Relevant bibliographies by topics / Cinema and politics

Contents

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

Academic literature on the topic 'Cinema and politics'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Cinema and politics"

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Erkan, Ekin. "Cinema/politics/philosophy." New Review of Film and Television Studies 18, no. 3 (June 8, 2020): 372–79. http://dx.doi.org/10.1080/17400309.2020.1778158.

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Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.

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Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writers, and actors initiated the discussions of caste hierarchy in popular cinema. The political situations of Tamil Nadu have been a deep influence in molding these directors and their courageous ventures of popular cinema with Dalit subjects. Dravidian Ideology, Mandal politics, and the recent revival of Ambedkarite politics have been fuel for this. Still, fitting Dalit issues into the frames of the popular and commercial film have both pros as well as cons. Hence, this article analyses the relevance of the socio-political situations of Tamil Nadu in initiating mainstream Dalit cinemas. It also looks into the pros and cons of the popular narrative of Dalit subjects.
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Peleg and Kaplan. "Israeli Cinema and Politics." Jewish Film & New Media 6, no. 2 (2018): 133. http://dx.doi.org/10.13110/jewifilmnewmedi.6.2.0133.

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Khatib, Lina. "The Politics of Iranian Cinema." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 117–19. http://dx.doi.org/10.35632/ajis.v27i3.1315.

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If there is one element of the politics of Iranian cinema that is understudied,it is that of the relationship between Iranian films and the Iranian film audience.Saeed Zeydabadi-Nejad’s book, The Politics of Iranian Cinema: Filmand Society in the Islamic Republic, fills this glaring gap by providing aunique insight into how Iranian films are received in Iran; what political andsocial debates they spark; and how they form part of a larger nexus of powernegotiations between the state, artists, and film viewers. The book takes anexpansive approach to “politics,” not favoring hard politics over soft politics or vice versa, but showing how the two go hand in hand in defining the filmmakingprocess in Iran.The book’s uniqueness lies in its reliance on participant observation, inaddition to interviews, as one method of studying the Iranian film audience.Through this, the reader gets a sense of people’s reactions to the films discussed.Zeydabadi-Nejad often reproduces sections of conversation amongfilm viewers that bring to life his statements about the films’ relationshipwith the political environment. The cynicism expressed by a group of youngpeople after watching Bahman Farmanara’s 2001 film House on the Water(p. 86), for example, serves as a sharp illustration of the disillusionment withstate ideology among the urban middle class — an issue covered elsewherein the literature on Iranian cinema, but usually presented in generalized termsrather than through the prism of individual reactions found here ...
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Cybil, K. V. "Cinema and the Political: Deleuze and the Desire of Documentation in the Third World." Deleuze and Guattari Studies 12, no. 1 (February 2018): 84–103. http://dx.doi.org/10.3366/dlgs.2018.0297.

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This paper attempts to analyse the images that animated a political movement called the Odessa Collective in Kerala since 1984. It produced six films – Amma Ariyan (A Report to Mother, 1986), Ithrayum Yathabhagam (Journey So Far, 2003), Vettayadapetta Manasu (Haunted Mind, 2006), Mortuary of Love (2009), Agnirekha (Line of Fire, 2011) and Holy Cow (2015). This paper tries to argue that the twenty-two years of this movement's politics can be studied as an assemblage of the man and machine in a Deleuzian framework on cinema of the Third World. It tries to conceptualise the linkages between the Cinéma Vérité of Jean Rouch and the Third Cinema of Solanas and Getino or the milieu of the political which creates realistic documentation in cinema. It looks at the concepts like desire and representation that intersect between these two different genres in order to reconceptualise the political in relation to Deleuze on cinema.
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Bishop, Elizabeth. "Politics of Cinema in Hashemite Iraq." Oriente Moderno 93, no. 1 (2013): 101–26. http://dx.doi.org/10.1163/22138617-12340004.

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Abstract Hashemite Iraq was better integrated into the global cinema that other Arab countries. Baghdad audiences loved film noir, and the US succeeded in displacing the UK as a source of newsreels, as well. During the Cold War’s first decade, Hollywood continued to pump inexpensive productions and aged celluloid through Iraq, including films made under US government contracts. Local viewers responded thoughtfully to such films, engaging themes such as responsibility and guilt. Against this general background, specific allegations that testing of weapons delivery systems for germ warfare continued after the end of the Korean War, are assessed in the light that public health authorities reported a series of outbreaks of meningitis among audiences in Baghdad cinemas.
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Velayutham, Selvaraj, and Vijay Devadas. "Tamil Nadu Politics and Tamil Cinema: A Symbiotic Relationship?" Society and Culture in South Asia 8, no. 1 (November 13, 2021): 96–117. http://dx.doi.org/10.1177/23938617211054160.

