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Journal articles on the topic 'Sociology of Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Rovai, Mauro Luiz. "MANHÃ CINZENTA: SOCIOLOGIA E CINEMA / Gray morning: sociology and cinema." arte e ensaios 26, no. 40 (December 2, 2020): 347–59. http://dx.doi.org/10.37235/ae.n40.24.

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O artigo analisa o filme Manhã cinzenta (1969), dirigido e produzido por Olney São Paulo e fotografia de José Carlos Avellar. A trama gira em torno de um acontecimento (um golpe de Estado) ocorrido em lugar não mencionado (embora identificável). A ideia é identificar as relações encenadas entre os grupos sociais mencionados no filme, com ênfase nas duas personagens principais, tomando como hipótese a ideia de que o filme pode ser visto como uma espécie de “dispositivo de alerta”.Palavras-chave: Sociologia; Análise de filme; “Dispositivo de alerta”.AbstractThe article analyzes the film Morning Gray (1969), directed and produced by Olney São Paulo and photography by José Carlos Avellar. The plot revolves around an event (a coup d'état) that took place in an unmentioned (though identifiable) place. The idea is to point out the staged relationships between the social groups mentioned in the film, with an emphasis on the two main characters, taking as an hypothesis the idea that the film can be seen as a kind of “warning device”.Keywords: Sociology; Film analysis; “Warning device”.

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2

Coşkun, Çiçek. "Sociology in cinema: Origins of social types in Turkish cinema." International Journal of Social Sciences and Education Research 3, no. 4 (October 1, 2017): 1147–54. http://dx.doi.org/10.24289/ijsser.312662.

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3

Stepanov, Boris. "“Coming Soon?”: Cinematic Sociology and the Cultural Turn." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 152–77. http://dx.doi.org/10.17323/1728-192x-2020-4-152-177.

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Throughout the 20th century, cinema has played, and, to some extent, continues to play a key role in shaping the social imagination and anthropology of modern human. Nevertheless, as a review of English scholarly literature shows, cinema, unlike art and music, remains a marginal subject of analysis for sociologists. The article attempts to consider the state of sociological reflection on cinema in the context of the cultural turn in sociology in both the international and national contexts. By reconstructing the history of the interaction between sociology, film studies, and cultural studies, the author not only proves the scar-city of interest among sociologists in the analysis of cinema, but also discusses the ways by which socio-logical perspectives were involved in film research at the turn of the 20th–21st centuries, and the potential of the latter for the study of social imagination. A survey of communities of Soviet sci-fi cinema fans demonstrates one possible way of developing of the sociologically oriented program of cinema studies.

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Wan, Xing, Nianxin Wang, and Ben Shaw-Ching Liu. "Impact of O2O platform multihoming and vertical integration on performance of local service firms – a quantile regression approach." Internet Research 30, no. 5 (May 7, 2020): 1583–610. http://dx.doi.org/10.1108/intr-03-2019-0087.

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PurposeThis study takes the cinema industry as the research context and investigates the impact of online to offline (O2O) platforms on cinemas' performance. Specifically, the purposes of this paper are threefold: first, to study the influence of platform multihoming on cinemas' performance; second, to examine the interaction impact of platform multihoming and vertical integration; third, to investigate how the influence of platform multihoming varies with cinemas' performance.Design/methodology/approachThis study collects data from 1918 cinemas in China, employs quantile regressions to estimate the model and test the proposed hypotheses and adopts an instrumental variable method to examine the robustness of our results.FindingsThe findings confirm the positive role of platform multihoming for cinemas' performance. However, when a cinema has low-degree platform multihoming, the cinema's vertical integration is positively associated with its performance; when a cinema has high-degree platform multihoming, the cinema's vertical integration is negatively associated with its performance. Furthermore, results from quantile regressions indicate that low-performance cinemas benefit more than high-performance cinemas from employing platform multihoming strategy.Research limitations/implicationsThis paper extends previous research by investigating the impact of platform multihoming on heterogeneous firms and the impact of interaction between platform multihoming and vertical integration. The findings imply that the impact of platform multihoming on firms' performance depends on firms' performance attributes and their vertical relationships.Practical implicationsPlatform multihoming can be a double-edged sword for local service firms. When multihoming platforms, a local service firm should think about the fit between platforms and its own attributes, and identify the potential conflict between platform relationships and traditional relationships of industrial organization.Originality/valueThere is a growing interest in understanding platforms' role in the digital economy. The impact of platform participation on local service firms' performance is not sufficiently investigated. Previous research rarely addressed the impact by incorporating local service firms' performance attributes and the existing relationships of industrial organization.

