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Journal articles on the topic 'Symbolism in film'
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1
Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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Valančiūnas, Deimantas. "Myth in constructing contemporary Indian identity in popular Hindi film: The case of Ashutosh Gowariker." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 159–74. http://dx.doi.org/10.15388/aov.2008.2.3702.
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Vilnius UniversityThe present paper concentrates on particular mytho-religious symbolism and mythological structures used in two popular films by famous contemporary Indian film director Ashutosh Gowariker: Lagaan (2001) and Swades (2004). These films are significant in the history of Indian popular cinema not only for their complex problems related to the sensitive topics of anti-colonialism, nationalism and patriotism, but also for their widely used mytho-religious symbolism. My goal in this essay is to analyse these two films, identifying the mythological symbols and mythological structures used in the films, and to see how they organise the films’ narrative and how they are connected with the issues of anti-colonialism, Hindu nationalism, and the construction of (idealised) Indian identity. In this paper I argue that the usage of mythological and mytho-religious symbolism functions as a useful tool for the director to transfer ideas related to national identity, nationalism, and anti-colonialism to the viewer effectively, as well as to express a political and social critique of contemporary India and to construct the images of idealised Indian identity in response.
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Rusinova, Elena A. "Sound as a Sign and Artistic Symbol in Film." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 19–33. http://dx.doi.org/10.17816/vgik10319-33.
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The article searches into the significant and symbolic aspects of sound in creating the films audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the directors inner desire and is based on his esthetics, cultural experience and worldview.
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Abdullah, Nur Afifah Vanitha, Fatimah Muhd Shukri, and Nur Aifaa Nabilah Mohd Rosdi. "HUBUNGAN ALAM DAN MANUSIA DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (2017)." Jurnal Pengajian Melayu 32, no. 1 (April 22, 2021): 105–17. http://dx.doi.org/10.22452/jomas.vol32no1.7.
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‘Tombirou: Penunggu Rimba’ (2017) (TPR) is a mystical action film based on the rural Sabahan community belief about nature. More than 99 per cent of this film was shot in forested areas, therefore relevant to the film’s ultimate idea, which is the importance of caring for nature and striking that balance between nature and man. The film also contains symbolism that conveys nature’s revenge against man for their irresponsibility. Thus, this paper studied the portrayal of man and nature in TPR. An approach was devised with content analysis as a tool to answer the said question. This was supported by applying Aldo Leopold’s ecocentrism (1949) to analyse the film. The primary research material was TPR, whilst additional data was retrieved from books, journal articles and newspaper articles. Findings showed that this film had portrayed the importance of preserving the balance between nature and man in life’s ecosystem. This factor is vital to ensure nature’s wellness and the balance between man and nature. The characters Tombiruo, Tobugi, Bobolian and Pondolou were also shown as agents of peace, mediators and caretakers of nature. Keywords: ecocentrism, Tombiruo: Penunggu Rimba, Malay film, film criticism, symbolism.
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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.
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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
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Eungu Lee. "Study of Symbolism in the Film of Deepa Mehta's." Journal of South Asian Studies 22, no. 3 (February 2017): 89–112. http://dx.doi.org/10.21587/jsas.2017.22.3.004.
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Waligórska-Olejniczak, Beata. "Танатография. Стратегии представления смерти в фильме Ренаты Литвиновой „Последняя сказка Риты”." Slavica Wratislaviensia 167 (December 21, 2018): 523–32. http://dx.doi.org/10.19195/0137-1150.167.44.
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Thanatography: Strategies of representationsof death in Renata Litwinova’s film Rita’s Last Fairy TaleThe aim of the article is the interpretation of Renata Litvinova’s film Rita’s Last Fairy Tale 2012. The author shows that the examples of rite de passage, which are present in the selected work of art, are introduced to neutralize the perception of death. It is done, first of all, due to the strategies of aestheticization and romanticization, which emphasize the conventionality of the world presented. The picture of death proposed by Litvinova is almost entirely devoid of any aspects of physiology. The stylization suggested in the title of the film is realized with the use of elements of retro glamor, dark humor and irony. The process of perception is also focused on the attempt of decoding the film leitmotivs such as the symbolism of the mirror or the ways of theatralization of behavior, taking into account some montage solutions.Tanatografia. Strategie reprezentacji śmierci w filmie Renaty Litwinowej Ostatnia bajka RityCelem artykułu jest interpretacja filmu Renaty Litwinowej Ostatnia bajka Rity 2012. Autorka pokazuje, że obecne w dziele rytuały przejścia ukierunkowane są przede wszystkim na osiągnięcie efektu neutralizacji śmierci, między innymi za sprawą wprowadzonych strategii estetyzacji i romantyzacji, podkreślających umowność świata przedstawionego. Obraz śmierci proponowany przez Litwinową jest prawie całkowicie pozbawiony aspektów fizjologii. Zaznaczona w tytule konwencja realizowana jest za pomocą elementów stylu retro glamour, czarnego humoru i ironii. W procesie percepcji filmu podjęto również próbę odkodowania obecnych w nim lejtmotywów, w tym symboliki lustra, sposobów teatralizacji i rytualizacji zachowań, z uwzględnieniem wybranych rozwiązań montażowych.
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Kozlovic, Anton Karl. "Exploring Sacred and Secular Serpent Symbolism in Cecil B. DeMille’s The Ten Commandments (1956)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 2 (August 20, 2014): 149–69. http://dx.doi.org/10.1558/post.v7i2.149.
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Cecil B. DeMille was an unsung auteur and master of the American biblical epic whose feature films were eagerly awaited by the paying public and filled Paramount’s purse. And yet, he was routinely ignored, dismissed or devalued by critics unappreciative of the enormous artistry deliberately engineered therein, especially his penchant for serpent symbolism. This particular omission is in need of belated attention. Consequently, using humanist film criticism as the guiding analytical lens, this essay selectively reviews the critical DeMille, film and religion literature, locates DeMille’s place and reputation in Hollywood history, explores The Ten Commandments (1956), and explicates numerous exemplars of his trademark serpent signature under five heuristic headings. The essay concludes that DeMille was a far more insightful and accomplished biblical filmmaker than has been previously appreciated.
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Domalewski, Adam. "Etiudy animowane Grzegorza Wacławka." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 323–28. http://dx.doi.org/10.14746/i.2017.29.21.
