to the Ban: Demonstrations against the ‘Jewish’ Films in Interwar Vienna and Bratislava." Journal of Contemporary History 54, no. 1 (2017): 5–29. http://dx.doi.org/10.1177/0022009417712112.

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Taking the example of the protests against the films All Quiet on the Western Front (1930–1) and Le Golem (1936) in interwar Austria and Slovakia, this study addresses the links between antisemitism, nationalism and cinema in Central Europe that historical research has so far overlooked. Unlike other demonstrations against the talkies, campaigns against so-called ‘Jewish’ films were not an expression of linguistic nationalism, as they pointed to the ‘destructive’ impact of capitalism, socialism or modern art, which in the ideology of antisemitism were allegedly personified by ‘Jews’. The conse
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Briuchowecka, Łarysa. "Польща в українському кіно". Studia Filmoznawcze 37 (14 вересня 2016): 25–88. http://dx.doi.org/10.19195/0860-116x.37.5.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo
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Briuchowecka, Łarysa. "Polska w kinie ukraińskim." Studia Filmoznawcze 37 (September 14, 2016): 89–150. http://dx.doi.org/10.19195/0860-116x.37.6.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo
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Di Bianco, Laura. "Man in disorder: The cinema of Lina Wertmuller in the 1970s, by Grace Russo Bullaro, Leicester, Troubador Publishing, 2006, 134 pp., £14.99 (paperback), ISBN 978-19-05-88639-5." Modern Italy 15, no. 3 (2010): 387–89. http://dx.doi.org/10.1080/13532944.2010.490353.

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Sinno, Wael. "How People Reclaimed Public Spaces in Beirut during the 2019 Lebanese Uprising." Journal of Public Space, Vol. 5 n. 1 (January 31, 2020): 193–218. http://dx.doi.org/10.32891/jps.v5i1.1258.

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Over the past years, popular uprisings across the Middle East continue to grow. Throughout these movements, public spaces have played a crucial role in allowing citizens to express their demands. Public spaces have brought people together, providing the space for citizens to assert their rights to freedom of speech and demanding basic rights. Since 17 October 2019, Lebanon has been experiencing a similar civic movement. Expressions and manifestations of this movement have used underutilized public spaces across the country. For instance, in Beirut, the retrieve of public spaces has taken place
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Schwartz, Stephanie Tara. "Lina Khatib. Filming the Modern Middle East: Politics in the Cinemas of Hollywood and the Arab World. London and New York: I.B. Tauris, 2006. 242 pages, bibliography, filmography, general index, index of films. Paper US $26.95 ISBN 1-84511-191-5." Review of Middle East Studies 43, no. 1 (2009): 102–4. http://dx.doi.org/10.1017/s215134810000032x.

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Holtz Schramek, Evangeline, and Carolyn L. Kane. "Opulent Servitude: Shoplifting in a Culture of Material Excess and Systemic Racism." Fashion Studies 2, no. 1 (2019): 1–39. http://dx.doi.org/10.38055/fs020109.

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Why did the latter part of the nineteenth century witness a sudden growth of white, middle class female shoplifters? Psychology tells us that shoplifting is a mental deficiency manifested in women as “kleptomania” (Abelson 4). Given the subsequent international growth of shoplifting, we argue instead that shoplifting is in many ways condoned in contemporary culture: used as a form of social and political control in a late capitalist society. This article first turns to female consumers as shoplifters in the late nineteenth century, alongside the growth of mass production, large-scale departmen
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Jurca, Catherine. "Mildred Pierce, Warner Bros., and the Corporate Family." Representations 77, no. 1 (2002): 30–51. http://dx.doi.org/10.1525/rep.2002.77.1.30.

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Mildred Pierce (1945) has frequently been read as an exemplary instance of feminine repression within classical Hollywood cinema generally, and as a powerful critique of the independent working mother in particular, whose unprecedented welcome in the World War II workplace was coming to an end. But critics who are predisposed to make patriarchal oppression the bottom line of Hollywood film have seriously underestimated the value that is placed on Mildred's labor and as a result have miscast the meaning of that labor in relation to her maternity. This essay argues that Mildred Pierce responds t
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Snow, Nancy. "Book review: Guy Westwell War Cinema: Hollywood on the Front Line London: Wallflower Press (Short Cuts Series), 2006. 133 pp. ISBN 1 904764 54 1 (pbk) Tony Shaw Hollywood's Cold War Edinburgh: Edinburgh University Press, 2007. 342 pp. ISBN 978 0 7486 2523 9 (hbk); ISBN 978 0 7486 2524 6 (pbk)." Media, War & Conflict 2, no. 1 (2009): 85–88. http://dx.doi.org/10.1177/1750635208101334.

