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Journal articles on the topic 'Units of cinematography'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Hussein, Dr Safaa Abdul-Kadhim. "Cinematography in the Novel City of Images." Thi Qar Arts Journal 1, no. 44 (2023): 210–33. http://dx.doi.org/10.32792/tqartj.v1i44.485.

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The novel is a literary genre based on written language. It is founded on the element of narration primarily, which meets in most cases with the element of description, where they form together an extension governed by an event structure based on the sequence of causes and their effects, as Todorov suggests. In addition to the existence of a narrator, characters, spaces and times, it thus meets with a group of other literary genres in this aspect, such as the genre of the tale and the story. But what distinguishes it is that it is a literary genre capable of containing various other genr

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Ісаєнко, Оксана Володимирівна. "НАУКОВА РЕЦЕПЦІЯ ТЕРМІНОПОНЯТЬКІНОІНДУСТРІЇ В УКРАЇНСЬКІЙ КІНОЛЕКСИКОГРАФІЇ". Збірник наукових праць ХНПУ імені Г.С. Сковороди "Лінгвістичні дослідження", № 40 (28 жовтня 2015): 145–49. https://doi.org/10.5281/zenodo.32838.

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<em>The article deals with the lexical units from the field of cinematography from the point of view of their terminological nature and the main approaches to their classification were defined on the basis of the material taken from professionally arranged dictionaries by V.N. Myslavskiy and S.I. Yutkevich as well as from the Internet-glossaries founded on the Ukrainian national cinema portals. The system of film terms is ramified and it continues to renew and develop its structure that is why the necessity of its detailed analysis arises. The central aim of the article is to identify the prim

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Pankratova, S. A. "Peculiarities of the Functioning of the Taboo Lexicon in the Modern Western Cinematography." Discourse 9, no. 1 (2023): 130–41. http://dx.doi.org/10.32603/2412-8562-2023-9-1-130-141.

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Introduction. The article reviews peculiarities of functioning of taboo lexis, which is a manysided and indispensable aspect of modern filmmaking. The study aims at the analysis of taboo functioning in the linguistic field in order to improve foreign content application in compliance with censorship requirements. The implementation presupposes analysis of taboo lexical units, revealing their functioning features as regards to acceptable implementation of the taboo and to depict the possible ways of optimization of its use in modern cinema.Methodology and sources. The article presents results o

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Danylenko, Volodymyr. "The Russian-Ukrainian War in Donbass in Ukrainian Cinematography." Ukrainian Information Space, no. 5 (June 4, 2020): 208–18. https://doi.org/10.31866/2616-7948.1(5).2020.206129.

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Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and whe

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Khmelnytska, Liudmyla. "REPRODUCTIVE POLICY OF THE SOVIET AUTHORITY AGAINST THE CREATORS OF THE UKRAINIAN CINEMATOGRAPH OF THE SECOND HALF OF THE 1960s - THE FIRST HALF OF THE 1980TH CENTURY." Journal of Ukrainian History, no. 39 (2019): 53–60. http://dx.doi.org/10.17721/2522-4611.2019.39.7.

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The purpose of the paper is to unblended analysis of sources and literature on the repressive policy of Soviet power against the representatives of Ukrainian cinema. In general, the main principles of party-state policy in the field of cinematography, including the mechanism of the influence of ideology on the cinematographic process in the Ukrainian SSR, are grounded, and the interaction between public administration and creative organizations is grounded; The main methods and forms of the repressive policy directed against the artists of Ukrainian cinema are described. The existing structure

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YEFANOV, ALEXANDER A. "Reversibility of the Socialist Realism Aesthetics (on the Example of the Modern Russian Cinematography)." Art and Science of Television 18, no. 2 (2022): 41–57. http://dx.doi.org/10.30628/1994-9529-2022-18.2-41-57.

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The article studies reversibility of socialist realism aesthetics—a trend in the modern Russian cinematography—from a socio-cultural perspective. An integrative cultural-philosophical approach serves as research optics. It combines the features of the traditional cultural method (focusing on the basic units of culture—material products and works of art—and behavior patterns formed on their basis) and aesthetic approach (an appeal to the reflective study of expressive forms of art products and their influence on mass consciousness, as a result of which mass culture is constructed). The potentia

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Ісаєнко, Оксана Володимирівна. "МІЖГАЛУЗЕВІ ТЕРМІНИ В ТЕРМІНОЛОГІЧНІЙ СИСТЕМІ УКРАЇНСЬКОЇ СФЕРИ КІНО". Збірник наукових праць ХНПУ імені Г.С. Сковороди "Лінгвістичні дослідження", № 14 (30 березня 2016): 168–72. https://doi.org/10.5281/zenodo.48616.