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Da Silva Câmara, Antônio, Bruno Vilas Boas Bispo, and Rodrigo Oliveira Lessa. "IMAGENS DA CLASSE TRABALHADORA NO DOCUMENTÁRIO BRASILEIRO: apontamentos metodológicos." Caderno CRH 32, no. 87 (December 30, 2019): 491. http://dx.doi.org/10.9771/ccrh.v32i87.32181.

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<p>Neste artigo, retomamos aspectos metodológicos de pesquisas sobre representações da classe trabalhadora encontradas no cinema documentário. Através da discussão com base em conceitos de Marx e de outros teóricos, como Lukács, Adorno, Benjamin e Kracauer, procuramos aqui revisar os termos dessa experiência a partir de sua proposta metodológica e aprofundar uma abordagem do conceito de representação que contemple os aspectos de forma e conteúdo do filme como obra de arte. Desse modo, apontamos para a correlação entre a representação e a realidade social, ressaltando a relevância dos elementos criativos a ela intrínsecos. Para tanto, buscamos analisar o filme como produto das determinações resultantes da relação reciprocamente mediada entre artistas e realidade social. Em seguida, buscamos desdobrar tais reflexões em procedimentos específicos de análise, expondo o uso de tais elementos na pesquisa citada, de modo a contribuir para as reflexões metodológicas acerca de uma sociologia estética a partir da experiência acumulada em nossas investigações.</p><p> </p><p>IMAGES OF THE WORKING CLASS IN THE BRAZILIAN DOCUMENTARY: methodological notes</p><p>In this article, we return to methodological aspects of investigation on representations of working-class found in documentary cinema. Through discussion with based on concepts from Marx and other theorists such as Lukacs, Adorno, Benjamin, and Kracauer, we here seek to review the terms of this research experience from its proposal approach and deepen an approach to the concept of representation that contemplates the form and content aspects<br />of the film as a work of art. In this way, we point to a correlation between representation and social reality, emphasizing the relevance of creative elements intrinsic to it. To this aim, we seek to analyze the film as a result of the determinations from the mutually mediated relationship between artists and social reality. Then, we seek to unfold such reflections in procedures analysis, exposing the use of such elements in the research cited, in order to contribute to the methodological reflections about sociology of art from the accumulated experience in our investigations.</p><p>Keywords: Sociology. Cinema. Documentary cinema. Methodology. Art.</p><p> </p><p>IMAGES DE LA CLASSE OUVRIÈRE DANS LE DOCUMENTAIRE BRÉSILIEN: notes méthodologiques</p><p>Dans cet article, nous revenons aux aspects méthodologiques de notre recherche sur les représentations de la classe ouvrière dans le cinéma documentaire. À travers d´une discussion basée sur les concepts de Marx et d’autres théoriciens, tels que Lukács, Adorno, Benjamin et Kracauer, nous nous<br />proposons à revoir les termes de cette expérience à partir d’une proposition méthodologique et à approfondir une approche du concept de représentation qui envisage des aspects de la forme et du contenu cinématographique en tant qu’oeuvre d’art. Ainsi, nous soulignons la corrélation entre la représentation et la réalité sociale, surtout sur la pertinence des éléments créatifs qui lui sont intrinsèques. Pour cela, nous avons analysé le film comme un produit des déterminations résultant des rapports médiatisés entre les artistes et la réalité sociale. Ensuite, nous avons traduit ces réflexions en procédures d’analyse spécifiques, exposant l’utilisation de ces éléments dans la recherche citée, afin de faire des apports méthodologiques à sociologie de l’art à partir de l’expérience accumulé dans nos recherches.</p><p>Mots clés: Sociologie. Cinéma. Cinéma documentaire. Méthodologie. L´art.</p>

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Altenloh, E. "A Sociology of the Cinema: the Audience." Screen 42, no. 3 (September 1, 2001): 249–93. http://dx.doi.org/10.1093/screen/42.3.249.

