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Letteratura scientifica selezionata sul tema "Motion pictures - Aesthetics"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Motion pictures - Aesthetics"

1

Jarenski, Shelly. "Playing Dead: Eadweard Muybridge’s Residential Photo Albums and Spiritualist Aesthetics." Nineteenth Century Studies 35 (November 2023): 54–74. http://dx.doi.org/10.5325/ninecentstud.35.0054.

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Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known exa

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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.

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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of

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Khorob, S. I. "THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 288–97. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-288-297.

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The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.

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ADAMS, BRETT, CHITRA DORAI, and SVETHA VENKATESH. "FINDING THE BEAT: AN ANALYSIS OF THE RHYTHMIC ELEMENTS OF MOTION PICTURES." International Journal of Image and Graphics 02, no. 02 (April 2002): 215–45. http://dx.doi.org/10.1142/s0219467802000573.

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This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefu

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Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region." Journal of Contemporary Iraq & the Arab World 18, no. 1 (March 1, 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates cont

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Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (December 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.

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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema,

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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this

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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Ham

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Hasan, Haris. "The Depiction Of Rape Scenes In Popular Hindi Cinema : A Critical Examination Of Representation Of Gender In Media." Journal of Women Empowerment and Studies, no. 12 (October 27, 2021): 42–46. http://dx.doi.org/10.55529/jwes.12.42.46.

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The portrayal of female gender in performing arts has been a product of constant societal change. From the days when Female parts were acted upon by male counterparts to the advent of motion pictures and the role of women in making the medium their own , the journey has been long. This can be also studied under the context of anthropology, gender issues, and women emancipation. The female characters have been always fixed into the narrative by the virtue of a certain appeal they exhibit. From Laura Mulvey’s male gaze theory in cinema to the aesthetics of violence in cinema , both have been dep

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Braiko, Oleksandr. "Cinematographic coloring of open space in Volodymyr Drozd’s short prose from 1960s." Слово і Час, no. 3 (May 26, 2020): 28–47. http://dx.doi.org/10.33608/0236-1477.2020.03.28-47.

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The paper considers the style manner of V. Drozd’s prose from his early writing period with a focus on cinematographic aesthetics of color and possibilities of the screen design of plein air as the most free spatial environment for visual development of the image. The writer’s literary means have their analogues in the well-known contemporary films (“October”, “Poem about Sea”, “Red Desert”).  The dynamic plein air compositions have certain screen potential. The images of open-space are related to freedom in dynamic and successive change of a scene, and alternation of verbal pictur

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Tesi sul tema "Motion pictures - Aesthetics"

1

Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

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Udden, James. "Hou Hsiao-hsien and the aesthetics of historical experience." access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.

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Cossar, Harper. "Snakes and funerals aesthetics and American widescreen films /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03162007-175907/.

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Thesis (Ph. D.)--Georgia State University, 2006.<br>Title from file title page. Greg M. Smith, committee chair; Matthew Bernstein, Kathy Fuller-Seeley, Jack Boozer, Angelo Restivo, committee members. Electronic text (349 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed June 4, 2007. Includes bibliographical references (p. 342-348).

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明奇英 and Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.

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Williams, Tami Michelle. "Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Rassos, Effie School of Media Film &amp Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.

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This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I e

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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /." online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.

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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.

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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation

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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.

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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individ

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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.

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PhD<br>The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ –

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Più fonti

Libri sul tema "Motion pictures - Aesthetics"

1

Furniss, Maureen. Art in motion: Animation aesthetics. Eastleigh, UK: John Libbey, 2007.

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Furniss, Maureen. Art in motion: Animation aesthetics. Eastleigh, UK: John Libbey, 2007.

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3

Zettl, Herbert. Sight, sound, motion: Applied media aesthetics. 6th ed. Boston, MA: Wadsworth Cengage Learning, 2011.

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4

Isaacs, Bruce. Orientation of future cinema: Technology, aesthetics, spectacle. New York: Bloomsbury, 2014.

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5

Hollander, Anne. Moving pictures. London: Harvard University Press, 1991.

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Hollander, Anne. Moving pictures. New York: Knopf, 1989.

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Rabiger, Michael. Directing: Film techniques and aesthetics. 2nd ed. Boston: Focal Press, 1997.

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Rabiger, Michael. Directing: Film techniques and aesthetics. Boston: Focal Press, 1989.

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Kennedy, Barbara M. Deleuze and cinema: The aesthetics of sensation. Edinburgh: Edinburgh University Press, 2000.

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Stam, Robert. Keywords in subversive film-media aesthethics. Chichester, West Sussex: Malden, MA, 2015.

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Capitoli di libri sul tema "Motion pictures - Aesthetics"

1

Klevan, Andrew. "Aesthetic Criticism." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 409–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_18.