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<em>The article deals with the lexical units from the field of cinematography from the point of view of their intersectoral usage on the basis of Ukrainian film terms system. One of the peculiar features of terminology is the functioning of its units in different scientific, cultural and social fields. The appearance of terms which are used in different term systems is explained by the fact, that a term as a component of lexical semantic system changes and develops its peculiarities as well as the language is constantly in motions enriching its lexical structure under the influence of differen

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Ilin, Aleksandr Aleksandrovich. "History and modification of modern cinematic vocabulary." Litera, no. 8 (August 2023): 68–78. http://dx.doi.org/10.25136/2409-8698.2023.8.43454.

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This article is devoted to the diachronic modification of the cinematic vocabulary of the modern German language. The relevance of this study is determined by the insufficient study of the formation and development of German film lexicon in the XXI century, which contributes to new research on this issue in modern linguistics; as well as the need to study the process of formation and evolution of the German language film lexicon to identify linguistic and cultural features of this area of vocabulary.The purpose of the study is to determine the semantic features of the lexical units of the Germ

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Antsiferova, A. N. "Role of dysphemisms in the English-language film space." Vestnik of Samara University. History, pedagogics, philology 30, no. 3 (2024): 195–200. http://dx.doi.org/10.18287/2542-0445-2024-30-3-195-200.

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The topicality of undertaken research is determined by the constantly changing social norms in modern society, which are reflected in the cinematographic world. Cinematography provides a golden opportunity to consider and analyze a range of unique linguistic phenomena. The major purpose of the present paper is to study the phenomenon of dysphemisation in the English-speaking film space based on the set of the following films in English: Green Book by the American film director, Peter J. Farrelly, the screen adaptation of the autobiography 12 Years a Slave by Terrence S. McQueen, the well-known

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Stolyarova, Anastasiia O. "Key Components of Communicative Situation of Business Negotiations." NSU Vestnik. Series: Linguistics and Intercultural Communication 18, no. 1 (2020): 120–31. http://dx.doi.org/10.25205/1818-7935-2020-18-1-120-131.

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The following article considers the concepts of communicative situation, business discourse and business negotiations, as well as the specificity of their functioning. The research focuses on the cinematographic representation of communicative situation per se, which is of great interest within the field of business discourse. Taking into account sustained attention of present-day linguistics to institutional discourse in general and business discourse in particular, the need for a detailed study of the functioning of professional discourse seems quite urgent. As examples of the present study

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Битюцкая, Екатерина Владиславовна. "Representations of the lifeway in Soviet cinematography of the 1930s – early 1950s." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(40) (April 18, 2024): 9–31. http://dx.doi.org/10.23951/2312-7899-2024-2-9-31.

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Статья посвящена анализу репрезентаций жизненного пути в советских кинофильмах, снятых в период с 1930-х по начало 1950-х годов (сталинский период, или «большой стиль» советского кинематографа). На основе обзора литературы выделяются две тенденции: героизация и типизация биографии в искусстве соцреализма, что было необходимо, в частности, для создания образцов-моделей поведения советских людей. Для эмпирического анализа фильмов используется методика, которая основывается на идеях структурно-семиотического подхода. Основные единицы анализа – жизненные события и временна́я перспектива (отношение

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Bushueva, L., and A. Muliukina. "Types and functions of precedent names in English-language cinematic discourse." Linguistics & Polyglot Studies 9, no. 3 (2023): 116–27. http://dx.doi.org/10.24833/2410-2423-2023-3-36-116-127.

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The subject of this study is precedent names in the English-language cinematic discourse. The focus is placed on determining the functional potential of precedent names in this type of discourse. In this work, precedent names are considered as a kind of precedent phenomena: names of personalities, events and works of fiction. The study of precedent names has significance within the framework of cultural linguistics, cognitive science and intertextuality theory, as precedent names contain information about important cultural and historical phenomena, give insights into the mechanism of metaphor

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Popova, Nataliia. "CONCEPT INTERPRETATION FIELD AS A CONDUCTOR BETWEEN CONCEPT UNIVERSALITY AND ITS LINGVOCULTURAL SPECIFICITY." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 35 (2019): 83–96. http://dx.doi.org/10.17721/2663-6530.2019.35.07.