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Tarr, Carrie. "Introduction French Cinema: ‘Transnational’ Cinema?" Modern & Contemporary France 15, no. 1 (February 2007): 3–7. http://dx.doi.org/10.1080/09639480601115243.

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Rekabtalaei, Golbarg. "CINEMATIC GOVERNMENTALITY: CINEMA AND EDUCATION IN MODERN IRAN, 1900S–1930S." International Journal of Middle East Studies 50, no. 2 (May 2018): 247–69. http://dx.doi.org/10.1017/s0020743818000053.

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AbstractMuch of the scholarship on the history of Iranian cinema considers film spectatorship in the first three decades of the 20th century as a leisure practice with origins in royalist and elitist entertainment forms. However, a close reading of archival material from this era reveals that cinema's significance extended well beyond its role as a pastime, as it became engaged in the governance of the self and disciplinary strategies of the state in Iran's experience of modernity in the early 20th century. In this article, I reperiodize the history of cinema in Iran by demonstrating the entanglement of cinema in popular nationalist discourses on education prior to cinema's institutionalization in the 1930s. Drawing on newspaper articles, film announcements, official documents, and poems, I show how, despite the absence of a centralized cinema institution in the 1910s and early 1920s, cosmopolitan citizens in dialogue with global trends promoted cinema as a means for the governance of selfhood and moral edification in the service of national progress. With the appropriation of cinema by the Pahlavi state in the 1930s, cinema was used as a technique of governmentality that aimed to conduct the conduct of individuals and shape an Iranian civic society.

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Lopes, Rafael De Figueiredo, and Wilson De Souza Nogueira. "CINEMA NO AMAZONAS: o imaginário colonizado navegando numa sociologia de ausências e emergências." Revista Observatório 2, no. 5 (December 25, 2016): 93. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p93.

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O artigo propõe uma reflexão sobre o Cinema no Amazonas, apresentando aspectos da produção audiovisual desde o início do século XX à contemporaneidade, dando ênfase a produção de cineastas locais. Propomos a configuração de um “ecossistema comunicacional” a partir da relação entre contexto histórico, artistas, meio ambiente, políticas públicas, estéticas e ideologias. A abordagem teórico-metodológica parte da ideia de sociologia das ausências e emergências, de Boaventura de Sousa Santos, em diálogo com autores amazônicos, como João de Jesus Paes Loureiro, e de teóricos da cultura e do audiovisual. Além da pesquisa bibliográfica foi realizado um estudo de campo para mapear a situação do setor audiovisual regional. Percebe-se que, por diversos fatores ao longo da história, o cinema amazonense é um segmento que se mantém praticamente imperceptível ou ignorado, pois além de estar apartado do sistema industrial de produção, distribuição e exibição, ainda não conquistou o reconhecimento do público regional. PALAVRAS-CHAVE: Ecossistemas comunicacionais; Sociologia das emergências; cinema no Amazonas; Imaginário. ABSTRACT This paper proposes a reflection on the Cinema in the Amazon, presenting aspects of audiovisual production since the beginning of the twentieth century to the contemporary, emphasizing the production of local filmmakers. We propose setting up a “communication ecosystem” from the relationship between historical context, artists, environment, public policy, aesthetics and ideologies. The theoretical and methodological approach of the idea of sociology of absences and emergencies, Boaventura de Sousa Santos, in dialogue with Amazonian authors like Paes Loureiro, and theorists of culture and audiovisual. In addition to the literature search was conducted a field study to map the situation of the regional audiovisual sector. It is perceived that by various factors throughout history, the Amazonas film is a segment that remains almost invisible or ignored, as well as being separated from the industrial system of production, distribution and exhibition, has not won the recognition of the regional public. KEY WORDS: Communicational ecosystems; Sociology of emergencies; Cinema in Amazon; Imaginary. RESUMEN El artículo propone una reflexión sobre el cine en la Amazonía, la presentación de los aspectos de la producción audiovisual desde principios del siglo XX a lo contemporáneo, con énfasis en la producción de realizadores locales. Se propone la creación de un “ecosistema de comunicación” de la relación entre el contexto histórico, los artistas, el medio ambiente, la política pública, la estética y las ideologías. El enfoque teórico y metodológico parte de la idea de la sociología de las ausencias y emergencias de Boaventura de Sousa Santos, en diálogo con autores de la Amazonía, como Juan de Jesus Paes Loureiro, y los teóricos de la cultura y audiovisual. Además de la búsqueda bibliográfica se llevó a cabo un estudio de campo para mapear la situación del sector audiovisual regional. Se dio cuenta de que, por diversos factores a lo largo de historia, la película en Amazonas es un segmento que permanece casi invisible o ignorada, además de estar separada del sistema industrial de producción, distribución y exhibición, no ha ganado el reconocimiento del público regional. PALABRAS CLAVE: Ecosistemas comunicacionales; Sociología de las emergencias; Películas em Amazonas; Imaginario.

