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Sputnitskaya, Nina Yu. „Screening Zurbagan: On Use of Animation in Russian Feature Cinema“. Journal of Flm Arts and Film Studies 7, Nr. 4 (15.12.2015): 73–83. http://dx.doi.org/10.17816/vgik7473-83.
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The subject of this research is prose of Alexander Grin, the object being the specifics of cinematographic perspective at the images of the Silver Age representative. The article covers both historical and theoretical aspects, its goal is to unveil the previously unknown archive documents (with material of RGALI foundation and Mosfilm) and experimental films, which add to the history of the usage of special effects in national cinema. The analysis of films conducted by the author of the article allows to examine the evolution of the aesthetics in sci-fi cinema in the period of 1960-2010. The article also unravels the little known aspects of the work of notable Russian animators.
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Taylor-Terlecka, Nina. „Darwinism and Surrealism: The Case of Juliusz Słowacki’s "Samuel Zborowski"“. Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, Nr. 2 (10.07.2020): 361–75. http://dx.doi.org/10.36770/bp.488.
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Juliusz Słowacki has been acknowledged as a precursor of the Young Poland poets and recognized as one of the “Three Bards” of Polish Romanticism. A visionary of mystical experience, his later works took a focus on Polish history, including the drama Samuel Zborowski, which has been referred to as one of the boldest visionary dramas in world literature. This paper explores the relation of Juliusz Słowacki’s drama Samuel Zborowski to Darwinism and Surrealism. As a contemporary of Darwin, this paper presents several overlapping points in time between the lives of Słowacki and Darwin, as well as Słowacki’s relations to both Darwin and his predecessors. It has been argued that Samuel Zborowski is the first surrealistic work in Polish literature. It employs varied scenic tricks that can be termed surrealistic. The textual images of the work include several cinematographic special effects, and the subjects explored in Samuel Zborowski reflect a condensed, symbolic shorthand sign of cosmic experience and historiosophic meditation. At times impressionistic, the concepts therein are formulated by analogy, allusion and synthesis, with signs and images point to infinity. Taken together, we have a dramatic exposition of fundamental Genesis philosophy, interwoven and ultimately subordinate to the perennial Polish Question in the context of Romantic Messianism. The rich philosophical sources of Samuel Zborowski reveal a wealth of influences. The end result is a strange symbiosis of Poland’s national history, Słowacki’s messianistic historiosophy, and the scientific heritage of Darwin’s predecessors.
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Bedenko, Vladimir Nikolaevich. „Comedy film as a modern embodiment of the culture of laughter“. Философия и культура, Nr. 8 (August 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.8.33452.
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The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society through the means of cinematography as an audiovisual art. The main conclusions of the conducted research consist in the determined functions of comedy film as a manifestation of the culture of laughter in the modern era; an idea that comedy cinematography along with manifestations of the culture of laughter of the previous historical eras, forms a specific anti-cultural world that demonstrates an underside of the surrounding world , and mostly of the society. The author’s special contribution into this work lies in consideration of the comedy genre of cinematography within the concept of the culture of laughter, which allowed highlighting the new aspects of this phenomenon and substantiating its significance in the spiritual life of modern society. The novelty consists in application of the conceptual framework of the culture of laughter with regards to the analysis of comedy film, which views the phenomenon at hand from the universal worldview perspective.
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Gusev, Alexey O. „Dramatic Methods in G. N. Chukhray’s «Ballad of a Soldier»“. Vestnik of Saint Petersburg State University of Culture, Nr. 1 (58) (2024): 118–22. http://dx.doi.org/10.30725/2619-0303-2024-1-118-122.
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In modern cinematography, alongside with consistent and traditional, distinct types of nonlinear drama are used. Many of these types were developed on the border line between the 1950s – 1960s, one of the most active periods of the renovation of the film language. In the history of cinematography the discovery of a number of new dramatic methods was made by film producers of the so-called author’s cinematography. G. N. Chukhray’s film «The Ballad of a Soldier» (1959) vividly shows a tendency towards a fragmentary «block» composition of the plot. And new, for that time, principles to organize action development were used. The article studies the peculiarities of the film drama of «The Ballad of a Soldier» and analyses the correlation of the plot, subject and composition in the film. At the same time in Russian contemporary art history there are very few special works devoted to the problems of the typology of the cinema drama of that period in the context of their influence on modern cinematography. It allows one to speak about the actuality of the article.
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Mishchenko, Igor' Evgenyevich. „Representation of the images of army and military man in the U.S. mass cinematography of the 2010s“. Философская мысль, Nr. 12 (Dezember 2020): 61–75. http://dx.doi.org/10.25136/2409-8728.2020.12.34522.
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The author explores the problematic of the images of army and military in mass cinematography on the example of U.S. film industry of the second decade of the XXI century. The object of this research is the sociocultural representation of army and war via expressive means of cinematographic art. Within the Russian science, this problematic is poorly studied; at the same time, its relevance cannot be overestimated, since cinematography is an important component in formation of “soft power” of the country. According to the testimony of numerous Russian experts, namely cinematography of the United States has highest impact potential and forms mental images of the army and military not only among the U.S. citizens, but also for the Russian society, which always triggers questions related to the cultural aspects of national security. It is worth noting that modern U.S. military cinematography becomes the special subject of scientific research for the first time. The author comes to the conclusion that in the recent decade, U.S. film production in military genre has undergone substantial transformations. The films on the World War II and the Vietnam War are replaced with the films on global war on terrorism and local national conflicts. Among other peculiarities of recent years in U.S. military cinematography, the author notes female film directors in this sphere, personification of the images of enemy, deconstruction of the image of military man as a mythological defender and rescuer. The latter noticeably contradicts the Russian film tradition and culture, for which the army and military history remain the important points of national self-identity, key components of formation of images of the great past and common future.
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Martynenko, T. S. „Cinema as a subject of sociological analysis: features of modern cinematography“. Moscow State University Bulletin. Series 18. Sociology and Political Science 29, Nr. 2 (06.05.2023): 120–39. http://dx.doi.org/10.24290/1029-3736-2023-29-2-120-139.
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The article analyzes cinema as a subject of sociological analysis. Approaches to the conceptualization of the term “cinema” are considered, their specificity is revealed. Cinematography is presented as an art form, mass media and communication, a social institution, and an industry of the economy. The functions and role of cinema in society are highlighted.Particular attention is paid to the features of modern cinematography, among which there are three main ones – the globalization of cinematography, the change in the model of film production and the serialization of cinematography. The positive and negative social consequences of the process of globalization in the field of cinema are highlighted. It is emphasized that the state, which can regulate and control the process of distribution of film products, acquires a special role in the era of globalization. The inequality in the field of film production is analyzed.The article presents the characteristics of the modern film production model associated with a high level of competition in the film industry, as well as control in the field of protection of intellectual property rights. In modern cinema, it is common to expand storylines and create prequels, sequels, and crossovers. The reasons for this process are described, such as commercialization, unwillingness to take risks, focus on the mass consumer, and others. Serialization is considered as the third significant feature of modern cinema. The history of serialization, its main stages and their characteristics are presented. In conclusion, potential trajectories for the development of modern cinema are presented.
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Kosachova, Olga. „Vietnamese lives matter… Image of democracy in US cinematography (on the example of Vietnam war’s theme)“. OOO "Zhurnal "Voprosy Istorii" 2020, Nr. 10-3 (01.10.2020): 4–10. http://dx.doi.org/10.31166/voprosyistorii202010statyi70.
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The article is devoted to the image of democracy in US cinematography through the theme of Vietnam war. Special attention is paid to the phases of the image development proposed by Jean Baudrillard. The author made the conclusion that the image of democracy in American cinema offers a distorted model of US intervention, in which the images of the aggressor and the victims replace each other, as well as the concept of democracy, which does not allow the fact of lawlessness and violation of the rights of citizens of any nationality or country.
