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Journal articles on the topic 'Live cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.

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his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?

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Kahn, Douglas. "Prelude to Live Cinema." Journal of Visual Culture 10, no. 2 (August 2011): 255–65. http://dx.doi.org/10.1177/1470412911402913.

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This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audiovisual performance. Finally, he explores ideas of speed and the cut from Sergei Eisenstein’s film theory to explore Abigail Child’s 1983 film Mutiny as a work that, while not itself ‘Live Cinema’, sheds important light on what such a future aesthetic might conceivably entail.

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Atkinson, Sarah, and Helen W. Kennedy. "Live Cinema Conference (2016)." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 133–40. http://dx.doi.org/10.33178/alpha.12.12.

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Zioga, Polina. "Live Brain-Computer Cinema Performance." Leonardo 51, no. 5 (October 2018): 531. http://dx.doi.org/10.1162/leon_a_01671.

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5

van Mechelen, Marga. "What’s in the name live cinema?" Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS) 4 (2021): 135–45. http://dx.doi.org/10.24308/iass-2019-4-011.

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Diao. "Long Live Cinema! Long Live FESPACO. A luta continua." Black Camera 12, no. 1 (2020): 260. http://dx.doi.org/10.2979/blackcamera.12.1.21.

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FUJII, Tatsuya, Tetsuro FUJII, Sadayasu ONO, Kazuhiro SHIRAKAWA, and Daisuke SHIRAI. "ODS Live Streaming Technology to Digital Cinema Theaters." IEICE ESS FUNDAMENTALS REVIEW 5, no. 1 (2011): 80–89. http://dx.doi.org/10.1587/essfr.5.80.

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Barreto Leblanc, Paola. "From Closed-Circuit Television to the Open Network of Live Cinema." Surveillance & Society 7, no. 2 (June 5, 2009): 102–14. http://dx.doi.org/10.24908/ss.v7i2.4137.

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This paper accompanies four films which use CCTV to create Live Cinema performances which challenge both the narrative conventions of cinema and the expectations that we have of CCTV images. The paper details the ways in which this occurs and concludes with some lessons for future CCTV film-making and performance. The films can be viewed at: http://paoleb-ccvv.blogspot.com/

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Wardle, Janice. "‘Outside Broadcast’: Looking Backwards and Forwards, Live Theatre in the Cinema—NT Live and RSC Live." Adaptation 7, no. 2 (July 14, 2014): 134–53. http://dx.doi.org/10.1093/adaptation/apu017.

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White, Duncan. "British Expanded Cinema and the ‘Live Culture’ 1969–79." Visual Culture in Britain 11, no. 1 (February 10, 2010): 93–108. http://dx.doi.org/10.1080/14714780903509854.

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Ruddell, Caroline. "‘Don’t Box Me In’: Blurred Lines in Waking Life and A Scanner Darkly." Animation 7, no. 1 (March 2012): 7–23. http://dx.doi.org/10.1177/1746847711429632.

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This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema.

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Baik, Youngju. "The Mediality of Live Cinema Theatre -Katie Mitchell's Stage Constructs-." Journal of the Korea Contents Association 15, no. 11 (November 28, 2015): 27–40. http://dx.doi.org/10.5392/jkca.2015.15.11.027.

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Jones, Stephanie. "Early Cinema Today: The Art of Programming and Live Performance." Media History 20, no. 4 (September 2, 2014): 463–65. http://dx.doi.org/10.1080/13688804.2014.951534.

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O’Rourke, Chris. "Early Cinema Today: the art of programming and live performance." Historical Journal of Film, Radio and Television 34, no. 2 (April 3, 2014): 316–17. http://dx.doi.org/10.1080/01439685.2014.914665.

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15

Muzzio, Douglas. "“Decent People Shouldn’T Live Here”: The American City in Cinema." Journal of Urban Affairs 18, no. 2 (June 1996): 189–215. http://dx.doi.org/10.1111/j.1467-9906.1996.tb00373.x.