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From the second-half of the twentieth century, a nascent Tamil cinema became increasingly influential in Tamil society and more prominent in political life. The Dravidar Kazhagam, founded by Periyar E. V. Ramasamy in 1944, morphed into the DMK and AIADMK, two dominant state political parties in Tamil Nadu. Through the medium of film, some of its leading lights, C. N. Annadurai, M. Karunanidhi, M. G. Ramachandran and Jayalalitha, cultivated cinema audiences and the voting public in the political ideologies of the Dravidian movement and subsequently became Chief Ministers of Tamil Nadu. The symbiotic relationship between politics and Tamil cinema has meant that political and social commentaries and the assertion of Tamil nationalistic ideas was commonplace in Tamil films. In recent years, Tamil cinema has become the vehicle for raising a wide range of concerns ranging from caste, class and gender and state/nation politics, marking a shift that focusses on everyday politics in the state. In this article, we present a critical survey of the role of Tamil cinema in disseminating particular realities and politics of identity that speak to an essentialised notion of Tamil cultural and linguistic identity, the concomitant disavowal of broader conceptions of Indian-ness or belonging to the Indian nation, as well as the use of cinema to address everyday politics in the State.
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Khalid, Haleema, Muhammad Shahbaz, and Behzad Anwar. "Politicotainment: Fictionalizing Politics in Pakistani Cinema." Global Regional Review II, no. I (December 30, 2017): 273–88. http://dx.doi.org/10.31703/grr.2017(ii-i).19.

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This article aims to investigate Maalik, Pakistani political thriller as the product of ‘politicotainment’, a genre combining politics and entertainment. Keeping in view the nexus of politics, media and language, Discourse Historical Approach from the perspective of Critical Discourse Analysis with a particular focus on media, discourse, and society is employed. Maalik, is exceptional movie because it is explicitly related to real life socio-political and socio-cultural events of Pakistan; its focus on social and political issues such as exploitation of power and corrupt political system shifts the focus towards the ownership of Pakistan and accepting responsibilities. Therefore, the film connects the emerging political discourse in Pakistan with the rising public pulse against corruption and call for accountability. This research provides insights regarding the discursive construction of contemporary Pakistani narrative in the time of national crisis in order to reveal the projected and recontextualized norms in the context of Pakistan.
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Rayfield, J. R., and Manthia Diawara. "African Cinema: Politics and Culture." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 27, no. 2 (1993): 291. http://dx.doi.org/10.2307/486073.

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Ballas, Anthony James. "Review of Cinema/Politics/Philosophy." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 291–98. http://dx.doi.org/10.5195/cinej.2020.263.

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Dissertations / Theses on the topic "Cinema and politics"

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Kirkland, Ewan. "The politics of children's cinema." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400877.

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Miller, Jamie. "The politics of Soviet cinema, 1929-1941." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438341.

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Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.

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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.
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Ghosh, Sanjukta T. "Celluloid nationalism : cultural politics in popular Indian cinema /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759914758891.

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Cheney, Zachary. "Stylish Politics: Long Takes in Post-1945 Cinema." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22758.

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This dissertation is a politically conscious, comparative-historical formal analysis of long takes at the intersection of art and mass-market cinemas in the post-WWII era. Given the contemporary fascination with long takes in the critical discourse of film along with its fairly rampant employment in contemporary mainstream cinema, the discipline has lacked scholarship carefully examining formal techniques as such while remaining alert to the non-reductive possibilities for their political significance. Enlisting and building on the analytical approach of a cinematic poetics, the project outlines numerous contingencies in the practice of very long takes and their function in producing meaning before attending to the technique at the levels of cinematography, editing, and mise-en-scène in separate chapters. Objects of analysis are roughly divided in each chapter between progenitors of contemporary long-take practice—Italian neorealist films, Rope (1948), the 1960s and 1980s films of Jean-Luc Godard, and Jeanne Dielman (1975)—and more recent examples—Timecode (2000), Children of Men (2006), Birdman (2014), A Girl Walks Home Alone At Night (2014), and Too Late (2015). The dissertation invests in the inseparability of form and content, as well as the political stakes of long take practice at both levels by parsing out the historical, technological, cultural, and diegetic contexts of long takes. In so doing, the approach exemplifies previously unrecognized possibilities for employing a historical poetics in a manner acknowledging a formal technique’s commitments to and participation in social power dynamics. These dynamics are legible within a film, in its production, and in its participation in the historical tradition of authorship as constructed in European art cinema.
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Richardson, Niall. "Queer politics and poetics : the cinema of Derek Jarman." Thesis, University of Ulster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414982.