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Ortiz, Maria J. „Embodied Cinematography in Mr. Robot“. Baltic Screen Media Review 11, Nr. 1 (01.12.2023): 84–105. http://dx.doi.org/10.2478/bsmr-2023-0006.
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Abstract Mr. Robot is an American television series that conveys the alienating effects of technology through unusual composition patterns. These patterns do not constitute mere coatings but manifestations of embodied metaphors that serve as emotion markers, redundant elements to maintain the mood. The viewers are led to share the character’s emotions, due to perceptual and sensory-motor experiences that are activated through the metaphoric mise-en-scène. The unorthodox framing also appears to affect the attentional synchrony, helping to immerse viewers in the obscure fictional world. All in all, the cinematography seems to facilitate the connection between the minds of fictional characters and viewers through bodily experiences.
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Zelenin, Sergey V. „The Conception of the Image of Peter I in Soviet Time“. Almanac “Essays on Conservatism” 3 (30.07.2022): 307–22. http://dx.doi.org/10.24030/24092517-2022-0-3-307-322.
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In the article the author examines certain aspects of Peter the Great’s image concept in Soviet time. The author pays special attention to the attitude of Marxism-Leninism ideology (that was principle in the USSR) founders towards Peter I and to the interpretation of his image in the Soviet culture, especially in literature and cinematography. The author notes that Peter the Great was one of the few Russian tsars who were officially considered positive characters in Russian history.
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Kirillova, Natalia B., und Valeria Yu Lebedeva. „Transformation of the teacher’s image in Soviet and Russian Cinematography: Intracultural Dialogue“. Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, Nr. 2 (2023): 165–72. http://dx.doi.org/10.15826/izv1.2023.29.2.035.
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The object of the research in the article is a comparative analysis of the visual language of threedimensional types of stopmotion and computer 3D animation, which actively influences the creation of images of screen culture. The authors note that the visual effects of volumetric stopmotion animation are a kind of protoform of 3D computer animation, which has been actively used in the creation of special effects in cinema in recent decades. Relying on the methods of culturalhistorical and semiotic analysis, the authors consider the evolution of the visual language of animation, which has gone its way from the traditions of handdrawn and puppet animation to multifunctional computer animation techniques that contribute to the formation of multidimensional images of modern screen culture.
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Medvedev, Aleksei Dmitrievich. „The political history of France in reflection of the national cinematography (1960s – 1970s)“. Genesis: исторические исследования, Nr. 4 (April 2021): 94–103. http://dx.doi.org/10.25136/2409-868x.2021.4.35473.
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The goal of this research consists in determination of the place and role of French cinematography of 1960s – 1970s in the political history of postwar France. The object of this research is the process of transformation of political discourse in the context of transfer of power from Charles de Gaulle to Georges Pompidou. The subject of is reflection of the history of collaborationism in the films “Sadness and Pity” (1969) and “Lacombe Lucien” (1973). The author examines such aspect of the topic as reflection of the political and cultural elites on the Vichy regime. Special attention is given to the political consequences of the screening of films about collusion of the Nazi to French citizens. The scientific lies in the analytical overview of the popular films of French national cinematography of 1960s – 1970s, which interpret the phenomenon of “collaborationism” and “opposition" of the period of German occupation. As a result, it is proven that these films distorted the silence on collusion of a number of citizens to the occupier that prevailed in the French political and public discourse. The author notes that resign of Charles de Gaulle as the head of the French Republic led to the emergence of the products of popular culture that revise the previous interpretations of the military past and have a capacity to change the political situation in the country.
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Kalenichenko, Mariya Vladimirovna. „The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s“. Культура и искусство, Nr. 4 (April 2021): 19–29. http://dx.doi.org/10.7256/2454-0625.2021.4.35584.
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This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.
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Buranok, Sergey Olegovich. „Methodological features of the study of «combat films» in the United States of 1941-1945“. Samara Journal of Science 11, Nr. 1 (01.03.2022): 246–49. http://dx.doi.org/10.55355/snv2022111215.
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In modern studies on the history of wars, a fairly popular direction is the study of information discourse specifics. A special role in this discourse is played by propaganda through cinematography, which uses images, historical symbols and stable metaphors, the appeal to which can form a certain public reaction. The study of the main aspects of this topic is impossible without recourse to interdisciplinary methods of the humanities, developed as a result of a number of turns in the development of modern humanitarian knowledge, including anthropological, linguistic, cultural, calling to study the perception of the world, human behavior in the past in the totality of socio-economic, political, cultural practices adopted in the studied society at a given time. In addition, an appeal to the methods of historical imagology will make it possible to trace the evolution of the process of visualization and mythologization of the Second World War in US cinematography more accurately. Without the study of the basic principles, methods, mechanisms and tools of this process it is extremely difficult to understand the peculiarities of the development and interaction of cinema and US propaganda at subsequent historical stages and the present. American scientists have achieved significant results in the study of directors creative biographies, in the specifics of their interaction with federal government bodies, and in the analysis of the activities of the Office of War Information in the field of cinematography.
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Grmusa, Lovorka Gruic. „“Cinematic” Gravity’s Rainbow: Indiscernibility of the Actual and the Virtual“. Open Cultural Studies 1, Nr. 1 (27.11.2017): 257–69. http://dx.doi.org/10.1515/culture-2017-0023.
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Abstract Acknowledging that all media interpenetrate without any one being privileged as original, this paper focuses on the influence and omnipresence of screen technologies, cinematography in particular, asserting its capacities to act as a dominant technological and cultural force, which surveys and controls the economy, affects human consciousness, and implements its own ideologically tainted reality. More specifically, the analysis demonstrates the impact of cinematography within Thomas Pynchon’s Gravity’s Rainbow, emphasizing intermedial reflexivity from screen to paper, its unfolding and animation, representations and mutations, but also the notion that virtuality dominates actuality (Virilio, The Vision 63), or, in Deleuze’s terms, the two coalesce within the crystal-image, for the real and the imaginary, the actual and the virtual, although distinct, are indiscernible (Deleuze, Cinema 2 68-69). The study is grounded in Paul Virilio’s theoretical framework and his criticism of the colonization of the real by the virtual, and in Gilles Deleuze’s account on cinematic taxonomy and how cinematography partakes in the emergence of a new notion of reality and history. By appropriating, repurposing, and reshaping the techniques, forms, and contents of cinematography, and at the same time being critical of its effects, Pynchon uses paper surface for transition of his ideas, validating the repercussions of intermediation as a cultural force and unveiling literature’s performativity, its ability to shelter/entertain the “cinematic,” which in turn revolutionizes and animates fiction.
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Turnock. „The ILM Version: Recent Digital Effects and the Aesthetics of 1970s Cinematography“. Film History 24, Nr. 2 (2012): 158. http://dx.doi.org/10.2979/filmhistory.24.2.158.
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Myslavskyi, V. „The formation of Ukrainian documentary film directing in the second half of the 1920s“. Culture of Ukraine, Nr. 82 (13.12.2023): 59–66. http://dx.doi.org/10.31516/2410-5325.082.07.
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The scientific relevance. The formation and development of the newsreels and documentary films in Ukraine in the 1920s remains one of the least researched pages in the history and development of Ukrainian cinema. That is why the relevance of this research lies, mainly, in filling a significant gap in the history of Ukrainian cinema. A detailed study of newsreels and documentary films production will allow to reveal trends in the development of the Ukrainian film industry in the 1920s in the field of documentary films.
The purpose of the article is to study the specifics of the VUFKU policy on strengthening the material and technical base of Ukrainian film production during the 1920s, to study and analyze the history of the formation and development of the production of newsreels and documentary films in the specified period.