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Brazzoduro, Andrea. "Il nemico interno. La guerra d'Algeria nel cinema francese." PASSATO E PRESENTE, no. 76 (March 2009): 127–42. http://dx.doi.org/10.3280/pass2009-076007.

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- Starts from France, that established the state of emergency according to an act dating back to the Algerian war (1955) to cope with the revolt which set on fire the banlieues in 2005. Siri's L'Ennemi intime, which came out in cinemas shortly afterwards, brought to the big screen exactly the French Algerian conflict. Contextualizing the film in the plentiful French production about this issue, the A. wonders whether we are faced with a new stage of "the Algerian syndrome" 50 years after the event or whether the Algerian war, caught up in a complex device of censorship and self censorship (official as well as by authors, producers, public), still remains the major repressed experience of French society (and its cinema). Keywords: Algeria, War, Memory, Cinema, History. Parole chiave: Algeria, Guerra, Memoria, Cinema, Storia.

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Sorlin, Pierre. "Par le cinema ou vers le cinema." Le Mouvement social, no. 172 (July 1995): 3. http://dx.doi.org/10.2307/3778985.

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Prendergast, Christopher. "Cinema Sociology: Cultivating the Sociological Imagination through Popular Film." Teaching Sociology 14, no. 4 (October 1986): 243. http://dx.doi.org/10.2307/1318381.

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Caldeira, Chris. "The Sociological Cinema: Teaching and Learning Sociology through Video." Teaching Sociology 40, no. 2 (March 23, 2012): 191–93. http://dx.doi.org/10.1177/0092055x12439856.

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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.

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Altmann, Eliska. "Olhares da recepção, a crítica cinematográfica em dois tempos." Caderno CRH 21, no. 54 (December 2008): 611–22. http://dx.doi.org/10.1590/s0103-49792008000300013.

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Com base em proposições da teoria da recepção, no campo da sociologia da cultura, o artigo discute o papel da crítica cinematográfica a partir de duas posições: a que defende o "cinema de autor" e a que se enquadra em um suposto "fim" da função crítica. O persistente debate a opor cinema (requintado) de arte ou de autor ao (fácil) industrial e massivo parece tão antigo quanto o próprio cinema e acaba por reduzi-lo à mera oposição "arte versus indústria". Essa, por sua vez, parece ainda hoje um argumento medular no campo da crítica. A complexificação do pensar cinematográfico e artístico implica um deslocamento de sua recepção e, por conseguinte, de sua sociologia. Nesse sentido, pretende-se debater as possíveis relocalizações de conceitos, como os que circunscrevem o cinema em termos de "alto" versus "baixo" e "educado" versus "vulgar".

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Scott, Allen J. "French Cinema." Theory, Culture & Society 17, no. 1 (February 2000): 1–38. http://dx.doi.org/10.1177/02632760022050988.

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Wejbert-Wąsiewicz, Ewelina. "Film and cinema as a subject of sociological study. Between tradition and the present." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 89–110. http://dx.doi.org/10.18778/0208-600x.73.06.

