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Karatay, Ali. "CINEMA OF MIYAZAKI AND AUTEUR THEORY". Idil Journal of Art and Language 4, n.º 18 (20 de octubre de 2015): 111–22. http://dx.doi.org/10.7816/idil-04-18-06.
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Burgin, Alice, Andrew McGregor y Colin Nettelbeck. "Not dead yet: Three takes on auteurism in contemporary French and Francophone cinema". French Cultural Studies 25, n.º 3-4 (agosto de 2014): 396–407. http://dx.doi.org/10.1177/0957155814534146.
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Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial empire, the end of the Cold War and the rise of a vastly transformed global order, the French cinema industry, including many historians and critics, seems to have largely maintained the auteur-based model in terms of its funding and self-projection on both a national and an international level. But is that not an anomaly? What is the real place and meaning of the auteur paradigm within the context of a diverse and fractured Francophone world? This article provides three different perspectives regarding the critical purchase of la politique des auteurs within the contemporary postcolonial Francophone cinematic landscape. Through these perspectives, we argue that while the auteur paradigm can claim relevance within the confines of the Franco-French film industry, its wider applicability as a model for Francophone filmmaking raises pertinent questions about the continuing influence of the metropolitan centre on how minority identities are constructed and received.
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Iordanova, Dina. "Women’s Place in Film History: the Importance of Continuity". Panoptikum, n.º 23 (24 de agosto de 2020): 10–23. http://dx.doi.org/10.26881/pan.2020.23.01.
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The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often associated with the support of the author on the international festival circuit. The author calls for ‘watching across borders’, i.e. a supranational approach to the study of women’s cinema. Crossing the borders of national cinemas, in which the authors have not been recognised, allows a broader perspective to see the critical mass of the authors of world cinema. Politically, for the feminist cause, it is better to talk about European women’s cinema. Iordanova selects from the history of Central and Eastern European cinema, the names of authors who did not receive due attention. Moreover, she proposes specific inclusive and corrective feminist practices: the inclusion of filmmakers in the didactics, repertoires of film collections and festival selections; a commitment to self-study by watching at least one woman’s film a week.
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Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA". Voprosy literatury, n.º 2 (30 de septiembre de 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.
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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.
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Van Belle, Jono. "Re-conceptualizing Ingmar Bergman’s status as auteur du cinema". European Journal of Cultural Studies 22, n.º 1 (26 de julio de 2017): 3–17. http://dx.doi.org/10.1177/1367549417718211.
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Why is it that some film directors become and remain central in the reception of their works and others do not? Classical auteur theory suggests the answer lies in the personality of the director. In this article, we explore and re-conceptualize the status of auteur du cinema Ingmar Bergman, Swedish film director. In line with Dyer’s gap between the institution and the audience, we explore Bergman’s self-fashioning through his own published writings and compare this to what was written about him in the Swedish press between 1944 and 1983, his most active years as a film director. The result is an analysis of dominant and alternative cultural discourses concerning Bergman’s authorship that facilitates an exploration into the corresponding interpretative strategies located in the audience. Here, Bergman’s status as popular celebrity in Sweden contributes to a paradoxical image – and recognition – of the high-art auteur, not in the least through his own myth-making.
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Kempna-Pieniążek, Magdalena. "Niedokończona konkwista. O niezrealizowanym projekcie filmowym Wernera Herzoga". Prace Kulturoznawcze 22, n.º 3 (7 de mayo de 2019): 41–52. http://dx.doi.org/10.19195/0860-6668.22.3.4.
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Unfinished conquest. On Werner Herzog’s unmade film projectThe paper shows Werner Herzog’s unmade project The Conquest of Mexico in the context of the director’s complex relations with mainstream cinema. The film which was supposed to initiate closer Werner Herzog–Francis Ford Coppola cooperation with time became known as one of cinema’s “unfinished masterpieces”. Trying to pinpoint the causes of the project’s failure, the author of the paper analyses the status of European auteur in contemporary Hollywood. One of the main contexts of the analysis is Indiewood, where the influence of mainstream cinema meets the potential of independent cinema and where such directors as Werner Herzog may find their place without the necessity of abandoning their artistic visions.
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Smolev, Daniil D. "Video Aesthetics in Cinema and Video Art". Journal of Flm Arts and Film Studies 7, n.º 3 (15 de septiembre de 2015): 109–18. http://dx.doi.org/10.17816/vgik73109-118.
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The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.
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Menne, Jeff. "The Cinema of Defection: Auteur Theory and Institutional Life". Representations 114, n.º 1 (2011): 36–64. http://dx.doi.org/10.1525/rep.2011.114.1.36.
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This essay identifies a genre of Hollywood film developed in certain peak years of poststudio reorientation, 1967–1974, the narratives of which might be deemed anticlassical for their tendency to depict protagonists—typically a defecting couple—as objects more than subjects. These films, significantly the work of those directors known as auteurs, can be taken as the aesthetic version of the New Left's political repudiation of institutional life.
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Tougouchi, Soso. "The Theme of War in the European Auteur Cinema". Contemporary Europe 67, n.º 1 (1 de febrero de 2016): 138–45. http://dx.doi.org/10.15211/soveurope12016138145.