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The article is devoted to the study of the mechanisms of universal concepts transformation into linguocultural mental units, a significant place among which belongs to the concept interpretive field which is defined as a series of cognitive characteristics interpreting the concept image and its notional content during its personal or collective consciousness practical comprehension. Changes within the prototype core and the conceptual field, arising due to the expansion of concept interpretation field during its historical development, have been analyzed in the research. Due to the semantic-co

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Antonijević, Vasilija. "Docile body from the aspect of post-Yugoslav artistic praxis in Serbian film." Kultura, no. 176 (2022): 195–203. http://dx.doi.org/10.5937/kultura2276195a.

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The object of institutional discipline: docile body as a primary goal of shaping, is defined by Michel Foucault in relation to the position of the centre of power at a certain historical moment. Post-Yugoslav artistic cinematography praxis, realised in collaboration of the countries of former Yugoslavia, provides a space for analysing of the mechanisms of power in the period of challenging potential for manipulation. On the example of militarism and its structures, it is possible to extrapolate a docile body subordinate to the indoctrination system by using Foucault's study of discipline and p

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Perek, Piotr, Aleksander Mielczarek, and Dariusz Makowski. "High-Performance Image Acquisition and Processing for Stereoscopic Diagnostic Systems with the Application of Graphical Processing Units." Sensors 22, no. 2 (2022): 471. http://dx.doi.org/10.3390/s22020471.

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In recent years, cinematography and other digital content creators have been eagerly turning to Three-Dimensional (3D) imaging technology. The creators of movies, games, and augmented reality applications are aware of this technology’s advantages, possibilities, and new means of expression. The development of electronic and IT technologies enables the achievement of a better and better quality of the recorded 3D image and many possibilities for its correction and modification in post-production. However, preparing a correct 3D image that does not cause perception problems for the viewer is sti

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Mokienko, Valery, and Tatiana Nikitina. "Oriental Text and the Subtext of Russian Paroemiology." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (February 2024): 29–41. http://dx.doi.org/10.15688/jvolsu2.2024.1.3.

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The article examines the geocultural image of the East, which has developed in Russian linguaculture. The purpose of the work is to systematize the conceptual and substantive characteristics of the Eastern world displayed by proverbs, to identify the axiological load of the Eastern-marked paroemias. The involvement in the study of the material of canonical proverbs, which accumulate centuries-old folk experience and fix the priorities of everyday consciousness, allows the authors to see the specifics of folk ideas about the Eastern world against the background of philosophical and aesthetic re

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Vasilyeva, Olga. "DENOTATIVE-NOMINATIVE TYPOLOGY OF ENGLISH IDEONYMS." Odessa Linguistic Journal, no. 12 (2018): 3–8. http://dx.doi.org/10.32837/2312-3192/12/1.

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The article considers denotative nominative classification of English ideonyms. One thousand English ideonyms selected according to the frequency of use in print and electronic media have provided the material for this research. The topical problems of ideonymics incude establishment of denotative nominative systematization of the relevant proprietary units, which involves their grouping according to the type of the named objects. The denotative nominative classification of ideonyms embraces four divisions: artionyms, i.e. proper names of works of art, which are further divided into imagionyms

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Jayne, B. C. "Muscular mechanisms of snake locomotion: an electromyographic study of the sidewinding and concertina modes of Crotalus cerastes, Nerodia fasciata and Elaphe obsoleta." Journal of Experimental Biology 140, no. 1 (1988): 1–33. http://dx.doi.org/10.1242/jeb.140.1.1.

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Synchronized electromyography and cinematography were used to determine the muscle activity of colubroid snakes during sidewinding and concertina locomotion. The primary muscles studied were the three largest, most superficial epaxial muscles: the Mm. semispinalis-spinalis, longissimus dorsi and iliocostalis. Sidewinding locomotion of Nerodia fasciata and Crotalus cerastes was the result of continuous posterior propagation of contractile blocks consisting of several adjacent muscle segments. During sidewinding, the activity of the M. longissimus dorsi and M. iliocostalis was primarily unilater

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JAYNE, BRUCE C., ALBERT F. BENNETT, and GEORGE V. LAUDER. "Muscle Recruitment During Terrestrial Locomotion: How Speed and Temperature Affect Fibre Type Use in a Lizard." Journal of Experimental Biology 152, no. 1 (1990): 101–28. http://dx.doi.org/10.1242/jeb.152.1.101.

