Journal articles: '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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Wayne, Mike. "Nico Baumbach, Cinema/Politics/Philosophy." Screen 61, no. 3 (2020): 496–99. http://dx.doi.org/10.1093/screen/hjaa037.

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Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.

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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema present only the ‘crisis-ridden’ scenarios of the Bengali film industry―suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980–90s almost became synonymous to the concept of the ‘B-grade’ cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler ‘crisis narrative’ scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is ‘B-grade’ cinema in the context of the Bengali cinema of the 1980–90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer.

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Scheible, Jeff. "Expanded Cinema, Recycled Cinema." Feminist Media Histories 8, no. 2 (2022): 180–207. http://dx.doi.org/10.1525/fmh.2022.8.2.180.

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VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT’s 1980s television documentary on avant-garde film, The Armed Eye, and Varda’s final two documentaries, Faces Places (2017) and Varda by Agnès (2019).

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Dall'Asta, Monica, Barbara Grespi, Sandra Lischi, and Veronica Pravadelli. "A Politics of Intimacy." Feminist Media Histories 2, no. 3 (2016): 119–41. http://dx.doi.org/10.1525/fmh.2016.2.3.119.

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This conversation with filmmaker Alina Marazzi and editor Ilaria Fraioli took place on April 20, 2012, as part of a conference on found footage cinema at the Arts Department of the University of Bologna. Marazzi and Fraioli were invited to reflect on their work with archival material in films like For One More Hour with You (2002) and We Want Roses Too (2007), by a group of scholars with interests in compilation films, cultural memory, and women's cinema: Monica Dall'Asta, Barbara Grespi, Sandra Lischi, and Veronica Pravadelli.

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Becker, S. "Saving Cinema: the Politics of Preservation." Screen 53, no. 4 (December 1, 2012): 501–3. http://dx.doi.org/10.1093/screen/hjs045.

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Jelača, Dijana. "Teaching transnational cinema: politics and pedagogy." Feminist Media Studies 17, no. 4 (June 6, 2017): 697–99. http://dx.doi.org/10.1080/14680777.2017.1331000.

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Marks, L. U. "A Deleuzian politics of hybrid cinema." Screen 35, no. 3 (September 1, 1994): 244–64. http://dx.doi.org/10.1093/screen/35.3.244.

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Coppola, Joseph. "Cinema/Politics/Philosophy by Nico Baumbach." Film Quarterly 72, no. 4 (2019): 105–6. http://dx.doi.org/10.1525/fq.2019.72.4.105.

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Holden, Gerard. "World Politics, World Literature, World Cinema." Global Society 24, no. 3 (July 2010): 381–400. http://dx.doi.org/10.1080/13600826.2010.485558.

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Sarto, Ana del. "Cinema Novo and New/Third Cinema Revisited: Aesthetics, Culture and Politics." Chasqui 34 (2005): 78. http://dx.doi.org/10.2307/29742031.

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Shoesmith, Brian. "Swadeshi cinema: Cinema, politics and culture: The writings of D.G. Phalke." Continuum 2, no. 1 (January 1988): 44–50. http://dx.doi.org/10.1080/10304318809359350.

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

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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expression shifts from film to film, or from one period of time to another. Gilles Deleuze articulated such a shift in his two works on cinema, Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Namely, he points to the breaking of the link between action and reaction that marks a shift from pre-World War II cinema to the postwar filmmaking environment. To update Deleuze's project on political cinema, this article posits another qualitative shift in political cinema stemming from the emergence of neoliberal economic policies and the growth of networked information systems from the 1990s to the present. This shift compromises earlier models of political cinema and results in a modern political cinema based on the fragmentation of political publics and the formation of new political exigencies. Two films set in Algeria will be used to document this shift in political modes, in a move towards the modern political cinema: Battle of Algiers and Outside the Law (Hors-la-loi, Rachid Bouchareb, 2010 ).

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Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.

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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.

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Joseph, Jenson. "Cinema and the political in Kerala: On Mukhamukham and Amma Ariyan." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 149–61. http://dx.doi.org/10.1386/safm_00011_1.