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Marcantonio, Carla. "Cinema, Transgenesis, and History in The Skin I Live In." Social Text 33, no. 1 (March 1, 2015): 49–70. http://dx.doi.org/10.1215/01642472-2831868.

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Lloreta Pané, Natàlia. "Eureka! Panoramic Festival or the creative relationship between photography and cinema." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 350. http://dx.doi.org/10.17583/brac.2018.3431.

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In our western collective imagination, we live on this romantic idea that the great inventions of humanity are a result of a moment of divine inspiration that makes the eureka echo throughout seas, mountains and valleys. And maybe it's not like that. That moment of putting into practice that longed invention, that ingenious idea, that moment in which everything works must be wonderful, almost magical, but above all the sensation must be like that of those who conquer the top of a mountain: yes, finally!

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Didkovskaya, Nataliya A., and Svetlana P. Bertova. "MODERN CINEMA AS A REFLEXIVE FIELD OF AMBIUTOPISM." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 205–13. http://dx.doi.org/10.20323/2499-9679-2020-4-23-205-213.

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The relevance of the study is justified by several points. First of all, it lies in the fact that the topic of ambiutopianity, as well as separately utopia and dystopia, is an eternal philosophical issue, reflected in social practice. The desire of some to live in an ideal society and the denial of such an opportunity by others demonstrates the eternal clash of radical doctrines of the existence of society, which are reflected in ambiutopic cinema. It is also relevant that the phenomenon of ambiutopicity is considered in its cinematic refraction, and today cinema is one of the sought-after forms of art that characterizes it as an important component of the everyday, real world. The process of complicating the genres of utopia and dystopia in cinema and the emergence of a new genre of ambiutopia, in which an ambivalent combination of utopianism and dystopianism are achieved, charged with all their pros and cons, is traced. Formulated and studied are the typological features of anti-utopia such as: pseudocarnival, the hero’s eccentricity, the ritualization of life and its destruction, ideological and semantic allegoricality.

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Notari, Federica. "Il cinema fa scuola (School and Cinema), Cine-Room Conference, Live on Cine-Room Facebook Page, 12 November 2020." Journal of Italian Cinema & Media Studies 9, no. 3 (June 1, 2021): 477–78. http://dx.doi.org/10.1386/jicms_00088_7.

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Parker, Ben. "IMAX and Its Doubles." Film Quarterly 67, no. 1 (2013): 22–26. http://dx.doi.org/10.1525/fq.2013.67.1.22.

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Gonçalves Gamba Junior, Nilton, and Marcelus Gaio Silveira de Senna. "De Caligari à Rainha Má." ALCEU 17, no. 33 (December 10, 2016): 125–37. http://dx.doi.org/10.46391/alceu.v17.ed33.2016.155.

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Este artigo está inserido em um processo de pesquisa de doutorado As idades do Expressionismo – criação de estilo e atmosfera em filmes de animação, que tem sua origem no questionamento sobre as possíveis influências que o cinema de animação recebeu do movimento expressionista – mais particularmente de suas vertentes nas artes plásticas e no cinema. O cinema de animação teria, portanto, além das influências de meios como, por exemplo, os cartoons, os livros infantis e o próprio cinema live action, a influência específica do Expressionismo Alemão na constituição de sua linguagem. Dentre as várias possibilidades de análise, adotamos aqui uma abordagem histórica e formal, para identificar um dos principais elementos expressivos formais do Expressionismo Alemão – a iluminação em claro-escuro –, e, em seguida, verificar a ocorrência deste elemento expressivo formal no filme Branca de Neve e os sete anões.

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Lani, Silja. "Preference Dimensions of the Estonian Opera-Consumer: A Comparison of the Audiences at Opera Houses and Mediated Opera Performances." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 70–89. http://dx.doi.org/10.1515/bsmr-2017-0013.

