Relevant bibliographies by topics / Wandering cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Wandering cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Wandering cinema"

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Dibazar, Pedram. "Wandering cars and extended presence: Abbas Kiarostami’s embodied cinema of everyday mobility." New Review of Film and Television Studies 15, no. 3 (2017): 299–326. http://dx.doi.org/10.1080/17400309.2017.1308156.

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Silke, Martin. "Filmic Migration and Wandering Sounds: The Relation Between Accented and Dialect Cinema." Ekphrasis. Images, Cinema, Theory, Media 23, no. 1 (2020): 62–71. http://dx.doi.org/10.24193/ekphrasis.23.5.

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Czerkawski, Piotr. "Bliscy nieznajomi. Obraz Ukrainy w polskim kinie po 1989 roku." Studia Filmoznawcze 37 (September 14, 2016): 243–55. http://dx.doi.org/10.19195/0860-116x.37.11.

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CLOSE STRANGERS. THE IMAGE OF UKRAINE IN POLISH CINEMA AFTER 1989This text happens to be an attempt to look at the image of Ukraine in Polish cinema after the political and social changes of 1989. The big part of the article focuses on TV documentaries which come back to the most significant moments of common Polish-Ukrainian history and tell us stories of people who were equally important for both cultures. The text deals also with a difficult subject of cultural superiority, ignorance and neocolonial stereotypes reflected by some Polish films about Ukraine and Ukrainian people. On the other
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Czerkawski, Piotr. "Близькі незнайомці. Образ України в польському кіно після 1989 року". Studia Filmoznawcze 37 (14 вересня 2016): 257–69. http://dx.doi.org/10.19195/0860-116x.37.12.

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CLOSE STRANGERS. THE IMAGE OF UKRAINE IN POLISH CINEMA AFTER 1989This text happens to be an attempt to look at the image of Ukraine in Polish cinema after the political and social changes of 1989. The big part of the article focuses on TV documentaries which come back to the most significant moments of common Polish-Ukrainian history and tell us stories of people who were equally important for both cultures. The text deals also with a difficult subject of cultural superiority, ignorance and neocolonial stereotypes reflected by some Polish films about Ukraine and Ukrainian people. On the other
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Garofalo, Damiano. "Deicides, sacrifices and other crucifixions: for a critical reinterpretation of Italian Holocaust cinema." Modern Italy 22, no. 2 (2017): 143–53. http://dx.doi.org/10.1017/mit.2017.15.

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This essay analyses the evolution of the Holocaust film genre in Italy through the paradigm of sacrifice, understood both as a process of martyrisation and Christianisation of the Holocaust, and from the point of view of the instrumental use of the figure of the national hero. Using the examples of the opening sequence of the deicide and the metaphorical crucifixion of Matteo Blumenthal at the end ofL’ebreo errante(The Wandering Jew, Goffredo Alessandrini, 1948); the sacrifice of Giulia inL’oro di Roma(The Gold of Rome, Carlo Lizzani, 1961), who follows her Jewish nature faced with the round-u
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김정구. "Wandering Around Where Cinema Used to Be -On the Case of Tsai Ming-liang’s Works Since Goodbye, Dragon Inn (2003)-." Contemporary Film Studies 15, no. 3 (2019): 7–25. http://dx.doi.org/10.15751/cofis.2019.15.3.7.

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Иванова, Ирина, and Irina Ivanova. "Time and image of Phaedra in the works “Hippolytus” by euripides, “Phaedra” by Jean Racine and in the lyrics by Marina Tsvetaeva." Servis Plus 9, no. 3 (2015): 70–79. http://dx.doi.org/10.12737/12542.

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The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.

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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point
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Bottomore, Stephen. "Travelling cinema in Europe: Sources and perspectives/Wanderkino in Europa." Early Popular Visual Culture 7, no. 2 (2009): 226–27. http://dx.doi.org/10.1080/17460650903011277.

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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.

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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the m
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Dissertations / Theses on the topic "Wandering cinema"

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Armstrong, R. L. "Death and the wandering woman : notes towards a cinema of mourning." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596153.

