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Journal articles on the topic 'Third World cinema'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

López-Díez, Jaime, and Farshad Zahedi. "World cinema in the Spanish international festivals and movie theatres (2016-2021)." Comunicación y Sociedad 2024 (March 13, 2024): 1–28. http://dx.doi.org/10.32870/cys.v2024.8614.

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In this study, we analyze the films in the world cinema category that have been screened at the two most important international film festivals in Spain: The San Sebastian International Film Festival, and the Valladolid International Film Week in the period of 2016-2021. It is also studied the output of these festivals in terms of screenings in the Spanish cinemas during the same period. The results show that nearly a third of the films at these two festivals belong to world cinema, and about a third of these films screened at the festivals have been shown in cinemas.

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2

Johnson, Randal. "Recent Work on Third World Cinema." Visual Anthropology Review 5, no. 2 (2010): 24–27. http://dx.doi.org/10.1525/var.1989.5.2.24.

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Yearwood, Gladstone L. "Cultural development and Third World cinema." Gazette (Leiden, Netherlands) 39, no. 1 (1987): 47–71. http://dx.doi.org/10.1177/001654928703900104.

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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.

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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the C

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Cancel, Robert, and Teshome H. Gabriel. "Third Cinema in the Third World: The Aesthetics of Liberation." African Arts 18, no. 4 (1985): 97. http://dx.doi.org/10.2307/3336275.

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6

Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.

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Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema

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Thompson, F. "Metaphors of space: polarization, dualism and Third World cinema." Screen 34, no. 1 (1993): 38–53. http://dx.doi.org/10.1093/screen/34.1.38.

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Action, Cinm. "“The Impact of ‘Third Cinema’ in the World” [1979]." Framework: The Journal of Cinema and Media 62, no. 1 (2021): 57–84. http://dx.doi.org/10.1353/frm.2021.a790371.

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Saglier, Viviane. "Decolonization, Disenchantment, and Arab Feminist Genealogies of Worldmaking." Feminist Media Histories 8, no. 1 (2022): 72–101. http://dx.doi.org/10.1525/fmh.2022.8.1.72.

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This article analyzes the intersection of Third Worldist materialism and decolonial epistemologies in the Arab world by focusing on Lebanese filmmaker Heiny Srour’s decolonial feminist cinema in the transitional period of the 1970s to 1990s. It proposes to read Srour’s disenchanted critique of masculine Third World nationalisms and Western feminism as a practice of worldmaking that is grounded within colonial-patriarchal modernity. Using Srour’s own trajectory as an entry point into larger debates, the article reflects on what affiliation to third cinema means for crafting a cinema of liberati

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Solanas and Getino. "Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World." Black Camera 13, no. 1 (2021): 378. http://dx.doi.org/10.2979/blackcamera.13.1.0378.

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

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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expressi

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Wang, Yuang. "Analyzing the Circumstances under Which Art Was Born from Italian Neorealism - The Suffering of the Times and the Rise of Art." Lecture Notes in Education Psychology and Public Media 67, no. 1 (2024): 37–43. http://dx.doi.org/10.54254/2753-7048/67/20250999.

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Abstract: This essay is a unified study of the formation and development of Italian Neorealist cinema in Italy from the pre-World War I period to the post-World War II period as the time of study. Taking Italian Neorealism as an example, it explores the relationship between the suffering of the times and the rise of art. In addition to how Italian Neorealism was born against the backdrop of war and social upheaval, it influenced the subsequent French New Wave cinema and global cinema, and in particular generated far-reaching references in Third World cinema. By analyzing the gradual decline of

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Philip, A. I. "Ewa Mazierska and Lars Kristensen (eds.) (2020) Third Cinema, World Cinema and Marxism." Film-Philosophy 26, no. 3 (2022): 444–47. http://dx.doi.org/10.3366/film.2022.0212.

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Ritzer, Ivo. "Maghreb forever: From Third-Worldism to the epistemology of multiplicity in media culture." Journal of African Cinemas 11, no. 2 (2019): 103–15. http://dx.doi.org/10.1386/jac_00009_1.