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AbstractThis article presents the results of a study in which the Estonian audiences of various stage versions of the same opera (live opera theatre performance and live-in-HD, which were shown at cinemas) during the same season were compared in a social constructivist paradigm to underline whether, and to what extent, audiences’ membership, cultural consumption preferences, attitudes, expectations, values and perceptions differ or coincide, thereby revealing what audiences distinguish as the differences or similarities between live and mediated opera performances. It presents the preference dimensions of the Estonian opera audience and provides an opportunity to discuss the issue of whether a technologically mediated cultural event offers any new opportunities for traditional opera to expand its audience, or whether it captures the audiences and creates competition for the theatres whose performances are not mediated. The survey was carried out among audiences attending performances of Carmen (Georges Bizet, 1875) in the 2014/2015 season at five different venues in Estonia. The findings revealed that, due to the fact that the hierarchy of motivators for the target groups of live and live-in-HD opera differs, it does not support the idea that opera theatre will gain new audiences from cinema or vice versa.

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Dudková, Jana. "Form(ulat)ing Mistrust in the State in the 1990s’ Slovak Live-Action Films." Slovenske divadlo /The Slovak Theatre 65, no. 3 (September 1, 2017): 302–15. http://dx.doi.org/10.1515/sd-2017-0017.

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Abstract The text deals with the ways in which Slovak live-action films made in the 1990s introduced the topic of mistrust in the State and in its institutions. Using specific examples, the text demonstrates that such mistrust was not primarily a critical attitude, but rather consisted of two basic forms of rejection. On the one hand, live-action films made for cinema often promoted the post-modern principle of a “relative” truth, presenting a lifestyle with minimal ties to the State, sometimes also formulating a mistrust in specific state institutions (the police, state-run artistic institutions, education system) by means of irony. On the other hand, films made for state television frequently drew attention to corruption in state organisations and the fact it was usually being generally accepted as a status that did not need to be analysed. In both cases, the message of the 1990s was carried onto the next millennium, and can eventually be interpreted as a way of solidifying the discourse of mistrust that we perceive in contemporary Slovak film for cinemas and television.

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Shivam, Dr. "A Sociological Review of Peepli Live 2010." Space and Culture, India 2, no. 4 (April 9, 2015): 60. http://dx.doi.org/10.20896/saci.v2i4.120.

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Marginalisation is a process of distancing (either by coercion or voluntarily) from the centre and relegate to the margin. In the social context, this marginalisation is lack of importance to certain socially disadvantaged groups. This disadvantage might be due to caste, class, gender or lack of political opportunities. However, within the same society there are privileged groups who are at the centre of all importance. This difference between advantaged groups at the centre and disadvantaged (marginalised) groups at the periphery has been problematised in popular media like cinema. The present paper shows that how marginalised sections are portrayed in Hindi cinema? For this, the cases of Peepli Live released in 2010 have been selected. The paper has been divided into two parts. The first part deals with the farmer’s suicide and the second part with the politics of suicide and the politics of marginalisation. These issues have been taken keeping in mind the recent problems of the marginalised sections in society, especially the problems faced by the farmers in contemporary times. Various studies and news reports show that farmers’ suicides are post 1990s phenomena inflated by the undertaking of measures to open Indian economy by the methods of liberalisation, privatisation and globalisation (LPG). This was the phase, which witnessed incredible growth of the industrial sector as compared to the agricultural sector. These facts were enough to break the myth of ‘developing’ India. In fact, the increasing number of farmers’ suicide rather depicted government’s bias towards economic growth neglecting socio-economic concerns of the farmers. At this juncture of bias and neglect, one can identify a breeding ground for politics of suicide from farmers’ side and politics of marginalisation from the politicians’ side. Sociologically, however, a multiple socio-economic factors are theorised to be responsible.