The methodology of analysis of the problem consists in using, first of all, the historical-systemic approach, which provides an opportunity to understand the dynamics of the development of newsreels and documentary films at a specific historical stage. The problem-chronological approach made it possible to distinguish by year the main directions of the VUFKU activity in the development of newsreels and documentary cinema within the defined chronological framework. The historical-systemic approach made it possible to understand the dynamics of the development of Ukrainian cinematography in the field of documentary cinema as a system at a specific historical stage.
The results of the research are that the article examines the prerequisites that served as an impetus for the emergence of a special technical basis for shooting newsreels. The way of development and establishment of newsreels production is considered. Genre and thematic directions of newsreels, types of newsreels, as well as the circumstances that led to the development of the production of newsreels and documentary films are analyzed. The composition, features and functions of the elements of the Ukrainian organizational and creative model of cinematography have been established.
The scientific novelty lies in the fact that the article for the first time, on the basis of a complex analysis, researches the process of transformation of structural elements of Ukrainian cinematography in order to establish the release of newsreels and documentary films.
The practical significance of the article lies in the fact that the results of the study will contribute to the filling of the “white spots” in the history of Ukrainian cinematography, in particular, the establishment of newsreels and documentary cinema as a component of Ukrainian cinematography, which contributes to the creation of a holistic concept of the development of domestic cinema, further understanding of the film production process of the past and present. The materials of the article can be used in further scientific and theoretical researches, during the creation of training manuals and separate sections of the history of Ukrainian cinema.
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Ostapenko, Anton Sergeevich. „The image of Pyotr Verkhovensky from F. M. Dostoevsky's novel «Demons»: from the real S. G. Nechaev to new images in the cinema“. Культура и искусство, Nr. 4 (April 2024): 53–64. http://dx.doi.org/10.7256/2454-0625.2024.4.69957.
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The author of the article offers the analysis and dissection of the image of Peter Verkhovensky, one of the main characters of F. M. Dostoevsky's novel «Demons» (1872). The prototypes of the hero from the history of Russia of the XIX'th century are considered in detail, on the example of S. G. Nechaev and M. V. Petrashevsky. The image of a character from F. M. Dostoevsky's novel is analyzed. The author pays special attention to the review of the hero's representation in three post-Soviet film adaptations from 1992 to 2024. The author analyzes the characteristic features, behavior and motivation of the character of Pyotr Verkhovensky from the novel in the screen adaptations, their independent evolution within the cinematography, how and to what extent the image changes depending on the actual socio-cultural context of the time and its positioning. This study used hermeneutic and dialectical method to analyze the form of representation of the image of the character in post-Soviet cinematography, as well as the theory of cultural hegemony of A. Gramsci is used to study the reasons for the changes and representation of the hero by the authors of film adaptations. The novelty of the study lies in the complex consideration and analysis of prototype images from real history. The key character from F.M. Dostoevsky's novel is studied, delving into the writer's worldview and perception of the revolutionary movement and individual personalities. The author examines the representations of the character in the domestic cinematography on the example of screen adaptations of «Demons (Nikolai Stavrogin)» 1992, «Demons» of 2014 and Sergey Arlanov's new mini-series 2024 «Qlipot». Attention is paid to the context of actual events for their time, which influenced the formation of the image of the movie hero.
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Wang, Qi. „Light and Shadow: Exploring the Aesthetics of Dune’s Visual Spectacle through Effects, Design, and Art Direction“. Journal of Research in Social Science and Humanities 3, Nr. 2 (Februar 2024): 14–21. http://dx.doi.org/10.56397/jrssh.2024.02.03.
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This paper explores the profound aesthetics of light and shadow in Denis Villeneuve’s Dune. Drawing upon elements of cinematography, special effects, design, and art direction, the analysis examines how the interplay of light and shadow serves as a narrative language, shaping the visual storytelling experience. The study investigates the innovative use of lighting to enhance visual effects, the impact of design elements on thematic depth, and the role of art direction in creating a visually cohesive world. Additionally, it investigates the emotional and psychological dimensions influenced by the aesthetic choices, contributing to the film’s atmospheric tone and mood. Through an examination of audience reception and critical acclaim, the paper underscores Dune’s significant contribution to the contemporary visual language of cinema. The findings suggest potential areas for further research in the dynamic field of film aesthetics.
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Gusev, Alexey O. „Details as active elements in film dramatic composition. «Rashomon» by Akira Kurosawa“. Vestnik of Saint Petersburg State University of Culture, Nr. 3 (56) (2023): 114–19. http://dx.doi.org/10.30725/2619-0303-2023-3-114-119.
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In its history film drama composition has gone through several stages of renovation. One of them was in the 1950s–1960s. At that time in different countries there appeared the so-called «plotless» films. Special attention was given to the character of the connection between the parts of the film composition. Descriptive, lyrical and seemingly unimportant elements of drama composition were promoted /came first/ prevailed films with nonlinear composition. In his film «Rashomon» Akira Kurosawa demonstrated new for his time ways to work with details in film dramatic composition. The methods he used have developed for decades and are used in modern cinematography. The article studies an active role of details in the organization of film dramatic composition and analyzes their meaning.
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Mikheeva, Yulia V. „Film Music and the Director’s Aesthetics: Concerning the Methodology of Film Text Analysis“. Problemy muzykal'noi nauki / Music Scholarship, Nr. 2 (2024): 200–210. http://dx.doi.org/10.56620/2782-3598.2024.2.200-210.
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The article raises the question of the necessity of applying special and individualized approaches in analyzing the music of author’s cinematography. The traditionally basic trend of research of cinema music centers around functionally semantic analysis of cinematic works. However, in the movies of author-directors, music is frequently included in the polysemantic artistic space of a cinematic text in the broad sense of this concept as the assemblage of the text (the storyline narrative), the context, the subtext, the intertext, and the metatext of the cinema product. As a rule, analysis of the music of the author’s film is inseparable from the visual images and peculiarities of the other elements of the phonogram (speech, noises, sound effects, silence). In this context, the following concepts require demarcation: “film music,” “music of the film” and “the audiovisual solution of film.” The suggested approach, based on the principles of film director’s aesthetics, is expounded on the example of analysis of Robert Bresson’s film Une femme douce (A Gentle Woman). The movie is of special interest due to the fact that in it Bresson’s general ideas regarding the use of sound, including music, in film, are manifested to the fullest degree, including declarative utterances from the screen. In the case of Bresson, the principles of phenomenological aesthetics manifested in the director’s works, especially those from his mature periods, are of foundational significance. However, the general approaches towards analysis of music in author’s cinematography suggested in the present article may be extrapolated and applied in the research of the works of film directors who created cinema works on the basis of other and most diverse aesthetic principles.
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Landsbergytė-Becher, Jūratė. „PHENOMENOLOGY OF THE FRONT LINE IN LITHUANIAN CONTEMPORARY CULTURAL LANDSCAPE“. CONTEMPORARY LITERARY STUDIES, Nr. 18 (13.12.2021): 66–73. http://dx.doi.org/10.32589/2411-3883.18.2021.246957.
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The image of the front line is deeply rooted in the contemporary Lithuanian discourse about cultureand politics. The strands of its cultural landscape connect art, media, politics and history. The concept of the line here performs like a literary metaphor deeply ingrained in everyday consciousness as a defensive front line due to the painful history of the nation’s experience. The confrontation with the constant threat of the Russian Empire and the catastrophes of occupation, especially in the 20th century, drew the Lithuanian prototype of the nation’s resistance and filled the 21st-century daily discourses with reflections on the emerged meaning of the Mannerheim Line. This actualised vision travelled to the spaces of artistic creation, music, cinematography, literature, creating feelings of infinity, spaces of transcendent landscapes, bridges of time and the dramaturgy of the Baltic archetypes of contiguity. These insights aim to unfold the Lithuanian discourse of contemporary culture with the special mark of the front line.