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Abstract Focusing on Post-Third Cinema in the Maghreb, this article analyses productions that break ith both the elitism and the nativist agenda of Third Cinema to establish film as a mass art, which, hile still heavily politicized, no longer needs to call itself ‘African’, or ‘Arabic’ or ‘non-western’, fter all. Post-Third Cinema may therefore be a paradigm of multiplicity within World Cinema that is based n an emphatically universal approach. Regarded this way, it is an art form that is universal to the extent that it achieves a global appeal that transcends cultural differences. Drawing on

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CinémAction, Buchsbaum, and Pageau. "“The Impact of ‘Third Cinema’ in the World” [1979]: “L’impact du ‘troisième cinéma’ dans le monde”." Framework: The Journal of Cinema and Media 62, no. 1 (2021): 57. http://dx.doi.org/10.13110/framework.62.1.0057.

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Mestman, Mariano. "From Algiers to Buenos Aires: The Third World Cinema Committee (197374)." New Cinemas: Journal of Contemporary Film 1, no. 1 (2002): 40–53. http://dx.doi.org/10.1386/ncin.1.1.40.

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17

Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.

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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consc

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Marks, Laura U. "What Can a Body Do? Answers from Trablus, Cairo, Beirut and Algiers." Paragraph 38, no. 1 (2015): 118–35. http://dx.doi.org/10.3366/para.2015.0150.

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The essay examines contemporary Arab films that express the body's forces. One strategy, common with other world cinemas, is that films carry out different operations at the molar and molecular levels, which correspond to different levels of embodiment and body politics. Another, more unique to Arab cinema, is to cultivate strategies of protecting and enfolding bodies, similar to what Foucault termed ars erotica. Third, they enlist the audience in a struggle to attain what Spinoza called ‘adequate ideas’, ideas that arise immanently from the body's capacities.

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Szymański, Karol. "Kina warszawskie: wrzesień–grudzień 1939 roku." Przegląd Humanistyczny 61 (September 4, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.4154.

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Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable

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Ivanov, Ivan. "Literature and Cinema in the Age of Globalization – Fragments of the XXI Century Cultural Hybridization Debate." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 50, no. 5 (2023): 482–89. http://dx.doi.org/10.53656/for23.531lite.

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The article examines the globalization of the 21st century, which is driven by the postmodernist processes of decanonization that create a hybrid cultural environment in the present. The main focus of the text is the film-literature relationship, which is both synergistic and competitive in the market of cultural products. The article presents key postmodern novels from the 80s and 90s of the last century and their film adaptations, which even in the 21st century reproduce with the techniques of cinema a common, archetypal, futuristic, fictional model. Cinema and literature in the third millen

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Mangayarkkarasi.M. "Portrayal of Transgender people in Tamil Cinema." RESEARCH REVIEW International Journal of Multidisciplinary 4, no. 2 (2019): 669–72. https://doi.org/10.5281/zenodo.2582816.

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The paper is to highlight on the depiction of third gender issue in Indian Film with a special focus on Tamil films. With associate degree understanding of gradual illustration of third gender in world cinema it tries however the problem has created its road to Indian Films.. It explores various issues on problems related to third gender portrayed in the Tamil films. The Male to Female Transgender Community emerges as the most visible queer culture in India. Cinema provides viewers the ideologies and beliefs sensationally through celebrities and distorts reality. The primary objective of this

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22

Göktürk, Deniz. "Turkish-German Traffic in Cinema: A Critical Review." New Perspectives on Turkey 29 (2003): 229–43. http://dx.doi.org/10.1017/s089663460000618x.

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The Turkish-German axis is not the first route that comes to mind when rethinking German cinema in a global perspective. Turks in German cinema have tended to be cast in one-dimensional roles, as victims on the margins of society, unable to communicate and integrate. After more than four decades of Turkish presence in Germany, can we finally observe a new trend in representation, focusing more on playful enactments, mutual mirroring, and border-crossings? In an era of increasing global mobility of people and media, questions about the status of transnational cultural productions by travelers,

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23

Elduque, Albert. "Pasolini and Third World hunger: An approach to Cinema Novo through La ricotta." Journal of Italian Cinema & Media Studies 4, no. 3 (2016): 369–85. http://dx.doi.org/10.1386/jicms.4.3.369_1.

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24

Lecointe, François. "The Elephants at the End of the World: Chris Marker and Third Cinema." Third Text 25, no. 1 (2011): 93–104. http://dx.doi.org/10.1080/09528822.2011.545616.