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The author considers in the paper three animated etudes made by Grzegorz Wacławek in Film School in Łódź. Films entitled Gleam, Scrap and Lost share many common features: creation of the hero’s outer world, extensive use of symbolism and condensation of events centered around one or two heroes. Particularly interesting mean used by Wacławek in endings of the films is the transformation of the presented world that can be named a scale change. Also on this basis director’s animations are metaphorically interpreted, showing their existential meaning, close to the tradition of Polish Animation School.
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Johnson, Larissa Andrea. "On Virtuality and the Diasporic Imagination." Film Quarterly 75, no. 2 (2021): 94–101. http://dx.doi.org/10.1525/fq.2021.75.2.94.
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This report covers the 10th edition of BlackStar Film Festival (BSFF), which took place virtually and in person over a week in early August 2021. The independent festival features work by Black, Brown and Indigenous makers, and aims to reach a wide audience whose identities and experiences are reflected in the films. Johnson considers the multifaceted symbolism of the Black Star as it is realized in the curatorial and institutional vision of the festival, and considers the affordances (and limitations) of virtuality toward greater distribution of, and access to, independent films in the places they represent. An extensive review of the shorts program includes reporting on category winners Lizard (Akinola Davies Jr), Dear Philadelphia (Renee Maria Osubu) and Elena (Michèle Stephenson). This is the first review of BSFF for Film Quarterly.
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Yunis, Alia. "Film As Nation Building: The UAE Goes Into the Movie Business." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 49–75. http://dx.doi.org/10.5195/cinej.2014.98.
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For the past 10 years, the United Arab Emirates (UAE) has been aggressively pioneering at a national, government-financed level the production of local films while also courting Hollywood producers as a financier and production center.As a young, wealthy nation still conflicted about how it defines itself to itself and how it wishes to be defined outside its border--and as a country with no previous history in the visual arts of any kind and no movie-going culture until the late 1990s--the UAE presents a unique approach to the building of a film industry, one that is not grounded in previous models of national film building. Through content analysis of UAE films and interviews with local filmmakers, framed through rhetoric scholar Kenneth Burke’s writing on symbolism, we look at how the UAE government wishes to be perceived abroad versus how its filmmakers—who have a co-dependent relationship with the government--are portraying the country.
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Kostopoulou, Loukia. "When food mobilizes emotions: Reaching foreign and domestic audiences." Digital Age in Semiotics & Communication 4 (November 19, 2021): 146–60. http://dx.doi.org/10.33919/dasc.20-21.3-4.9.
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This paper aims to explore food films and their symbolism. Food is a way of creating national identities, and enhancing the sense of belonging. It also evokes the concept of ‘nostalgia’ and has the capacity to mobilize strong emotions (Mintz 1996). The semiotic analysis of food underlines how the biosphere and the semiosphere intersect in various instances of human life (Danesi 2004). In cultural settings, food symbolizes substance and conveys different meanings. This research material will focus on the analysis of images (food, culinary preparations and different eating events) as portrayed in Tassos Boulmetis’s 2003 film Πολίτικη Κουζίνα/ A Touch of Spice, and the domestic and international trailers of the film. The analysis will be based on Lotman’s notion of the semiosphere.
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du Plooy, Belinda. "Sacred Subtexts: Depictions of Girls as Christ Figure and Holy Fool in the Films Moana and Whale Rider." Feminist Theology 30, no. 1 (September 2021): 85–103. http://dx.doi.org/10.1177/09667350211031152.
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Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film.
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Dutta Ain, Anwesha. "A Reading of Satyajit’s Pather Panchali and Agantuk as Subtexts of Fictional Ethnography." Revista Canaria de Estudios Ingleses, no. 83 (2021): 77–90. http://dx.doi.org/10.25145/j.recaesin.2021.83.06.
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This essay focuses on Pather Panchali (Song of the Little Road, 1955) and Agantuk (The Stranger, 1991) and discusses the style of Satyajit Ray’s filmmaking which combined the aesthetics of European verisimilitude with suggestive symbolism based on conventional Indian iconography. The paper will concentrate on the authentic representation of a poor family in rural Bengal in Pather Panchali and the urban setting, in his last film Agantuk. The main aim is to explore how the detailing of the shots and the dialogues in these films engage in the ethnographic study of the Bengali society through these cinematographic fictional narratives
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Van Zandt, Samantha. "The Triumph of Trauma: Tarantino Style." Film Matters 12, no. 2 (September 1, 2021): 111–17. http://dx.doi.org/10.1386/fm_00158_7.
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In Kill Bill Vol. 1 and 2, Quentin Tarantino uses thematic symbolism to demonstrate the evolution of the film’s characters by assigning them code names. Each character’s code name is a different species of snake or is related to snakes: Black Mamba, Copperhead, Cottonmouth, Sidewinder, California Kingsnake, and Snake Charmer. Their aliases are a few examples of Easter eggs concealed in the films. The code names portray aspects of their character and the story of their growth as individuals. The protagonist, Beatrix Kiddo undergoes numerous aliases and evolves throughout the film through her recovery from immense trauma.
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Korycka, Agnieszka Magdalena. "Próba zbliżenia się do sacrum poprzez kino na przykładzie analizy i interpretacji drogi jurodiwego w filmie Aleksandra Sokurowa "Samotny głos człowieka"." Adeptus, no. 7 (June 30, 2016): 36–49. http://dx.doi.org/10.11649/a.2016.003.
