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Artículos de revistas sobre el tema "Contemporary Film"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video

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2

Morozova, Irina V. "American Biopic in Contemporary Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 105–14. http://dx.doi.org/10.17816/vgik81105-114.

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Biopic has recently become a leading genre in the world film industry. These films are especially popular in the USA. It is the dominant and most influential trend in the modern American film production. The article analyses American biopic conventions, defines the stages of its evolution and basic types, categorizes its characters.

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3

Kuang, Yuxuan. "The Interpretation of Contemporary “New Mainstream” Cinema." SHS Web of Conferences 148 (2022): 02013. http://dx.doi.org/10.1051/shsconf/202214802013.

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The new mainstream film is an upgraded version of the main theme film, which is more commercial, entertaining and popular. The themes are more extensive, and the casting is bolder and more grounded. Nowadays, the rise of new mainstream films also means that Chinese films have embarked on a new journey. A new type of film that combines artistry and commercialism skillfully has its unique advantages from both artistic and commercial perspectives.

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4

Murray, Jonathan. "Contemporary Scottish Film." Irish Review (1986-), no. 28 (2001): 75. http://dx.doi.org/10.2307/29736045.

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5

Miao, Zheng. "Fragmented viewing of movies in contemporary society." Journal of Education, Humanities and Social Sciences 3 (September 22, 2022): 117–28. http://dx.doi.org/10.54097/ehss.v3i.1556.

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With the popularity and rapid development of the Internet, online video has played a very important role in promoting film and television communication. On the basis of online video, the rise of the short video industry has also brought about a huge change in people's movie habits. The fragmented aesthetics of movies are increasingly prominent under the influence of digital technology. The effects stemming from market forces are particularly profound. Marketization requires film production to take into account the types of audiences and to take care of the audience's spiritual fragments, and t

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6

Kelly, Brendan D. "Psychiatry in contemporary Irish cinema: a qualitative study." Irish Journal of Psychological Medicine 23, no. 2 (2006): 74–79. http://dx.doi.org/10.1017/s0790966700009617.

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AbstractObjective: Media portrayals of mental illness and psychiatry have a considerable impact on public perceptions of mental health issues. This paper aims to focus on portrayals of psychiatry and psychiatrists in four contemporary Irish feature films in order to make wider points on this theme.Methods: Contemporary Irish feature-films that made substantial reference to psychiatry, psychiatrists or mental health in Ireland were identified though electronic searches and consultation with the Film Institute of Ireland. Selected films were viewed. Electronic searches were performed in the medi

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7

Slattery, James Lawrence. "Matthew Holtmeier (2019) Contemporary Political Cinema." Film-Philosophy 23, no. 3 (2019): 399–402. http://dx.doi.org/10.3366/film.2019.0124.

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8

Ivanova, L. S. "INTERACTIVITY IN CONTEMPORARY FILM." Digitalization 2, no. 3 (2021): 38–46. http://dx.doi.org/10.37993/2712-8733-2021-2-3-38-46.

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9

Halle, Randall. "Re-imagining the German East: Expulsion and Relocation in German Feature and Documentary Film." German Politics and Society 31, no. 4 (2013): 16–39. http://dx.doi.org/10.3167/gps.2013.310402.

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Film history marks the various transformations in the material and imaginative relations between Germans and Poles in the postwar era. This article explores how film—the primary contemporary vehicle for imaginative communities—has played an important role in envisioning various spatial relationships, as well as the political and cultural shifts in the general population of Germany, West and East, and Poland. The article surveys the representation of flight and expulsion from the East first in the fictional feature film and then in the documentary genre. It then turns to contemporary production

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10

Vital, Feofania Yu. "Emotional Influence on the Viewer in Contemporary American Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 91–104. http://dx.doi.org/10.17816/vgik8191-104.

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The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.

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11

Zang, Jinying. "Symbolic Tension in Contemporary Chinese Urban Film: Culture, Space and Community." Tobacco Regulatory Science 7, no. 5 (2021): 3664–70. http://dx.doi.org/10.18001/trs.7.5.1.143.

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Film semiotics is an important theory produced in the modern film period, and urban film closely responds to the process of contemporary Chinese urbanization. Borrowing the theory of film semiotics to analyze Chinese contemporary urban films, it can be found that typical cities have formed a unique symbolic tension, referring to urban culture, and having multiple symbolic elements sets to interpret the new imagination of the city. Urban film and film semiotics should jointly promote the poetic integration of various classes in the city, construct an urban emotional community, and form emotiona

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12

Robinson, Juneko J. "Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema." Film-Philosophy 14, no. 1 (2010): 350–60. http://dx.doi.org/10.3366/film.2010.0018.