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Алиева, Айзада. "ОТРАЖЕНИЕ ТЕОРИИ АВТОРСКОГО КИНО НА КИНЕМАТОГРАФ КЫРГЫЗСТАНА на примере фильмов Актан Арым Кубата". Vestnik Bishkek Humanities University, Issue 54 (21 de diciembre de 2020): 42–47. http://dx.doi.org/10.35254/bhu.2021.54.15.
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На сегодняшний день в кино режиссер играет большую и важную роль. Условно авторов фильма разделяют на два типа: коммерческие и авторские режиссеры. Второй тип режиссеров это те, у которых есть свое видение, свой стиль и почерк в кино. В этой статье будут рассматриваться фильмы кыргызского режиссера Актана Арым Кубата в контексте теории авторского кино, а также отражение этой теории на кыргызский кинематограф. Теория авторского кино является эффективной на западе, но в нашем кыргызском кинематографе отсутствуют конкретные исследования на эту тему. Исходя из этого тема является актуальной и статья будет полезной для студентов, магистрантов. Режиссер бүгүнкү күндө кинодо чоң жана маанилүү ролду ойнойт. Фильмдин авторлору шарттуу түрдө эки түргө бөлүнөт: коммерциялык жана автордук режиссерлор. Экинчи түрдөгү режиссерлор - бул кинодогу өзүнүн көз карашы, өзүнө таандык стили бар адамдар. Бул макалада кыргыз режиссеру Актан Арым Кубаттын тасмалары автордук кино теориясынын контекстинде изилденет. Ошондой эле бул теориянын кыргыз киносунда чагылдырылышы каралат. Автор теориясы Батышта эффективдүү, бирок биздин кыргыз киносунда бул темада атайын изилдөө жокко эссе. Ушунун негизинде, тема актуалдуу жана макала студенттер, магистранттар үчүн пайдалуу болот. In cinema, the director is the most important figure. The film authors are conventionally divided into two types: commercial director and director of auteur films. The second type of directors are those who have their own vision, their own style in cinema. This article will examine the films of the Kyrgyz director Aktan Arym Kubat in the context of auteur cinema theory. In addition, the reflection of this theory on the Kyrgyz cinema. The theory of auteur cinema is effective in the West, but there is no specific research on this topic in our Kyrgyz cinema. Based on this, the topic is relevant and the article will be useful for students.
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Leandro, Anita. "Sem imagens: memória histórica e estética de urgência no cinema sem autor ( Sans images: mémoire historique et esthétique d’urgence dans le cinéma sans auteur)". Estudos da Língua(gem) 12, n.º 1 (30 de junio de 2014): 121. http://dx.doi.org/10.22481/el.v12i1.1243.
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Uma forma singular de filmar os acontecimentos sociais, de um ponto de vista interno, coloca em dúvida o papel do autor, do espectador e das próprias imagens no espaço contemporâneo. Numa perspectiva histórica, avaliamos, aqui, o alcance político e a contribuição estética de um certo tipo de cinema militante, tomando como exemplo o filme Sans images (França, 2006), obra anônima, realizada por estudantes grevistas.PALAVRAS-CHAVE: Ponto de vista interno. Cinema militante. Estética de urgência.RÉSUMÉUne forme singulière de filmer les événements sociaux, d’un point de vue interne, met en question le rôle de l’auteur, du spectateur et des images même dans l’espace contemporain. Dans une perspective historique, nous évaluons, ici, la portée politique et l’apport esthétique d’un certain type de cinéma militant, en prenant comme exemple le film Sans images (França, 2006), œuvre anonyme réalisée par des étudiants en grève.MOTS-CLÉS: Point de vue interne. Cinéma militant. Esthétique d’urgence.
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King, Gemma. "“The boundary has been moved”: Hollywood cinéma-monde, film borders, and the multilingual assassin in Sicario and Inglourious Basterds". Contemporary French Civilization: Volume 47, Issue 1 47, n.º 1 (1 de marzo de 2022): 47–65. http://dx.doi.org/10.3828/cfc.2022.3.
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Transnational coproductions, multilingual dialogue, and border-crossing of many forms are growing increasingly common in contemporary cinemas. As a result, assigning a nationality to a film can prove a slippery and even arbitrary process. This article takes a new approach to films such as Sicario (Denis Villeneuve 2015) and Inglourious Basterds (Quentin Tarantino 2009), analyzing texts traditionally viewed as American through the lens of cinéma-monde (Marshall 2012). It focuses in particular on these films’ use of maps, and on their strikingly similar multilingual assassination scenes, reading them through Bill Marshall’s characterization of a cinema that “dramatically focuses attention on four elements: borders, movement, language, and lateral connections” (42). Each of these films was directed by an established auteur working in a “foreign” space and non-native languages, and each depicts continual border-crossing, code-switching, and violence committed across geographic and linguistic lines. With significant American and other characteristics, neither Sicario nor Inglourious Basterds could be neatly categorized as Quebecois nor French respectively. Yet these films implicate the French-speaking world in diverse ways. Ultimately, the ways in which these films traverse, theorize, and weaponize the border begs a questioning of how far the concepts of national cinemas, and indeed of cinéma-monde, can be extended.