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Attempting to approach the sacred through film as exemplified by the analysis and interpretation of the way of a yurodivy in The Lonely Voice of Man by Alexander SokurovThe author emphasises the relation between content and form in the film The Lonely Voice of Man by Alexander Sokurov, and makes a point to place the film within an interpretation space which takes into account basic anthropological categories, such as those of space, time and the human (the protagonist). The artistic devices applied in the film lead to a degradation of the image, while the symbolism present in this debut work refers to the theme of the journey of the soul. All these elements allow us to see in The Lonely Voice of Man certain aspects shared with the Orthodox icon. In this context, the story of the main character can be perceived as the way of a yurodivy (“fool-for-Christ”), who has to refrain from temptations and practice asceticism in order to attain spiritual perfection and reach the sacred. Próba zbliżenia się do sacrum poprzez kino na przykładzie analizy i interpretacji drogi jurodiwego w filmie Aleksandra Sokurowa Samotny głos człowiekaW artykule szczególną uwagę zwrócono na ukazanie związku między treścią i formą filmu Samotny głos człowieka w reżyserii Aleksandra Sokurowa oraz na umieszczenie go na płaszczyźnie interpretacyjnej uwzględniającej podstawowe kategorie antropologiczne, takie jak: przestrzeń, czas i człowiek (bohater). Stosowane w filmie środki wyrazu powodują, że obraz ulega degradacji. Symbolika obecna w filmie nawiązuje do motywu wędrówki dusz. Wszystkie elementy stanowią podstawę do tego, by odnaleźć w debiucie Sokurowa cechy nawiązujące do prawosławnej ikony. W tym kontekście historia głównego bohatera jawi się jako droga jurodiwego, który musi pokonywać pokusy i zachowywać ascezę, by osiągnąć duchową doskonałość i dotrzeć do sacrum.
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Kazyutchits, Maksim F. "Specifics of Imaginative Approach in the US Documentary of 1960-2000s." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 95–105. http://dx.doi.org/10.17816/vgik8395-105.
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The subject of this article is a survey of artistic techniques of the American documentary filmmaker F. Waisman. The object is the US documentary of the 1960-2000s. The author attempts to distinguish the specifics of the Waismans imaginative approach, exploring the directors work as a developed part of so-called observation method characteristic of the films by American documentary filmmakers R. Drew and R. Leacock (the founders of the direct cinema). The author shows that minimalism of expressive means, the frequent use of camera travellings, raw-like cutting in the movies Titicut Follies (1967), Hospital (1970), Near death (1989) greatly complicate the understanding of the Waismans concept. Ambiguity of imagery in these pictures inevitably leads to a richness of connotations and surplus symbolism. High school (1968) clearly demonstrates a deep fracture of the American society in the late 60's, fully reflected in the school system. Wiseman explores the nature of executive and judicial power of the US in Law and order (1969) and The juvenile court" (1973). He tries to show the crisis of classical art within mass culture in the films National gallery (2014) and Crazy Horse (2011). Waismans approach allows to avoid the commonplace discourse (and the decline in the artistic level of the film) in coverage of such phenomena as the executive and the judicial power, education, arts and entertainment industry. The director was able to combine the complex and polysemantic visual design with the unique composition of the stuff (through cutting and camera work). All this helped him to unite the imaginative merits of a documentary film with narrative symbolism and traditions of poetic cinema.
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Nosachev, Pavel G. "“These are the Same Words, Only in Reverse…”:The Origins of Kenneth Anger’s Aesthetic." Voprosy Filosofii, no. 1 (2020): 77–87. http://dx.doi.org/10.21146/0042-8744-2021-1-77-87.
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The article analyzes the work of the famous American film Director, one of the pioneers of the postwar film avant-garde Kenneth Anger. At first, Anger’s creative path is systematized, its main milestones are highlighted and the principles of directing techniques and basic elements of his film aesthetic are analyzed in detail. Then the religious roots of Anger's creativity is revealed. The article analyzes in details three films that bear the obvious influence of the ideas of Allister Crowley esotericism (“Inauguration of the Pleasure Dome”, “Invocation of My Demon Brother” and “Lucifer Rising”), considers the direct connections of Crowley and Anger. In the final part of the article, there is a complete reconstruction of Anger’s aesthetic. According to this analyses there are several key ideas which help to understand the language of Anger: Crowley’s idea of the Higher Self, the symbolism of light and the doctrine of the Aeon of Horus. In the conclusion author proposes the hypothesis that Anger deconstructed Crowley’s thought, raising it to Christian origins, and recreated the aesthetics of Christianity, without realizing it.
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Nosachev, Pavel G. "“These are the Same Words, Only in Reverse…”:The Origins of Kenneth Anger’s Aesthetic." Voprosy Filosofii, no. 1 (2020): 77–87. http://dx.doi.org/10.21146/0042-8744-2021-1-77-87.
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The article analyzes the work of the famous American film Director, one of the pioneers of the postwar film avant-garde Kenneth Anger. At first, Anger’s creative path is systematized, its main milestones are highlighted and the principles of directing techniques and basic elements of his film aesthetic are analyzed in detail. Then the religious roots of Anger's creativity is revealed. The article analyzes in details three films that bear the obvious influence of the ideas of Allister Crowley esotericism (“Inauguration of the Pleasure Dome”, “Invocation of My Demon Brother” and “Lucifer Rising”), considers the direct connections of Crowley and Anger. In the final part of the article, there is a complete reconstruction of Anger’s aesthetic. According to this analyses there are several key ideas which help to understand the language of Anger: Crowley’s idea of the Higher Self, the symbolism of light and the doctrine of the Aeon of Horus. In the conclusion author proposes the hypothesis that Anger deconstructed Crowley’s thought, raising it to Christian origins, and recreated the aesthetics of Christianity, without realizing it.
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Yeo, Dennis. "The virtual cultural tourist: Film-induced tourism and Kubo and the Two Strings." Mutual Images Journal, no. 10 (December 20, 2021): 3–20. http://dx.doi.org/10.32926/2021.10.yeo.virtu.
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Over the past two decades, there has been growing research in film-induced tourism. Much of this research is focused on how film influences tourist destination choices. There has been less emphasis, however, on the nature and types of movies that may induce this attraction to such locations. By examining Kubo and the Two Strings (Knight, 2016), a stop-motion animation produced by Laika Studios, this paper aims to apply film studies to explore current understandings of film-induced tourism. This paper argues that Kubo is itself a form of film-induced tourism by positioning the viewer as a virtual cultural tourist whose cinematic experience may be likened to a veritable media pilgrimage through Japanese culture, history and aesthetics. The movie introduces the viewer into an imagined world that borrows from origami, Nō theatre, shamisen music, obon rituals and Japanese symbolism, philosophy and mythology. The resulting pastiche is a constructed diorama that is as transnational and postmodern as it is authentic and indigenous.
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Ashkenazi, Ofer. "Prisoners’ fantasies in Weimar film." Journal of European Studies 39, no. 3 (September 2009): 290–304. http://dx.doi.org/10.1177/0047244109106683.