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Gravagne, Pamela H. "The magic of cinema: time as becoming in Strangers in Good Company." International Journal of Ageing and Later Life 8, no. 1 (September 13, 2013): 41–63. http://dx.doi.org/10.3384/ijal.1652-8670.12189.

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This article examines the ability of cinema to alter our perception and experience of time and ageing by analysing the film, Strangers in Good Company, as an example of what Gilles Deleuze called a time-image film in his philosophy of cinema. By looking at the cinematic representation of time as culturally contingent and open to change, and the boundary between representation and reality as thin, Deleuze’s theorisation of time-image cinema presents us with a way of understanding time as a kind of magic that can free us to live and become rather than as a succession of equally metered, linear moments. The experience of the older women who ’’act’’ in this movie confirms Deleuze’s thinking, when their brief filmic reprieve from the exigencies of chronological and linear time spills over into their ’’real’’ lives, allowing them to move beyond static representations of old age that tie them to deteriorating bodies and negative identities into an open future of becoming.

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Di Sorte, D., M. Femminella, and G. Reali. "QoS-enabled multicast for delivering live events in a Digital Cinema scenario." Journal of Network and Computer Applications 32, no. 1 (January 2009): 314–44. http://dx.doi.org/10.1016/j.jnca.2008.02.004.

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Fullerton. "Early Cinema Today: The Art of Programming and Live Performance." Film History 24, no. 3 (2012): 354. http://dx.doi.org/10.2979/filmhistory.24.3.354.

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Chakravorty, Swagato. "Real Bodies in (Un)real Spaces: Space, Movement, and the Installation Sensibility in Lech Majewski’s The Mill and the Cross." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 7–27. http://dx.doi.org/10.1515/ausfm-2015-0013.

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Abstract Live-action bodies traverse digitally-constructed and digitized spaces in Lech Majewski’s The Mill and the Cross (Młyn i krzyż, 2011). Majewski, a Polish artist who has worked across media, imagines his film as an animation of the world represented in Pieter Bruegel’s painting, The Procession to Calvary. His unprecedented blending of real and painted bodies, spaces, and worlds in The Mill and the Cross draws attention to the necessity of acknowledging space and movement in contemporary approaches to embodied spectatorial experience. This essay considers how the film imagines and treats its space(s) and the relations it establishes between the film-as-text, painting-as-text, and the museal space that traditionally contains painting-but also, with increasing frequency, cinema. It proposes a reframing of the terms of discussion in intermediality, shifting from painting/cinema to installation/cinema. Finally, it explores a long-neglected notion of art and its space (and the possibility of inhabiting that space) as they (re-)emerge in contemporary expanded cinema.

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Wiącek, Elżbieta. "Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf." Studia Migracyjne – Przegląd Polonijny 46, no. 3 (177) (2020): 61–84. http://dx.doi.org/10.4467/25444972smpp.20.031.12595.

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Iranian film director Mohsen Makhmalbaf left Iran in 2005 shortly after the election of Mahmoud Ahmadinejad. The artist underwent a multiphase evolution away from the supporter of Islamic regime in the early 1980s to cosmopolitan internationally acclaimed auteur. Finally, he became not only a dissident filmmaker but also a political dissident in the aftermath of 2009 presidential election. As exile wears on, Makhmalbaf became postnational filmmaker, making a variety of “accented films”. Not all the consequences of internationalization are positive – to be successful in transnational environment he has to face much larger competition and the capitalist market. Having in mind the categories of displaced Iranian directors distinguished by Hamid Naficy – exilic, diasporic, émigré, ethnic, cosmopolitan – I would like to find out which one of them applies to Mohsen Makhmalbaf’s life and work. I also will focus on the following questions: To what extent the censorship of Makhmalbaf’s artistic activity was a reason for his migration? how are migratory experiences expressed in his movies? What features of “the accented cinema” his movies are manifesting? I would argue that the experience of migration and the transnationality was the characteristic feature of Makhmalbaf’s his work long before leaving the home country. It can be said that regardless this stylistic diversity, all of Makhmalbaf’s movies made abroad can be described as the example of “accented cinema” which comprises different types of cinema made by exilic and diasporic filmmakers who live and work in countries other than their country of origin.