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Khomenko, Oleksandr, und Bohdan Skopnenko. „“Kiev Citizen” Movie by T. Levchuk: Ukrainian Revolution of 1917—1921 in the Ukrainian Soviet Cinematography“. Ukrainian Studies, Nr. 2(79) (03.08.2021): 136–51. http://dx.doi.org/10.30840/2413-7065.2(79).2021.234515.
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Cinematography is one of those unique cultural phenomena, whose history has always attracted historians’ interest. In the 20th century, this phenomenon did not only determine the direction of cultural transformations development but also impacted the formation of ideologies and political regimes. Today this topic is especially relevant considering the fact that the propaganda methods, intrinsic of dictatorship systems, namely the Soviet totalitarian regime, are actively used by the antidemocratic Russian power for achieving its political goals. The special interest in the context of the “hybrid warfare” which is currently going on between Russia and Ukraine, causes the construction in the Soviet period cinematography of the image of a “Ukrainian bourgeois nationalist” as the instrumental technologies of ideological manipulations used in such movies proved their effectiveness for shaping the outlook of a “new Russian citizen”. Such phenomenon, especially in the 20th century, determined not only the direction of aesthetic transformations of cultural development but also had an impact on the formation of ideologies and strengthening of political regimes. This topic is relevant because the methods of propaganda that were actively used by totalitarian regimes (including the Soviet totalitarian one) are now actively applied by the undemocratic Russian regime to achieve political goals. The construction of the image of the "Ukrainian bourgeois nationalist" in the Soviet cinema constitutes special interest in the context of today’s Russia’s "hybrid warfare" against Ukraine. The instrumental technologies of ideological manipulation used in the creation of films have shown their effectiveness in shaping the worldview of the “new Soviet man.” Forms of this type of consciousness still continue to influence the political choices of many citizens of our state. The film “Kiev Citizen”, studied in the article, was created in 1958 by Ukrainian Soviet film director T. Levchuk at Kyiv O. Dovzhenko Studio. This film is a classic example of ideologically biased film production. Using this movie, we can observe technological principles and constructive models of falsification of the 20th–century history of Ukraine by the Soviet regime, in particular the events of the Ukrainian revolution of 1917–1921. In the film “Kiev Citizen”, the events of the Ukrainian revolution of 1917–1921 were falsified in order to illustrate the audience the Soviet version of the history of Ukraine and the events connected with the seizure of power by the Bolsheviks. Soviet propaganda tried to form in this way the audience loyal to the “Soviet empire” type of psychological perception of reality. In particular, the facts related to the Bolsheviks’ attempt to seize power in Kyiv in October 1917, the battles for the Arsenal plant in January 1918, and the conclusion of a peace treaty between the Ukrainian People’s Republic and Germany were falsified.
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Исмаилов, Камолитдин Саидахмадович, und Александр Викторович Марков. „ACTING PERFORMANCES IN UZBEK DOCUMENTARY FILMS“. ΠΡΑΞΗMΑ. Journal of Visual Semiotics, Nr. 3(37) (30.03.2023): 54–72. http://dx.doi.org/10.23951/2312-7899-2023-3-54-72.
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Советский кинематограф создал особый жанр кинопортрета, который поддерживался как визуальными нормами советского кинопроизводства, так и общей для литературы и кинематографа жанровой спецификой, направленной на упорядочение больших массивов произведений, предназначенных для просвещения советского человека. В статье устанавливается, что ключевую роль в становлении этого жанра и легитимации его в качестве художественной программы со своими иногда вполне провокационными особенностями сыграли Максим Горький и Дзига Вертов. На протяжении всей истории советского кинематографа этот жанр демонстрировал большую устойчивость, что объясняется и общим представлением советского зрителя о прогрессе и его визуальных репрезентациях, и каноничностью приемов документальных кинопортретов. При этом над нарративом преобладал общий образ репрезентации современности как исполнения прогресса, который не нуждается в дополнительных нарративах или эффектах. Поэтому игровые постановки в документальном кино либо осуждались, либо допускались как орнаментальные. В статье вычленяется два типа документалистики, этнографическая и биографическая, и показывается, как экранные принципы советского кино ограничивали внедрение игровых сцен. Разрушение советской системы кинематографии значительно изменило аудиторию. Прежде всего, исчез литературоцентризм советской культуры, при котором нарративы о прошлом и настоящем создавались литературой; теперь кинематограф стал создавать их самостоятельно. Далее, сами зрители стали дифференцировать ожидания от кинематографа, проецируя на него то опыт телесмотрения, то опыт знакомства с голливудским зрелищным кино. Наконец, новое поколение режиссеров стало шире использовать игровые вставки наравне со спецэффектами для создания нарратива, дополняющего национальный исторический нарратив и тем самым привлекающего больше зрителей. При этом зритель не вполне привык к нарративам вещей, воспринимая их исключительно как документальные свидетельства. Поэтому использование игровых вставок часто подрывало доверие к исторической достоверности фильма и вообще к достоверности нового документального кинематографа. Именно таковы были глубинные реакции зрителей, которые хотя и не высказывались прямо, но отмечались наиболее проницательными узбекскими режиссерами в интервью, взятых специально для данного исследования. Исследование узбекских фильмов последних трех десятилетий показало поиск новых способов создания кинопортретов, учитывающих и игру нарративов, и изменчивость зрительских ожиданий. Не все эти поиски были удачными, но они показали неуклонное стремление режиссеров избегать эмоциональной вялости, которая возникает в документальных фильмах постсоветского времени из-за отсутствия единой идеи всеобщего прогресса, которая принимается зрителями как достоверная. Национальное строительство требует и обновления идеи прогресса, и нового конфликта нарративов при безупречном использовании приемов, которые не выбираются режиссером, но влекут друг друга за собой, создавая эстетику документального фильма с игровыми вставками. Soviet cinema established a specific genre of film portrait, which was supported both by the visual norms of Soviet film production and by the genre specification common to literature and cinematography, aimed at streamlining large arrays of works intended to educate Soviet people. Maxim Gorky and Dziga Vertov played a key role in establishing this genre and legitimizing it as an educational artistic program with its sometimes quite provocative features. throughout the history of Soviet cinema, this genre showed great resilience, which can be explained both by the Soviet viewer’s general conception of progress and its visual representations, and by the canonical nature of the techniques of documentary film portraits. At the same time, the general image of the representation of modernity as the performance of progress prevailed over the narrative, which therefore did not need additional narratives or effects. Acting performances in documentary films were thus either condemned or tolerated as ornamental. The article delineates two types of documentaries, ethnographic and biographical, and shows how the screen principles of Soviet cinema limited the introduction of acting inserts. The collapse of the Soviet film production system significantly changed the audience. First of all, the literature-centrism of Soviet culture, in which narratives about the past and present were generated by literature, disappeared; now the cinema began to develop them independently. Next, audiences themselves began to differentiate their expectations from cinema, projecting onto it the experience of watching television and the experience of encountering Hollywood performing films. Finally, a new generation of filmmakers began to make greater use of acting inserts along with special effects to build a narrative that complemented the national historical narrative and thereby attracted more viewers. At the same time, viewers were not fully accustomed to narratives of things, perceiving them exclusively as documentary evidence. Therefore, the use of acting inserts often undermined the credibility of the film’s historical accuracy and the credibility of new documentary filmmaking in general. Such were the underlying reactions of the audience, which, although not explicitly expressed, were noted by the most perceptive Uzbek filmmakers in interviews conducted specifically for this study. The study of Uzbek films in the last three decades has shown the search for new ways to make film portraits that take into account both the play of narratives and the variability of viewer expectations. Not all of these pursuits have been successful, but they have shown a steady desire on the part of filmmakers to avoid the emotional lethargy characteristic in post-Soviet documentaries due to the lack of a single idea of universal progress that viewers accept as credible. Nation-building requires both a renewal of the idea of progress and a new conflict of narratives with a flawless use of techniques that are not chosen by the director, but entail each other, and create the aesthetics of a documentary with acting performance inserts.