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Prison cells constituted a unique sphere in post-World War I German films. Unlike most of the modern city spheres, it was a realm in which the private and the public often merged, and in which reality and fantasy incessantly intertwined. This article analyses the ways in which filmmakers of the Weimar Republic envisaged the experience within the prison, focusing on its frequent association with fantasies and hallucinations. Through the analysis of often-neglected films from the period, I argue that this portrayal of the prison enabled Weimar filmmakers to engage in public criticism against the conservative, inefficient and prejudiced institutions of law and order in Germany. Since German laws forbade direct defamation of these institutions, filmmakers such as Joe May, Wilhelm Dietherle and Georg C. Klaren employed the symbolism of the prisoner’s fantasy to propagate the urgent need for thorough reform. Thus this article suggests that Weimar cinema, contrary to common notions, was not dominated by either escapism or extremist, anti-liberal worldviews. Instead, the prison films examined in this article are in fact structured as a warning against the decline of liberal bourgeois society in the German urban centres of the late 1920s.
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Shaw, Nathan. "As the crow flies: Conventions and symbolism in Seven Minutes in the Warsaw Ghetto." Short Film Studies 4, no. 2 (October 1, 2014): 195–98. http://dx.doi.org/10.1386/sfs.4.2.195_1.
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In feature-length Holocaust cinema, viewers witness two hours of harrowing events, before being pacified with an ending providing some comfort and relief; often undermining what has gone before. However, in short-film Seven Minutes in the Warsaw Ghetto, this structure is reversed, fitting perfectly with the medium to provide a stronger, lasting impact.
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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.
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Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
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Qi, Xiangu. "Mahjong, Chinese diaspora cinema and identity construction." East Asian Journal of Popular Culture 7, no. 2 (October 1, 2021): 223–40. http://dx.doi.org/10.1386/eapc_00050_1.
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Through a comparative study of two films, The Joy Luck Club and Crazy Rich Asians, the article elaborates how Chinese diaspora films use Mahjong’s cinematic symbolism and cultural significations to negotiate Chineseness in different ways. In particular, three differences between the two films are analysed. The first one is the different attitudes of the female protagonists towards Mahjong as well as the Chineseness embodied by it. The second concerns the disparate presences of Mahjong in films made by mainland China-based filmmakers and Chinese diasporic filmmakers due to Mahjong’s differed historical trajectories and sociocultural implications. The last one is about the distinct goals the two film directors set when they employ Mahjong to (re)construct their identity and Chineseness on the part of the Chinese diaspora. This article concludes that Chineseness is not a monolithic and rigid category, but rather a chameleonic formation that is contextually and individually determined; moreover, in the age of globalization when coexistence and interdependence are valued more than mutual-resistance, the dynamic nature of Chineseness necessitates a more hybrid and critical identity framework: in-betweenness.
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Nowakowski, Jacek. "„Nie myślę, lecz jestem”: mózg, umysł i serce filmowej postaci zombie w kontekście paradygmatu posthumanistycznego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 145–61. http://dx.doi.org/10.14746/pspsl.2018.34.7.
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The article presents the character of the zombie popular in the contemporary audio-visual culture by placing it in the context of post humanist paradigm. He concentrates on the brain symbolism representative for the character, which, in the classical understanding of the living dead, due to dissimilar functioning, makes it different from humans and their brain-like traits: the mind and heart. Analysing the recent films such as Warm Bodies and The Girl with All the Gifts, he demonstrates the present inadequacy of such a division. Unlike the classical Night of the Living Dead, they are in line with post anthropocentric and new materialism philosophy, by differently symbolically depicting the role and place of the human in the world. It is presently tantamount to the place of non-humans: animals, objects, artefacts and monsters including the living dead. The change of the cultural and film paradigm observed in zombie horrors indicates a deeper strategy of authors of those popular films.
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Charisse, Paul, and Alex Counsell. "Alienating the Familiar with CGI: A Recipe for Making a Full CGI Art House Animated Feature." Leonardo 51, no. 4 (August 2018): 368–74. http://dx.doi.org/10.1162/leon_a_01645.
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This paper is an exploration of the processes used and ideas behind an animated full CGI feature film project that attempts to reach blockbuster production values, while retaining Art House sensibilities. It examines methods used to achieve these production values in an academic production environment and ways costs can be minimized while high quality levels are retained. It also examines the film’s status as an Art House project, by comparing its narrative design and use of symbolism to existing works of Art House cinema.
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Belyakov, Victor K. "Historical Potential of Newsreel and Its Interpretation." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 44–53. http://dx.doi.org/10.17816/vgik8444-53.
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What is a newsreel and how it relates to historical events? When watching the newsreel film footage, it is important to understand it and evaluate. It is necessary to have a specific pre-knowledge and pre-understanding of the subject. We have the right mind to correlate on-screen images with historical events. But newsreels never plays them fully, since they do not give a comprehensive picture of what have happened. Actually, newsreels are largely symbolic, and they also facilitate formation of historical memory. At the same time, to fully understand the historical newsreels one has to use the knowledge about the same events from other sources. When viewing pictures of the past, its vital to take into consideration the author's initial message predestinated for the according audience. This raises the question of the interpretation of the seen today, affected by certain mental filters of the actual audience. It especially tells on secondary use of historical newsreels today in a new documentary. Symbolism in newsreel arises through the symbolism of the ritual demonstrated on the screen. Does the ritualistic imagery bear any esthetical quality? There is a kind of duality: either we see a certain beauty of the ritual, or we look at what is happening only in the informational way. The novelty of the article is determined by its theoretical approach to understanding of the artistic and historical qualities of the newsreel, helpful for researchers and practitioners working in film archives.
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Kim, Se Hee, and In Soon Choi. "A Convergent Study on Literature and Film through the Color Symbolism in The Great Gatsby." KOREA SCIENCE & ART FORUM 22 (December 31, 2015): 35. http://dx.doi.org/10.17548/ksaf.2015.12.22.35.
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Pawłowska-Jądrzyk, Brygida. "Murky Images. The Poetics of Intertextual Dissonance in the Apocryphal Films of Andrei Zviagyntsev." Załącznik Kulturoznawczy, no. 2 (2015): 240–55. http://dx.doi.org/10.21697/zk.2015.2.13.