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Synchronized electromyography and cinematography were used to study the activity of the red and white regions of the iliofibularis muscle in savannah monitor lizards, Varanus exanthematicus (Bosc), during locomotion. Analysis of variance on results from four individuals moving at speeds of up to 1.5 km h−1 at two body temperatures (25 and 35°C) revealed that all kinematic variables were significantly affected by speed but none was affected by temperature. Hence, patterns of limb movement at any speed were similar at both temperatures. However, this similarity resulted from differences in muscl

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Kosiuk, Oksana. "ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE." Integrated communications 18, no. 2 (2024): 44–52. https://doi.org/10.28925/2524-2644.2024.185.

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The article proves that in the context of coverage of global geopolitical catastrophes, the problem of unambiguous representation of facts is becoming more and more urgent since each of the participants in the conflict defends their views on the causes, consequences and unfolding of events. Moreover, the mass media rebroadcast the information conflict, completely disorienting the recipients. It is easy to see by looking at how the media of America, Iran, Britain, France, and Israel show the war in Syria: the same event is completely unrecognizable in their situational coverage. As a result of

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Goian, V., та D. Falkowskyi. "ЗОБРАЖАЛЬНІ ЗАСОБИ ЯК СКЛАДОВА ЕФЕКТИВНОЇ КОМУНІКАЦІЇ ВІДЕОКОНТЕНТУ НА ВІЙСЬКОВУ ТЕМАТИКУ". State and Regions. Series: Social Communications, № 4(56) (20 січня 2024): 13. http://dx.doi.org/10.32840/cpu2219-8741/2023.4(56).2.

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<p><em>The article highlights various aspects of visual means of video content on the YouTube channel of one of the leading units of the Armed Forces of Ukraine. It can be argued that this popular type of broadcasting also forms a certain type of mass communication, the target audience of which is mainly military personnel and recruits who consider this or that unit as promising for military service.</em></p><p><strong><em>The purpose</em></strong><em> of the research is to analyze visual media as a component of video content, namely,

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Radu, Cristian. "Nietzsche and Cinema: Cinematography as an Expression of Unity between Apollonian and Dionysian Impulses." SAECULUM 56, no. 2 (2023): 98–108. http://dx.doi.org/10.2478/saec-2023-0022.

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Abstract The following article analyzes the process of filmmaking through the framework of Friedrich Nietzsche’s Apollonian-Dionysian dichotomy. Specifically, it centers on cinema as an example of the interplay of both Apollonian and Dionysian impulses. The first half of the article provides a definition of Nietzsche’s dichotomy and two descriptions of Apollonian-Dionysian unities as cultural tendencies and artistic elements. The second half of the article examines how key aspects of the movie production process embody either Apollonian or Dionysian elements. Additionally, a case study of the

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Kolesnikova, S. M., and V. V. Kolesnikova. "THE ROLE OF CINEMATOGRAPHY IN THE FORMATION OF CULTURAL IDENTITY: HISTORY, TRADITIONS AND VALUES." Memoirs of NovSU, no. 3 (2024): 420–30. http://dx.doi.org/10.34680/2411-7951.2024.3(54).420-430.

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The present article is of an integrative nature and is devoted to considering the issues of film history, linguoculturology and intercultural communication, as well as the definition and preservation of national and cultural identity. Cultural identity is understood as a multifaceted phenomenon that unites language, religion, history, geography and social aspects, forming a sense of belonging to one's roots, and serves as a basis for mutual understanding and dialog between different peoples. An important instrument of dialog and mutual understanding between different cultures is cinema, which

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Zadvornyi, Sergii. "HUMAN-GEOGRAPHICAL FEATURES OF FUNCTIONING OF THE BASIC NETWORK OF CULTURAL INSTITUTIONS OF TERNOPIL CITY TERRITORIAL COMMUNITY." SCIENTIFIC ISSUES OF TERNOPIL VOLODYMYR HNATIUK NATIONAL PEDAGOGICAL UNIVERSITY. SERIES: GEOGRAPHY 51, no. 2 (2021): 91–100. http://dx.doi.org/10.25128/2519-4577.21.2.11.