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13

Walters, Caroline. "Tim Palmer (2011) Brutal Intimacy: Analyzing Contemporary French Cinema." Film-Philosophy 16, no. 1 (2012): 303–6. http://dx.doi.org/10.3366/film.2012.0027.

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14

Lupo, Jonathan. "Loaded Canons: Contemporary Film Canons, Film Studies, and Film Discourse." Journal of American Culture 34, no. 3 (2011): 219–33. http://dx.doi.org/10.1111/j.1542-734x.2011.00776.x.

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15

Andrade, Fábio. "The Monstrification of Underdevelopment in Contemporary Brazilian Cinema." Film Quarterly 74, no. 2 (2020): 61–66. http://dx.doi.org/10.1525/fq.2020.74.2.61.

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This article articulates how two recent Brazilian medium-length films challenge the category of the “hybrid film,” incorporating reenactment to recompose invisible routines of institutionalized oppression. In Seven Years in May, Affonso Uchôa (Araby; The Hidden Tiger) uses collaborative methods to render visible the structure of mass incarceration in Minas Gerais. Shot with a group of young men in Contagem, the film is a tryptic where each part employs a different mode of narrative reconstruction. Directed by a group of first-time Guarani-Kaiowá filmmakers, Ava Yvy Vera retells the murder of t

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16

Sjö, Sofia. "Struggling bodies and body struggles: explorations of body and religion in contemporary Nordic film." Scripta Instituti Donneriani Aboensis 23 (January 1, 2011): 400–416. http://dx.doi.org/10.30674/scripta.67397.

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This study focuses on representations of the body and religion in Nordic film. The aim is to illustrate the kinds of representations of religion and the body that can be found in contemporary Nordic films, demonstrate how these representations relate to religion, the body and film more generally, and explore what perceptions of and attitudes to the body and religion the representations suggest. The analysis begins with an introduction to religion and film studies, religion in Nordic film and the themes and films chosen for this study. After this a short overview of earlier studies dealing with

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17

Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.

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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literar

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18

Rifeser, Judith. "Patricia White (2015) Women's Cinema, World Cinema: Projecting Contemporary Feminisms." Film-Philosophy 21, no. 1 (2017): 142–45. http://dx.doi.org/10.3366/film.2017.0037.

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19

Chittick, Kyler. "Lee Carruthers (2016) Doing Time: Temporality, Hermeneutics and Contemporary Cinema." Film-Philosophy 22, no. 1 (2018): 130–33. http://dx.doi.org/10.3366/film.2018.0066.

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20

Chittick, Kyler. "Lee Carruthers (2016) Doing Time: Temporality, Hermeneutics and Contemporary Cinema." Film-Philosophy 22, no. 2 (2018): 306–8. http://dx.doi.org/10.3366/film.2018.0079.

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21

Sjö, Sofia. "The Gendering of Pastors in Contemporary Nordic Films: Norms, Conventions and Contemporary Views." Religion and Gender 5, no. 1 (2015): 91–104. http://dx.doi.org/10.18352/rg.10084.

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The article examines how Lutheran pastors are gendered in six well-known Nordic films. Building on the theory of mediatisation of religion, the study argues for the need to look at how media shapes religion and gender for a thorough understanding of views on religion today. The film analyses show a connection between female pastors and less problematised forms of religion, but also traditional ways of undermining women in films. The films are argued to present a problematised religious view on sexuality, mostly connected to male pastors. Both aspects of gendering religion are tied to larger de

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22

Ronduda, Łukasz. "Film fabularny jako narzędzie kuratora i badacza sztuki." Artium Quaestiones 31, no. 1 (2020): 209–36. http://dx.doi.org/10.14746/aq.2020.31.8.

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In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work

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23

Shahani, Kumar. "Film as a Contemporary Art." Social Scientist 18, no. 3 (1990): 33. http://dx.doi.org/10.2307/3517424.

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24

Compitello, Malcolm Alan, and Thomas G. Deveny. "Contemporary Spanish Film from Fiction." Hispania 85, no. 2 (2002): 251. http://dx.doi.org/10.2307/4141053.