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Elder, Keir. "James Barke : politics, cinema and writing Scottish urban modernity." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/0e2e9d04-334e-445a-b1b1-9fa7cbca5fa5.

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This thesis examines the early works of the Scottish novelist, playwright, would-be screenwriter, commentator and political agitator, James Barke, to argue that he was a more significant figure on the Scottish literary scene than his place in the canon would suggest. The purpose in so doing is to suggest that his writing was symptomatic of a modernisation in Scottish society and letters during the 1930s. In prosecuting this endeavour, the research considers four aspects of the author's early output: the political dimension; his aesthetic sensibilities; the impact and representation of the city; and finally the part played by the experience and influence of the cinema. Equally, it is argued that these novels are emblematic of both the author's own migration from country to city and the longer-term transformation of Scotland's demography from largely rural-dwelling to largely urban-dwelling. The theoretical method engages with a Marxist critique and anchors Barke's early novels to his constantly evolving political commitment which tracks, but does not entirely subscribe to, the development of a broad range of Leftist ideologies of the era. The jump-off point and principal underpinning of the research is an appreciation of James Barke's Major Operation (1936) as a Scottish novel of significance for its literary innovation, approach to, and rendering of, Scottish urban modernity. In the thoroughgoing 2002 analysis of the field in Scottish Literature edited by Douglas Gifford, Major Operation is identified as one of the Scottish novels 'extending its perspective of ironic social realism to the city' and a novel that 'had no time for non-political and non-economic considerations.' This thesis contends that this is to diminish the scope of Major Operation's engagement with innovative forms and considerations of the dichotomies that comprise the modern city. I argue that, inspired by the stylistic achievements of James Joyce, in many respects Ulysses and Major Operation are contiguous, each author concerned with a ‘peripheral’ city in an Empire, each coloured by its national tradition, residual parochial features, idiolect and political situation. In a bold literary form, Barke's novel celebrates and critiques Glasgow in a manner unsurpassed in Scottish letters, his approach to modern urban Scotland in his early novels being a uniquely informed and cosmopolitan one.
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Khouri, Malek. "Ideology and critical politics in the discourse on Canadian cinema." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26924.pdf.

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Khouri, Malek Carleton University Dissertation Canadian Studies. "Ideology and critical politics in the discourse on Canadian cinema." Ottawa, 1997.

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Marteau, Aurélie. "Cinema and Politics since 9/11: the Democratic Pardox of Media." Thesis, Linköping University, Department of Management and Economics, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6309.

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The question of whether cinema is democratic is a vast one, which requires research limitations of time and place to actually find an answer for. In this study, the place will be the United States, because nowhere else is the industry of cinema so powerful and generates more elements of popular culture; where also the country is considered to be democratic and practicing freedom of speech. The time will be the period following 11th September 2001: a date after which American politics has been chaotic both inside and outside the country, consequently producing a very controversial subject matter to debate in films.

However, the question still remains huge as the answer might differentiate according to the varying scope different types of cinema productions may hold. Accordingly, we will limit our focus within the field of political alternative films; and apply and seek to verify Jürgen Habermas’ theory of the public sphere in analysing their content to reach inferences on democracy. Afterwards, enlarging our perspective to the American cinema industry by and large, we will argue that the economic value of a film and the subject it deals with undermine the democratic ideals of equal representation the public sphere carries, as capitalism enters the scene. Some other dilemmas will emerge on this path: are movies being imposed by a dominant class in order to make the audience passive towards their environment? Or is it the audience, the people themselves, who create the aspects of popular culture in cinema?

Finally, we are to put the first question in other terms: does cinema socially and democratically represent its viewers’ ideology? In the limit of our empirical means, giving responses to those questions will be the heart of this thesis.

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Books on the topic "Cinema and politics"

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1944-, Nandy Subhash, ed. Montage: Life, politics, Cinema. Kolkata: Seagull Books, 2002.

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African cinema: Politics & culture. Bloomington: Indiana University Press, 1992.