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Zvegintseva, Irina A. "Australian cinema: transforming youth issues over time." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 100–108. http://dx.doi.org/10.17816/vgik111100-108.

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Long ago, Australian filmmakers discovered that it was the issues of universal interest that could ensure worldwide success of their films. One of such issues was the leftwing youth protests expressing the unwillingness of the young people to live according to the rules of the older generation. These protests peaked in the late 1960s and immediately found their way onto the screen. The importance of the problem ensured an almost inevitable international success of the films which dealt with those events. Yet there was another reason for the close attention paid by Australian filmmakers to the May 1968 events. Many of them (including the authors of the analyzed films) matured during those tempestuous years. Like many young people in Europe, they were fed up with the hypocrisy and lies of the older generation. They wanted to believe that changes were about to come. What interests the filmmakers of today is not so much the leftist movement itself or the revolt of the young against the society of their fathers but the results which transpired twenty years after the events, following the disillusionment and the shipwreck of youthful hopes. Some found solace in conformism and indifference, others in despair and nihilism. But luckily the filmmakers saw a third path: that of love and care for the destitute; and, by consequence, that of the belief in the coming changes for the better.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

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Justice, Deborah. "When Church and Cinema Combine: Blurring Boundaries through Media-savvy Evangelicalism." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 84–119. http://dx.doi.org/10.1163/21659214-90000042.

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The use of social media presents new religious groups with opportunities to assert themselves in contrast to established religious institutions. Intersections of church and cinema form a central part of this phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in cinemas have emerged around the world as a new form of Sunday morning worship. This paper investigates intersections of church and cinema through case studies of two representative congregations. CityChurch, in Würzburg, Germany, is a free evangelical faith community that meets in a downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest multi-sited megachurches on the American East Coast. While LCBC’s main campus offers live preaching, sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of faith communities that rely on popular musical and social media to 1) redefine local and global religious relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. CityChurch’s use of music and media strategically differentiates the congregation from neighboring traditional forms of German Christianity while strengthening connections to the imagined global evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a “postsuburban sacrality” that carves out meaning from the banality of strip-mall-studded suburban existence. Analyzing the dynamics of music and media in these new worship spaces assumes growing importance as transnational music and media choices play an increasingly a central role in locally differentiating emergent worship communities from historically hegemonic religious neighbors.

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Vasconcelos, André Luiz Olzon, and Rodrigo Gontijo. "O filme-ensaio e sua contemporaneidade: imagens para além da sala escura." Texto Digital 14, no. 1 (August 1, 2018): 104–13. http://dx.doi.org/10.5007/1807-9288.2018v14n1p104.

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Esse artigo discute o filme-ensaio, sobretudo o live-cinema, demonstrando a singularidade estética desse tipo de produção audiovisual contemporânea. O trabalho buscou organizar a bibliografia internacional e nacional a respeito do assunto, além de apresentar exemplos de performances desta vertente cinematográfica.

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Bugaj, Malgorzata. "Live Cinema: Cultures, Economies, Aesthetics, edited by Sarah Atkinson and Helen W. Kennedy." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 245–49. http://dx.doi.org/10.33178/alpha.17.22.

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Mundo, Jr Clodualdo del. "Philippine Movies in 2001: The Film Industry Is Dead! Long Live Philippine Cinema!" Asian Cinema 14, no. 1 (March 1, 2003): 167–74. http://dx.doi.org/10.1386/ac.14.1.167_1.

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Armendariz-Hernandez, Alejandra. "The Japanese Cinema Book – FUJIKI Hideaki & Alastair PHILLIPS (eds)." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 95–101. http://dx.doi.org/10.32926/2020.9.r.arm.cinem.