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The first two films of Andrei Zvyagintsev, The Return and The Banishment, deserve to be called modern apocrypha, as they methodically and comprehensively utilise elements of Christian symbolism and are part of the non- -canonical dialogue with religious messages. The films are characterised by a multiplicity of thematic plans that are outlined mainly through a variety of intertextual references. Among these relationships, a particular place is occupied by biblical and evangelical references, which are mostly mediated by artistic intertexts (especially paintings). The Russian director entangles the viewer in a subtle play of meanings: he evokes canonical scenes and stories, but distorts symbolic references, multiplying and confusing further interpretive clues. In addition to (completely inconsistent) references to the works of others, intertextual tensions are shown in his work on at least two levels: between different elements or levels of a given film (the function of the photograph motif next to the rest of the film text) and between the various films of Zvyagintsev himself (casting the same actor in both leading roles). The talented successor to Tarkovsky follows the mystery of human fate, eager to capture the metaphysical community of critical experiences. This mystery in the work of Zvyagintsev emerges in a quite obvious way from the eternal truths established in archetypes, in biblical and evangelical wisdom. It is much easier to see it in the fusion of ‛murky imagesʼ than it is to understand.
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Corrigan, John Michael. "Codas of Creation." Religion and the Arts 19, no. 5 (2015): 552–82. http://dx.doi.org/10.1163/15685292-01905004.
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This article gives a mystical interpretation of Terrence Malick’s award-winning film, The Tree of Life (2011), arguing that Malick carefully develops two esoteric patterns to structure his visual language: first, a triadic symbolism of divine emanation and return, and second, a complementary alchemical pattern of ascent and descent portraying the process of regeneration. Far from being a doctrinal presentation of Christianity, as some critics suppose, The Tree of Life engages little known but highly influential bodies of esoteric knowledge to offer a visually complex and symmetrical representation of genesis and alchemical transmutation. With the tree of life presented as an initiatory symbol of the axis mundi, Malick’s film portrays creation as a chiastic process, one point of view staging a triadic structure of emanation mysticism and the other offering a magical variation of this pattern in the human struggle for renewal in time.
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Kim, Joong-Kwan. "Aesthetic Identity and Symbolism of Persian Visual Culture: Focusing on the Development of Iranian Film Industry." Journal of international area studies 24, no. 3 (July 31, 2020): 55–78. http://dx.doi.org/10.18327/jias.2020.7.24.3.55.
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Schönberger-Stepien, Christina. "Making Her Case: Dramatisation, Feminism, and the Law in the Ruth Bader Ginsburg Biopic On the Basis of Sex." European Journal of Life Writing 10 (September 8, 2021): WLS210—WLS236. http://dx.doi.org/10.21827/ejlw.10.37920.
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The portrayal of women in film has experienced a remarkable increase in recent years (see for example The Iron Lady, Hidden Figures, Jackie, or Judy). Female biographical film becomes particularly powerful when its entire theme and ideology centres around the law and politics of gender and sex, as is the case in Mimi Leder’s biopic On the Basis of Sex (2018) about the life of the late US Supreme Court justice Ruth Bader Ginsburg. The gender-conscious film portrays and dramatises the life of a determined woman who, despite struggles and sex-based discriminations, has transformed the justice system in terms of gender equality and the protection of women’s rights since the 1970s. This article argues that by negotiating the intertwinement of personal life and public achievement, the film covers pivotal issues of the feminist biopic such as the dissolving of traditional gender roles and a narrative of female success but also points to a collective notion of the biopic in its attempt to initiate wider political and societal discourses. The dramatisation of Ginsburg’s life in the form of a feminist courtroom biopic celebrates Ginsburg’s legacy via a strong affective, political focus and a juxtaposition of private and public, personal and professional, accompanied by an aesthetics of symbolism and symmetry.
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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (December 25, 2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.
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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”, combining the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of Azerbaijani composer Kara Karayev. The composer K. Karayev actively used authentic musical traditions of Azerbaijan (musical harmonies, Ashug melodics and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet “Seven Beauties” (1982, directed by Felix Slidovker) and the new production of the Theater of Opera and Ballet named after M.F. Akhundov (2011), the author traces the transformation of the libretto and offers his own rendition of symbolism in the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been a part of a thinking person. Eastern poets chanted this search, this long and difficult road to the truth, the ideal world. Court intrigues, the luxury of the palace and the daily life of the common people, nobility, guile and love intertwined in this metaphorical Eastern parable, which formed the basis for several interpretations of the ballet “Seven Beauties”. Despite the great degree of conventionality inherent in this genre of stage art, the film ballet is characterized by dramaturgical diversity, organic entwinement of developing storylines, dynamic interrelation of social and lyrical-psychological conflicts. The transformation of the libretto to the ballet “Seven Beauties” testifies to a new, deeper reading, its coming closer to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, to eternal search for the truth, love and justice sung by the poet with oriental imagery characteristic for him.
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Szpulak, Andrzej. "Podwójne spojrzenie na pewne zdarzenie z przeszłości. O Szpitalu w Cichiniczach Melchiora Wańkowicza i Wrotach Europy Jerzego Wójcika." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 117–27. http://dx.doi.org/10.14746/i.2019.35.06.
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Szpulak Andrzej, Podwójne spojrzenie na pewne zdarzenie z przeszłości. O Szpitalu w Cichiniczach Melchiora Wańkowicza i Wrotach Europy Jerzego Wójcika [Double gaze at an event from the past. About Melchior Wańkowicz’s Hospital in Cichinicze and Jerzy Wójcik’s The Gateway of Europe]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 117–127. ISSN 1731-450X. DOI 10.14746/i.2019.35.06.
This text confronts two images of a small episode from the First World War and the struggle of Poland to regain its independence. The literary image, Hospital in Cichinicze, is the story of Melchior Wańkowicz (1926), and the film picture is The Gateaway of Europe by Jerzy Wójcik (1999). The film work was an adaptation of literary material; however, the ways memory is created in the two cases are different. Wańkowicz created a somewhat reporter-like, realistic, non-stereotypical record of events, while Wójcik’s story was more universal and at the same time more rooted in national symbolism.
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Rickertt, Jeff. "Taking It from the Streets: The Politics of Collecting, Writing and Exhibiting History from Below." Queensland Review 14, no. 01 (January 2007): 115–21. http://dx.doi.org/10.1017/s1321816600006267.