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25

Godfrey, Brian J. "Regional Depiction in Contemporary Film." Geographical Review 83, no. 4 (1993): 428. http://dx.doi.org/10.2307/215824.

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26

Eleftheriotis, Dimitris. "Contemporary Costume Film Julianne Pidduck." Canadian Journal of Film Studies 16, no. 2 (2007): 136–39. http://dx.doi.org/10.3138/cjfs.16.2.136.

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27

Waddell, Terrie. "The Trickster in Contemporary Film." International Journal of Jungian Studies 4, no. 2 (2012): 173–75. http://dx.doi.org/10.1080/19409052.2012.684473.

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28

Celenza, Andrea. "Mutual Influence in Contemporary Film." Contemporary Psychoanalysis 46, no. 2 (2010): 215–23. http://dx.doi.org/10.1080/00107530.2010.10746053.

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29

Philpot, Justin. "The Contemporary Hollywood Film Industry." Journal of Film and Video 63, no. 1 (2011): 71–72. http://dx.doi.org/10.1353/jfv.2011.0006.

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30

Dromm, Keith. "Classic Questions and Contemporary Film." Teaching Philosophy 28, no. 4 (2005): 385–87. http://dx.doi.org/10.5840/teachphil200528450.

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31

Schmidt, Klaus H. "Neonaturalism in Contemporary U.S. Film." Studies in American Naturalism 15, no. 1 (2020): 18–48. http://dx.doi.org/10.1353/san.2020.0008.

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32

Lim, Yoon Soo. "How Contemporary Art Meet Documentary Film - Based on Documentary Film of Korean Contemporary Artists." CONTENTS PLUS 15, no. 4 (2017): 59–72. http://dx.doi.org/10.14728/kcp.2017.15.04.059.

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33

Latifah, Latifah. "Film as Media of Religious Dialogue: The Reception of Three Indonesian Contemporary Films." DINIKA : Academic Journal of Islamic Studies 1, no. 3 (2016): 263. http://dx.doi.org/10.22515/dinika.v1i3.87.

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The paper examines the audiences response in consuming of religious representation in three Indonesian contemporary films: Ayat-Ayat Cinta (Verses of Love), 3 Doa 3 Cinta (3 Wishes 3 Loves), and Perempuan Berkalung Sorban (Woman with a Scarf Around her Neck). By examining the audiences response in media, particularly through electronic delivery, the paper shows that the public dispute of the Islam representation in this film serves as communication media of religious dialogue. The examination of audiences response on those three films illuminates the various impacts of Islamic film label embed

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34

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

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

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35

Quinlivan, Davina. "Lucy Bolton (2019) Contemporary Cinema and the Philosophy of Iris Murdoch." Film-Philosophy 25, no. 2 (2021): 220–23. http://dx.doi.org/10.3366/film.2021.0172.

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36

Banko, Anja. "What does cinema think that nothing but it can think?" Maska 35, no. 200 (2020): 68–77. http://dx.doi.org/10.1386/maska_00010_1.

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The article deals with questions of contemporary film theory by explaining and reflecting on the theses as proposed by the American film and literary critic Nico Baumbach in his work Cinema/Politics/Philosophy (Columbia University Press, 2018). Baumbach is able to analyse the questions of what status film has in relation to politics, philosophy and art in a contemporarily relevant way, approaching film studies through reading authors such as Rancire, Badiou and Agamben in dialogue with Althusser, Deleuze and Benjamin. The article focuses on the positioning and meaning of Baumbach’s thought in

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37

Fortuna Jr., Grzegorz. "Narrative Strategies in Contemporary Independent American Horror Movies." Panoptikum, no. 19 (June 30, 2018): 121–30. http://dx.doi.org/10.26881/pan.2018.19.09.

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The main aim of the article is to paint a picture of contemporary American horror film and mark the division between its mainstream and independent sides. The first part focuses on topics, subgenres and strategies connected with mainstream American horror films; the second part is dedicated to the renaissance of low-budget, but original and artistically fulfilled horror movies produced outside Hollywood and directors that achieved commercial success thanks to following their vision and thinking outside the box. In the article, Grzegorz Fortuna Jr. uses methods connected with production studies

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38

Pantelić, Ivana, Snežana Savić, Jela Milić, and Gordana Vuleta. "Film-forming materials in contemporary formulations of cosmetic products." Arhiv za farmaciju 68, no. 1 (2018): 46–64. http://dx.doi.org/10.5937/arhfarm1801046p.