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25

Amit, Rea. "What Is Japanese Cinema?" positions: asia critique 27, no. 4 (2019): 597–621. http://dx.doi.org/10.1215/10679847-7726903.

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Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art,” in which he specified the national characteristics of Japanese cinema. This essay concentrates on this third and less studied thesis. Although the argument Imamura puts forth in the thesis is elusive, aspects in it enable an interpretation of Japanese cinema along lines of phenomenological critical theory. Fro

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Molina Barea, Maria del Carmen. "Cinema: Not Frames But Veils." CINEJ Cinema Journal 9, no. 1 (2021): 146–80. http://dx.doi.org/10.5195/cinej.2021.312.

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The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach

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Mututa, Addamms. "Editorial." Journal of African Cinemas 15, no. 2 (2023): 139–43. http://dx.doi.org/10.1386/jac_00098_2.

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In this issue of the Journal of African Cinemas, a mix of transnational and cross-regional scholars discuss documentary cinemas and African stories. Beyond the erstwhile hotly debated question of the positionalities of Global North and Global South in the production of theory, these scholars offer a sutured argumentation that usurps this intellectual duel. The discussions enliven a transnational debate centred on the documentation of Africa in world cinema history, critique and galas. Tangential to this idea of documenting African cinemas is a most respected iconic figure – the late Distinguis

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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia.v20i42.1096.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia2018.2042.a13835.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia2018.v20i42.a13835.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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Radaeva, E. A. "EIDOS OF THE THIRD REICH IN CONTEMPORARY FOREIGN HORROR FILMS: THE PROBLEM OF CLASSIFICATION." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 98 (2024): 106–14. https://doi.org/10.37313/2413-9645-2024-26-98-106-114.

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In this article, the phenomenon of the Third Reich eidos in modern horror cinema is examined on a fairly broad basis. Nazi Germany in the "corporeal-plastic intuitions" of Western and American directors is presented as predominantly charismatic, possessing truly indestructible power, endurance, grandeur, filled with a special demonic charm and embodying unity, fearlessness and selflessness - this is an all-conquering "death machine", in whatever guise it appears: zombies, werewolves, vampires, Frankenstein's monsters, etc. In domestic cinema, there are no similar images and films on this topic

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David William Foster. "Redirected the Gaze: Gender, Theory, and Cinema in the Third World (review)." Arizona Journal of Hispanic Cultural Studies 3, no. 1 (1999): 284–86. http://dx.doi.org/10.1353/hcs.2011.0294.

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Kleshchenko, Liudmila. "The image of Latin America in Soviet and American Cold War Cinema." Metamorphoses of history, no. 25 (2022): 0. http://dx.doi.org/10.37490/s230861810023095-4.

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The article examines the peculiarities of the representation of Latin American images in Soviet and American cinema during the Cold War. The author concludes that there are certain similarities in the representation of Latin America in the films of the USA and the USSR: both of them mainly create the image of Latin American countries as being at a lower stage of social development. The inclusion of images of third countries, including Latin American countries, in the film narrative was intended to perform the following functions: to demonstrate the atrocities of the enemy (against the populati

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Han, Chuyi. "Documentary Aesthetics and International Communication of Iranian Films from the Perspective of the Third Cinema." BCP Social Sciences & Humanities 18 (June 30, 2022): 337–43. http://dx.doi.org/10.54691/bcpssh.v18i.1131.

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The Iranian film represented by The White Balloon includes a series of elements such as colonialism, class, race, sex and gender in the third cinema. Religious culture makes Iranian films not only contain humanitarian concerns, but also become the representative of ideology. The description of women’s survival dilemma and the displacement of Hazara reflects the complexity of the social environment. Under strict censorship, Iranian directors cast their eyes on the lives of children at the bottom. Long shots, single-line narrative logic, circle narrative structure and open ending constitute an i

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Ciancio, Belén. "Bodies, Gestus, Becoming: Cinema as a Technology of Gender and (Post)memory." Deleuze and Guattari Studies 12, no. 4 (2018): 555–71. http://dx.doi.org/10.3366/dlgs.2018.0332.