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Dekens, Evan. "The Cinema of Louis Malle: Transatlantic Auteur, Philippe Met, ed. (2018)". Film Matters 11, n.º 3 (1 de diciembre de 2020): 155–56. http://dx.doi.org/10.1386/fm_00113_5.
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Review of: The Cinema of Louis Malle: Transatlantic Auteur, Philippe Met, ed. (2018) New York: Columbia University Press, 272pp., ISBN 9780231188715 (pbk), $32.00, ISBN 9780231188708 (hbk), $105.00, ISBN 9780231851268 (ebk), $31.99
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Lungin, Pavel S., Elizaveta S. Trusevich y Pyotr A. Klemeshev. "“WHEN THE HORN THAWED, THE TUNE POURED OUT”: PAVEL LUNGIN ON THE MAKING OF TAXI BLUES". Art and Science of Television 17, n.º 3 (2021): 118–48. http://dx.doi.org/10.30628/1994-9529-2021-17.3-118-148.
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Russian film director Pavel Lungin explores the topic of independent cinema during perestroika, using the example of his debut film Taxi Blues, which received one of the first international awards in post-Soviet Russia—the Best Director Prize and the Special Mention of the Ecumenical Jury at the 1990 Cannes Film Festival. In the interview, the interlocutors discuss the directorial and dramaturgical tools: how symbolism is interpreted in a historical context, how the audiovisual image is constructed, what are the signs of a chronotope — and explore the image of a man at the crash of an era. For instance, in Taxi Blues, Pavel Lungin intentionally contraposes the two male characters—that of Pyort Mamonov (the image of the 90s), and of Pyotr Zaichenko (the image of a Soviet man)—clashing them against each other not only plotwise (through a dramatic conflict), but also aesthetically (through fundamentally different physiognomy and acting plastics). The director analyzes the specifics of auteur and genre filmmaking, dividing his artistic biography into a “script-writing” period, when his films were highly successful in Soviet distribution, and a “directing” period, when he, being in the new historical conditions, began to make independent auteur films. Another question raised is why a full-fledged “New Wave” has not emerged in Russia, similar to those that had formed in French and English cinema. Lungin recalls and evaluates the forgotten figure of Marin Karmitz, who not only produced the New Wave directors, but also had an auteur cinema distribution network—an interesting experience of distribution in Europe, which can be actualized in scientific research to answer a very timely question: can auteur films be successful at the box office? Thus, the interview covers not only the early period of Pavel Lungin’s work (given that at the time of Taxi Blues there was no Internet yet, and many reviews and analytical articles about the film are still not digitized). Most importantly, the film Taxi Blues fits into the historical context; and this fact creates a cultural field both for modern interpretations and for understanding the art of perestroika—information about which is still insufficient, resulting in the absence of full-fledged analytical comprehension. In the interview, we also trace parallels with the processes that were taking place in world cinema—the New Wave in French cinema, the British “angry young men”, and the “Youth Rebellion” in Hollywood.
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Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema". Journal of Flm Arts and Film Studies 6, n.º 3 (15 de septiembre de 2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.
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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.
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Mitchell, Tony. "Migration, Memory and Hong Kong as a 'Space of Transit' in Clara Law's Autumn Moon". Cultural Studies Review 9, n.º 1 (13 de septiembre de 2013): 139–58. http://dx.doi.org/10.5130/csr.v9i1.3589.
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Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director husband Eddie Fong have produced a transnational output of films which are beginning to receive critical recognition as major contributions to contemporary cinema. These ‘films of migration’ explore what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emigration, immigration, cultural hybridity, migrancy, exile, and nomadism—together termed the “Chinese diaspora”’. The self-imposed ‘relocation’ of Law and Fong to Australia in 1994 was the result of increasing frustration with the rampantly commercial imperatives of Hong Kong cinema and its lack of appreciation for the auteur cinema they wanted to pursue.
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Smith, Paul Julian. "Chaotic Ana". Film Quarterly 61, n.º 2 (2007): 30–34. http://dx.doi.org/10.1525/fq.2007.61.2.30.
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ABSTRACT Julio Medem's reputation is as an auteur of Spanish cinema, but his 2007 film Chaotic Ana was not well received on its release in Spain. However, Paul Julian Smith argues that the film discloses a visual rhetoric that rewards close analysis.
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Deslandes, Ghislain y Jocelyn Maixent. "Turkish auteur cinema and European identity: Economic influences on aesthetic issues". Journal of European Popular Culture 2, n.º 1 (29 de febrero de 2012): 81–98. http://dx.doi.org/10.1386/jepc.2.1.81_1.
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Viren, Denis G. "Auteur fi lms about art in Polish cinema of the 1970s". Slavic World: Commonality and Diversity, n.º 2020 (2020): 299–304. http://dx.doi.org/10.31168/2619-0869.2020.3.12.
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Tomasella, Claire. "Between Life and Legend". Journal of World Literature 6, n.º 3 (13 de septiembre de 2021): 347–64. http://dx.doi.org/10.1163/24056480-00603005.
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Abstract This article sets out to explore the multiple “senses” in Raoul Peck’s 2016 documentary I Am Not Your Negro from several perspectives. First, it focuses on Peck’s cinematographic ambitions with reference to his social experience of geographic mobility and to his current position in the transnational field of cinema. The making of I Am Not Your Negro, ultimately led the Haitian-born director, with a commitment to producing a critical “auteur cinema” to create a cinematic testament to the opus of James Baldwin, an author in whom he discovered a language for thinking and for deconstructing racialization. This multi-facetted analysis of Peck’s documentary film and its making will enable us to shed light on the form and meaning of the intellectual quest Peck undertakes in his dialogue with Baldwin.