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Writing in Griffith Review 13 about ‘being political now’, Mark Bahnisch described the Museum of Brisbane's Taking to the Streets exhibition as a ‘monument to the symbolism of the '60s’. On display, he wrote, were causes and experiences that ‘symbolise a generation’. It's an interesting observation, especially in an essay concerned with debunking generational stereotypes. For it seems Bahnisch himself may have fallen for, well, a generational stereotype. Aside from apparently missing the 75 per cent of the exhibition that didn't deal with the 1960s, he also seems to have failed to notice that the people represented in the interviews, the written accounts, the grainy images, the shaky film footage and the lists of arrests were not all of one generation. Ranging from punks to pensioners, students to seafarers, communists to Christians, they were in fact an amazingly motley bunch of citizens who shared a history only because they shared a desire for a better society and a belief that protest was a legitimate and worthwhile political activity. And, despite the mythology, the issues they mobilised around — war, racism, the nuclear industry, sexism, workers' rights, civil liberties — had been around as causes well before 1965. Even that icon of late 1960s radicalism — the peace symbol — came from earlier times, as Ted D'Urso so carefully explained in his exhibition interview.
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Angeli, Silvia. "Caught in between: Profanation and Re-Sacralization in Marco Bellocchio’s Nel nome del padre (1971)." Religions 9, no. 9 (August 24, 2018): 252. http://dx.doi.org/10.3390/rel9090252.
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This article assesses the coexistence of the practices of profanation and re-sacralization in one of Marco Bellocchio’s most understudied films: Nel nome del padre (In the Name of the Father, 1971). Indeed, such practices rarely situate themselves at opposite ends of the spectrum but rather are integrated within other works by the same director, and even within the same film. By providing a content and stylistic analysis of episodes of profanation and re-sacralization, this article highlights how Bellocchio profanes traditional Roman Catholic elements through the employment of parody and satire as well as how he re-sacralizes unorthodox characters and situations using narrative, symbolism, and iconography. This integration allows him to deliver his criticism of pre-conciliar Roman Catholicism (its folk manifestations at grassroots level, empty rituals, and sexuophobic education), on the one hand, and identify possible alternatives, characterized by a more progressive, tolerant, and forgiving religious sentiment, on the other. What emerges is Bellocchio’s essentially ambivalent attitude toward religion, characterized by the simultaneous and apparently contradictory need for both more and less Catholicism.
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Jelangdeka, Kresentia Madina, and Bayu Kristianto. "Nature through God’s Eyes: Eco-theological Perspectives in Paul Schrader’s First Reformed." Journal of Language and Literature 21, no. 2 (September 19, 2021): 212–27. http://dx.doi.org/10.24071/joll.v21i2.2935.
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Environmental crisis is one of the major issues that humankind is facing today. The crisis can be discussed through a Christian perspective, as the relationship between Christianity and environment has been long discussed for its complexities. Eco-theology is one of the ways for Christianity to bridge its teaching to the environmental crisis. First Reformed, a 2017 film directed by Paul Schrader, is one of the films depicting the interplay between Christianity and environmentalism. This paper examines how First Reformed portrays the process of reconciling Christianity and environmentalism. Using Jürgen Moltmann’s eco-theological concept and Kierkegaard’s concept of despair, this article discovers that while First Reformed demonstrates the ways Christianity could be both an ally and an enemy of environmentalism, the film’s final message leans more towards the way the church can respond to the crisis through embracing insights and values beyond Christianity’s core doctrine that are more in line with environmental concerns, such as seeing nature as a female figure and the idea of harmony illustrated through a yin-yang symbolism.
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Lungin, Pavel S., Elizaveta S. Trusevich, and Pyotr A. Klemeshev. "“WHEN THE HORN THAWED, THE TUNE POURED OUT”: PAVEL LUNGIN ON THE MAKING OF TAXI BLUES." Art and Science of Television 17, no. 3 (2021): 118–48. http://dx.doi.org/10.30628/1994-9529-2021-17.3-118-148.
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Russian film director Pavel Lungin explores the topic of independent cinema during perestroika, using the example of his debut film Taxi Blues, which received one of the first international awards in post-Soviet Russia—the Best Director Prize and the Special Mention of the Ecumenical Jury at the 1990 Cannes Film Festival. In the interview, the interlocutors discuss the directorial and dramaturgical tools: how symbolism is interpreted in a historical context, how the audiovisual image is constructed, what are the signs of a chronotope — and explore the image of a man at the crash of an era. For instance, in Taxi Blues, Pavel Lungin intentionally contraposes the two male characters—that of Pyort Mamonov (the image of the 90s), and of Pyotr Zaichenko (the image of a Soviet man)—clashing them against each other not only plotwise (through a dramatic conflict), but also aesthetically (through fundamentally different physiognomy and acting plastics). The director analyzes the specifics of auteur and genre filmmaking, dividing his artistic biography into a “script-writing” period, when his films were highly successful in Soviet distribution, and a “directing” period, when he, being in the new historical conditions, began to make independent auteur films. Another question raised is why a full-fledged “New Wave” has not emerged in Russia, similar to those that had formed in French and English cinema. Lungin recalls and evaluates the forgotten figure of Marin Karmitz, who not only produced the New Wave directors, but also had an auteur cinema distribution network—an interesting experience of distribution in Europe, which can be actualized in scientific research to answer a very timely question: can auteur films be successful at the box office? Thus, the interview covers not only the early period of Pavel Lungin’s work (given that at the time of Taxi Blues there was no Internet yet, and many reviews and analytical articles about the film are still not digitized). Most importantly, the film Taxi Blues fits into the historical context; and this fact creates a cultural field both for modern interpretations and for understanding the art of perestroika—information about which is still insufficient, resulting in the absence of full-fledged analytical comprehension. In the interview, we also trace parallels with the processes that were taking place in world cinema—the New Wave in French cinema, the British “angry young men”, and the “Youth Rebellion” in Hollywood.
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Wolf, Alain. "Mobilizing meaning?: religious symbolism in film adaptations of C. S. Lewis'sThe Lion, the Witch and the Wardrobe." Journal of Adaptation in Film & Performance 2, no. 3 (December 2009): 239–54. http://dx.doi.org/10.1386/jafp.2.3.239/1.
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Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (May 26, 2020): 45. http://dx.doi.org/10.3390/h9020045.
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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.