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The first issue this essay examines is the articulation of the cinema of the body, the feminine gestus, and the ‘political cinema’, which begins with the philosophical shout, ‘Give me a body, then!’ and ends with the ‘Third World Cinema’ as a cinema of memory. How is this Deleuzian concept in tension with the one proposed here of ‘missing body’? The second issue concerns the importance of the body for theory and practice within feminist film theory and queer theory. The question of the body is introduced in-between these two lines in the context of a series of Latin American documentaries. The

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Filenko, Kristina V., and Evgenia A. Polinovskaya. "The Phenomenon of the Cinema of the Third Reich in the Focus of Modern European Historical Studies." Herald of Omsk University. Series: Historical Studies 7, no. 1 (25) (2020): 98–102. http://dx.doi.org/10.24147/2312-1300.2020.7(1).98-102.

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The article discusses scientific theories and approaches to the analysis of the Third Reich cinema. At the same time, the authors updated political trends in the modern world. A consequence of these tendencies was the difficulty facing researchers in studying topics of a politically engaged nature. In their article, the authors sought to consider the most modern research of historians.

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Marez, C. "Pancho Villa Meets Sun Yat-sen: Third World Revolution and the History of Hollywood Cinema." American Literary History 17, no. 3 (2005): 486–505. http://dx.doi.org/10.1093/alh/aji027.

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Ellis, Ashley D. "Transforming education with Black diaspora film and filmmaking practice." Journal of African Cinemas 13, no. 1 (2021): 29–41. http://dx.doi.org/10.1386/jac_00042_1.

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At the first Third World Filmmakers Meeting held in Algiers in 1973, participants resolved that the cinema they envisioned could conscientize audiences and continue Indigenous and African storytelling traditions. Today, there is a robust canon of Black diaspora cinema, which should be preserved, archived and analysed. Yet when coupled with filmmaking practice, it can become living history as a tool in the application of critical pedagogy. This article considers Black diaspora film and filmmaking practice as mechanisms for the radical transformation of education. It examines how oppositional ci

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Bamba, Mahomed. "In the name of 'cinema action' and Third World: The intervention of foreign film-makers in Mozambican cinema in the 1970s and 1980s." Journal of African Cinemas 3, no. 2 (2012): 173–85. http://dx.doi.org/10.1386/jac.3.2.173_1.

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Zubel, Marla. "Toward a Second World Third Cinema: anti-colonial internationalism in Tadeusz Jaworski's 80 Days of Lumumba." Studies in Eastern European Cinema 7, no. 3 (2016): 190–207. http://dx.doi.org/10.1080/2040350x.2016.1219178.

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41

Hanke, Bob. "Roy Andersson's Living Trilogy and Jean-Luc Nancy's Evidence of Cinema." Film-Philosophy 23, no. 1 (2019): 72–92. http://dx.doi.org/10.3366/film.2019.0099.

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In this article, I explore three films that comprise Swedish director Roy Andersson's “Living Trilogy” – Songs from the Second Floor (2000); You, the Living (2007); and A Pigeon Sat on a Branch Reflecting on Existence (2014). My aim is to push the philosophical bearing of Andersson's films towards Jean-Luc Nancy's philosophy of art and cinema. How should we understand his cinematic way of looking, intermedial images, and production of sense? First, I trace Andersson's concept of the “complex image” and aesthetic of “trivialism.” Second, I outline Nancy's approach to “presentation” and the “evi

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SARWARI, Moqadassa, and Abbas MOHAMMADI. "The effect of cinema on human social behavior." AVANCA | CINEMA, no. 14 (January 5, 2024): 459–68. http://dx.doi.org/10.37390/avancacinema.2023.a531.

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Humans and creatures live by communication. The start moment of existence is the beginning of communication. But communication has taken different forms in different eras. Communication may be visual, auditory or sensory. In the world of beings, one of these communication methods is used as needed. In the field of visual communication, one of the most important parts is communication through images. This type of communication has been formed since the early times of human existence. Its signs are also petroglyphs that have been found in caves since the past centuries. This relationship changed

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Bédard, Philippe. "Disembodied perspective." Alphaville: Journal of Film and Screen Media, no. 9 (October 27, 2015): 74–88. http://dx.doi.org/10.33178/alpha.9.05.