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Connon, Daisy. "Towards a Theory for African Cinema (Férid Boughedir, 1974)". Film Studies 16, n.º 1 (2017): 78–88. http://dx.doi.org/10.7227/fs.16.0006.
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Towards a Theory for African Cinema is an English translation of a talk given in French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference on international cinema, which took place in Montreal in 1974. In his presentation Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing to the escapism and entertainment values of Western cinema and instead strive to reflect the contradictions and tensions of the colonised African identity, while promoting a revitalisation of African culture. Drawing on the example of the 1968 film Mandabi (The Money Order) by the Senegalese director Sembène Ousmane, Boughedir conceptualises a form of cinema which resists the influences of both Hollywood and auteur film and awakens viewers, instead of putting them to sleep. Boughedir‘s source text is preceded by a translator‘s introduction, which situates his talk within contemporary film studies.
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Labidi, Imed Ben. "Hollywood’s Bad Muslims: Misrepresentations and the Channeling of Racial Violence". Journal of Religion and Popular Culture 33, n.º 3 (1 de noviembre de 2021): 126–37. http://dx.doi.org/10.3138/jrpc.2020-0068.
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The cinemas of Arab and Muslim societies encompass a substantial number of film genres produced locally or in the diaspora. Arab and Muslim filmmakers experiment with different cinematic narratives, styles, and hybrid forms: auteur, documentary, diasporic, migrant, Third Cinema, and transnational productions. Their richness, diverse thematic foci, creative stylistic characteristics, and ability to reach global audiences recently motivated film scholars and other academics in Europe and the United States to consider designating a category called “Muslim Cinema” and defining its contours. The influence of these rich cinemas in contesting Hollywood’s demonization of Muslims, the conflation of Arabs, Muslims, and Islam, and the proliferation of anti-Muslim racism in Western discourse, however, remains very limited. Therefore, this article argues that the idea of such a category, if one were to be created, should explore venues to address Hollywood’s evolving forms of racializing Muslims and their relationship with the current institutionalization of anti-Muslim racism in the United States. Through a brief survey of Hollywood’s contemporary productions about Muslims, this article analyzes the impact of moving images on representation, particularly the fossilized characterization of Muslims as evil, and identifies three areas in American cinema and political discourse that could belong to this category: the first is Hollywood’s uninterrupted flow of making essentializing and essentialized narratives that conflate Arabs, Muslims, and Islam, and normalizes violence against them; the second deals with the transition from Islamophobia to anti-Muslim racism and explains its sanctioning by the US government; the third addresses the morphing of Islam into a race.
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Khrenov, N. A. y A. N. Khrenov. "Philosophical aspect of culturological study of cinema". Voprosy kul'turologii (Issues of Cultural Studies), n.º 10 (1 de octubre de 2021): 863–76. http://dx.doi.org/10.33920/nik-01-2110-01.
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This article focuses on the issue of developing a separate trend in cinema studies — the philosophy of cinema. The experience of the auteur cinema, related to direct visualization of the philosophical underones in films, and its relation to such philosophical movements as the philosophy of life, existentialism, postmodernism, etc, creates a neccessity to develop such a trend. The article underlines some specific problems of cinema that require philosophical research. This is, first, the problem of the cinematic experience that the authors put under scrutiny discussing the collective monograph “Cinematic experience. History — theory — practice”, produced by the philosophers from St. Petersburg. Secondly, it is the specifics of time in cinema, for the discussion of which the authors address the concepts of A. Bergson, M. Heidegger and G. Deleuze. Thirdly, the article raises the question of corporeality, this topical philosophical problem today — here it is discussed in relation to cinema. The intrusion of technology into the communication of cinema with the mass audience noticeably destroys the existing connection between the rational and the sensual, the spiritual and the corporeal principles in thinking and in the perception of art.
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Khrenov, N. A. y A. N. Khrenov. "Philosophical aspect of culturological study of cinema". Voprosy kul'turologii (Issues of Cultural Studies), n.º 11 (26 de noviembre de 2021): 963–79. http://dx.doi.org/10.33920/nik-01-2111-01.
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This article focuses on the issue of developing a separate trend in cinema studies — the philosophy of cinema. The experience of the auteur cinema, related to direct visualization of the philosophical underones in films, and its relation to such philosophical movements as the philosophy of life, existentialism, postmodernism, etc, creates a neccessity to develop such a trend. The article underlines some specific problems of cinema that require philosophical research. This is, first, the problem of the cinematic experience that the authors put under scrutiny discussing the collective monograph “Cinematic experience. History — theory — practice”, produced by the philosophers from St. Petersburg. Secondly, it is the specifics of time in cinema, for the discussion of which the authors address the concepts of A. Bergson, M. Heidegger and G. Deleuze. Thirdly, the article raises the question of corporeality, this topical philosophical problem today — here it is discussed in relation to cinema. The intrusion of technology into the communication of cinema with the mass audience noticeably destroys the existing connection between the rational and the sensual, the spiritual and the corporeal principles in thinking and in the perception of art.