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The article is devoted to the human-geographical study of the basic network of cultural institutions of the Ternopil city territorial community. The parameters of the territory and settlement network of the community are considered, which are the determining conditions during the structuring of geospace. The legislative principles of creating a basic network of cultural institutions of the local level are analyzed. The modern basic network of cultural institutions of the Ternopil territorial community is a consequence of the reform of the cultural sphere and the implementation of the decentral

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Markhaichuk, N., and V. Tarasov. "Art Techniques and Means of Expression of “Black Cinema”: From Neo-Noir to Post-Noir." Culture of Ukraine, no. 79 (March 23, 2023): 60–73. http://dx.doi.org/10.31516/2410-5325.079.06.

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The purpose of the article is to study art techniques and means of expression of neo-noir and post-noir in the cinematography of the late XX — early XXI centuries. The subject of analysis are noir phenomena — the latest and postmodern processes in cinema, based on the aesthetic, genre and style canon of noir. Noir phenomena in the language of cinematography could not remain within the narrow limits of the aesthetics of “black” cinema. That is why they became a space of transformations: stylistic, genre, narrative, semantic, etc. The methodology of theoretical analysis in this article is

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Usuvaliev, Sultan I. "The Issue of Unity of Style in Soviet Cinema in the Late 1920s — Early 1930s (By the Example of Nikolay Iezuitov’s Works)." Observatory of Culture 17, no. 1 (2020): 26–35. http://dx.doi.org/10.25281/2072-3156-2020-17-1-26-35.

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This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new arch

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Holguín, Sandie. "Taming the Seventh Art: The Battle for Cultural Unity on the Cinematographic Front during Spain's Second Republic, 1931–1936." Journal of Modern History 71, no. 4 (1999): 852–81. http://dx.doi.org/10.1086/235361.

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Mututa, Addamms. "The casebre on the sand: Reflections on Luanda's excepted citizenship through the cinematography of Maria João Ganga's Na Cidade Vazia (2004)." Journal of African Cinemas 11, no. 3 (2019): 277–93. http://dx.doi.org/10.1386/jac_00021_1.

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Abstract This article discusses Maria João Ganga's representations of musseques and the casebre in Na Cidade Vazia (2004). It reads such images and characterization of neglected characters as visual expressions of the way in which Luanda's informal spaces have become the most visible expression of precarious, indeed, excepted citizenship. Set in 1991, the film depicts a period during which the government and the rebels entered a temporary truce, which rapidly disintegrated, gesturing towards a continuing sense of exclusion from postcolonial prosperity. However, the bloody civil war that ensued

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Anishchenko, Alla Valerevna, and Maria Vitalevna Melikyan. "The manifestation of emotions in the audio description of German-language animated films for children." Philology. Issues of Theory and Practice 17, no. 5 (2024): 1516–21. http://dx.doi.org/10.30853/phil20240219.

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The aim of the study is to identify linguistic means and methods for representing emotions in specialized sound descriptions and commentaries (audio descriptions) intended for blind and visually impaired recipients and accompanying feature films. The article examines the features of a children’s ani-mated fairy tale film as a cinematographic genre. Considerable attention is paid to the characteristics of the film text as a semiotic system in which emotional meanings are formed at the verbal and non-verbal level. The scientific novelty of the study is due to the systematization of linguistic me

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Malyshev, Vladimir. "CILECT as the Project of a World Film School: Origins, Specifics, Development." Journal of Flm Arts and Film Studies 11, no. 4 (2019): 8–24. http://dx.doi.org/10.17816/vgik1148-24.

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The continuing introduction of digital technologies into the production of meaningful and engaging audiovisual images accentuates the necessity of international cooperation in the sphere of the professional education of those young people who are planning to work in film, television and other screen arts. All over the world film schools are challenged by problems the solution of which requires consolidated participation of worldfamous masters. This has been recently confirmed at the Congress of the International Association of Film and Television Schools (CILECT) Congress held in October 2019

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Frolova, E. A. ""…and make a fresh start": a linguo-stylistic analysis of Yu. D. Levitansky’s poem "The winter was like asnowy pass…"." Russian language at school 83, no. 1 (2022): 44–49. http://dx.doi.org/10.30515/0131-6141-2022-83-1-44-49.