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Abstract This article contrasts two seminal Malayalam films from the 1980s to understand the fraught relations between the Left politics and cinema in Kerala. The first part of the article argues that Mukhamukham ('Face to face', 1984) is a film in which its auteur director Adoor Gopalakrishnan identifies the Left political discourse and the medium of cinema as two powerful-popular epistemic tools at disposal in the region, but ultimately elevating cinema's resources as superior in taking us closer to truth. In the second part, I look at John Abraham's iconic Amma Ariyan ('Report to mother', 1986), to argue that the film came to be accepted widely and undisputedly as a political film mainly due to its (symbolic) privileging of the energies of collective affect ‐ inalienable to both the Left politics and cinema ‐ over contemplation and endevours of distanced intellectual knowledge production.

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Zhang, Yingjin. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. By Poshek Fu. [Stanford, CA: Stanford University Press, 2003. 288 pp. £14.95. ISBN 0804745188.]." China Quarterly 180 (December 2004): 1111–12. http://dx.doi.org/10.1017/s030574100432076x.

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Despite its short length (152 pages excluding reference matters), this pioneering study in English of “the Shanghai–Hong Kong nexus” in Chinese cinema succeeds in placing wartime Shanghai and Hong Kong cinemas in specific (albeit not always “proper” as Poshek Fu claims (p. xvi)) institutional and industrial contexts, bringing to light the “humanity” of the filmmakers, the “multiplicity of the historical situations,” and the “complexity of the cultural politics” of filmmaking and film criticism (p. xv). Most impressive of all is Fu's dedication to primary research, reading hard-to-find print materials as well as conducting interviews and watching rare films. The book's incredibly rich information (e.g. studio assets, production costs, ticket prices) will certainly interest scholars of modern Chinese history and culture, and Fu's accessible stories should attract general readers as well.After a preface outlining Fu's aims, chapter one, “Mapping Shanghai cinema under semi-occupation,” traces the rise of Zhang Shankun's Xinhua Company in Shanghai and reveals the ambiguities, contradictions and ironies of “Solitary Island cinema” between 1937 and 1941 – a cinema that defied political boundaries and thrived against odds. Chapter two, “Between nationalism and colonialism,” based on Fu's similarly-titled previous study (in The Cinema of Hong Kong: History, Arts, Identity, edited by Fu and David Desser (2000)), discusses Hong Kong's “double marginality” between “Sinocentric” nationalism and British colonialism, and critiques the “Central Plains syndrome” in Shanghai filmmakers stranded in Hong Kong in the late 1930s. Against the Chinese syndrome, Fu asserts, Cantonese films like Southern Sisters (1940) articulated “a both/and hybridity” constitutive of a new “local consciousness” or emergent identity (p. 87). Chapter three, “The struggle to entertain,” derives from Fu's previous article (“The ambiguity of entertainment: Chinese cinema in Japanese-occupied Shanghai, 1942 to 1945,” Cinema Journal, 37.1 (Fall 1997)) and argues against a binary view of either/or (e.g. resistance/collaboration, patriots/traitors). Fu depicts “occupation cinema” as a space of entertainment for the colonized to “escape from Japanese propaganda” (p. xiv), although the both/and logic also compels him to note the paradox that occupation cinema ultimately “helped normalize and naturalize the everyday violence of the occupation” (p. 131). In an epilogue, “Filming Shanghai in Hong Kong,” Fu goes through the changing political–economic situations in post-war Shanghai and Hong Kong.

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Nagib, Lúcia. "Non-Cinema, or The Location of Politics in Film." Film-Philosophy 20, no. 1 (February 2016): 131–48. http://dx.doi.org/10.3366/film.2016.0007.

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Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).

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Lurie, Peter. "Everybody’s Protest Cinema." James Baldwin Review 7, no. 1 (September 28, 2021): 115–37. http://dx.doi.org/10.7227/jbr.7.7.

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This article uses Baldwin’s 1949 essay “Everybody’s Protest Novel” to consider that literary mode’s corollary in the 1990s New Black Cinema. It argues that recent African American movies posit an alternative to the politics and aesthetics of films by a director such as Spike Lee, one that evinces a set of qualities Baldwin calls for in his essay about Black literature. Among these are what recent scholars such as Ann Anlin Cheng have called racial melancholy or what Kevin Quashie describes as Black “quiet,” as well as variations on Yogita Goyal’s diaspora romance. Films such as Barry Jenkins’s adaptation of If Beale Street Could Talk (2018) and Joe Talbot and Jimmy Fails’s The Last Black Man in San Francisco (2019) offer a cinematic version of racial narrative at odds with the protest tradition I associate with earlier Black directors, a newly resonant cinema that we might see as both a direct and an indirect legacy of Baldwin’s views on African American culture and politics.