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Khrenov, N. A. y A. N. Khrenov. "Philosophical aspect of culturological study of cinema". Voprosy kul'turologii (Issues of Cultural Studies), n.º 12 (26 de noviembre de 2021): 1068–84. http://dx.doi.org/10.33920/nik-01-2112-01.
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This article focuses on the issue of developing a separate trend in cinema studies — the philosophy of cinema. The experience of the auteur cinema, related to direct visualization of the philosophical underones in films, and its relation to such philosophical movements as the philosophy of life, existentialism, postmodernism, etc, creates a neccessity to develop such a trend. The article underlines some specific problems of cinema that require philosophical research. This is, first, the problem of the cinematic experience that the authors put under scrutiny discussing the collective monograph “Cinematic experience. History — theory — practice”, produced by the philosophers from St. Petersburg. Secondly, it is the specifics of time in cinema, for the discussion of which the authors address the concepts of A. Bergson, M. Heidegger and G. Deleuze. Thirdly, the article raises the question of corporeality, this topical philosophical problem today — here it is discussed in relation to cinema. The intrusion of technology into the communication of cinema with the mass audience noticeably destroys the existing connection between the rational and the sensual, the spiritual and the corporeal principles in thinking and in the perception of art.
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Harrod, Mary. "From postnational mobility to posthuman fluidity: Unfixed identities and social responsibilities in Personal Shopper (Assayas, 2016) and Happy End (Haneke, 2017)". Northern Lights: Film & Media Studies Yearbook 18, n.º 1 (1 de enero de 2020): 85–101. http://dx.doi.org/10.1386/nl_00015_1.
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Abstract This article approaches contemporary European cinema as transnational cinema from an angle informed by gender and sexuality studies. It is underpinned by a fluid conception of identity, which it identifies with its objects of study, in terms of production context, market positioning and also form and theme. Specifically, I approach comparatively the embrace of postnational textual identity alongside posthuman ‐ especially post-gender ‐ characterization by two of the most visible recent European auteur films, Olivier Assayas' Personal Shopper (2016) and Michael Haneke's Happy End (2017). I consider the ideological implications of the narratives' explorations of immorality in a contemporary western context marked in both films by the breakdown of communication and a related failure of ethical responsibility, often constellated in relation to technological advancement. The article draws on the Continental theories of Slavoj Žižek and to a lesser extent Jean Baudrillard and Zygmunt Bauman to illuminate the extent to which these films' subtle and conflicted yet tenaciously enduring nostalgia for earlier ideals of European community is discernible via or inseparable from regret at the loss of an imagined 'natural' mode of embodiment, including more traditional gender roles. It finally reflects briefly on the related question of the attitudes towards European cinema itself, as well as cinemas associated with the past more generally, which these films display and invite the audience to share.
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Desser, David. "New York: Gateway to the East". Journal of Chinese Film Studies 1, n.º 1 (12 de marzo de 2021): 153–65. http://dx.doi.org/10.1515/jcfs-2021-0003.
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Abstract After a number of aborted attempts to secure distribution and exhibition in the West in the 1950s and 60s, producers of the Chinese cinema came to understand that film festival prizes, which had been the Japanese model, were not going to work for them. Instead, early attempts were made to break into the US market via an exhibition in New York. The commercial distribution of Hong Kong’s commercially-oriented martial arts movies in the 1970’s satisfied the long-standing desire of producer Run Run Shaw for success in the West, but hardly provided a similar opportunity for the more specialized auteur-cinema of the Mainland and Taiwan in the 1980s. Instead, the New York Film Festival emerged as the premier showcase for Fifth Generation Chinese filmmakers and the New Cinema of Taiwan, along with the Art cinema of Hong Kong’s Wong Kar-wai.
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Vera, Cristina Ruiz-Poveda. "An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)". New Cinemas: Journal of Contemporary Film 17, n.º 2 (1 de septiembre de 2020): 163–81. http://dx.doi.org/10.1386/ncin_00015_1.
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With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.
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Akser, Murat. "Books Received 2021". CINEJ Cinema Journal 9, n.º 1 (14 de julio de 2021): 557–61. http://dx.doi.org/10.5195/cinej.2021.415.
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In 2021 we have received a variety of books on cinema and media from these publishers: American University of Cairo Press, Amsterdam University Press, Auteur, Bloomsbury Academic, Columbia University Press, Edinburgh University Press, IGI Global, Intellect, Liverpool University Press, transcript Verlag, University Press of Mississippi and Wayne State University Press.
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Ahrens, Stephan. "The sanctifying effect of Federico Fellini". Journal of Italian Cinema & Media Studies 9, n.º 1 (1 de enero de 2021): 101–15. http://dx.doi.org/10.1386/jicms_00053_1.
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This article explores the public image of Federico Fellini in post-war Germany. While Italy was a recurring topic in German cinema, Italian movies were almost absent. This situation changed with the introduction of Fellini’s films in West Germany. Fellini was an important mediator between German and Italian culture as he and Giulietta Masina were promoted as an ingenious couple. The article considers the special situation of West German film culture in the 1950s, which was distinguished by a high degree of commercialisation. Film theoretical concepts such as auteur theory were hardly discussed. The analysis in this article is based on the examination of contemporary film reviews and marketing material. I will place Fellini’s films in the context of the reception of Italian cinema in Germany. This also includes a comparison with other countries on which studies have already been presented. Fellini’s rise to an auteur in Germany coincides with a fundamental change in film culture. I will focus in the last part on this previously unexamined correlation.