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Relations between sociology and cinema span over a hundred years. The author’s task is to reflect on this fact and, as a result, to present her own theoretical and methodological concept. Constructive framing is done in a historical perspective supplemented with methodological reflections using a variety of existing materials, scientific publications (library query) and the author’s own analyses. The basic research question concerns the state of the subdiscipline: what methodological, empirical and theoretical proposals have been developed; to what extent are they currently up to date or cultivated by scholars? A look at the broad heritage of the sociology of film and cinema allows us to see the gaps to be filled in in the area of empiricism and theory. This article does not address the reasons for this state of affairs in great detail, but merely indicates that an in-depth study of relationships and embedding data in the light of Bruno Latour’s actor-network theory or Pierre Bourdieu’s field concept could shed light on the issue from a different angle, in this case – the scope of the sociology of knowledge. One of the conclusions is that the sociology of film has a faint presence in the field of the sociology of art. The author tries to revive the old postulates of the Polish sociologists of culture and film (including A. Kłoskowska, C. Prasek, K. Żygulski), drawing theoretical inspiration from the philosophy of Ernst Cassirer and also using experience from her own research. What emerges as a result is a research model proposal (along with a research tool) in the field of the sociology of film/cinema, aimed at the cognition and comparison of images of reality.

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Zhabskiy, Mikhail, and Kirill Tarasov. "Russian Sociology of Cinema in the Context of Society Development." Sotsiologicheskie issledovaniya, no. 11 (November 2019): 73–81. http://dx.doi.org/10.31857/s013216250007449-6.

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Yengde, Suraj. "Dalit Cinema." South Asia: Journal of South Asian Studies 41, no. 3 (June 3, 2018): 503–18. http://dx.doi.org/10.1080/00856401.2018.1471848.

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Toropova, Anna. "Science, Medicine and the Creation of a ‘Healthy’ Soviet Cinema." Journal of Contemporary History 55, no. 1 (March 27, 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 manifesting in the organization of child-friendly screenings and forms of ‘cultural enlightenment work’, soon extended to attempts to develop a new children's film repertoire based on the results of psycho-physiological viewer studies. A vast variety of pedological research institutions established during the late 1920s and early 1930s began to experimentally test cinema's effects on children with the view of assisting the production of films that could cultivate a sound mind and body. Tracing a link between the findings of pedological viewer studies and the ‘healthy’ cinema championed in the 1930s, this article sheds light on the vital role played by medical and scientific expertise in shaping Stalinist culture.

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Şi̇mşek, Bahar. "Lost Voices of Kurdish Cinema." Middle East Journal of Culture and Communication 9, no. 3 (2016): 352–69. http://dx.doi.org/10.1163/18739865-00903002.

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The belated emergence and the visibility of the cinema by Kurdish filmmakers is widely interpreted as a reason to categorize it as part of transnational cinemas characterized by a lack of standardized language and national domestic industry. This contributes to a negation of the promise of a cinema that specifically caters to a Kurdish public in terms of enunciation and reception. Considering Kurdish cinema outside transnational conditions, this paper examines enunciation in cinema of (national) subject through an audiovisual analysis of three feature-length films equipped with acoustic means in Kurdish: Voice of My Father (Dengê Bavê Min, Orhan Eskiköy and Zeynel Doğan, 2012), Song of My Mother (Klama Dayîka Min, Erol Mintaş, 2014), and My Sweet Pepper Land (Hiner Saleem, 2013). I employ Mladen Dolar’s concept of voice in understanding enunciation of subject through body and language and Michel Chion’s concept of acousmatic voice in understanding the constitutive division of the subject by means of suture. Through this analysis, lost memories, absence of the father (read as nation-state), and fetishization of mother(land) emerge as icons of the past haunting the present on behalf of recognition. In this regard, I address Kurdish cinema as a force of subjectification that transcends and transforms the experience of trauma through an impure production of meaning. Accordingly, the paper concludes that a primary characteristic of Kurdish cinema is its potential as a self-reflexive means for recognition and identification.

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Costa, Selda Vale da, and Narciso Julio Freire Lobo. "Cinema no Amazonas." Estudos Avançados 19, no. 53 (April 2005): 295–98. http://dx.doi.org/10.1590/s0103-40142005000100018.