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39

Vitali, Valentina. "Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019." BioScope: South Asian Screen Studies 11, no. 1 (2020): 78–91. http://dx.doi.org/10.1177/0974927620935754.

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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Whe

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40

Afifulloh, M., and Nurvita Wijayanti. "Body Size on Cinema: A Critical Discourse Analysis on Contemporary Indonesian Cinema." Studies in Media and Communication 11, no. 1 (2022): 25. http://dx.doi.org/10.11114/smc.v11i1.5790.

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This article discusses how a fat body in a film is used as a metaphor for a deviant, dangerous, and irresponsible personality through the various narratives occupied by the characters in the film. This research is qualitative research with the main data source is Imperfect film released in 2020. The approach used is a combination of film studies and Sara Mills' critical discourse analysis. The results of the study show that although Imperfect promotes gender equality in society, the narrative that is built still position fat bodies and black skin as non-ideal, especially for woman. Furthermore

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41

Pilawska, Roksana. "Film jako kulturowa przestrzeń edukacji nieformalnej." Studia Edukacyjne, no. 61 (June 15, 2021): 207–28. http://dx.doi.org/10.14746/se.2021.61.12.

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The article attempts to theoretically and methodologically capture the potential and possibilities of films within informal education. The author begins by reflecting on the importance of popular culture in the process of shaping the identity of the individual and then proceeds to determine the contemporary role of informal education and the importance of film as an educational medium (in reference to the previously applicable communication model and cognitive theory). In the further part of the article, in order to determine the current discourse, the author tries to present in an orderly man

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42

Oja, Martin. "Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film." Baltic Screen Media Review 2, no. 1 (2014): 76–95. http://dx.doi.org/10.1515/bsmr-2015-0016.

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Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, alt

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43

Ferriss, Suzanne. "Michelle Devereaux (2019) The Stillness of Solitude: Romanticism and Contemporary American Independent Film." Film-Philosophy 25, no. 2 (2021): 216–19. http://dx.doi.org/10.3366/film.2021.0171.

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44

Pronin, Alexander A. "Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect." Journal of Flm Arts and Film Studies 7, no. 3 (2015): 62–71. http://dx.doi.org/10.17816/vgik7362-71.

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The article analyzes the underresearched practice of using feature film quotations in portrait documentaries. A certain number of contemporary films help to single out the most typical sphere of quotations usage, demonstrate typical means of incorporating film quotations into the new film text, and present a classification of quotation variants according to their functional-semantic aspect.

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45

Przylipiak, Mirosław. "The Notion of Mainstream Film in Contemporary Cinema." Panoptikum, no. 19 (June 30, 2018): 14–31. http://dx.doi.org/10.26881/pan.2018.19.01.

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The goal of this paper is to establish how the term „a mainstream film” is used and understood, what meaning is assigned to it in contemporary discourse about cinema. Wide research was carried out, aimed at pinpointing its usage both on the Internet, among bloggers and film forum members, as well as in academic papers. It turns out that the term is widely used, but very scarcely defined. Moreover, it is understood in very different, often incompatible manners. At least six meanings were detected. A mainstream film can be a blockbuster, a film which propagates dominant ideologies, a realist fil

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46

Morley, Rachel. "Cinemasaurus: Russian film in contemporary context." Studies in Russian and Soviet Cinema 16, no. 1 (2022): 82–84. http://dx.doi.org/10.1080/17503132.2022.2031761.

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47

Jones, Jacquie. "The Black South in Contemporary Film." African American Review 27, no. 1 (1993): 19. http://dx.doi.org/10.2307/3042035.

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48

Rountree, Cathleen. "Auteur Film Directors as Contemporary Shamans." Jung Journal 2, no. 2 (2008): 123–34. http://dx.doi.org/10.1525/jung.2008.2.2.123.

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49

Geuens, Jean-Pierre. "Georg Lukács and Contemporary Film Praxis." Quarterly Review of Film and Video 26, no. 3 (2009): 216–25. http://dx.doi.org/10.1080/10509200902841676.

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50

Fyne, Robert. "American History and Contemporary Hollywood Film." Journal of Popular Culture 39, no. 3 (2006): 500–501. http://dx.doi.org/10.1111/j.1540-5931.2006.00264.x.

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