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"Vision in Motion: Defining the Dimension of Movement in Television Pictures." In Television Aesthetics, 52–70. Routledge, 2013. http://dx.doi.org/10.4324/9780203811030-10.

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Marcus, Laura. "The Things That Move: Early Film and Literature." In The Tenth Muse, 18–98. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199230273.003.0002.

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Abstract The primordial basis of the enjoyment of moving pictures was not an objective interest in a specific subject matter, much less an aesthetic interest in the formal presentation of subject matter, but the sheer delight in the fact that things seemed to move, no matter what things they were. As regards the content of vision which are placed before us by the motion picture, we are therefore faced here with a peculiar world which is both more restricted and more expanded than the one we are habitually confronting in our daily life.

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Erish, Andrew A. "Conclusion." In Vitagraph, 219–20. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0008.

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The Conclusion summarizes of a fundamental key to Vitagraph's success. Smith and Blackton's decision to embrace the vaudeville aesthetic of providing a variety of family-friendly entertainment proved so profitable that it laid the foundation upon which the rest of the American motion picture industry was to follow for well over half a century. It is posited that Vitagraph produced a greater variety of subjects than most other companies because of the inherent differences of its founding partners, Blackton being a humanist and Smith a Christian. It is an approach that American producers have chosen not follow for several decades as motion picture attendance declines. Not only does a comprehensive history of Vitagraph correct fundamental inaccuracies to the canon, it can also serve as a blueprint for a more inclusive and profitable future.

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Mathias, Nikita. "The Sublime in Disaster Cinema." In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch07.

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The film analytical chapter moves along the lines of different key moments of the sublime: the Sublime as somatic excess, subjectivity, transcendence, modality, presentability, the geological sublime, the sublime and the ridiculous, as well as sublime hyperobjects and the ecological sublime. The primary analytical tool applied are Edmund Burke and Immanuel Kant’s theoretical models of the sublime. The application of these eighteenth-century theorems for the analysis of twentieth and twenty-first-century motion pictures is solely justified through their shared historical foundation. This historical account takes into view the broader cultural horizon of the sublime, encompassing aesthetic thought, art historical iconographies, media technologies, aesthetic receptive conventions and strategies, scientific, economic, and cultural discourses, as well as general concepts of man’s relation to nature’s forces.

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Paret, Peter. "Kolberg (Germany, 1945): As Historical Filmand Historical Document." In World War II, Film, and History, 47–66. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195099669.003.0004.

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Abstract Kolberg (Germany, 1945) is not among the major successes of the German motion-picture industry during the Third Reich. It achieved coherence neither as a drama nor—despite its excess of rhetorical energy—as a political statement. Nevertheless, the film continues to attract attention. The circumstances of its production, its aesthetic qualities and flaws, and its evidentiary power as a document of the last phase of National Socialism at war—all serve to keep interest alive in a work in which Goebbels, and through him the regime, invested material resources and psychic expectations to an unusual degree.

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Mask, Mia. "Blaxploitation versus Black Liberation." In Black Rodeo: A History of the African American Western, 89–126. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252044878.003.0004.

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Fred Williamson rose to cinematic fame in the early 1970s, riding the tide of Black political activism. The Democratic Select Committee was established in 1969 as a predecessor to the Congressional Black Caucus. The Black Power Movement of the late 1960s and early 1970s became more militant, more revolutionary, and advocated self-defense. It was an era of change, and the cinematic culture was changing too. The motion picture industry found another Jim Brown in Fred Williamson, a tall, handsome, brawny footballer who was eager to personify Black Power. Williamson would personify empowerment with a bravado heretofore unseen, giving rise to the Nigger Charley trilogy films. The Nigger Charley films were written with homages to spaghetti westerns’ aesthetics and comic book characters like Lobo.

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O’brien, Charles. "Dubbing in the early 1930s: An improbable policy." In The Translation of Films, 1900-1950, 177–90. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0010.

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This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.

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Sundmark, Björn. "Uppståndna igen ifrån de döda: Kristna motiv i nyare skandinavisk barnlitteratur." In Oppvekst og livstolkning, 95–119. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.107.ch4.

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The chapter discusses representations of Christian practices, religious experiences and biblical motifs in recent Scandinavian children’s and young adult literature. It is claimed that after an almost one hundred-year hiatus, during which overt Christian symbols, stories and experiences have been absent from mainstream children’s publishing, we are now witnessing a return of such religious expressions in fictional and aesthetic form. The books under scrutiny are from Denmark, Sweden and Norway, and include critically acclaimed picture books as well as young adult fiction and crossover literature. It is argued that it is once again possible to bring up Christian motifs and stories in our post-secular societies, not because of increased faith in the general population, but because religious issues to a greater degree have become part of contemporary non-confessional discourse.

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Erish, Andrew A. "1909–1913." In Vitagraph, 58–110. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.

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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".

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