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Obodiac. "Autoimmune Cinema." CR: The New Centennial Review 19, no. 3 (2019): 221. http://dx.doi.org/10.14321/crnewcentrevi.19.3.0221.

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Greek, Cecil E., and David M. Considine. "The Cinema of Adolescence." Contemporary Sociology 15, no. 3 (May 1986): 394. http://dx.doi.org/10.2307/2070023.

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DuPuis, E. Melanie. "Teaching Food with Cinema." Rural Sociology 70, no. 4 (December 2005): 584–88. http://dx.doi.org/10.1526/003601105775012651.

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Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (December 1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas: Italian, German, American and Russian. This is because when countries were inventing and using motion pictures, they needed an image of themselves. The Russian cinema arrived at a time they needed a new image. And in the case of Germany, they had lost a war and were completely corrupted and needed a new idea of Germany. At the time the new Italian cinema emerged Italy was completely lost—it was the only country which fought with the Germans, then against the Germans. They strongly needed to see a new reality and this was provided by neo-realism. Today, if you put all these people in one so-called ―Eurocountry,‖ you have nothing; since television is television, you only have America. (Jean-Luc Godard in conversation with Colin MacCabe [Petrie 98] )

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Kristensen, Lars. "Bicycle cinema." Thesis Eleven 138, no. 1 (January 23, 2017): 65–80. http://dx.doi.org/10.1177/0725513616689397.

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This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush (Davis Koepp, 2012), A Sunday in Hell (Jørgen Leth, 1977) and Life on Earth (Abderrahmane Sissako, 1998). It engages with the concept of ‘interpretative flexibility’ and the development of the bicycle, as examined by Wiebe Bijker and others, and argues that the interpretative flexibility of bicycles does not cease just because the high-wheeler was abandoned and the ‘safety’ bicycle was universally accepted. The fight for the role of the bicycle continues and the bicycle is subject to constant transformations in order to reconstruct it according to human needs. Andrew Feenberg’s modified constructivism is applied to re-examine the technical development of the bicycle, claiming that technology is dependent on specific social structures as well as human agency. The paper argues that just as social structures are negotiable and unfixed at any point in time, the bicycle too is never neutral but remains negotiable and unfixed. Consequently, since the bicycle constantly ‘speaks’ back to the user, there is never closure in the technical development of the bicycle. Drawing on the writings of Bruno Latour and the Deleuzian idea of assemblages, the bicycle and its rider are considered as an organic entity that is constantly forged and un-forged. Understanding the rhetoric of the bicycle machine helps the convergence of a bicycle becoming with becoming a rider, marking the bicycle as equal to its rider. Viewed in this way, the hierarchy of agency collapses and a crystallization emerges out of the rider and bicycle entwinement.

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Pathak, Dev N. "Melodramatic South Asia: In Quest of Local Cinemas in the Region." Journal of Human Values 23, no. 3 (July 20, 2017): 167–77. http://dx.doi.org/10.1177/0971685816689742.

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What is remarkably unique of the popular cinema in the region of South Asia? How does it lead beyond the vexed notions of the contemporary milieu, namely, hybrid local? How does it transcend the idea of nationally restricted local too? Looking through eclectic motley of popular cinema in the region, this article seeks to unravel such questions with reflexive propositions. It paves the way to comprehend cinematic identity of the region with the adjective of ‘melodrama’, as perceived through the local sociocultural component. It is with the sweep of melodrama, arguably, that cinema of South Asia transcends the notions attached with the category of ‘local’. In this backdrop, this article moots a probing question: What is local in the regional cinemas? Does local mean merely a vexed category in contemporary context of transnational flow? Or there is more to the category of local, beyond the existing formulations? With these questions, this article seeks to participate in the available discourse showing the regional cinema underpinned by the essentially dynamic nature and scope of the local.

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Clark, Marshall. "Men, Masculinities and Symbolic Violence in Recent Indonesian Cinema." Journal of Southeast Asian Studies 35, no. 1 (February 2004): 113–31. http://dx.doi.org/10.1017/s0022463404000062.