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Stajić, Mladen. "Da li postoji gen za ljudski duh? Analiza osnovnih motiva i simbolike u filmu Gataka." Issues in Ethnology and Anthropology 12, no. 2 (August 30, 2017): 505. http://dx.doi.org/10.21301/eap.v12i2.8.
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Gattaca (1997) represents an artistic view of a dystopian future in which the genetic engineering of humans is commonplace. Through the analysis of the ways in which motifs of discrimination and disability are used in this film, wider societal implications of the development of science and the consideration of humanity in western culture are considered. The paper discusses the argumentation for the idea that gene modification means espousing the role of the Creator, and seeks answers to the question of what it means to be human in a genetically deterministic world. The issue of new kinds of discrimination in a potential post-racial world is highlighted, and the possibility of achieving authenticity and the freedom to create one's own identity in a society wherein designed people are the norm is considered. Finally, the ideas and conclusions of numerous authors who dealt with the world of Gattaca are presented, and a new point of view is offered - one which puts the focus on the religious symbolism in the film, a surprisingly neglected motif in previous analyses.
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Labuznaya, V. Yu. "Comparative Study of Daphne du Maurier’s Rebecca Film Adaptations. Chronotope of a “Castle”." Art & Culture Studies, no. 4 (December 2021): 332–61. http://dx.doi.org/10.51678/2226-0072-2021-4-332-361.
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The article performs the comparative study of Daphne du Maurier’s Rebecca film adaptations. It investigates motion pictures by A. Hitchcock (1940), R. Milani (2008) and B. Wheatley (2020). The analysis of the narrative-discursive techniques used by these authors aims to consider the problem of screen representation of the Rebecca’s specific spacetime model. The main investigated subject is the screen image of Manderley estate, its impact on diegesis, plot and symbolism in these movies. Manderley as an aesthetic complex corresponds to the chronotope of the “castle” in the interpretation of M. Bakhtin. Accordingly, the comparative study of the operations performed with it reveals the most important characteristics and traits of this spacetime model and shows how it applies with the detective genre or plots with a detective component. The “castle” as a spacetime structure that outlines the external boundaries and sets the internal laws of diegesis; its role in the “mystery” logics and the development of detective intrigue; “castle” as a plot-forming principle and metacharacter — all these questions concerned in terms of screen arts.
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Kayiatos, Anastasia. "SOONER SPEAKING THAN SILENT, SOONER SILENT THAN MUTE: SOVIET DEAF THEATRE AND PANTOMIME AFTER STALIN." Theatre Survey 51, no. 1 (April 26, 2010): 5–31. http://dx.doi.org/10.1017/s0040557410000207.
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A television documentary on speech therapy is visible on the screen. A logopedist (speech-defect expert) coaches a young man to overcome his stutter through hypnosis. “You will speak loudly and clearly, freely and easily, unafraid of your voice and your speech,” she instructs. The boy hesitates but finally musters the words: “I can speak.” Thus Andrei Tarkovsky begins Zerkalo [Mirror], his poetic film about personal memory and cultural trauma (conceived in 1964 and completed in 1974).3 The symbolism of this scene was impossible for Tarkovsky's Soviet intelligentsia audience to miss. The stutterer coming to speech allegorized the artist coming to free expression in Russia after Stalin, struggling to adapt to alternating intervals of liberating “thaw” and oppressive “freeze,” fluency and silence, in the period of de-Stalinization that Nikita Khrushchev's secret speech at the 20th Party Congress of 1956 set into motion. The crisis of the solo stutterer's speech in the film stood in for the larger emerging crisis of how to represent socialist reality, a world that once had been captured solely by socialist realism—that is, until Khrushchev deprived Stalinism of its status as real socialism and thus invalidated the basis of socialist realism.
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Heckart, Beverly. "The Cities of Avignon and Worms as Expressions of the European Community." Comparative Studies in Society and History 31, no. 3 (July 1989): 462–90. http://dx.doi.org/10.1017/s0010417500016005.
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At the end of 1978, the German art critic Walter Frentz, introducing a film and public lecture in the city of Worms, postulated that Europeans could breathe new life into the idea of European unity by devoting greater care and attention to the shape and form of European cities. The theme of his remarks that night specifically encouraged the preservation of historic urban cores, but more striking was his general concept linking the development of the European Community with the treatment of the European city. As a growing literature on architectural symbolism and urban imagery suggests, cities take the shapes that are expressions of a total society, reflecting the spectrum of their political, economic and cultural life. As Europeans rebuilt and developed their cities in the period after World War II, they also charted the course of their unification.
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RODRIGUES, Roberto C. "Blood & Couture: Dracula by Eiko Ishioka (石岡 瑛子)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 141–66. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.9.
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In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film ‘Bram Stoker’s Dracula’ (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938 – 2012). The film’s critical reception as well as its consequent elevation to a ‘canon’ status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian ‘haute couture’ for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.
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Szturc, Włodzimierz. "Danton. Wektory interpretacji filmu Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 59–76. http://dx.doi.org/10.14746/pt.2017.27.7.
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In this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history.
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DiPietro, Cary. "Shakespeare in the Age of Mechanical Reproduction: Cultural Discourse and the Film of Tree's ‘Henry VIII’." New Theatre Quarterly 19, no. 4 (October 8, 2003): 352–65. http://dx.doi.org/10.1017/s0266464x03000241.
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In early twentieth-century England the general recognition among dramatists and theatre practitioners that the theatre had reached a crisis or turning point – that as an institution it no longer answered the social and moral requirements of a modern industrialized society – resulted in a profusion of books and articles which addressed alternative modes of theatrical production or proposed institutional restructuring. Simultaneously with these discussions of the social utility of the theatre as an institution, a broad debate about theatrical aesthetics was continuing under the influence of new European and avant-garde movements such as symbolism and expressionism. Examining the shift from the actor-manager system in conjunction with these campaigns, Cary DiPietro here considers the recurrence of Shakespeare in the theatrical tracts of the period, variously regarded as a cultural authority at the intersection of issues of class, new modes of mechanical reproduction, aesthetic value, and old versus new modes of theatrical production. He sees the making – and the wilful destruction – of the film of Beerbohm Tree's Henry VIII as paradigmatic of the ways in which the period tried to distinguish popular, mass forms from what was ‘authentically’ artistic. Cary DiPietro currently lectures at Kyoto University, Japan.