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Used as much in extreme-sports videos and professional productions as in amateur and home videos, GoPro wearable cameras have become ubiquitous in contemporary moving image culture. During its swift and ongoing rise in popularity, GoPro has also enabled the creation of new and unusual points of view, among which are “third-person images”. This article introduces and defines this particular phenomenon through an approach that deals with both the aesthetic and technical characteristics of the images in question. An analysis is presented of the peculiar and unfamiliar appearance of third-person i

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Andreeva, O. V. "Transformation of Artistic Imageries of the World and National Cinema in the Era of Postmodern." Discourse 7, no. 6 (2021): 42–61. http://dx.doi.org/10.32603/2412-8562-2021-7-6-42-61.

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Introduction. In the last third of the 20th century new trends appeared in various spheres of public life. That made possible to characterize this time period as the era of postmodern. The culture processes of this period were called postmodernism. Despite significant research on the topic and phenomenon of postmodernism, it remains a subject of discussion, which makes the problem of its further study actual. The article reveals postmodernism through the prism of new accents in the disclosure of artistic images in world and national cinema. Transformation of artistic imageries in the cinema is

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Matkin, Aleksei V. "The evolution of visual instruments of VR cinema." Journal of Flm Arts and Film Studies 11, no. 3 (2019): 42–52. http://dx.doi.org/10.17816/vgik11342-52.

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The author states the achievement by virtual reality technology of a certain stage of maturity. Virtual reality equipment as a means of film exhibition not only determines our aesthetic experience but fundamentally changes film language the duration of a film and particular takes, their composition, the specifics of inter-shot and intra-shot editing, etc. The essay explores the visual system of VR cinema, a phenomenon which is gaining more and more spectator popularity. Defining the depth of immersiveness as the fundamental difference between traditional and VR cinema, the author identif

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Mestman, Mariano. "I dannati della terra: The Italian left facing the Third World on the eve of 1968." Journal of Italian Cinema & Media Studies 9, no. 3 (2021): 385–410. http://dx.doi.org/10.1386/jicms_00083_1.

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The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu). This article recovers overlooked and little-kno

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Demydenko, Maksym. "National images and symbols of visual Ukrainian cinematography in the works of foreign scholars." CONTEMPORARY ART, no. 18 (November 29, 2022): 141–50. http://dx.doi.org/10.31500/2309-8813.18.2022.269722.

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The article is devoted to the problem of historical symbolism in the visual language of Ukrainian cinema. The focus is on the foreign historiography of the problem, which today is one of the most relevant areas in the general scientific discourse of the problem. The author notes that at present, the understanding of national imagery and symbolism in cinematography continues within the framework of two parallel strategies: 1) as the still active deconstruction of existing historical images and visual narratives (especially in cinematography and in general within the framework of audiovisual art

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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.

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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendr

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Gottesman, Zachary Samuel. "The Rotoscopic Uncanny: Aku no Hana and the Aesthetic of Japanese Postmodernity." Animation 13, no. 3 (2018): 192–206. http://dx.doi.org/10.1177/1746847718799416.

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CGI has led to a theoretical revolution in media studies. What is cinema when reality can be created on a computer? What is animation when superflat 2D aesthetics are becoming haunted by 3D digital graphics? This article adds a third term to the debate: rotoscoping. The author analyzes the first exclusively rotoscoped Japanese anime, Aku no Hana (The Flowers of Evil), a contemporary reinterpretation of Charles Baudelaire’s Les Fleurs du Mal that reflects on postmodern malaise, rural decay and depopulation, and otaku escapism, in order to examine the aesthetic of the rotoscope in relation to ci

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Sullivan, Daniel. "Kracauer and Tarkovsky’s Cinema of Redemptive Estrangement." Film-Philosophy 29, no. 1 (2025): 46–71. https://doi.org/10.3366/film.2025.0292.

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Despite striking parallels between their philosophies and artistic work, there have been no prior dedicated studies of the reinforcing ideas of Siegfried Kracauer and Andrei Tarkovsky. I contend with other interpreters that Kracauer’s philosophy of film is best understood as a form of revelationism, with strong sociological and ontological theses about the nature of modern psychological life and the medium specificity of film. Essentially, Kracauer felt that certain films which adhere to what he called “truly cinematic” content by depicting the naturalistic “flow of life” have the potential to

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