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This article investigates images of men and masculinities in post-New Order Indonesian popular culture, focusing on a recent and path-breaking Indonesian film, Kuldesak. The theoretical sociology of Pierre Bourdieu is utilised to suggest that if Indonesian women are to be assisted in their efforts to resist the gender inequality of Indonesia's patriarchal gender regime, then the social gendering of men and masculinity must also be understood.

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Asbjørnsen, Dag, and Ove Solum. "Public service cinema? On strategies of legitimacy in policies for Norwegian cinema." International Journal of Cultural Policy 5, no. 2 (April 1999): 269–91. http://dx.doi.org/10.1080/10286639909358103.

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Tarasov, Kirill. "Representing violence in cinema industries." Социологические исследования, no. 8 (2018): 65–73. http://dx.doi.org/10.31857/s013216250000799-1.

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Berger Soraruff, Amelie. "A Pharmacology of Cinema." Cultural Politics 17, no. 2 (July 1, 2021): 212–27. http://dx.doi.org/10.1215/17432197-8947907.

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Abstract French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, depending on how it is acted on. As the article concludes, Stiegler's pharmacology of cinema invites us to take part in our cinematic cultural becoming through the revival of the figure of the amateur. But it does so at the risk of cultural snobbery. While Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.

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Jell-Bahlsen, Sabine, Imruh Bakari, and Mbye Cham. "African Experiences of Cinema." International Journal of African Historical Studies 32, no. 2/3 (1999): 492. http://dx.doi.org/10.2307/220392.

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Donald, James. "Cinema, History and Culture." Theory, Culture & Society 3, no. 2 (June 1986): 141–46. http://dx.doi.org/10.1177/0263276486003002012.

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Baranova, Jūratė. "THE TENSION BETWEEN CREATED TIME AND REAL TIME IN ANDREI TARKOVSKY’S FILM ANDREI RUBLIOV." Creativity Studies 12, no. 2 (December 31, 2019): 327–40. http://dx.doi.org/10.3846/cs.2019.9810.

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This article starts with the presumption that Russian film director Andrei Tarkovsky (1932–1986) created a new conception of cinematic time. This impact on the theory of modern cinema was examined by philosopher Gilles Deleuze (1925–1995) in his book Cinema 2: The Time-Image (in French: Cinéma 2, L’Image-Temps, 1985). The article asks the question: what were the conceptual and social circumstances for everyday time to be implemented in a specific movie? As an example, it takes the film Andrei Rubliov (director Andrei Tarkovsky, 1969), which underwent protracted critique and compulsory shortening. The article asks the question: what is the meaning and significance of the cuts made when passing from the first version of The Passion according to Andrei (in Russian: Strasti po Andreyu, director Tarkovsky, 1966) to the final Andrei Rubliov? What is the meaning of the cuts made to the scenes of violence and nudity? The research conclusions are: the impatience of the critics who demanded that the long scenes in The Passion according to Andrei be shortened speaks not about defects in the film, nor about the inability of Tarkovsky to calculate time, but rather about the inability of observers to grasp Tarkovky’s new conception of cinematic time. According to Deleuze, in his attempt to transfer into cinema the slow speed of everyday life, Tarkovsky created a feature of modern cinema, and made a turn from movement towards time; time in this particular movie is already made visible.

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Nwonka, Clive James, and Sarita Malik. "Cultural discourses and practices of institutionalised diversity in the UK film sector: ‘Just get something black made’." Sociological Review 66, no. 6 (May 4, 2018): 1111–27. http://dx.doi.org/10.1177/0038026118774183.

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‘Diversity’ is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council’s (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the time. The authors suggest that the New Cinema Fund’s ‘institutional diversity’ agenda represented a symbolic effort by both the UKFC and UK public service broadcasters to redevelop black British film vis-a-vis a plethora of cultural imperatives oriented around the notion of ‘social inclusion’. The nature of this intervention, it is argued, was strongly influenced by the 1999 Macpherson Report, which identified ‘institutional racism’ within the fabric of the UK’s organisations. The article examines how such an ‘institutional diversity’ agenda emerged within the production context of a BBC Film/UKFC production, Bullet Boy (2005), thus generating a rearticulated black British cinema that was deeply imbricated in the highly politicised contexts outlined.