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Terasaki, Paul I., Jack A. Cannon, William P. Longmire und Charles C. Chamberlain. „ANTIBODY RESPONSE TO HOMOGRAFTS: V. CYTOTOXIC EFFECTS UPON LYMPHOCYTES AS MEASURED BY TIME-LAPSE CINEMATOGRAPHY *“. Annals of the New York Academy of Sciences 87, Nr. 1 (15.12.2006): 258–65. http://dx.doi.org/10.1111/j.1749-6632.1960.tb23199.x.
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Medvedev, A. V. „The image of sport in the work of V.S. Vysotsky“. Scientific and educational basics in physical culture and sports, Nr. 2 (29.05.2022): 43–49. http://dx.doi.org/10.57006/2782-3245-2022-6-2-43-49.
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Relevance. Art, being a form of cognition of life, sport, as a kind of game and spectacle had a theme of its research. Painting, literature, cinematography, using the specific means of their language, created a multicolored palette of sports life, portraits of outstanding athletes. Art lives in the atmosphere of its time, which determines the perception of sport, its historical dynamics, and social status. In the history of national culture, there was a peculiar era that received the official name - the thaw. In the history of national culture, there was a peculiar era that received the official name - the thaw. An iconic figure was the theater and film actor, poet, bard V.S. Vysotsky, in whose work sport occupied an important place. The article is an attempt to analyze the image of the sport, created by V.S. Vysotsky. The attention of the poet and singer to the psychological side of sports is noted, the importance of his images in the process of training future special-ists in the field of sports is emphasized.
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Radaeva, E. A. „Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries“. Concept: philosophy, religion, culture 6, Nr. 3 (27.09.2022): 156–70. http://dx.doi.org/10.24833/2541-8831-2022-3-23-156-170.
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The subject of this study is the influence of the traditions of German expressionism on modern cinema, primarily the horror genre. The relevance of this work is due to the need to study the genesis of modern trends in one of the most popular types of art and its popular genres in the context of cultural history in terms of allusions and reminiscences, traditions and innovation. In order to prove that the traditions of expressionism are clearly traced to this day and promise to be quite productive in the long run, as well as to trace the nature of their presence in the history of the film industry, in line with the culturological approach, the method of comparative historical and historical situational analysis, as well as content analysis was mainly used regarding cinematography of the period under consideration. The scientific novelty of the work lies in the very prism of the study and its object — the films of 2021–2022 were considered in terms of traditions of expressionist aesthetics; in addition, the article presents a slightly different view on the masterpieces that have become classics of the cinema of the 20th century. As a result, it was revealed that the expressionist concept of man and the world is strong in the artistic world of cinema art of this period. The methods of German filmmakers of the beginning of the previous century were continued in a somewhat modified form at the level of the play of light and shadow, framing, the figurative system itself (vampires, homunculi, ghosts), mechanistic acting, sinister paraphernalia, and deceitful details. The common denominator of foreign and domestic films of all the genres and subgenres considered in the article was the use of a special musical setting — music that originates from the new Viennese school (in other words, musical expressionism), which also confirms the theory put forward.
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Shchedrina, Irina O. „Narrative in Scientific Knowledge: N.I. Zhinkin’s Cinematographic Method“. Voprosy Filosofii, Nr. 11 (2023): 156–61. http://dx.doi.org/10.21146/0042-8744-2023-11-156-161.
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The intellectual heritage of the Russian philosopher and psychologist N.I. Zhinkin, turns out to be strikingly consonant with modern scientific research, in which scientists and philosophers are trying to identify the origins of possible syntheses and correlations in a wide variety of interdisciplinary interactions. The structure of modern science is changing, new forms of teamwork of scientists (collaborations) are being formed, requiring not only new methodological strategies in the study of applied problems, but also taking into account the scientific interests of the participants. Interdisciplinary interactions do not develop on their own, but require mutual intellectual and existential efforts. And this means that the ways of expressing knowledge for each other must be adjusted. Thus, a form comes into the scientific consciousness, which was previously practically not taken into account in the communication of natural scientists: narrative. Under these conditions, Zhinkin’s unique historical experience acquires special significance, to which science and art, phenomenology and psychology, life and knowledge are connected in a special way. The unifying principle in this experience of Zhinkin was, paradoxically, the cinema, in which the scientist saw the key to expanding cognitive aspirations and enriching the cognitive abilities of a person. Cinematography is not just a new art form, but it is a special technical form of the embodiment of the age-old aspirations of a person who is trying to express (repeat, reproduce) life in motion, to make “the former present”. Zhinkin (following his teacher G.G. Shpet) substantiates this idea of art as a special kind of cognition in the report Issues on Building a Scientific and Artistic Script, which was discussed on November 19, 1945 at the Moscow House of Cinema at the Section of the Scientific and Educational Film.
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Zyablikov, Alexey V. „FORMATION OF SOVIET IDENTITY BY MEANS OF DOMESTIC CINEMATOGRAPHY IN THE 1920–50S: TO THE PROBLEM STATEMENT“. Vestnik of Kostroma State University 28, Nr. 3 (28.02.2023): 52–62. http://dx.doi.org/10.34216/1998-0817-2022-28-3-52-62.
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The article substantiates the need for a comprehensive study of the processes of the formation of Soviet identity by means of cinema in the 1920–50s. The article analyses the possibilities of feature films as a special instrument of influence, as an important semantic technology that helped to consolidate the postulates and principles of a new era in the public consciousness, and to model an impeccable image of the country. Cinema constructed a new social reality, laid the basic values of the emerging Soviet reality, formulated a civilisational super-task, created ideal behavioural patterns, gave birth to socio-cultural stereotypes and guidelines that determined the worldview, ideological, political, economic, economic, aesthetic content of the new living space; all the said instead of reflection of numerous realities of the Soviet era. The article substantiates the choice of the chronological framework of the study and gives a historiographical analysis of the problem. It reveals the cross-cutting themes of the Soviet cinema of the 1920–50s, the period that influenced the formation of a new identity. It also formulates possible approaches to the scientific understanding of the proposed topic and outlines a circle of the most promising research tasks. In particular, it notes the need for a systematic study of the methods, techniques and forms of representation of Soviet reality and everyday life by cinema in its key sociocultural models (family, everyday life, school, work, leisure, holiday, etc.) and concepts (“peoples’ friendship”, “happy Soviet Motherland”, “labour feat”, “public enemy”, “proletarian solidarity”), which acquired the qualities of the life coordinates of a Soviet person and largely determined its world outlook. The conclusion is made about the complexity, multidimensionality and multi-level nature of the proposed topic, which covers different aspects of life – everyday, historical, ideological, socio-cultural, artistic and creative ones. The choice of an interdisciplinary approach is substantiated as the optimal methodological basis for research, which combines the cognitive arsenal of history, social philosophy, cultural anthropology and history of arts.
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Korabliova, Nadiia, und Hanna Chmil. „CINEMATOGRAPHY AS A DESCRIPTIVE PHILOSOPHY "ON THE CINEFILM" OF IMAGES OF HOMO: FROM THE FIXATION OF IMAGES (HOMO PHOTOGRAPHICUS) TO THE TREACHERY OF IMAGES (CONTEMPORARY HOMO VIDENS)“. Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", Nr. 64 (29.12.2021): 32–43. http://dx.doi.org/10.26565/2306-6687-2021-64-04.