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Kravchenko, Iryna. "DEVELOPMENT OF THE ARCHITECTURE OF NON-FORMAL EDUCATION INSTITUTIONS IN 1917-1940 ON THE TERRITORY OF UKRAINE." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 105–16. http://dx.doi.org/10.32347/2077-3455.2021.60.105-116.

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The study of the periodization of the development of architecture of non-formal education institutions (hereinafter NFEI) combines the following aspects: pedagogical aspect (is the decisive one, according to the author), social, political, scientific and technical aspects that are inherent in the era. The author investigates the developmental periods of architecture of non-formal education institutions. The time limits studied in the article from 1917 to 1940 belong to the second stage of development of NFEIs and their architecture - the period of development and formation. Many scholars and e
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Hagen, Thomas V. H. "Mellom modernisering og nazifisering: kinodrift i Norge 1940–1946." Nordlit, no. 41 (March 8, 2019). http://dx.doi.org/10.7557/13.4646.

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Kinodriften i Norge 1940–1945 var preget av nye politiske omstendigheter. I artikkelen utforskes spørsmålet om hvordan kinobransjens autonomi ble påvirket av den tyske okkupasjonen og NS’ forsøk på å gjennomføre nasjonalsosialistisk revolusjon. Arbeidshverdagen i kinobransjen ble sterkt påvirket av politiske utskiftninger og innføringen av nye institusjoner som hadde til hensikt å gjennomføre en omfattende reorganisering av hele film- og kinofeltet.Ideologisk påtrykk og politisk press fra tyske og norske aktører rundt programoppsetningen var et særtrekk. Krigssituasjonen skapte også generelt e
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Loess, Nicholas. "Augmentation and Improvisation." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.739.

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Preamble: Medium/Format/Marker Medium/Format/Marker (M/F/M) was a visual-aural improvisational performance involving myself, and musicians Joe Sorbara, and Ben Grossman. It was formed through my work as a PhD candidate at the Improvisation, Community, and Social Practice research initiative at the University of Guelph. This performance was conceived as an attempted intervention against the propensity to reify the “new.” It also sought to address the proliferation of the screen and question how the increased presence of screens in everyday life has augmented the way in which an audience is conc
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Toh, Hai Leong. "Postwar Korean Cinema." Kinema: A Journal for Film and Audiovisual Media, November 20, 1996. http://dx.doi.org/10.15353/kinema.vi.823.

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POSTWAR KOREAN CINEMA: FRACTURED MEMORIES AND IDENTITY IT IS generally agreed by South Korean film scholars that the Golden Flowering of Korean cinema took place in the turbulent 1950s after the end of the 1950-53 Korean War, amidst the rapid industrialisation and modernisation of a predominantly agrarian society based on a highly stratified class system. Like its highly reactive Hongkong counterpart, South Korean cinema acts as a sensitive reflection of the constant changes and upheavals -- both socio-economic and political. These include the liberation in 1945 from Japan, the Korean War, the
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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix
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Ellis, Katie M. "Breakdown Is Built into It: A Politics of Resilience in a Disabling World." M/C Journal 16, no. 5 (2013). http://dx.doi.org/10.5204/mcj.707.

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Resilience is an interdisciplinary concept that has been interrogated and investigated in a number of fields of research and practice including psychology, climate change, trauma studies, education and disaster planning. This paper considers its position within critical disability studies, popular understandings of disability and the emergence of a disability culture. Patrick Martin-Breen and J. Marty Anderies offer a colloquial definition of resilience as: Bouncing back after stress, enduring greater stress, and being less disturbed by a given amount of stress. … To be resilient is to withsta
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Bentes, Ivana. "Estéticas Insurgentes e Mídia-Multidão │ Insurgent esthetics and multitude-media." Liinc em Revista 10, no. 1 (2014). http://dx.doi.org/10.18617/liinc.v10i1.704.

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RESUMO Nas jornadas de Junho de 2013 vimos emergir novas formas de midialivrismo e midiativismo em que a linguagem e a experimentação criam outra partilha do sensível. Uma experiência no fluxo e em fluxo, que inventa tempo e espaço, poética do descontrole e do acontecimento. Exprimir o “grito”, como escreveu Jacques Ranciere, tanto quanto tomar posse da palavra é o modo de desestabilizar a partilha do sensível e produzir um deslocamento dos desejos e constituir o sujeito político multidão. A importância das mídias on-line, mídias livres e midiativistas nesse grito desestabilizador nos parecem
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Bogojević, Maja. "The trouble of gender sin in post-Yugoslav film – in the name of the father." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 23, no. 32 (2018). http://dx.doi.org/10.14746/i.2018.32.09.

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Post-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugoslavia. A new generation of cinéasts explores, with a backlash mixture of contempt and compassion, the themes of violence, displaying a new assault on female emancipation, which seemed to be in line with the socio-political context of rising nationalist movements that led to the bloody events of the Yugoslav war in 1991. The female character is re-
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Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi
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