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Rohdie, Sam. "Italian Neorealist Cinema." Journal of Modern Italian Studies 15, no. 3 (June 2010): 476–78. http://dx.doi.org/10.1080/13545711003768691.

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Halle, Randall. "The Queer German Cinema (review)." Journal of the History of Sexuality 10, no. 3 (2001): 555–57. http://dx.doi.org/10.1353/sex.2001.0066.

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Suleiman, Elia. "A Cinema of Nowhere." Journal of Palestine Studies 29, no. 2 (January 1, 2000): 95–101. http://dx.doi.org/10.2307/2676539.

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Suleiman, Elia. "A Cinema of Nowhere." Journal of Palestine Studies 29, no. 2 (January 2000): 95–101. http://dx.doi.org/10.1525/jps.2000.29.2.02p0033q.

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Charlot, John. "Vietnamese Cinema: First Views." Journal of Southeast Asian Studies 22, no. 1 (March 1991): 33–62. http://dx.doi.org/10.1017/s0022463400005452.

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Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema along with an appreciation of its major characteristics and themes. I base my views on my two visits to the Vietnam Cinema Department in Hanoi — for one week in 1987 and two in 1988 — on behalf of the Hawai'i International Film Festival. During those visits, I was able to view a large number of documentaries and feature films and to discuss Vietnamese cinema with a number of department staff members. I was able to obtain more interviews during the visits of Vietnamese to the Hawai'i International Film Festival in Honolulu. This article cannot claim to be an adequate introduction to the history of Vietnamese cinema, a task I hope will be undertaken with the aid of my informants and the sources I list as completely as possible.

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Soderbergh, Steven. "Toward a Universal Cinema." World Policy Journal 27, no. 3 (2010): 57–65. http://dx.doi.org/10.1162/wopj.2010.27.3.57.

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Aydoğmuş Ördem, Özlem. "Consumption culture and body in cinema context: Fight Club." Journal of Human Sciences 13, no. 3 (December 19, 2016): 5530. http://dx.doi.org/10.14687/jhs.v13i3.4129.

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Studies on consumption culture and body have been examined considerably in sociology in recent years. Analysis of culture industry through cinema can be viewed as an important practice in understanding sociological theories and concepts. This study examined the movie Fight Club through content analysis within the framework of consumption culture and body. The present study found that the movie contained the concepts of desire, ambivalence, chronic health problems, and transition from the world of objects to discourse dimension, desire of destroying, principle of bodily desire and lack of reciprocal relationship and showed that there was a significant relationship between the concepts in the movie and sociological theories. The study indicated that sociological analysis of the movie Fight Club could be evaluated as a crucial tool in the analysis of sociological problems.

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Reader, Keith. "Recent developments in French cinema." Modern & Contemporary France 6, no. 3 (August 1998): 369–70. http://dx.doi.org/10.1080/09639489808456441.

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Boyne, Roy. "Image and Sound in Cinema." Theory, Culture & Society 24, no. 7-8 (December 2007): 330–33. http://dx.doi.org/10.1177/0263276407086402.

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Narine, Neil. "Global Trauma and Narrative Cinema." Theory, Culture & Society 27, no. 4 (July 2010): 119–45. http://dx.doi.org/10.1177/0263276410372237.

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Fresko, David. "A specter haunting the cinema." Sixties 13, no. 2 (July 2, 2020): 146–55. http://dx.doi.org/10.1080/17541328.2020.1835378.

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Spitz, Markus Oliver. "Cinema: A Visual Anthropology." Journal of Contemporary European Studies 19, no. 2 (June 2011): 308–9. http://dx.doi.org/10.1080/14782804.2011.580932.

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Teixeira, Ana Carolina. "Audacity in the Cinema." Index on Censorship 14, no. 5 (October 1985): 58–60. http://dx.doi.org/10.1080/03064228508533969.

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Yan, Zhang. "Are Cinema Prices Really Too High?" Chinese Sociology & Anthropology 32, no. 1 (October 1999): 43–46. http://dx.doi.org/10.2753/csa0009-4625320143.

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