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The article explores art of cinematography as an objectified cultural reality, in spatial and temporal structures of video description. Genesis of art of photography has changed the habits of human perception and thinking process – from photographic images of Homo photographicus to contemporary Homo Videns whose visual experience is the experience of appropriation and distancing from the world in its optical modality. The art of cinematography, correlating with metaphysical discourses of reality, creates a socio‐cultural code as a matrix of meanings and senses. It provides organization and support to the semiotic fund of culture through performing the functions of socialization and cultural integration. The differences between video description and philosophical text are emphasized. The advantage of video description is being devoid of the complexity of philosophical texts due to readability of indexes, demonstration of codes that define their sequence through the captured images‐characters close to everyday life to the extent that they do not require any analysis as being self‐obvious. The magic function of screen image is that it has multiple reflections, so narrative of identity is transferred to the outer plane, onto the other side of the screen when the image created by the operator is a signal that triggers imagination. The indicative character is transferred to the image, and these indicators are indexed sufficiently to be stimulus signs, effects for Homo Videns’s perception. They are deciphered according to the standards and ideals of a particular culture whose codes are recognized by the subject of that culture at a particular moment which influences constitution and re‐constitution of Homo Videns who consumes both things and images – but also transformation of culture itself. Technological transformation of images of Homo Videns is due to changes in the technology of filming and cinematography which is an important segment of cultural history. Even if cameraman's skills do not directly determine movement of technical progress, they dwell on the achievements of technological revolutions. The choice of problematic fields of human images analysis as bound with evolution of rendering techniques and visualizations, today is more justified than the rationalization of these images.
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Danahay, Martin. „Richard Mansfield, Jekyll and Hyde and the History of Special Effects“. Nineteenth Century Theatre and Film 39, Nr. 2 (November 2012): 54–72. http://dx.doi.org/10.7227/nctf.39.2.4.
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Bol, Peter K. „Introduction to the Special Issue“. Journal of Chinese History 4, Nr. 2 (Juli 2020): 251–57. http://dx.doi.org/10.1017/jch.2020.29.
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This issue of the Journal of Chinese History aims to take stock of the effects of “the digital” on the study of Chinese history. We are doing this through a combination of research articles whose authors have made extensive use of digital resources and technologies and a set of introductions to non-commercial, open-access utilities and tools that scholars have created to support research in a digital environment. These hardly exhaust the universe of research or tools.
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Kurylev, Konstantin P. „CINEMA OF UKRAINE IN THE POST-SOVIET PERIOD. STAGES OF DEVELOPMENT, CHARACTER AND FEATURES“. RSUH/RGGU Bulletin. Series Eurasian Studies. History. Political Science. International Relations, Nr. 3 (2023): 59–78. http://dx.doi.org/10.28995/2686-7648-2023-3-59-78.
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Cinema as a socio-cultural institution reflects the cultural and ideological trends in society and has a huge impact on the formation of people’s self-awareness. The history of cinema in Ukraine has more than 100 years. At one time, Soviet films produced by the A. Dovzhenko Film Studio and the Odessa Film Studio enjoyed All-Union popularity and often fell into the ranks of the leaders of the Soviet film distribution. The post-Soviet cinema of Ukraine represents a separate and special stage in the development of Ukrainian cinema. And the article is concerned with its consideration. It reveals periodization in its formation and development. It also shows that the process of manipulating the consciousness of Ukrainian society through the art cinematography began almost immediately after the collapse of the USSR. At the same time, given that it is impossible to determine the directions of development of modern Ukrainian cinema without knowing and taking into account the experience of its Soviet heritage, an attempt is made to briefly digress into the history of pre-revolutionary and Soviet cinema. One of the conclusions of the article is that the introduction and spread of nationalist ideology in post-Soviet Ukraine was actively going on, including with the help of cinema, which at the same time formed alienation and rejection of the Soviet past through its widespread discrediting. A number of films are given as a kind of reference points that reflect the phenomenon of post-Soviet Ukrainian cinema, accompanied by an analysis of the impact of their perception on the masses.
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Takala, Marjatta, und Rune Sarromaa Hausstätter. „Effects of History and Culture on Attitudes toward Special Education: A Comparison of Finland and Norway“. ISRN Education 2012 (26.06.2012): 1–7. http://dx.doi.org/10.5402/2012/161039.
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This paper discusses the role of special education in Finland and Norway. There are major differences in how special education is understood in these countries. The different perspective that Finland and Norway have on the concept of inclusion is also striking. The PISA test results show that the Finnish school is performing well, partly because of flexible part-time special education; the early intervention strategy also plays a role in this success. These aspects are making Finnish schools inclusive; support is offered immediately when it is needed without any bureaucratic process. An effective teacher education program is also a key element in creating a successful school system. Norway’s relatively weak educational results could mean that despite their strong focus on inclusion, Norwegian schools are not inclusive. The quality of special education is debated. If it is true that special education is helping to create success in schools, then clearly there is a need to discover more about the different systems and what factors may influence that success. Despite the close geographical and political relationship between Norway and Finland, there exists clear differences in the educational area.
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Liu, Xue. „Exploring the Realism of the Movie "The Chinese Doctor"“. International Journal of Education and Humanities 11, Nr. 1 (22.10.2023): 220–22. http://dx.doi.org/10.54097/ijeh.v11i1.13157.
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The movie "The Chinese Doctor" is a work that applies realism in its creation to explore the microcosm of reality. This article outline is divided into seven parts. It first introduces the background of the movie and the application of realism in its creation. It then discusses the status and development of realism in the history of Chinese cinema, placing "The Chinese Doctor" within the context of the realism artistic movement. The article also explores the techniques used in character development and portrayal, as well as the depiction of key social issues in the plot and storyline. The filming techniques and style of the work are also discussed, including cinematography, camera angles, and the role of sound effects and music. Finally, the article discusses the insights and impact of the movie on contemporary Chinese society, as well as audience response and reviews. In conclusion, the movie "The Chinese Doctor" has had a profound impact on both the audience and society through its application of realism to explore the intricacies of reality.
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Basalla, George. „Matters of Gravity: Special Effects and Superman in the 20th Century (review)“. Technology and Culture 46, Nr. 3 (2005): 684–85. http://dx.doi.org/10.1353/tech.2005.0111.
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Demyanov, Gleb V., Nadezhda Yu Vyatkina und Nadezhda V. Prisyazhnaya. „Journey along the edge of the night: the image of the 20th century writer in contemporary foreign cinematography“. Sociology of Medicine 22, Nr. 1 (18.01.2024): 79–91. http://dx.doi.org/10.17816/socm568956.
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BACKGROUND: The interdependence of a person's creative abilities and the features of his life order, behavior, state of health, building social communications is widely discussed in literature, art, sociology, psychology, narrative medicine and the history of medicine (in particular, the question of the impact of health and disease on the possibilities of creative work and the reflection in the images and characters of the diseases suffered by the writer, the experience of overcoming the disease is discussed). At the same time, in public discourse, creative abilities are often present (and connected) in the contour of psychological and mental health disorders.
AIM: To study the image of a writer of the 20th century, expressed in modern cinema, as the equivalent of the perception by public consciousness of the characteristics of the behavior and thinking of the writer.
MATERIALS AND METHODS: The study was carried out by the method of quantitative content analysis of popular movies and biographies of foreign writers of the 20th century (n=10). The facts and features of deviant behavior and thinking of writers recorded in biographical works and the representation of the writer's image in cinema were compared.
RESULTS: The content analysis of the biographies and image of the writer presented in films for the 10 most frequently encountered psychopathological symptoms reflects a much more pronounced frequency of demonstrating the symptoms of the writer's mental health disorder in films (with the exception of the subcategory “depressive thoughts”) than in the actual data of his biography, and the severity of psychopathological symptoms is higher in film images of writers who have never received psychiatric care. Manifestations of maladaptation are shown in films in 9 out of 10 main characters, while the fact of maladaptation of 6 out of 10 writers is actually confirmed. At the same time, the deviant psychological features confirmed in the biography are much less often presented in films, and the greatest discrepancy is observed in the subcategories “feeling depressed” and “excessive impulsiveness”. However, a comparison of the ratio of the frequency of cases of positive, indifferent and negative perception/attitude towards the writer reflected in his biography and presented in films shows that society actually has a more positive attitude towards the writer than is shown in cinema.