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Zimmer, Catherine. "Surveillance Cinema: Narrative between Technology and Politics." Surveillance & Society 8, no. 4 (April 19, 2011): 427–40. http://dx.doi.org/10.24908/ss.v8i4.4180.

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Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, this essay offers a historical and theoretical reexamination of the manner in which screen narrative has organized political, racial, affective, and even material formations around and through surveillance. The essay demonstrates that even when films are focused on insistently visual deployments of surveillance technologies, the narrative construction around those technologies suggests highly complex dynamics—dynamics that neither psychoanalytic conceptions of voyeurism nor Foucault’s discourse on Bentham’s panopticon can entirely account for. A visual orientation has made it these approaches which have, within the realm of cinema studies, overwhelming served to explain the formations and functions of a variety of disparate surveillance-themed narratives. A more phenomenological reading of the relations between technology and narrative, as well as a more dynamic intersection with political philosophy as is represented in the growing field of surveillance studies, allows us to see how what this essay calls “surveillance cinema” serves to consolidate the stakes of surveillance technologies and practices with greater attention to historical and structural specificity.

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Croizier, Ralph, and Paul Clark. "Chinese Cinema: Culture and Politics since 1949." American Historical Review 95, no. 1 (February 1990): 234. http://dx.doi.org/10.2307/2163106.

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Cohen, Tom. "Arche -Cinema and the Politics of Extinction." boundary 2 44, no. 1 (January 5, 2017): 239–65. http://dx.doi.org/10.1215/01903659-3725965.

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Bobro, Cedric. "Neglected Cinema and Post-Global Politics Preface." Film Matters 9, no. 2 (September 1, 2018): 4–5. http://dx.doi.org/10.1386/fm.9.2.4_2.

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Velazquez, Laura L. "Politics of children in Latin American cinema." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 45, no. 3 (August 17, 2020): 442–44. http://dx.doi.org/10.1080/08263663.2020.1799685.

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Tan, Ying-Ying, and Irving Goh. "POLITICS OF LANGUAGE IN CONTEMPORARY SINGAPORE CINEMA." Interventions 13, no. 4 (December 2011): 610–26. http://dx.doi.org/10.1080/1369801x.2011.628144.

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Padunov, Vladimir. "Soviet Cinema: politics and persuasion under Stalin." Historical Journal of Film, Radio and Television 30, no. 4 (December 2010): 556–59. http://dx.doi.org/10.1080/01439685.2010.509979.

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Boyd, Todd. ": African Cinema: Politics and Culture . Manthia Diawara." Film Quarterly 48, no. 1 (October 1994): 36–37. http://dx.doi.org/10.1525/fq.1994.48.1.04a00060.

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Kokas, Aynne. "Art, Politics and Commerce in Chinese Cinema." Chinese Journal of Communication 4, no. 3 (September 2011): 375–77. http://dx.doi.org/10.1080/17544750.2011.594567.

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Costello, Judith A. M. "Politics and Popularity: The Current Mexican Cinema." Review: Literature and Arts of the Americas 38, no. 1 (May 2005): 31–38. http://dx.doi.org/10.1080/08905760500112386.

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Raw, L. "New Turkish Cinema: Belonging, Identity and Memory * Cinema and Politics: Turkish Cinema and the New Europe * Cinema at the Periphery." Screen 51, no. 4 (December 1, 2010): 451–56. http://dx.doi.org/10.1093/screen/hjq040.

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Maingard, Jacqueline. "Cinemagoing in District Six, Cape Town, 1920s to 1960s: History, politics, memory." Memory Studies 10, no. 1 (January 2017): 17–34. http://dx.doi.org/10.1177/1750698016670786.