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This thesis sets out to theorize a genre of ‘mourning film’, or ‘cinéma du deuil’ which came into its own from the early 1990s, an era during which the cinema reached its centenary, saw fresh technological innovation and renewed investment in representing masculinity-in-peril, all of which helped shape the type. From the British and Continental arthouse, the Hollywood studies and the American independent sector come works which broached the effects of bereavement in sophisticated ways, often informed by recent trauma theory and grief therapy. The roots of this preoccupation originate in cinema
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Desiderio, Matthew John. "Wandering: Seeing the cinema of Wim Wenders through cultural theory and naturalized phenomenology." Diss., TEMPLE UNIVERSITY, 2011. http://pqdtopen.proquest.com/#viewpdf?dispub=3440069.

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Machado, Maíra Saruê. "Modernidade, cinema e temporalidade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-04122008-165855/.

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Esta pesquisa tem por objetivo entender, por meio da análise fílmica, as formas como a temporalidade está presente no imaginário social na modernidade. Para isso, foi inicialmente elaborada uma abordagem histórica da constituição da temporalidade moderna, refletindo sobre a perda da narrativa, e da tradição e as mudanças no significado da morte. A análise dos filmes Dolls, Paris, Texas, Sob a areia e A eternidade e um dia vêm mostrar formas de temporalidade que se apresentam como contraponto àquela hegemônica na modernidade. Em seus temas, são abordados os elementos de ruptura: a errância, o d
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Sun, Xueling. "Wandering Women in Cinema, from Julie to Star: Female Subjectivity and Female Spectatorship in Feminine Road Films." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1545.

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This paper serves to explore how female subjects are represented in films featuring a woman on the road in ways that can create a female gaze, as an alternative to the male gaze. It looks for answers in four films from the 1970s to 2016, all made by female filmmakers, which are Je, Tu, Il, Elle (1974), Vagabond (Sans Toit Ni Loi) (1978), Wendy and Lucy (2008) and American Honey (2016). All four films share approaches that reject objectification in the depiction of females, but each is distinctive in their filmi strategies. Focusing on each work individually while attempting to make comparisons
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Matos, Marcos Fábio Belo [UNESP]. "Ecos da modernidade: uma análise do discurso sobre o cinema ambulante em São Luís-MA." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/100082.

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Made available in DSpace on 2014-06-11T19:30:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-12Bitstream added on 2014-06-13T20:21:04Z : No. of bitstreams: 1 matos_mfb_dr_arafcl.pdf: 2432109 bytes, checksum: 707a9daef09f82f208e4ff7f76974744 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O estudo aborda o ciclo do cinema ambulante em São Luís, capital do Maranhão, ocorrido entre 1898 e 1909 e que se configurou numa sucessão de espetáculos de aparelhos cinematográficos que se efetivava, quase sempre, no Teatro São Luiz, hoje Teatro Arthur Azevedo,
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Matos, Marcos Fábio Belo. "Ecos da modernidade : uma análise do discurso sobre o cinema ambulante em São Luís-MA /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/100082.

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Orientador: Maria do Rosário de Fátima Valencise Gregolin<br>Banca: Vanice Maria Oliveira Sargentini<br>Banca: Carlos Piovezanni<br>Banca: Ucy Soto<br>Banca: Pedro Navarro Barbosa<br>Resumo: O estudo aborda o ciclo do cinema ambulante em São Luís, capital do Maranhão, ocorrido entre 1898 e 1909 e que se configurou numa sucessão de espetáculos de aparelhos cinematográficos que se efetivava, quase sempre, no Teatro São Luiz, hoje Teatro Arthur Azevedo, encerrando-se quando da inauguração da primeira sala fixa de cinema (o cinema São Luiz, em 31.11.1909). O referencial teórico-metodológico utiliz
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Brasebin, Jenny. "Road novel, road movie : approche intermédiale du récit de la route." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030088.

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Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial p
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Verstricht, Sylvain. "Spaces, Tactics, and Time: City Wandering in Taiwanese Cinema from 1992 to 2006." Thesis, 2011. http://spectrum.library.concordia.ca/7260/1/Verstricht_MA_S2011.pdf.