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Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historiography. Yomota Inuhiko puts it simply in [...]

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Coulter, Colin. "Learning to live with ghosts: spectres of “the Troubles” in contemporary Northern Irish cinema." Irish Studies Review 29, no. 3 (June 24, 2021): 287–310. http://dx.doi.org/10.1080/09670882.2021.1944031.

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Biosa, Sito Fossy, and M. Dwi Marianto. "COMBINATION OF DOCUMENTATION, ANIMATION, AND LIVE ACTION IN THE FILM IDAM PICA." Capture : Jurnal Seni Media Rekam 11, no. 2 (July 1, 2020): 70–82. http://dx.doi.org/10.33153/capture.v11i2.3008.

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Film Idam Pica with visual documentation, animation and live action (called Trisikon; three situation and condition) is used in response to the dangerous phenomenon of idam pica. The writer tried to make a film that is not a cliché, not just a play of dramaturgy, gesture, mimic, and exploratory dialogue from the actor himself. The author explored the visual (mise en scene) by dissecting cliches and not cliches artwork. All action ranging from phenomena, maternal ecstasy, to visual realization. It is intended to create random Audio visual spaces, chaotic, and broken. The combination of documentation, animation, and live action in this film is able to realize the Deleuze’s Logic Sensation theory, that there were two powers owned by chaos at the same time, destructive power, and life power. The modified form in the film Pink Pastel can help the filmmakers to open the possibility of wider cinema visual.

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Bren, Frank. "Ripple Effect: the Theatrical Life of Max Linder." New Theatre Quarterly 25, no. 3 (August 2009): 241–54. http://dx.doi.org/10.1017/s0266464x09000426.

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By 1909 the French actor, playwright, and director Max Linder was probably the most popular male film star of his time, and his success as an innovative writer-actor of variety and revue continued until the outbreak of the First World War. But this followed five years of frustration in stage-ornament roles on the professional, ‘legitimate’ stage, and only after success in the cinema did his playlets, integrating filmed and live action, further enhance his fame in variety venues across Europe. After the war, and Linder's stints in Hollywood, his long descent into bouts of manic depression tragically began. But his theatrical spirit survives in the cine-stage works of the Prague theatre, Laterna Magika, and Frank Bren also discusses here his possible influence on the work of Erwin Piscator, and more surely on the spectacular Paris music-hall production, Jour de fête à l'Olympia, created by and starring Jacques Tati in 1961. This was plainly modelled on Linder's cinema-theatre creations of 1910–1914, with Tati and Pierre Etaix the outstanding successors to Max in French film comedy. Australian actor-author Frank Bren is currently writing a biography of Pierre Etaix, whose classic film comedies of the sixties are now being restored for international re-release – two of them paying discreet homage to Max Linder. Bren has written or co-written histories of Polish and Chinese cinema and theatre as well as articles for diverse international periodicals.

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Panova, Maria. "The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion." Świat i Słowo 36, no. 1 (March 4, 2021): 229–48. http://dx.doi.org/10.5604/01.3001.0014.7918.

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This text highlights the aesthetic explorations of Bulgarian cinematographers from the 1980s, specifically those aimed at people of art. The article offers, first, a brief overview of films that examine the symbolic potential of the artist, which defines the consideration of an established and meaningful tendency in the development of Bulgarian cinema. The article focuses then on the live-action film Illusion (1980, directed by Lyudmil Staykov and written by Konstantin Pavlov) and examines the figure of the artist in the piece. The presented interpretation supports the view of the film as a morally valuable expression of modern art.

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Wills, David. "The Audible Life of the Image." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 43–64. http://dx.doi.org/10.5195/jffp.2010.212.