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Yu. D. Levitansky’s creative work has repeatedly become the object of literary analysis. Nevertheless, the poet’s writing has not been subject to detailed linguo-stylistic research. The article aims to analyse the linguistic means expressing the author’s message in the poem "The winter was like a snowy pass" and on the basis of this characterisation to reveal the philosophical content of the lyrical poem. To achieve the stated aim, linguo-stylistic text analysis is employed. This approach permits the determination of the role and functions linguistic units perform in revealing the poet’s world

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Dooley, Kath, Margaret McHugh, Marsha Berry, Craig Batty, and James Verdon. "Approaches to gender diversity behind the camera in Australian student screen productions." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 118–31. http://dx.doi.org/10.33178/alpha.24.07.

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This article asks how educators at tertiary level might attempt to address gender diversity behind the camera in student productions. The 2020 Australian Screen Production Education and Research Association (ASPERA) report Diversity On and Off Screen in Australian Film Schools outlines the results of a national survey measuring levels of gender diversity behind the camera in Australian university capstone (major project-based) screen production units. The survey results reveal that, while close to even numbers of male and female students are completing capstone projects in screen production de

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Stepanova, N. V., and Ye Yu Sinitskaya. "Linguistic and Cultural Analysis of Translation Techniqies in the Process of Adaptation of an English Series." Discourse 9, no. 2 (2023): 111–24. http://dx.doi.org/10.32603/2412-8562-2023-9-2-111-124.

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Introduction. This article is devoted to the study of the specifics of stylistic techniques within translation of non-equivalent and culturally marked lexemes. The relevance of the research is determined by the fact that a rapidly developing films production market requires a high-quality adaptation of foreign films for other cultures. There is a need for a comprehensive study on adaptation mechanisms of various ethno-cultural phenomena displayed during translation from one language to another.Methodology and sources. This research was conducted in the context of a linguostylistic approach to

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KOTS, Tetiana. "OLEKSANDR DOVZHENKO’S LANGUAGE AWARENESS IN THE DIMENSIONS OF UKRAINIAN IDENTITY (BASED ON DIARY ENTRIES)." Culture of the Word, no. 101 (December 2024): 33–48. https://doi.org/10.37919/0201-419x-2024.101.3.

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The article analyzes the conceptual foundations of the linguistic consciousness of Oleksandr Dovzhenko, a symbolic figure in the history of Ukrainian culture, literature, and language. Taking into account the broad interpretation of language consciousness in world science, the units of its implementation in the artistic and journalistic heritage of the artist are singled out – timeless ideologues Ukraine, people, history, language as cross-cutting ethnocentric components of Ukrainian national identity. An analysis of the dictionary of modern language was carried out, in particular, the lexemes

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Sharov, Konstantin S. "The Neoimperial Motif in Russian Historical Movies of the 2000s-2010s and the Phenomenon of Orthodox Cinematographic Sermon." Imagologiya i komparativistika, no. 16 (2021): 269–91. http://dx.doi.org/10.17223/24099554/16/16.

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During the last two decades, the topic of imperial consciousness and the ideological construction of a neo-imperial approach to contemporary Russian history within the narrative of post-Soviet “neo-imperialism” has been increasingly revived in Russian cinema. It has not much about developing the idea of Great Russia with a highest world mission. There are hardly more Slavophile motives here than Westernisers’ ones. The new historical movies shot mainly by the Russian state or Church request construct a parable about a great supranational historical empire, which unites all ethnic groups, peopl

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Maric, Vukasin. "Dragisa Stojadinovic’s Open letter regarding Miroslav Krleza’s “Serbian themes”." Zbornik Matice srpske za drustvene nauke, no. 181 (2022): 75–94. http://dx.doi.org/10.2298/zmsdn2281075m.