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Diawara, Manthia. African Cinema: Politics and culture. Bloomington: Indiana U.P, 1992.

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Rushton, Richard. The Politics of Hollywood Cinema. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137316165.

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Derek, Malcolm, Benegal Shyam 1934-, Sur Ansu, Ācārya Anila, and Nandan (Organization : Calcutta, India), eds. World cinema, power, politics, and hegemony. Kolkata: Nandan, 2005.

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Dan, Georgakas, and Rubenstein Lenny, eds. Art, politics, cinema: The Cineaste interviews. London: Pluto Press, 1985.

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Chinese cinema: Culture and politics since 1949. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Peter, Steven, ed. Jump cut: Hollywood, politics, and counter-cinema. Toronto, Ont: Between the Lines, 1985.

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Soviet cinema: Politics and persuasion under Stalin. London: I.B. Tauris, 2010.

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Holmes, Amanda. Politics of Architecture in Contemporary Argentine Cinema. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55191-3.

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Book chapters on the topic "Cinema and politics"

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Forbes, Jill, and Sarah Street. "Economics and Politics." In European Cinema, 3–25. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-08034-9_1.

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Vidal, Belén. "Radical Politics, Middlebrow Cinema." In Middlebrow Cinema, 156–77. London ; New York : Routledge, 2016. | Series: Remapping world cinema: regional tensions and global transformations: Routledge, 2016. http://dx.doi.org/10.4324/9781315630564-12.

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Thwaites Diken, Ebru. "Introduction: Cinema, Politics and Religion." In The Spectacle of Politics and Religion in the Contemporary Turkish Cinema, 1–8. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71700-5_1.

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Peredo-Castro, Francisco. "Inquisition Shadows: Politics, Religion, Diplomacy, and Ideology in Mexican Film Censorship." In Silencing Cinema, 63–78. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_5.

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Xiao, Zhiwei. "Prohibition, Politics, and Nation-Building: A History of Film Censorship in China." In Silencing Cinema, 109–30. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_8.

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Rushton, Richard. "What Is a Politics of Cinema?" In The Politics of Hollywood Cinema, 1–32. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137316165_1.

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Rushton, Richard. "Politics and Hollywood Cinema: Marked Woman." In The Politics of Hollywood Cinema, 80–107. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137316165_4.

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Keeton, Patricia, and Peter Scheckner. "Class and Politics." In American War Cinema and Media since Vietnam, 105–18. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137277893_6.

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Zhou, Xuelin. "Codename Cougar: Politics or Entertainment?" In Globalization and Contemporary Chinese Cinema, 9–33. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_2.

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Andermann, Jens. "The Politics of Landscape." In A Companion to Latin American Cinema, 133–49. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118557556.ch8.

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Conference papers on the topic "Cinema and politics"

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Kurtoğlu, Ramazan. "Financial-Economic Crisis and Hollywood’s Social Transformation Operations by Horror Movies." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.01055.

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The fastest change and transition in the human history is neoliberal capitalism’s 30 year global free market politics project which affects every part of the world with 1978 Washington Consensus. According to John Gray who is a well known academician and an intellectual of the new right-wing, neoliberalism is an apocalyptic secular religion which is based on pagan and Christian values and its ultimate goal is post-apocalyptic heaven in the real world. The best marketing expert of this heaven is, Hollywood based American cinema industry in crisis as well as in regular times. In this study, the effects of the horror movies to the subconscious under economical crises period will be analyzed.
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"HISTORICAL AND POLITICAL ISSUES IN THE CINEMA OF THE PERESTROIKA PERIOD." In Russian science: actual researches and developments. Samara State University of Economics, 2019. http://dx.doi.org/10.46554/russian.science-2019.10-1-115/118.

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Shabaiek, Naiera. "EGYPTIAN CINEMA TREATMENT OF THE POLITICAL REALITY DURING NASSER AND SADAT ERAS." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5112.

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Isyangildin, Vildan. "Features of political advertising in domestic cinema (for example 2010-2020 yy.)." In Actual problems of communication: theory and practice. Baskir State University, 2021. http://dx.doi.org/10.33184/apktip-2021-12-25.11.

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Boonnimitra, Sopawan, and Peerachai Kerdsint. "The Rise of the Documentary Film Movement in Thai Cinema During the Current Political Conflict." In The Asian Conference on Media, Communication and Film 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.16.