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Irina Pelea, Crînguța. "Exploring the Iconicity of Godzilla in Popular Culture. A Comparative Intercultural Perspective: Japan-America." Postmodernism Problems 10, no. 1 (April 2, 2020): 18–40. http://dx.doi.org/10.46324/pmp2001018.
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The present study aims to compare the representation of Godzilla or Gojira, considered one of the most representative cultural icons of Japanese cinematography within the intertwinement of the fluid, versatile and dynamic context of contemporary Japanese and North American film industry. The undying popularity of Godzilla is puzzling, and one can ask himself where the appeal of this irradiated dinosaur-like fictional monster lies in. The author adopts a comparative intercultural perspective, one that integrates research into a much broader sociohistorical context, with particular attention to how the culturally enhanced linguistic component influences the symbolism incorporated by Godzilla in Japan and how it is reimagined in its Hollywood counterpart.Hence, the theoretical section brings into discussion relevant and previously unpublished Japanese-language literature on Godzilla, thus trying to balance both Western and Japanese perspectives academically. The present research applies the methodology of narrative analysis to investigate from a comparative perspective significant differences existing in the narrative development and portrayal of the iconic monster in “Shin Godzilla” (Japan, 2016) versus “Godzilla: King of the Monsters” (the USA, 2019). One of the most relevant findings refers to the impossibility of ultimately transferring or translating the cultural specificity of the iconic beast within the North American media context, despite recycling almost the same film narrative: therefore, Gojira is inherently Japanese.
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Waligórska-Olejniczak, Beata. "Following Brodsky. Andrey Zvyagintsev’s Apocrypha." Studia Rossica Posnaniensia 46, no. 1 (May 5, 2021): 235–51. http://dx.doi.org/10.14746/strp.2021.46.1.18.
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The article presents the study of the short film Apocrypha by Andrei Zvyagintsev. The text is aimed at the interpretation of the movie in the context of the problem of memory, which is emphasised in the selected work in the explicit and implicit visual associations with the figure and poetry of Iosif Brodsky. The recognition of these characteristic elements in the structure of Zvyagintsev’s film has the influence on the perception of its meaning, leading the culturally aware recipient towards discovering its broad interpretative potential in view of the Russian literary tradition. The study is conducted using the comparative method of analysis. The core theory which constitutes the methodological foundation of the study is Astrid Erll’s concept of cultural memory expounded as intertextuality, i.e. the continuous building up of layers of texts, which are mediated, as well as her idea of transcultural memory, defined in the first instance as a process of fluctuation between the individual and collective level of remembering. Attention is turned to the motifs, which are characteristic both for Brodsky’s and Zvyagintsev’s poetics, such as the aquatic symbolism, temporal and topographical relationships, chromatography of cold colours etc. The application of the selected methodology in the presented discussion allows for exposing the dynamics of the changing nature of culture, which becomes the container of the social and territorial fluctuations of memory.
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Liyanti, Lisda, and Febri Dahara. "Analisis Generation Gap dan Kafkaesque Modern dalam Film A Coffee in Berlin (Generation Gap and Modern Kafkaesque Analysis in A Coffee in Berlin Movie)." MOZAIK HUMANIORA 20, no. 2 (November 10, 2021): 155. http://dx.doi.org/10.20473/mozaik.v20i2.17821.
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AbstrakSetelah Chlöe Swarbrick, seorang politikus asal New Zealand mengungkapkan frasa ‘OK Boomer’ pada pidatonya mengenai perubahan iklim, frasa tersebut marak digunakan di sosial media dalam menanggapi isu perbedaan opini dan pandangan antar generasi. Dalam memahami isu tersebut dibutuhkan pemahaman mengenai fenomena generation gap. Fenomena tersebut tercemin dalam film A Coffee in Berlin (2014) karya Jan-Ole Gerster yang menjadi korpus dalam penelitian. Penelitian ini bertujuan untuk menjelaskan aspek pembentuk generation gap dalam film serta kaitannya dengan unsur kafkaesque lalu menghubungkan keduanya dengan simbolisme kopi. Fokus penelitian ini terletak pada interaksi the silent generation, baby boomer dan millennials dan dampaknya terhadap Niko Fischer, tokoh utama dalam film, sebagai milenial. Teori generasi oleh Karl Mannheim, metode kualitatif dengan cara tinjauan pustaka serta pendekatan semiotika digunakan untuk mencari makna dari percakapan dan adegan dalam film. Hasil penelitian menunjukan bahwa fenomena generation gap dalam film mengandung dua relasi kuasa yang berbeda yaitu berupa kekecewaan dan harapan baru bagi milenial. Terdapat pula simbolisme kopi dalam film. Dalam konteks generation gap, kopi menyimbolkan harapan baru bagi generasi muda. Sedangkan dalam konteks kafkaesque kopi tersebut menyimbolkan ironi dan perasaan frustasi untuk mendapatkan sesuatu yang diinginkan Kata kunci: Generation Gap, A Coffee in Berlin, Kafkaesque Modern, Kopi AbstractSince Chlöe Swarbrick, a politician from New Zealand stated the phrase ‘OK Boomer’ in her speech about the climate change, the phrase is now widely used in social media in response to the issue of differences of opinion and views between generations. To understand this issue, we need to understand the phenomenon of generation gap. This phenomenon is reflected in the film A Coffee in Berlin (2014) by Jan-Ole Gerster, which becomes a corpus of this research. This research aims to explain the aspects behind the generation gap phenomenon and its relation to kafkaesque elements with coffee as the media to symbolize both. This research will focus on the generation gap phenomenon between the silent generation, baby boomers, and millennials, as well as the impact felt by Niko Fischer, the main character in the film, as a millennial. Theory of Generations by Karl Mannheim, qualitative methods, literature review and semiotics approach are used to find the meaning from conversation and scences in the film. The results show that the generation gap phenomenon contains two different power relations in the form of dissapointment and new hope for millennials. The generation gap and kafkaesque situations are displayed through coffee symbolism in the film. In the context of the generation gap, coffee symbolizes new hope for younger generation. In the context of kafkaesque, it symbolizes irony and the frustation of obtaining something that is desired. Keywords: Generation Gap, A Coffee in Berlin, Modern Kafkaesque, Coffee