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This article examines the reaction of Dragisa Stojadinovic to the feuilleton ?Serbian themes? done by the writer Miroslav Krleza. Krleza?s feuilleton was being published in newspaper Politika during April, May and June of 1963. It consisted of fragments from his earlier writings organized in thematic units and concerning different topics from Serbian history. Dragisa Stojadinovic, former soldier, chief of Cinematographic section of Serbian army on Salonica front during the First World War and politician in interwar Yugoslavia, responded to Krleza?s feuilleton by writting an Open letter to the

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Troshkina, Olena, Victoriia Us, Aleksandr Mostovenko, Luidmyla Shevchenko, and Natalia Novoselchuk. "Cinematic methods of scenario construction in the design of landscape parks." Landscape Architecture and Art 20, no. 20 (2022): 82–91. http://dx.doi.org/10.22616/j.landarchart.2022.20.09.

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The article describes and analyzes the possibility of using the method of writing a cinematic script in the design of park space, and it is a test of the method for teaching park design by the method of screenplay and generalization of the results. The authors analyze the possibility of applying this method in the actual design of the existing architectural environment of the city and compare the results with the results of their colleagues from another educational institution of architectural profile in performing similar tasks. The article proves that the cinematographic script, not the thea

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Zayceva, I. "SYNTHESIS OF VERBAL-ARTISTIC GENRES AND ARTS IN THE CREATION OF MIKHAIL MATUSOVSKY." Scientific Notes of V.I. Vernadsky Crimean Federal University. Philological sciences 10, no. 3 (2024): 120–37. https://doi.org/10.29039/2413-1679-2024-10-3-120-137.

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The article is devoted to the versatility of the creative heritage of M. L. Matusovsky, known to the general public mainly as the author of the lyrics to many popular songs today (“Where does the Motherland begin?”, “At a nameless height”, “School Waltz”, etc.). In order to create a more complete idea of what types of art and their forms Matusovsky showed himself in – with the obvious predominance in his heritage of a wide range of verbal creativity, journalistic and literary-artistic – we review a) verbal-artistic works, which, in addition to lyrical poems, are presented in his literary disco

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Shelestyuk, Elena V. "Translation of slang in English films in the light of difference of genre and stylistic canons of the Russian and English languages." Vestnik Tomskogo gosudarstvennogo universiteta, no. 499 (2024): 49–58. http://dx.doi.org/10.17223/15617793/499/6.

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The aim of the article is to compare slang units in English-language films and their equivalents in Russian film translations in relation to stylistic coloring and register. The relevance is due to the normalization of the translation of slangisms from English into Russian in view of the differences in stylistic, genre and artistic canons of Russian and English. In English, slang is less expressive, emotive, but much more frequent in literary and everyday speech, slangisms are allowed by the artistic (literary, cinematographic) canon. The materials of the study are 300 slangisms, selected by t

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SAMIR FEKRY, Christina. "Transfert stylistique des registres langagiers dans la traduction audiovisuelle vers le français des deux films égyptiens Femmes du Caire et Les Femmes du Bus 678." Traduction et Langues 20, no. 1 (2021): 58–85. http://dx.doi.org/10.52919/translang.v20i1.848.

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Stylistic Transfer of Language Registers in the Audiovisual Translation into French of the Two Egyptian Films Femmes du Caire and Les Femmes du Bus 678  Pre-recorded interlinguistic subtitles are texts added in the lower part of the image to translate simultaneously the scene seen and heard. Subtitling is a delicate operation in which one must find the balance between the oral context presented on the screen and the written translation that scrolls at a pace that the viewer cannot control. During the stylistic transfer of the film dialogue, subtitles are perceived not as syntaxico-semant

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Savchuk, Hryhorii. "The chaos – the violin – the Сosmos in the I. Kalynets’s poem “Great-grandfather”". Journal of V. N. Karazin Kharkiv National University, Series "Philology", № 92 (15 серпня 2023): 40–46. http://dx.doi.org/10.26565/2227-1864-2023-92-05.

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In modern Ukrainian literary studies, the problem of researching intermedial relations in the artistic works of the Sixtiers, in particular, Ihor Kalynets, is relevant. At the same time, there is a lack of studies devoted to the analysis of separate texts. In our opinion, the poem ‘Great-grandfather’ from the collection ‘Kupala Fire’ demonstrates a harmonious interaction of the text levels, from the level of plot to the phonetic one. Therefore, the purpose of this article is a holistic study of the poem. A structuralist approach was used to achieve the mentioned goal. The poem ‘Great-grandfath

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Kazakevičiūtė, Evelina. "„Liūdnas ir gražus pasaulis“ Jimo Jarmuscho filmuose: kalbos problemos ir poezija kaip (ne)pereinamas tiltas į kitybę." Lietuvos kultūros tyrimai 11 (2019): 50–66. https://doi.org/10.53630/lkt.2019.1.