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Rahayu, Dwi, and Farah Oktafani. "The Effect of Online Customer Review on Trust and its impact on Purchase Intention in Cinema Films on Subscribers of YouTube Channel Review Film Cine Crib." In Proceedings of the 5th International Conference on Indonesian Social and Political Enquiries, ICISPE 2020, 9-10 October 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.9-10-2020.2304779.

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Megawati, Esra, and Sumeidi Kadarisman. "PENGARUH KEDISIPLINAN SISWA DAN MOTIVASI BELAJAR TERHADAP HASIL BELAJAR SELAMA PEMBELAJARAN JARAK JAUH JURUSAN TATA BOGA SMK ICB CINTA WISATA." In Seminar Sosial Politik, Bisnis, Akuntansi dan Teknik (SoBAT) ke-3. LPPM USB YPKP, 2021. http://dx.doi.org/10.32897/sobat3.2021.8.

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Setiap sekolah membutuhkan SDM yang besar, dengan tujuan agar tujuan sekolah dapat tercapai. Namun, untuk mewujudkannya, penting untuk fokus pada hak istimewa dan komitmen mereka sebagai siswa. Landasan perencanaan postulat ini adalah tidak adanya disiplin siswa dan inspirasi untuk belajar. Tujuan dari penelitian ini yaitu untuk mengetahui dan menganalisa tentang kedisiplinan siswa, motivasi belajar serta hasil belajar selama pembelajaran jarak jauh jurusan tata boga SMK ICB CINTA WISATA. Metode penelitian ini menggunakan metode penelitian deskriptif verifikatif dengan pendekatan kuantitatif. Populasi dari penelitian ini adalah siswa siswi SMK ICB CINTA WISATA jurusan tata boga yang mewakili kelas X dan XI. Contoh yang diambil adalah 56 siswa dan prosedur pemeriksaan menggunakan strategi pemeriksaan relatif. Strategi investigasi informasi menggunakan pemeriksaan kekambuhan langsung yang berbeda, uji F dan uji T. Efek samping konsentrat sekaligus menunjukkan adanya pengaruh positif disiplin siswa dan inspirasi belajar terhadap hasil belajar selama pembelajaran jarak jauh. Secara parsial kedisiplinan siswa tidak berpengaruh signifikan terhadap hasil belajar. Sedangkan motivasi belajar sangat berpengaruh secara signifikan terhadap hasil belajar selama pembelajaran jarak jauh.
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Chakim, Sulkhan, Nawawi, Uus Uswatussolikah, and Moh Roqib. "Intersectionality of Gender and Religious Politics in the Humanitarian Discourse of Ayat-Ayat Cinta Film." In 1st Borobudur International Symposium on Humanities, Economics and Social Sciences (BIS-HESS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200529.211.

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Asmawati, Asmawati, and Yasnur Asri. "Representation of Political Tragedy in Cerita Cinta Enrico by Ayu Utami." In Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iclle-18.2018.90.

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De Gennaro, Tiziana, and Davide De Leo. "Il restauro del castello di Massafra (TA)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11445.

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The restoration of Massafra’ Castle (TA)Massafra Castle’s restoration project aims to preserve and enhance the monument, redeeming it from the current state of partial abandonment, with the scope to return it to the community. First, an in-depth study of an historical research was carried out together with the analysis of the monument’ superficial and structural degradation to identify the adequate remedies. It was clear that “restoring only the stones” would have not been efficient and therefore finding a new purpose was necessary and essential. Finding a new scope for those kinds of architectures is a matter of great interest, because more than any other type of monuments, those are completely out of their historical context that gave them political, military and economic reason to be built. Therefore, following a sociological investigation, it emerged that the best solution would be create a connection between Massafra and cinematography: there are many cultural organizations in this area and most of them need more dedicated space. Massafra has already been chosen several times as a movie set by famous authors: Il Vangelo secondo Matteo by Pier Paolo Pasolini, Il Paese delle spose infelici by Pippo Mezzapesa and Amiche da morire by Giorgia Farina. This is how the MOVIE (Massafra Omni Vision between Innovation and Cultural Heritage) idea was born, a 360° cinema setting which is unique at a national level and that it would become part of larger cinematographic circuit already flourishing in the Apulia region. The project’s feasibility was then evaluated from a logistic-economic point of view. Furthermore, given the Castle’s location, the project proposes the reopening of ancient paths that connect the monument to the historical town centre and to the Ravine. The project also supports the restoration of rock settlements with its cave houses (currently completely collapsed) that surround the castle’s foundation to divulge hospitality.
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