CONCLUSION: The peculiarities of the behavior and creative thinking of writers in the public consciousness are still perceived in many cases as manifestations of mental pathology, while creative people are assigned a special social status that “justifies” the deviation of their lifestyle and behavior from accepted standards. The robustness of the stereotype about the correlation between creative abilities and the presence of psychopathology is largely formed by the heuristics of accessibility.
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Kuznetsov, M. S., S. M. Logatkin und V. V. Dvorjanchikov. „Special acoustic devices of law enforcement agencies: a short history, medical and biological effects on the hearing organ“. Medicо-Biological and Socio-Psychological Problems of Safety in Emergency Situations, Nr. 3 (10.09.2021): 83–90. http://dx.doi.org/10.25016/2541-7487-2021-0-3-83-90.
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Relevance. The introduction of special acoustic devices into the security system necessitates a medical and biological assessment of the impact of acoustic signals.Intention – To analyze domestic and foreign literature on the history of acoustic weapons and their medical and biological effects, as well as to study current ideas about sound-induced damage to operators of this equipment and exposed persons.Methodology. In this paper, we analyzed domestic and foreign publications (monographs, articles) about creation and use of special acoustic devices as non-lethal acoustic weapons. Besides, regulatory documents on safe levels of noise exposure were analyzed. PubMed, Russian Science Citation Index, Сonsultant plus database were also searched.Results and Discussion. Non-lethal acoustic weapons were developed and their effects studied mainly by foreign researchers (USA, UK). Sources of special acoustic signals (sound generators, cannons, grenades) are mainly used to disperse crowds of people and control illegal actions against law-enforcement officers. Such weapons are widely used by foreign police and military personnel (USA, Georgia, Ukraine etc.). Only a few publications in Russian describe special acoustic effects on the hearing organ of animals and humans.Conclusion. Safety assessment of acoustic effects of special devices is very important and requires further study in relation to the national legislation.
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Oprisnyk, Yaryna. „Poetics of Narrative in Kazuo Ishiguro’s Novel “A Pale View of Hills”“. Слово і Час, Nr. 12 (20.12.2019): 57–64. http://dx.doi.org/10.33608/0236-1477.2019.12.57-64.
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The current paper explores the narrative strategies and poetics of intermediality in Kazuo Ishiguro’s first novel “A Pale View of Hills” (1982). Particular attention is paid to the notions of narrative unreliability and subjectivity exemplified by the ambiguous first-person narrative in the novel. The researcher focuses on the narrative techniques, as well as on the numerous lexical and other literary means that emphasize the unreliability of the narrator, who is also the protagonist. It allows revealing the hidden emotions and tendency to self-deceit. In addition, the paper traces the features of Japanese aesthetics and literature in the novel. The most peculiar among them are concise verbal expression, lack of emotion, and audiovisuality, which is primary concentration of the narrative on the visual and auditory images, rather than on the characters’ internal psychological processes. A range of narrative strategies and special literary effects in “A Pale View of Hills”, being characteristic for the art of cinematography, make the novel a vivid example of the cinematographic (cinematic) literature, which requires a different, more image-oriented perception of the reader. Among such techniques, the most notable are the enhanced symbolism of sensual images; revealing the characters’ actual feelings and thoughts through their non-verbal language and dialogues; fragmented and elliptic nature of the narrative that resembles the technique of montage; and the plasticity of chronotope, which is represented by the active use of flashbacks in the novel.
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Pardey, Hannah. „Dramatic Dissent in Wole Soyinka’s Metaphysical Play Death and the King’s Horseman (1975) and Biyi Bandele’s Netflix Adaptation Elesin Oba: The King’s Horseman (2022)“. Matatu 54, Nr. 2 (05.12.2023): 173–203. http://dx.doi.org/10.1163/18757421-05402002.
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Abstract Approaching the theme of this special issue as a dramatic structure, the contribution investigates the representation of dissenting practices in Wole Soyinka’s Death and the King’s Horseman and Biyi Bandele’s Elesin Oba: The King’s Horseman. First published in 1975, Soyinka’s metaphysical play dramatises the events surrounding the eponymous protagonist Elesin Oba who, according to Yoruba cosmology, must follow the king in death to ensure harmony between this world and the next. Questioning both metaphysical and Marxist readings of the play, I argue that its employment of ritual as a dramaturgical device functions to explore the intricate reasons for failed leadership in post-independence Nigeria. This re-reading of Soyinka’s classic is informed by its recent screen adaptation, Elesin Oba: The King’s Horseman, which was co-produced by Ebonylife Films and Netflix and directed by the late Nigerian playwright and filmmaker Biyi Bandele. Reinforcing new Nollywood’s budding relationship with Netflix and its accompanying globalisation, Bandele’s movie appropriates the play’s dramatic structure of dissent on the levels of cinematography and editing, mise-en-scène and sound, inviting its transnational viewers to consider past and present manifestations of dissent as a means of managing and envisioning possible solutions to contemporary conflicts. The conclusion stresses that the ritual form presents a flexible device to interrogate historically specific power relations and encourage distinct generations of audiences to imagine their forms, causes, and alternatives; whereas Soyinka’s play suggests that these alternatives rest on the capabilities of the educated middle classes, Bandele’s movie constructs more diversified audiences which may settle for its consoling or dissenting aesthetics, respectively.
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Hall, Bert S. „Theatre of Fire: Special Effects in the Early English and Scottish Theatre (review)“. Technology and Culture 42, Nr. 1 (2001): 192–93. http://dx.doi.org/10.1353/tech.2001.0019.
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Zubko, Olha. „Scientific and technical discoveries of the 1920s and Ukrainian emigrationin in the Interwar Czechoslovak Republic (1918–1939)“. Bulletin of Luhansk Taras Shevchenko National University, Nr. 9 (347) (2021): 146–56. http://dx.doi.org/10.12958/2227-2844-2021-9(347)-146-156.
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This article informs about the impact of scientific and technological progress of the 1920s on everyday life of the Ukrainian emigration center in the interwar period of Czechoslovakia in 1918-1939. First of all, it is referred to technological novelties of the period in 1921-1929: cinematography, television, automobile manufacturing, fashion, medical industry, telegraph, and bank and post transfers. The proposed topic has not been submitted to the scientific audience yet, as far as the life of the Ukrainian emigration in the interwar of Czechoslovak Republic was considered mainly in the context of political and sociocultural work both emigrants themselves and the latest Ukrainian, Czech and Slovak historians. It is focused on two pointsin the proposed scientific intelligence: consideration of the everyday life of anti-Bolshevist emigration and of the lives of Ukrainian immigrants in Czechoslovakia which were arbitrarily distributed for four periods: 1918-1921, 1921-1925, 1925-1933, 1933-1939, all of which had its own specific features. Consideration of the Ukrainian everyday emigration life in the years 1921–1929 in the interwar of Czechoslovakia carried out with the help ofrecollection, memoirs, postal correspondence (letters) and archival documentation. Therefore, it implies the usage of general methods of the scientific research: analysis, analogy, historical and logical methods. The emigrational routine is a farsighted direction of the historical research, because it is the history of the small vivid worlds, peculiar alternative to the researches which are focused on global political and social processes and events.Everyday life is not minted in special decrees or laws;it is notrecorded in programs and speeches, as far as political and state history, and it is not honed by the financial gains in the economy, and by the cultural monuments, though it always exists like air, it goes unnoticed as time.