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"Since at least 1980 Godard’s cinema has been explicitly looking for (its) music, as if for its outside. In Sauve qui peut (la vie) Paul Godard hears, and asks about it, coming through the hotel room wall, and it follows him down to the lobby, but remains “off,” like Marguerite Duras’s voice, in spite of his questions, until the final sequence. At that moment, at the end of the section entitled “Music,” the protagonist is at the same time struck by a car and struck by the entrance of the music into the diegetic present of the film, as the camera pans past an orchestra playing on the sidewalk while Paul fades off under the quizzical gaze of his daughter. By 2004, with Notre musique, it would seem to have taken over the whole text, for the film was announced as being about the collaboration between Godard and German record label ECM. In the context of that film it is difficult to determine both what that music is and who we are, although this discussion will try to advance a hypothesis in that regard. In fact, my main contention will be that music in Godard’s films functions as something like the absent image(s), not those it has lost but rather its cinema to come, what remains to be discovered and live within it, the survival of it. Not a cinema that cannot be seen, rather the image that can perhaps only be heard; and not the romantic or psychedelic dream of a synaesthetic apotheosis either, rather the technological coincidence of sonimage that has also been the precise direction of Godard’s cinematic research for more than thirty years. For the argument I will be making here is inscribed within my own investigation of what I call “technological life,” the means by which, in “prosthetic” symbiosis, or “dorsal” umbrality, a form lives beyond the simplistic opposition of animate and inanimate, or against the reductive presuppositions of autokinetic ipseity..."

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Tahal, Radek, and Václav Stříteský. "Target Audience of Live Opera Transmissions to Cinema Theatres from the Marketing Point of View." Central European Business Review 5, no. 1 (March 30, 2016): 29–36. http://dx.doi.org/10.18267/j.cebr.142.

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Kliesch, Ralph E. "Book Review: Live to Your Local Cinema: The Remarkable Rise of Livecasting, by Martin Barker." Journalism & Mass Communication Quarterly 92, no. 1 (February 18, 2015): 258–59. http://dx.doi.org/10.1177/1077699015569232k.

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Köksal, Selma. "Apocalypse at Painting to Cinema: The end of Western Civilization and Hegemony." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 58–71. http://dx.doi.org/10.5195/cinej.2018.187.

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As we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensified way in the film arts. Finding its inspiration from the social world we live in, film art has been deeply affected by the social class struggles, income inequality, cold war period followed by two major wars, and environmental disasters. By analyzing examples from the history of art and directors from film arts (such as Tarkovsky, Iñárritu, Lars von Trier, and Nuri Bilge Ceylan) who use metaphorical sceneries in dystopian /utopian contents, this article will focus on decoding the signification of the concept of apocalypse throughout the history of humanity.

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Roll, Julia, and Sven-Ove Horst. "The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 90–109. http://dx.doi.org/10.1515/bsmr-2017-0014.

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AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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Małecka, Katarzyna. "In Praise of Slacking: Richard Linklater’s Slacker and Kevin Smith’s Clerks as Hallmarks of 1990s American Independent Cinema Counterculture." Text Matters, no. 5 (November 17, 2015): 189–204. http://dx.doi.org/10.1515/texmat-2015-0014.

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Some people live to work, others work to live, while still others prefer to live lives of leisure. Since the Puritans, American culture and literature have been dominated by individuals who have valued hard work. However, shortly after its founding, America managed to produce the leisurely Rip Van Winkle, who, over time, has been followed by kindred spirits such as, for instance, Walt Whitman, Henry David Thoreau, Twain’s Huck Finn, Melville’s Bartleby, Jack Kerouac, Diane di Prima, the Hippies, and Christopher McCandless. With the rise of the Indie Film movement of the 1990s, so came the rise of the slacker film. Films such as Slacker (1991), Singles (1992), Wayne’s World (1992), Reality Bites (1994), Clerks (1994), Kicking and Screaming (1995), Mallrats (1995), Chasing Amy (1997), The Big Lebowski (1998), and Office Space (1999) filled theatres over the decade with characters who take an unorthodox view of work and stress the importance of leisure in life. This essay discusses two slacker films, Richard Linklater’s Slacker (1991) and Kevin Smith’s Clerks (1994), which defined the slacker phenomenon in the 1990s and constituted two important landmarks in American independent film. While many of us may find the slacker pathetic and annoying, this essay argues that there is much value to be found in this healthy counterculture. By offering their perspectives on issues such as the Puritan work ethic, work-incited self-importance, leisure versus idleness and human relationships, Linklater and Smith join the preceding generations of slackers, providing a much needed balance to the American obsession with work and success.