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This thesis concerns the theme and form of “wandering” in Taiwanese cinema. It focuses on selected films by three major directors: Tsai Ming-liang, Hou Hsiao-hsien, and Edward Yang. These three directors are not only the most critically acclaimed from Taiwan, their films also share more than a few characteristics. Their narratives often involve wandering, whether it be in content or form. I argue that this wandering is presented as a way of experiencing the world that can lead to greater agency within it. In “Edward Yang’s Yi yi: Everyday Adventure in the Idyllic City”, I use Bakhtin’s chronot
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Books on the topic "Wandering cinema"

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Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plas
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Hanaway-Oakley, Cleo. Tactile Vision and Enworlded Being. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0005.

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Stephen’s musings on the pre-cinematic ‘stereoscope’ are discussed in relation to Bloom’s contemplation of parallax and his mention of the ‘Mutoscope’. The three-dimensionality, tangibility, and tactility of stereoscopic perception is analysed alongside Bloom’s and Gerty’s encounter in ‘Nausicaa’ and the Merleau-Pontian concepts of ‘flesh’ and ‘intercorporeity’. The bodily effects of projected cinema—achieved through virtual film worlds, virtual film bodies, and the intercorporeity of film and spectator—are discussed through reference to panorama, phantom ride, and crash films. The dizzying ef
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Chan, Felicia. Performing (Comic) Abjection in the Hong Kong Ghost Story. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0007.

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Horror films in Hong Kong cinema have eschewed terror in favour of comedy, where supernatural beings take the form of hopping vampires, wandering spirits and underworld demons rendered in latex masks and movie slime. This chapter explores the comic presentation of these subjects in Hong Kong horror, where the self-reflexive exposure of the cinematic machinery of costume and special effects appear to put it at odds with the spectral affectivity of the Hong Kong ghost story. This chapter returns to two classic films from the mid-1980s, A Chinese Ghost Story (Tsui Hark 1987) and Rouge (Stanley Kw
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Book chapters on the topic "Wandering cinema"

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Barnes, Leslie. "7 Cambodia’s “Wandering Souls”: Migrant Labor and the Promise of Connection." In The Cinema of Rithy Panh. Rutgers University Press, 2021. http://dx.doi.org/10.36019/9781978809833-009.

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Armendáriz-Hernández, Alejandra. "Female Authorship, Subjectivity and Colonial Memory in Tanaka Kinuyo’s The Wandering Princess (1960)." In Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.003.0007.

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Tanaka’s fourth film, The Wandering Princess (Ruten no ōhi, 1960), is the subject of Alejandra Armendáriz-Hernández’s chapter. Based on the autobiography of Saga Hiro (1914-1987), a Japanese aristocrat who married the younger brother of the emperor of Manchukuo, The Wandering Princess was marketed as a ‘women’s film’ by highlighting the three women who occupied key positions in the production: scriptwriter Wada Natto, star Kyō Machiko and director Tanaka Kinuyo. With this in mind, Armendáriz-Hernández examines Tanaka’s work against more prevalent representations of women and national history in postwar Japanese cinema in order to argue that the film and, crucially, Tanaka herself occupied a liminal gendered position within early 1960s Japanese cinema.
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Zanger, Anat. "Chapter 15. Jerusalem Journeys: Wandering Women in Con temporary Israeli Cinema." In Jews and Journeys. University of Pennsylvania Press, 2021. http://dx.doi.org/10.9783/9780812297935-024.

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Harvey, James. "Akomfrah’s Foreigner." In Jacques Rancière and the Politics of Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423786.003.0006.

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In John Akomfrah’s essay-film, The Nine Muses (2010), the aesthetic paradigms of politics and art are broached so evenly that it is as possible to speak of a ‘cinema of politics’ as it is to speak of a ‘politics of cinema’ – both concepts are equalised, so that each is constitutive of the other. A bricolage of extraordinary intertextuality, Akomfrah’s film is equally concerned with the socio-historical problem of migrant subjectivity and the politico-aesthetic distribution of hierarchies relating to forms and technologies of art. The thematic concern for migration becomes a formal ‘foreignness’, creating a reconfigurative possibility for cinema and its adjacent art forms. Following Rancière’s utopian framing of the wandering ‘foreigner’ (1990: 3), I claim that Akomfrah film ‘persists in the curiosity of his gaze, displaces his angle of vision, reworks the first way of putting together words and images, undoes the certainties of place’ (1990: 3). The foreigner is an urgent political concept at a time of consensus and especially crucial in regards to public responses to mass migration from the Middle East to Europe.
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Lu, Xiaoning. "Intermedial Laughter." In Maoist Laughter. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0005.

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The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between cinema and the traditional Chinese performing art of xiangsheng in the mid-1950s, seeking to tease out an innovative strand of comic filmmaking in the Mao era. Specifically, it takes as its case study the xiangsheng dianying (crosstalk film) of 1956, Wandering in the Zoo, Awaking from a Dream (Youyuan jingmeng), starring the well-known xiangsheng duo of Hou Baolin and Guo Qiru. Through an introduction of xin xiangsheng, a new type of xiangsheng created for the new Chinese society and a careful textual analysis of this particular xiangsheng dianying, the chapter illustrates that the interplay of xiangsheng and film, as seen in Wandering in the Zoo, Awaking from a Dream, transfigured each of the two media, increased much of the viewing pleasure of this film, and provided an understanding of the specificities of both xiangsheng and film. This rather ingenious experimentation of dynamical intermediality demonstrates that laughter under Mao could be innovative and experimental.
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Margulies, Ivone. "Reenactment and A-filiation in Serras da Desordem." In In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0008.

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This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory on Brazilian exploitation in the 1970s; it reads Tonacci’s untranslated communications by Carapiru as a willed form of opacity, an enforced, enacted process of dislocation and alienation and an indictment of Brazilian politics, a process termed “a-filiation.”
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Dufallo, Basil. "Catullan Wanderings." In Disorienting Empire. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197571781.003.0005.

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A symbol of disorientation par excellence, the Cretan Labyrinth has become an emblematic image of Catullus’s longest extant work, his “epyllion,” poem 64, on the marriage of Peleus and Thetis. Chapter 4 argues that due to this depiction and others like it of wandering and roaming in the spaces of Rome’s ever-growing empire, Catullus’s oeuvre represents the culminating example of the Republican poets’ interest in becoming lost as a theme related to expansion. After tracking the theme in the fragmentary “neoteric” poets Cinna, Calvus, Caecilius, and Varro of Atax, this chapter proceeds via a series of specific Catullan examples. In poem 22, Catullus underscores the disorientation of the erring self as a special concern by calling attention to each person’s self-delusional error (20). Catullus depicts a disorienting epic-style journey to Asia Minor, a site of Roman expansion, in another “epyllion” on the eunuch priest of Cybele, Attis (poem 63). Poem 61 represents the roaming, androgynous marriage god Hymen as responsible for producing youths to guard Rome’s imperial borders. The wandering course of the Argonauts in poem 64 again directs attention toward Rome’s imperial ambitions in the Greek East, while the fearful errores of the Cretan Labyrinth link the myth of Theseus to the Argonautic story so as to make wandering an ambiguously unifying theme of the poem as a whole. Such geographical movements become unstable analogs in Catullan verse for internal transitions from love to hate, erotic and familial attachment to isolation and abandonment, and even male to female.
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McMahon, Laura. "Actual/Virtual: Bovines ou la vraie vie des vaches." In Animal Worlds. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446389.003.0006.

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Gras’s Bovines/A Cow’s Life is a contemplative documentary reflection on a herd of Charolais cows, offering up delayed, wandering images of bovine life. The film invites particular links to be drawn between the ‘pure optical and sound situations’ of the Deleuzian time-image and the account of animal art and expressive territory given by Deleuze and Guattari in What is Philosophy?. Building also on Bailly’s notion of pensivity, while expanding this account beyond its privileging of the gaze (through attention to bovine sounds in the film), this chapter allows for further development of dynamics of worlding traced in previous chapters. Yet it also suggests that Bovines allows us to probe the possible limitations of Deleuze and Guattari’s thought. In risking a privileging of what Hallward calls, in his critique of Deleuze, ‘virtual creatings’ over ‘actual creatures’, the film’s time-images might be seen as aestheticising political paralysis over political action, favouring a celebration of biovitality over a critique of biopolitics. While Bovines’s pastoral setting and lingering, durational aesthetic thus stage a set of ambivalences and contradictions, the film also points to the limitations, as well as the ongoing possibilities, of a Deleuzo-Guattarian engagement with cinema’s animal worlds.
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