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Ingawanij, May Adadol y Richard Lowell MacDonald. "Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur". New Cinemas: Journal of Contemporary Film 4, n.º 1 (1 de mayo de 2006): 37–54. http://dx.doi.org/10.1386/ncin.4.1.37_1.
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Mikheyeva, Yulia Vsevolodovna. "Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work". Journal of Flm Arts and Film Studies 7, n.º 1 (15 de marzo de 2015): 70–81. http://dx.doi.org/10.17816/vgik7170-81.
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The article is devoted to the sound in a film for the purposes of understanding a director's aesthetics in auteur cinema. The questions - What does a sound create in a film? How does it do it? - become the problem of understanding why the sound is used in a film in a certain way. The issue is discussed through the example of Alexander Sokurov's film The Lonely Voice of Man. The author attempts to appraise the significance of sound effects, voice and music as an essential component of screen embodiment of director's existential reflection.
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Prozhiko, Galina Semyonovna. "Artistic Ambitions of Screen Document at the Turn of the Century". Journal of Flm Arts and Film Studies 3, n.º 1 (15 de febrero de 2011): 25–43. http://dx.doi.org/10.17816/vgik3125-43.
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The article deals with the auteur film, a specific phenomenon in the documentary cinema of the turn of the 21st century as exemplified by the works of such outstanding masters as Chris Marker, Werner Herzog, Godfrey Reggio, Wim Wenders. The text is part of a large monograph devoted to the history of world documentary.
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Vanderschelden, Isabelle. "The ‘Cinéma du milieu’ is falling down: New challenges for auteur and independent French cinema in the 2000s". Studies in French Cinema 9, n.º 3 (septiembre de 2009): 243–57. http://dx.doi.org/10.1386/sfc.9.3.243_1.
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Prozhiko, Galina Semyonovna. "Artistic Ambitions of Screen Document at the Turn of the Century". Journal of Flm Arts and Film Studies 3, n.º 2 (15 de mayo de 2011): 24–44. http://dx.doi.org/10.17816/vgik3224-44.
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The article deals with the auteur film, a specific phenomenon in the documentary cinema of the turn of the 21st century as exemplified by the works of such outstanding masters as Chris Marker, Werner Herzog, Godfrey Reggio, Wim Wenders. The text is part of a large monograph devoted to the history of world documentary (publications in Issues 7, 8).
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Wiradian, Nadya. "Content Analysis of "27 Steps of May" (2018) Using Auteur Theory". IMOVICCON Conference Proceeding 2, n.º 1 (6 de julio de 2021): 156–60. http://dx.doi.org/10.37312/imoviccon.v2i1.69.
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Indonesian cinema has been evolving quite rapidly these past few years, many great movies that strive beyond commercial and quantity purposes have been brought into realization by many young rising filmmakers. Ravi Bharwani with his drama 27 Steps of May serves as one of the movies that best elaborate on Indonesia’s dynamic as its finest and most analyzed worthy. This case study is rich in semiotics and best showcases Bharwani’s preferred filmmaking style, making him an auteur in the making.
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Joseph, Jenson. "Cinema and the political in Kerala: On Mukhamukham and Amma Ariyan". Studies in South Asian Film & Media 10, n.º 2 (1 de diciembre de 2019): 149–61. http://dx.doi.org/10.1386/safm_00011_1.
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Abstract This article contrasts two seminal Malayalam films from the 1980s to understand the fraught relations between the Left politics and cinema in Kerala. The first part of the article argues that Mukhamukham ('Face to face', 1984) is a film in which its auteur director Adoor Gopalakrishnan identifies the Left political discourse and the medium of cinema as two powerful-popular epistemic tools at disposal in the region, but ultimately elevating cinema's resources as superior in taking us closer to truth. In the second part, I look at John Abraham's iconic Amma Ariyan ('Report to mother', 1986), to argue that the film came to be accepted widely and undisputedly as a political film mainly due to its (symbolic) privileging of the energies of collective affect ‐ inalienable to both the Left politics and cinema ‐ over contemplation and endevours of distanced intellectual knowledge production.
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Thornton, Niamh. "Alejandro González Iñárritu’s melodramatic masculinities". Studies in Spanish & Latin American Cinemas 18, n.º 1 (1 de marzo de 2021): 57–72. http://dx.doi.org/10.1386/slac_00036_1.
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Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2000), 21 Grams (2003), Babel (2006), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015).
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Newland, Paul. "‘I didn't think I'd be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History". Journal of British Cinema and Television 13, n.º 2 (abril de 2016): 262–77. http://dx.doi.org/10.3366/jbctv.2016.0312.