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The article argues that Jim Jarmusch’s films can be regarded as cinematographic poetry and the director himself – as a cinematic poet. The author analyses the themes recurring in Jarmusch’s films: problems of language, poetry, and otherness. Developing them, Jarmusch reveals the stylistic peculiarities of his creative work: the usage of different languages, puns, polysemy, etc. These elements, as it is stated in the study, make Jarmusch’s creative work poetic. Special attention is paid to the relationship between the spoken and the written word and the significance of poetry for Jarmusch’s fil

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Onley, James. "Abdulaziz (UK, Sa'udi Arabia) 1999. 90 min. Dir: David Martyn and Anthony Wilkinson. Prod: Michael McKinnon. Cinematography: Steve Foster. Original Music: Robert Boyle. Narrator: Sean Barratt. Part I: “Unity” (45 min). Part II: “Building a Nation” (45 min). A McKinnon Films production for the King Abdulaziz Foundation for Research and Archives, Kingdom of Sa'udi Arabia." Middle East Studies Association Bulletin 36, no. 2 (2003): 267–69. http://dx.doi.org/10.1017/s0026318400045284.

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Christiane, Wagner. "Structures of the Metropolis: The Image of Unity in Diversity." Art Style, Art & Culture International Magazine 8, no. 8.1 (2021). https://doi.org/10.5281/zenodo.6757172.

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Art Style | Art & Culture International Magazine Abstract This article aims to present a visual and theoretical analysis based on the ideals of a democratic society. The cultural paths of social, political, and economic history have always been transferred to art. For this reason, in this paper, artistic realizations are analyzed in terms of the reproductive forces—infrastructural and superstructural—embedded in the ideological context of modern times to situate contemporary society, its global dynamics, and the effect of media in relation to everyday aesthetics. Consequently,

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Sanz-Aznar, Javier. "An exploration of the editing cut as an articulator in film through frequency domain analysis of spectator EEGs." Frontiers in Neuroscience 19 (July 3, 2025). https://doi.org/10.3389/fnins.2025.1489800.

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IntroductionThis study explores if the cinematographic cut can be considered an articulation axis between different units, which are adjacent shots. The theoretical premise of the research was that if the shot change functions as a point of articulation that produces a connection between different units, two conditions must be met: first, all types of editing cuts should elicit common neural patterns; and second, these neural patterns triggered to make sense of the shot change should exhibit variations depending on the specific type of cut.MethodsTo achieve this objective, building on the theo

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"I Am Not Sidney Poitier By Percival Everett As A Film Adaptation: Intermedial Approach." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 79 (2018). http://dx.doi.org/10.26565/2227-1864-2018-79-16.

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The paper examines the features of selective adaptation – "novelization" in the novel by Percival Everett "I'm not Sidney Poitier" from the intermedial perspective. “Screen to book adaptation” or novelization is viewed as a phenomenon of the recent history of cinema-literature relationship. In his novel Percival Everett "I'm not Sidney Poitier" created a hybrid genre in which selective adaptation serves as a component. It has been found out that the writer uses the technique of intermedial reference as a means of intermedialisation. The author widely uses direct and hidden references to the pr

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Vorobyova, Olga, and Olena Lychak. "REPRODUCING THE ATMOSPHERE OF SUSPENSE IN LITERARY TRANSLATION (A STUDY OF D. BROWN’S NOVEL “ANGELS AND DEMONS” AND ITS UKRAINIAN TRANSLATION)." Advanced Linguistics, no. 12 (December 27, 2023). http://dx.doi.org/10.20535/2617-5339.2023.12.290472.

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This paper focuses on the ways of reproducing the phenomenon of suspense in Ukrainian translation. Suspense is a multifaceted literary category, which can be defined via multiple approaches: genre, motivic, component, semantic-cognitive, stylistic-textual, and translational. Suspense can be interpreted as a category that is actualised in text to create the atmosphere of tension and anxious anticipation to maintain the readers’ constant interest in the events described. The analysis proved that the key role in creating the atmosphere of suspense in literary text belongs to figurative and narrat

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Michele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Michele, Guerra NA. "Cinema as a form of composition." November 17, 2021. https://doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to "Techne", I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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