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Lewis, Hannah. "The singing film star in early French sound cinema." Soundtrack 12, no. 1 (November 1, 2020): 21–37. http://dx.doi.org/10.1386/ts_00010_1.

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In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.

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Spence, Charles. "Scent in the Context of Live Performance." i-Perception 12, no. 1 (January 2021): 204166952098553. http://dx.doi.org/10.1177/2041669520985537.

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Ambient smell has long been a feature of live performance, no matter whether its presence was intentional or not. While, once upon a time, the incidental presence of malodour was an inevitable feature of proceedings, the deliberate use of scent can actually be traced all the way back to the earliest rituals. This review attempts to trace the long history of scent’s use in processions, pageants, and, most important, performance. From Shakespeare’s time onward, scent has been used as an atmospheric/ambient cue. It has been used to create a certain mood, to trigger memories/nostalgia, and, on occasion, it has also served a narrative role. While the use of scent has often been merely illustrative (or pleonastic), there have been numerous occasions where olfactory stimulation has taken on a far more important evaluative role, critical or otherwise. Most often, this has been in the theatre, but also on occasion in the context of the opera, musical, ballet, and comedy too. In recent years, there has been a resurgence of interest in scenting live performance/entertainment, especially in the context of highly immersive and experiential multisensory events. While high-tech solutions to scent delivery have been a prominent feature of its use in the cinema, low-tech solutions have more often been incorporated in the live-performance setting. This and a number of other important differences between scent’s use in the theatrical versus cinematic setting are highlighted.

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Buchsbaum, Jonathan. ""The Exception Culturelle Is Dead." Long Live Diversity: French Cinema and the New Resistance." Framework: The Journal of Cinema and Media 47, no. 1 (2006): 5–21. http://dx.doi.org/10.1353/frm.2006.0001.

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Korczarowska, Natasza. "„Heritage is Dead! Long Live Heritage!” Kino brytyjskie w obliczu kryzysu politycznego." Kwartalnik Filmowy, no. 105-106 (December 31, 2019): 84–100. http://dx.doi.org/10.36744/kf.46.

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Kryzysy polityczne prowokują do stawiania pytań o przeszłość i ufundowaną na niej tożsamość. Niepewne jutro kieruje nas ku historii, w której próbujemy znaleźć potwierdzenie naszego stabilnego (narodowego) „my”. To, kim jesteśmy, wyrasta z nostalgii za przeszłością – pod warunkiem jednak, że owa przeszłość powraca w formie narracji kompensacyjnych. Zrealizowane na Wyspach po 2016 r. dzieła potwierdzają tezę Pierre’a Sorlin, że filmy historyczne dostarczają wiedzy wyłącznie na temat okresu, w którym powstały. Manifestuje się w nich zainteresowanie tymi momentami historii, które okazały się znaczące dla losów nie tylko Wielkiej Brytanii, lecz także całej Europy. Strategie realizowane przez kino „po Brexicie” przywołują w pamięci ideologiczne spory z epoki rządów Margaret Thatcher skoncentrowane wokół heritage cinema. Ale czy międzynarodowe sukcesy brytyjskich „filmów o przeszłości” (Dunkierka, Czas mroku, Faworyta) pozwalają spojrzeć na Brexit jak na „pożyteczną katastrofę” i przywołać głoszone w okresie thatcheryzmu hasło Brytyjczycy nadchodzą (lub Up your bum)?

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