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It could be said that the films of the director Peter Strickland are in many ways exemplars of a rich strain of twenty-first-century British art cinema. Like work by Andrea Arnold, Steve McQueen, Jonathan Glazer, Lynne Ramsay, Ben Wheatley and Sam Taylor-Wood, among others, Strickland's three feature-length films to date are thought-provoking, well-crafted, prestigious, quality productions. But in this article I show that while Strickland's second feature-length film, Berberian Sound Studio, conforms to some of the commonly held understandings of the key traits of British art cinema – especially through its specific history of production and exhibition, its characterisation, its narrative structure, and its evidencing of the vision of an auteur – ultimately it does not sit comfortably within most extant histories of British national cinema or film genre, including art cinema. More than this, though, I argue that in its challenge to such extant critical traditions, Berberian Sound Studio effectively operates as ‘art film as alternative film history’. I demonstrate that it does this through the foregrounding of Strickland's cine-literacy, which notices and in turn foregrounds the historically transnational nature of cinema, and, at the same time, playfully and knowingly disrupts well-established cultural categories and coherent, homogenous histories of cinema.
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Rehman, Sharaf. "Dilip Kumar: An Auteur Actor". Przegląd Socjologii Jakościowej 17, n.º 3 (31 de agosto de 2021): 226–38. http://dx.doi.org/10.18778/1733-8069.17.3.12.
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Dilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for “pimps and prostitutes,” but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title ‘Professor Emeritus of Acting’. Rooted in the theoretical framework of Howard S. Becker’s work on the “production of culture” and “doing things together,” this paper discusses Kumar’s approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.
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Fleming, David H. "Deleuze, the ‘(Si)neo-realist’ Break and the Emergence of Chinese Any-now(here)-spaces". Deleuze Studies 8, n.º 4 (noviembre de 2014): 509–41. http://dx.doi.org/10.3366/dls.2014.0168.
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By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘(si)neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached through André Bazin's ‘ontological’ film philosophy lens. By using Deleuze, however, I hope to move beyond these realist discussions to explore how both movements are also fruitfully thought in terms of introducing distinct yet analogous mental relations into the image during historical junctures defined by radically transforming psycho-geographies. Like Deleuze's discussions of neorealism, (si)neo-realism is considered a loose impulse or mode that collectively bears witness to confusing and bewildering mental experiences from within a turbulent period of cultural, ideological and historical upheaval: which demands new ways of perceiving, thinking and acting. Without wanting to fall into a problematic auteur paradigm, I necessarily employ the films of Wang Xiaoshuai as emblematic examples of the wider impulse or trend. Indeed, Wang's films perfectly reify a new ethico-aesthetic form of Chinese cinema marked by a proliferation of new spaces, characters, experiences and narrative structures. Here, I also strive to do what Deleuze did not in his writing upon film, and explore the break-ups, breakdowns and breakthroughs in specific relation to a complex contextual web of political and cinematic ecosystems. Throughout this process I try to put Deleuze to work by using the films and context to re-interrogate and re-evaluate the time-image models as they appear within and across his Cinema books.
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Doherty, Annabelle. "A Cinematic Cultural Memory of Courtship, Weddings, Marriage, and Adultery in July Monarchy France through Heritage Films Claude Chabrol’s Madame Bovary, Jean-Paul Rappeneau’s The Horseman on the Roof, and Catherine Breillat’s The Last Mistress". Adaptation 12, n.º 2 (14 de diciembre de 2018): 118–48. http://dx.doi.org/10.1093/adaptation/apy016.
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AbstractThrough the cinematic experience of heritage films’ historical reconstitutions, audiences may acquire a vivid cultural memory of prior eras, where the powerful corporeal effect of the cinematographic language stimulates a lived sensation of the past. Yet the recreations of heritage cinema are, at times, refracted through the lens of auteurism, impacting the historical realism and effect of authenticity and in the case of adaptations transforming the original source text. This article considers key French heritage films to depict the July Monarchy in France, investigating how different auteurs influence the films’ sensual audio-visual recreations and consequently spectators’ filmic experience. Former new wave auteur Claude Chabrol’s adaptation Madame Bovary (1991) and its recreation of 1830–1840s France is compared and contrasted with later-generation auteur Jean-Paul Rappeneau’s Le Hussard sur le toit/The Horseman on the Roof (1995) and younger-generation auteur Catherine Breillat’s Une vieille maîtresse/The Last Mistress (2007), exploring history via their unique authorial aesthetics and ideologies. The depiction of (semi-)fictional historical figures during events of the July Monarchy is analysed, in the films’ portraits of past landscapes, focusing on the intimate settings of courtship, weddings, marriage, and adultery during the reign of Louis Philippe I. The article examines the adaptation of Chabrol’s vision of Gustave Flaubert’s canonical 1857 work, together with Rappeneau’s interpretation of Jean Giono’s 1951 novel and Breillat’s recreation of Barbey d’Aurevilly’s 1851 text. It explores the cinematic cultural memory of the past potentially acquired by spectators through the embodied experience of each auteur’s powerful heritage adaptation.
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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero". Horror Studies 12, n.º 1 (1 de marzo de 2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.
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Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory and a media industries methodology, I shed new light on Romero’s efforts to cultivate a boundaryless independent cinema unbeholden to institutional norms, demonstrating challenges to leadership roles, market orientation, financing and genre. While Romero’s typecasting as a horror auteur was ultimately delimiting, I also consider the filmmaker’s complicity in this codification, scrutinizing his knowing attempts to parlay brand-name recognition into a lasting platform for non-Hollywood production. This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation while complicating our understanding of both Wood’s seminal writings and one of the genre’s totemic ‘masters’.