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Drawing on recorded and transcribed life history interviews conducted during the 1980s and 2000s, this article discusses the cinemagoing experiences of District Six residents in Cape Town from the 1920s to the 1960s, before the South African apartheid government began, from 1966, to demolish District Six. Cinemagoing was the chief leisure-time activity in District Six in these years, and when recollections of cinemagoing in the interviews are analysed as discourses of memory, three key themes emerge – cinema and place; cinema, culture, and identity; and films, film shows, and stars – with residents’ remembered experiences revealing the peculiarities of cinemagoing in this very particular locale. Cinema was so thoroughly intertwined with everyday life that residents might be regarded not so much as ‘going to’ the cinema as already being there. They were part of a global seam of filmgoers – ‘cinema citizens’ whilst in every other respect stripped of citizenship rights.

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Güngör, Arif Can. "From Past To Present A Cognitive Work On “New Turkish Cinema”." CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 122–53. http://dx.doi.org/10.5195/cinej.2014.121.

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In recent years, “new” concept has become very consumable especially within the context of politics in our country. Generally, after certain periods in Turkey, “new”, representative of political changes and emphasizing reconstruction process, has been a concept that frequently used in paralel with political, social, economic and cultural use, from past to present. Turkish cinema has had many periods from its constructive years to present; some of which have been in diffuculties and crisises. Having been overcome after every crisis, Turkish Cinema has always recovered itself. After this recovery, process to be rising or expected to be shown up, has wanted to be emphasised by the characterisation of the “new” concept, needed to be created or created different structure. New Cinema concept is considered as a genre as not possible to mention a real stream in the Turkish cinema. The search of the young directors for an alternative cinema language, experiencing types, using various production and filming styles have revealed a richness in development of our cinema. In this essay, New Cinema concept will be introduced in terms of its usage and meanings attributed to it in Turkish cinema. Moreover, its place and importance in Turkish cinema history will be discussed.

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Ahmed, Akbar S. "Bombay Films: The Cinema as Metaphor for Indian Society and Politics." Modern Asian Studies 26, no. 2 (May 1992): 289–320. http://dx.doi.org/10.1017/s0026749x00009793.

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It is difficult to distinguish between art and life in South Asian society; they no longer imitate each other but appear to have merged. Political philosophies, social values, group behaviour, speech and dress in society are reflected in the cinema and, like a true mirror, reflect back in society. Furthermore, film stars cross over from their fantasy world into politics to emerge as powerful figures guiding the destiny of millions. It is thus possible to view the cinema as a legitimate metaphor for society; this perception helps us to understand society better.

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Theus, Tyler. "Nico Baumbach (2019) Cinema/Politics/Philosophy." Film-Philosophy 26, no. 3 (October 2022): 432–35. http://dx.doi.org/10.3366/film.2022.0209.

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Shaka. "Politics of Cultural Conversion in Colonialist African Cinema." Black Camera 12, no. 2 (2021): 61. http://dx.doi.org/10.2979/blackcamera.12.2.04.

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Vanderschelden, Isabelle. "French blockbusters: cultural politics of a transnational cinema." Modern & Contemporary France 28, no. 3 (June 23, 2020): 352–53. http://dx.doi.org/10.1080/09639489.2020.1769047.

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Oliveira, Patricia. "Finding Politics in Cinema: The Portuguese Democratic Transition." Journal of Arts Management, Law, and Society 45, no. 3 (July 3, 2015): 207–15. http://dx.doi.org/10.1080/10632921.2015.1080202.

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Stephen Schryer. "New Deal Cinema and the Politics of Sympathy." Criticism 58, no. 4 (2016): 683. http://dx.doi.org/10.13110/criticism.58.4.0683.

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Alush-Levron, Merav. "The politics of ethnic melancholy in Israeli cinema." Social Identities 21, no. 2 (March 4, 2015): 169–83. http://dx.doi.org/10.1080/13504630.2015.1041015.

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De Souza, Lyle. "Global Chinese cinema: the culture and politics ofHero." International Journal of Cultural Policy 18, no. 3 (June 2012): 356–58. http://dx.doi.org/10.1080/10286632.2012.658780.

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Sørensen, Tonje Haugland. "European Cinema and Intertextuality. History, Memory and Politics." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 171–72. http://dx.doi.org/10.1080/01439685.2013.764734.

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Osuri, Goldie, and Devleena Ghosh. "India/cinema: an archive of politics and pleasures." Continuum 26, no. 6 (November 15, 2012): 799–802. http://dx.doi.org/10.1080/10304312.2012.731209.

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Journal articles on the topic 'Cinema and politics'

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