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Ilyichev, Anton Vladimirovich. „Baldwin IV of Jerusalem as the image of the ideal ruler of the Middle Ages“. Genesis: исторические исследования, Nr. 11 (November 2021): 46–62. http://dx.doi.org/10.25136/2409-868x.2021.11.34246.
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This article is dedicated one of the most remarkable kings of Jerusalem Baldwin IV, also calked the “Leper King”. The goal lies in analyzing the role of Baldwin IV in military-political history of the Kingdom of Jerusalem. The central task is to determine historical veracity of the positive image of Baldwin IV described in literature and cinematography. The historiographical framework is comprised on the works of national and foreign authors devoted to the history of the Latin Kingdom of Jerusalem; works of the Latin chronographers, as well as fragments from Arabic sources that were translated into English by M. C. Lyons and D. E. P. Jackson in their monograph “Saladin: the Politics of the Holy War”. The article raises the question of whether it is possible to advance a thesis that Baldwin IV is the prominent ruler of his time based on the analysis of personal traits and actions. Special attention is given to consideration of the domestic policy of the Kingdom of Jerusalem in the late XII century, as well as relationship of the young king with different political alliances. The conclusion is made that by virtue of his personal traits and actions, Baldwin IV significantly contributed to ensuring security of the Kingdom of Jerusalem. However, serious illness alongside critical internal challenges, led to the siege of Crusader state in the Battle of Hattin. Baldwin IV was unable to prevent it. The personality of Baldwin IV has not previously become the object of separate comprehensive study, which defines the scientific novelty of this paper. The article also views the events that took place in the Kingdom of Jerusalem over the period from 1160 to 1180 from the perspective of personality approach.
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Martí-Henneberg, Jordi, und Daniel A. Tirado-Fabregat. „Introduction: A New Look at the Origins of Economic Growth and Regional Inequality“. Journal of Interdisciplinary History 49, Nr. 1 (Juni 2018): 1–8. http://dx.doi.org/10.1162/jinh_e_01229.
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The contributions to this special issue share important themes and methodologies in their quest to explicate economic development and its effects. Nonetheless, each area under examination has its own peculiarities and warrants its own scope of analysis. The result is a special issue that pursues an innovative line of research, exploring parallels and contrasts in economic growth and inequality based on new data at the regional, rather than simply the national, level.
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Martí-Henneberg, Jordi. „Geographical Information Systems and the Study of History“. Journal of Interdisciplinary History 42, Nr. 1 (Juni 2011): 1–13. http://dx.doi.org/10.1162/jinh_a_00202.
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The articles in this special issue are unique in their use of historical geographical information systems (hgis) to explore a common theme—transport infrastructure and its effects on population distribution in nineteenth- and twentieth-century Europe. Collectively and individually, they demonstrate how to integrate spatial analysis into historical research and how to bring a historical dimension to geographical analyses.
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Bonaventura, Rosa, Francesca Zito und Roberta Russo. „Special Issue on “Insights on Ecotoxicological Effects of Anthropogenic Contaminants in Aquatic Organisms”“. Toxics 11, Nr. 4 (27.03.2023): 311. http://dx.doi.org/10.3390/toxics11040311.
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In human history, many key points have characterized technological progress, such as the use of metals, which began in prehistoric times and continues to the present day, with many industrial uses [...]
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Roth, Grace M., und Richard M. Shick. „THE CARDIOVASCULAR EFFECTS OF SMOKING WITH SPECIAL REFERENCE TO HYPERTENSION“. Annals of the New York Academy of Sciences 90, Nr. 1 (15.12.2006): 308–16. http://dx.doi.org/10.1111/j.1749-6632.1960.tb32645.x.
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Jicheng, Cong. „Application of data driven 3D animation special effects in movie advertisements: history of the issue“. OOO "Zhurnal "Voprosy Istorii" 2023, Nr. 7-1 (01.07.2023): 214–21. http://dx.doi.org/10.31166/voprosyistorii202307statyi28.
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The new media era has created favourable conditions for the dissemination of film and television advertisements. This article first analyzes the advantages of applying 3D animation technology to film and television advertisements, and then the shooting and performance techniques of applying 3D animation art to film and television advertisements.
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Hankte, Steffen. „Matters of Gravity: Special Effects and Supermen in the 20th Century“. Journal of Popular Culture 38, Nr. 1 (August 2004): 216–17. http://dx.doi.org/10.1111/j.0022-3840.2004.107_6.x.
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Tang, Yuqian. „Marvel Movies: Film Manufacturing in the Digital Agecomic“. Lecture Notes in Education Psychology and Public Media 36, Nr. 1 (15.01.2024): 269–74. http://dx.doi.org/10.54254/2753-7048/36/20240471.
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As technology continues to develop and innovate, the movie manufacturing industry is also evolving. Through the use of digital technology, film production has become more efficient, precise and realistic. Movie production, because of technological innovations should develop a new vitality. This thesis will explore how technological innovation has helped movie manufacturing and the application of digital technology in Marvel movies. Firstly, this paper will introduce the concept and development history of special effects in film and television, including traditional special effects techniques in film and television and special effects techniques in the digital era. Then, this paper will focus on the application of digital technology in Marvel movies, including the application of technology in artificial intelligence, special effects technology and marketing and promotion. Finally, this paper will summarize the impact of technological innovation on film manufacturing and look forward to future trends.
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Higuchi, Hiroyoshi, und Hideaki Karaki. „Special Issue on Extinction of Organisms“. Journal of Disaster Research 3, Nr. 3 (01.06.2008): 165. http://dx.doi.org/10.20965/jdr.2008.p0165.
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Plants and animals are declining or becoming extinct in many parts of the world. They include both well-known species such as the giant panda (Ailuropoda melanoleuca) and the crested ibis (Nipponia nippon) and once common land snails, fireflies and small migratory birds. Factors leading to population decline or extinction include habitat destruction, chemical pollution, alien species, poaching, infectious disease, and global warming. In addition to their individual adverse impacts, these factors often overlap or interconnect in time and space, compounding their effects. In limited areas isolated by habitat destruction, for example, alien species and global warming more easily cause local populations to decline and become extinct. There are also natural disasters such as volcanic activity and meteors that diminish or exterminate flora and fauna populations. However, extinction of species and groups sometimes give an opportunity for other species and groups to occupy vacant niche and similar life styles, which may lead to adaptive radiation in evolution. Organisms have repeated such evolution and extinction throughout geological history. This special issue focuses on the extinction of plants and animals resulting from both human activity and natural disasters. In the first of seven articles, Hisashi Nagata reviews the history of extinction and the natural and human factors involved. Kazuto Kawakami looks at the impact of alien species on current ecosystems in the Ogasawara Islands, demonstrating interrelationships among different plant and animal species and pointing out what we could do about island ecosystem conservation and management. Haruo Ogi discusses the effects of fisheries by-catch on sea birds. TatsuyaKunisue and Shinsuke Tanabe detail the effects of chemical pollution on wild animals. Both factors are important in conserving biodiversity and in maintaining industries such as marine fisheries. Kazuya Ashizawa et al. focus on the population decline and extinction of plants growing along dry river beds and becoming rare as a result of human activities changing the structure of natural rivers. Yunshan Su deals with the history of the near extinction of crested ibises in China, and introduces successful recovery programs that may be useful in a similar Japanese program for the same species. Takashi Kamijo et al. detail the impact of volcanic activity on the vegetation of a small island, discussing ecosystem recovery. We hope that this special issue will lead to better understanding of the unique interrelationships among plants, animals and the inorganic world, teaching how to conserve and manage the biodiversity around us. Extinction of one species may appear to have nothing to do with human lives, but the extinction of many plants and animals sets up serious conditions in maintaining life during the changing structure and function of ecosystems comparable in process to an aircraft losing rivets one by one and finally crashing at a critical point with massive loss of life.