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Cervera Ferrer, Lorena. "Towards a Latin American feminist cinema". Alphaville: Journal of Film and Screen Media, n.º 20 (27 de enero de 2021): 150–65. http://dx.doi.org/10.33178/alpha.20.11.
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This article contextualises and characterises the history and film production of the Colombian feminist film collective Cine Mujer, and analyses how its collective and collaborative practices challenged auteurism. From 1978 to the late 1990s, Cine Mujer produced several short films, documentaries, series, and videos, and acted as a distribution company of Latin American women’s cinema. Its twenty years of activity possibly make it one of the world’s longest-lasting feminist film collectives. Yet, its history is largely unknown in Colombia and abroad. Thus, the question that motivates this article is related to how to inscribe Cine Mujer in film history without uncritically reproducing the methodologies that cast a shadow on women’s cinema. Throughout its trajectory, Cine Mujer transitioned from being an independent cinematic project interested in artistic experimentation to a media organization that produced educational videos commissioned by governmental and global institutions and often targeted at marginalised women. Based on interviews conducted with some of the Cine Mujer members, the Cine Mujer’s catalogues, and its films and videos, I organise Cine Mujer’s corpus of work in three main modes of production that disrupt the role of the auteur and the centrality of the director.
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Tierney, Dolores. "Shifting conceptions of Alejandro González Iñárritu: Interpreting the auteur". Studies in Spanish & Latin American Cinemas 18, n.º 1 (1 de marzo de 2021): 3–8. http://dx.doi.org/10.1386/slac_00032_2.
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This introduction to a Special Issue of Studies in Spanish and Latin American Cinema charts the shift in Alejandro González Iñárritu's directorial persona from transnational auteur to mainstream figure over the course of his six feature films and virtual reality installation: Amores perros (2000), 21 Grams (2003), Babel (2006), Biutiful (2010), Birdman or (The Unexpected Virtue of Ignorance) (2014), The Revenant (2015) and the installation Carne y arena (Virtually Present, Physically invisible) (2017). It argues that this shift into a (predominantly Anglo) mainstream is reflected in the different ways in which his last names (apellidos) are used, abbreviated or even excised altogether, and in the differing approaches to him as auteur employed by the authors of the different articles, but that Iñárritu’s persona and creative collaborators continue to be primarily determined by his Mexican and Latin American identity.
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Maliukova, Larisa. "Key Tendencies of Auteur Cinema in the Putin Era or Sleep, Dear Country!" Critical Quarterly 63, n.º 3 (octubre de 2021): 32–42. http://dx.doi.org/10.1111/criq.12625.
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Garcia-Torvisco, Luis. "Viaje a un mito de autor a través de los géneros en El muerto y ser feliz (Javier Rebollo, 2012)". Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, n.º 2 (31 de octubre de 2020): 73–101. http://dx.doi.org/10.5399/uo/peripherica.1.2.5.
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At a time when the concept of auteur cinema is being deeply questioned, the cinematographic work of Spanish director Javier Rebollo (1969-) can be understood as a sample of formal characteristics and experimental narratives leading to a reaffirmation of director as an auteur. In Rebollo’s third film, El muerto y ser feliz (The Dead Man and Being Happy) (2012), Santos, a dying hitman, goes on a journey from Buenos Aires to Northern Argentina that progressively acquires a symbolic meaning, as it is a journey from civilization to nature, from life to death, and, ultimately, from history to myth. The physical decline of Santos and his overcoming of physical death–and of linear time–through his transformation in myth, is parallel to a deconstruction of traditional cinematic language in the movie. Through a meta-reflective articulation of the road movie genre and through the distancing effect caused by the existence of two narrators who, competing with each other, simultaneously construct and deconstruct Santos’ story with their ironic and polysemic words, Rebollo attempts to reaffirm his position as a director-auteur, as the sole creator of an auteur myth (“mito de autor”) versus the traditional myth, oral and collective by nature.
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Melnyk, George. "African science fiction cinema: Wanuri Kahiu’s 21-minute film Pumzi (2009)". Short Film Studies 11, n.º 2 (1 de septiembre de 2021): 221–31. http://dx.doi.org/10.1386/sfs_00057_1.
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This article examines Kenya’s first science fiction film, Pumzi (2009), a 21-minute short. The film has attracted extensive academic commentary. This study discusses the academic response and its ideological focus. Using six related categories that help place films in their historical context ‐ Anthropos, Topos, Chronos, Logos, Techne and Genos ‐ it seeks to widen the appreciation of the film’s contribution to the genre and to highlight the visual achievement of its auteur, Wanuri Kahiu.
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Akser, Murat. "Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love". CINEJ Cinema Journal 3, n.º 1 (8 de abril de 2014): 162–80. http://dx.doi.org/10.5195/cinej.2013.57.
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This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film come from the construction of a hero-cult after a director deemed to be national?
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Konfederat, Olga y Natalia Dyadyk. "Hedonistic ontology of the film: generative models". Socium i vlast 3 (2020): 74–84. http://dx.doi.org/10.22394/1996-0522-2020-3-74-84.
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Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment.