Academic literature on the topic 'Cinema iconography'
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Journal articles on the topic "Cinema iconography"
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Benet, Vicente J. "Spanish archetypes in transnational cinema: a comparative study of iconography." Journal of Spanish Cultural Studies 16, no. 1 (January 2, 2015): 9–27. http://dx.doi.org/10.1080/14636204.2015.1042322.
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Greene, Naomi. ": Vital Crises in Italian Cinema: Iconography, Stylistics, Politics . P. Adams Sitney." Film Quarterly 50, no. 3 (April 1997): 55–56. http://dx.doi.org/10.1525/fq.1997.50.3.04a00100.
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Centeno Martín, Marcos. "Introduction. The Misleading Discovery of Japanese National Cinema." Arts 7, no. 4 (November 26, 2018): 87. http://dx.doi.org/10.3390/arts7040087.
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The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.
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Greene, Naomi. "Review: Vital Crises in Italian Cinema: Iconography, Stylistics, Politics by P. Adams Sitney." Film Quarterly 50, no. 3 (1997): 55–56. http://dx.doi.org/10.2307/1213620.
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Zambenedetti, Alberto. "Keeping the Faith: Fallen Soldiers and Catholic Iconography in Late Fascist War Cinema." Italianist 37, no. 2 (May 4, 2017): 176–91. http://dx.doi.org/10.1080/02614340.2017.1332727.
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Sáez Pradas, Fernando. "Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 118. http://dx.doi.org/10.17583/brac.2021.5293.
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The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.
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Centeno Martín, Marcos P. "The fight for self-representation." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 69–89. http://dx.doi.org/10.33178/alpha.13.04.
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Film representation of the Ainu people is as old as cinema but it has not remained stable over time. From the origins of cinema, Ainu people were an object of interest for Japanese and foreign explorers who portrayed them as an Other, savage and isolated from the modern world. The notion of “otherness” was slightly modified during wartime, as the Ainu were represented as Japanese subjects within the “imperial family”, and at the end of the fifties when entertainment cinema presented the Ainu according to the codes of the Hollywood Western on the one hand; and Mikio Naruse proposed a new portrayal focusing on the Ainu as a long-discriminated social collective rather than as an ethnic group, on the other. However, Tadayoshi Himeda’s series of seven documentaries following the Ainu leader Shigeru Kayano’s activities marked a significant shift in Ainu iconography. Himeda challenged both the postwar institutional discourse on the inexistence of minorities in Japan, and the touristic and ahistorical image that concealed the Ainu’s cultural assimilation to Japanese culture. The proposed films do not try to show an exotic people but a conventional people struggling to recover their collective past.
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Plecitá, Jana. "The Image of Růžena Maturová in the Iconography Collection of the Bedřich Smetana Museum." Musicalia 12, no. 1-2 (2021): 87–109. http://dx.doi.org/10.37520/muscz.2020.003.
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The article summarises the results attained so far through research and expert processing of the photographs held in the iconography collections of the Bedřich Smetana Museum. It provides information about Růžena Maturová (1869–1938) including previously unpublished details about the period of her life after the end of her career as an opera singer at the National Theatre in Prague (1910–1938), concerning Maturová’s performing in silent film (1920–1922), her work in healthcare services (1914–1920), and her sociocultural activities in support of retired soloists from the National Theatre in Prague (at the Na Slovanech Cinema, 1920–1938). The subject matter of the study is a photo album titled R. Maturová. In many cases, comparisons of the photographs from this album with other available sources have enabled the recognition of persons not previously identified in portraits, more exact determination of dating and provenience, and the identification of photography studios.
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Rajamani, Imke. "Pictures, Emotions, Conceptual Change." Contributions to the History of Concepts 7, no. 2 (December 1, 2012): 52–77. http://dx.doi.org/10.3167/choc.2012.070203.
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The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems.
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Király, Hajnal. "Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (September 1, 2016): 67–86. http://dx.doi.org/10.1515/ausfm-2016-0004.
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AbstractThe representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1
Dissertations / Theses on the topic "Cinema iconography"
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au, x1999@iinet net, and Christina Lee. "Beyond the Pink:(Post) Youth Iconography in Cinema." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.
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Beyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, womens cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Sharys Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of its just another teen movie. Jonathon Bernsteins monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a texts cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Couplands vision of Generation X in 1991 has evolved into Richard Linklaters documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present.
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Lee, Christina. "Beyond the pink: (post) youth iconography in cinema." Lee, Christina (2005) Beyond the pink: (post) youth iconography in cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/151/.
Full textAbstract:
Beyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons - Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker - to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, women's cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Shary's Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis' The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of 'it's just another teen movie'. Jonathon Bernstein's monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a text's cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Coupland's vision of Generation X in 1991 has evolved into Richard Linklater's documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present.
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Lee, Christina H. P. "Beyond the pink : (post) youth iconography in cinema /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.
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Callaghan, Lisa. "Hollywood images of masculinity : Eastwood, Hoffman, Redford and Schwarzenegger." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295783.
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Cantarela, Roberta. "Tinturas do drama: imagens e memórias em a Gata em Teto de Zinco Quente." Universidade Estadual do Oeste do Parana, 2011. http://tede.unioeste.br:8080/tede/handle/tede/2527.
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Previous issue date: 2011-04-14This work has the objective of performing a study about the translation of the play Gata em Teto de Zinco Quente (Cat on a Hot Tin Roof), written in 1954, by the American playwright Tennessee Williams and translated into film by the director Richard Brooks in 1958. The drama is focused on the relationship in crisis of the Maggie's voluptuous character, the cat, and her husband Brick, former alcoholic who sexually rejects hers. The conflict climax occurs in the occasion of the Brick s father birthday, Big Daddy, who has cancer in the terminal stage and he is the only one who is unaware of this fact. This situation leads to a discussion about the inheritance sharing. The cinematographic translation takes the play as a starting point, however the screenwriter and director choices point out to different imaginetic interpretations from the play text, not creating, therefore, a copy, but another work. The memory can be analyzed in the base that recreates it through images and objects. At this point, it is important to emphasize the memory role as a centralizer of the images conception and the confrontation between the characters. In this way, this study starts with the images analysis from the base, the father and son conflict scene, related to the memory, which is the essential element in the narrative delineation of the movie. This work takes as theoretical base the comparative literature concerning the meaning buildings in the study of the homonymous narratives and in analogy to other arts such as painting.
Este trabalho tem como objetivo realizar um estudo sobre a tradução da peça Gata em Teto de Zinco Quente, escrita em 1954, pelo dramaturgo americano Tennessee Williams e traduzida para cinema pelo diretor Richard Brooks em 1958. O foco do drama está no relacionamento em crise da personagem voluptuosa Maggie, a gata, e o seu marido Brick, ex-jogador alcoólatra que a rejeita sexualmente. O auge do conflito é deflagrado no dia do aniversário do pai de Brick, Big Daddy, que está com câncer em fase terminal e é o único que desconhece este fato, o que provoca a discussão dos interessados sobre a partilha da herança. A tradução cinematográfica toma a peça como texto de partida, no entanto, as escolhas do roteirista e do diretor apontam para interpretações imagéticas diferentes do texto de partida, criando não uma cópia, mas sim outra obra. A memória pode ser analisada no porão que a recria por meio das imagens e objetos. Sobre esse ponto, é importante ressaltar o papel da memória como centralizador na concepção das imagens e do confronto entre os personagens. Desse modo, este estudo partirá da análise das imagens do porão, na cena do conflito entre pai e filho, em relação à memória, que é o elemento imprescindível no delineamento da narrativa fílmica e tendo como suporte teórico a literatura comparada na construção de sentidos no estudo das narrativas homônimas e em analogia a outras artes, como a pintura.
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Rotival, Aurel. "Images-lucioles. : Iconologie chrétienne et marxisme hérétique dans le cinéma européen des années 1960 et 1970." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2071.
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Comment appréhender, au tournant des années 1970 et dans des films réalisés par des cinéastes ne faisant pas mystère de leur engagement marxiste, communiste ou révolutionnaire (Pasolini, Arrabal, Fassbinder, Jancsó, Garrel, etc.), la récurrence de motifs et de schèmes empruntés à l’iconographie et à la liturgie chrétiennes ?« L’article des lucioles », publié par Pasolini en 1975, offre la matrice allégorique et théorique permettant d’appréhender la séquence historico-politique singulière qui va de la fin des années 50 au milieu des années 70. Il désigne d’abord l’avènement d’un dangereux pouvoir néo-capitaliste, destructeur et totalisant, face auquel marxisme et christianisme vont être amenés à modifier leurs outils de lutte et de vision du monde. Il décrit ensuite une véritable crise anthropologique qui solde la destruction de mondes culturels entiers, face à laquelle il s’agira de rendre aux rites et aux traditions leur potentiel contestataire, qui leur permet de jouer comme les opérateurs capables de mobiliser les énergies manquantes aux luttes politiques, comme la mémoire ou la communion. En tant qu’élégie pleurant la disparition de cultures aimées, il présente enfin un véritable constat eschatologique sur la fin du monde, problématique théologique ré-exposée, à cette même époque, par la menace nucléaire, paroxysme industriel de la domination du règne de la technique.Ainsi, les lucioles pasoliniennes dessinent-elles le régime iconologique singulier dont procèdent ces films résistants, qui oppose la faible lueur d’une gestualité archaïque, fût-elle religieuse, aux puissants projecteurs rationalistes de la civilisation capitaliste. Les problèmes d’images repérés dans ces œuvres filmiques procèdent donc d’un paradigme historico-esthétique qui fait du passé survivant l’outil privilégié d’une prise de position politique, dont il est possible de tracer l’archéologie, depuis les notions de Nachleben, de Pathosformel et d’Inversion forgées par l’historien de l’art Aby Warburg jusqu’à celle d’« image dialectique » chez Walter Benjamin ; et dont il est possible de retrouver les traces à l’époque, dans des disciplines très variées (la théologie politique de Johann Baptist Metz, qui a fait de la memoria passionis chrétienne une catégorie anti- bourgeoise ; ou encore l’ethnologie du geste élaborée par l’anthropologue Ernesto De Martino, qui devait ouvrir le marxisme à son impensé : l’essentielle dimension réparatrice et socio-culturelle des rites et des images d’origine religieuse).Au confluent de ces deux grandes traditions de l’espérance que sont le christianisme et le communisme, les films analysés dans cette étude mettent en crise le paradigme contemporain de la sécularisation et nous renseignent sur la relance, à l’époque moderne, des grands problèmes anthropologiques qui n’ont cessé d’occuper la pensée humaine : la contestation d’un ordre établi, la fin d’un monde ou d’une civilisation, mais aussi l’énergie morale qui permet de les faire survivreHow to grasp, at the turn of the 1970s and in films made by filmmakers who made no secret of their Marxist, Communist or revolutionary commitment (Pasolini, Arrabal, Fassbinder, Jancsó, Garrel, etc.), the recurrence of patterns and schemes borrowed from Christian iconography and liturgy?The article about « the disappearance of the fireflies », published by Pasolini in 1975, offers the allegorical and theoretical matrix permitting to apprehend the singular historical and political sequence which goes from the end of the 50s to the middle of the 70s. First, it designates the advent of a dangerous neo-capitalist power, destructive and totalizing, in the face of which Marxism and Christianity will be led to modify their tools of struggle and vision. The article, then, describes a real anthropological crisis which attains the destruction of entire cultural worlds, in the face of which it will be a question of giving back to rites and traditions their potential for revolt, which allows them to play as operators capable of mobilizing the energies lacking in the political struggles, such as memory or communion. As an elegy mourning the disappearance of beloved cultures, the article finally presents a real eschatological report on the end of the world, a theological problematic re-exposed, at the same time, by the nuclear threat, the industrial paroxysm of the domination of the technical reign.Thus, the Pasolinian fireflies draw the singular iconological regime from which these resistant films proceed, opposing the faint gleam of an archaic gesture, albeit religious, to the powerful rationalist spotlights of capitalist civilization. The patterns identified in these films therefore proceed from a historical-aesthetic paradigm which makes the surviving past the privileged tool of a political struggle, of which it is possible to trace the archeology, from the notions of Nachleben, Pathosformel and Inversion forged by the german art historian Aby Warburg to the “dialectical image” in Walter Benjamin; and of which it is possible to find traces at the time, in a wide variety of disciplines (the political theology of Johann Baptist Metz, who made Christian memoria passionis an anti-bourgeois category; or the ethnology of gesture elaborated by the anthropologist Ernesto De Martino, who was to open Marxism to its unthought: the essential restorative and socio-cultural dimension of rites and images of religious origin).At the confluence of these two great traditions of hope that are Christianity and Communism, the films analyzed in this study challenge the contemporary paradigm of secularization and inform us about the revival, in modern times, of the great anthropological problems which have never ceased to occupy human thought: the contestation of an established order, the end of a world or a civilization, but also the moral energies which allows them to survive
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Faissol, Pedro de Andrade Lima. "O milagre como fenômeno cinematográfico Anunciação, Cura do Cego, Ressurreição." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-18092018-165139/.
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A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação.The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.
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Pierron, Andréa. ""L'Ombre de votre espérance" : repères pour une histoire plastique des revues d'artistes expérimentaux au XXe siècle." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA085/document.
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Cette thèse de doctorat se consacre à l’analyse de périodiques créés au cours du XXe siècle par des cinéastes et des plasticiens à l’œuvre dans le champ des avant-gardes et du cinéma expérimental. Les revues forment des objets plastiques et spéculatifs, complexes et composites de par les relations qui se nouent entre le texte et l’image, les montages qui se créent et le défi que constitue la transposition des images filmiques. En quoi ces revues d’artistes témoignent-elles d’une recherche expérimentale ? Comment les revues d’artistes participent-elles à une histoire critique et plastique des formes cinématographiques ? L’étude tente de comprendre les manières originales dont les cinéastes et les plasticiens se saisissent des revues afin d’élaborer, défendre, documenter, objectiver et analyser certains paradigmes cinématographiques. À quels titres les revues deviennent elles-mêmes des propositions expérimentales, des laboratoires de recherche sur les liens entre l’image et le texte ? Nous observerons comment, grâce à leurs propositions techniques, graphiques et visuelles propres, les revues exposent certains enjeux matériels, poétiques, plastiques et théoriques propres à l’image cinématographique, comment elles questionnent le regard. Les revues offrent des plateformes de diffusion et de dissémination esthétiques, servent à ouvrir des réseaux de circulation pour les idées, singulières ou collectives, des rédacteurs en chef. Comment accompagnent-elles leurs efforts dans la construction d’un milieu cinématographique alternatif ? Les revues Dada I de Tristan Tzara et Hans Arp (1916), Dada Sinn der Welt de John Heartfield et George Grosz (1921), Le Promenoir de Jean Epstein, Pierre Deval et Jean Lacroix (1921-1922), G. für elementare Geschaltung de Hans Richter (1923-1926), Close Up du groupe Pool composé de Kenneth Macpherson, Bryher et H.D. (1927-1933), Film Culture de Jonas Mekas (1955-1996) et Cantrill’s Filmnotes d’Arthur et Corinne Cantrill (1971-2000) forment le corpus de cette thèse qui vise à contribuer à une histoire plastique des publications expérimentalesThis PhD thesis focuses on analyzing periodicals created during the XXth Century by both visual artists and filmmakers operating in the realm of avantgardes and experimental cinema. The journals become plastic, conceptual, complex, and composite objects because of the interplay between text and image as well as the reproduction of images and realization of photomontages. How these artists’ journals show signs of an experimental approach ? How do artists’ journals contribute to the critical and plastic history of film ? The dissertation aims to understand the unique ways the visual artists and filmmakers make use of the journals to create, defend, document, visualize and analyze some cinematic paradigms. To what extent the journals become in turn experimental works about the relationships between text and image ? We will study how magazines exhibit various plastic, aesthetical, theoretical, and poetical dimensions at stake in the cinematic image, relying on specific technical, graphic and visual undertakings, and how they call into question the perception. Journals become instrumentalized in ensuring the movement of the editors’ ideas, either collective or indivuals. How do journals support the editors’ efforts in building an alternative cinema domain ? Dada I edited by Tristan Tzara and Hans Arp (1916), Dada Sinn der Welt by John Heartfield and George Grosz (1921), Le Promenoir by Jean Epstein, Pierre Deval and Jean Lacroix (1921-1922), G. für elementare Geschaltung by Hans Richter (1923-1926), Close Up by Kenneth Macpherson, Bryher and H.D. (1927-1933), Film Culture by Jonas Mekas (1955-1996) and Cantrill’s Filmnotes by Arthur et Corinne Cantrill (1971-2000) form the corpus of this PhD thesis, which aims to contribute to a plastic history of experimental publications
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Deves, Cyril. "Une figure emblématique dans les arts du XIXème siècle en France : Don Quichotte." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20118.
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Le Don Quichotte de Cervantès a inspiré tous les domaines artistiques du XIXème siècle (1789-1914). Le choix de regrouper dans un même corpus les arts graphiques et plastiques, les arts populaires, les arts du spectacle et cinématographiques, permet de voir comment les arts s’influencent, se répondent ou s’opposent. Le Don Quichotte est, comme tout sujet littéraire traité dans les domaines artistiques, confronté à son image littéraire, celle créée par son auteur. Notre volonté est de distinguer comment se profilent puis se figent les caractéristiques physiques des personnages principaux au cours du XIXème siècle et ce, principalement en France.Les artistes sont amenés à interpréter le texte. Ils se détachent de l’image littéraire pour s’intéresser aux possibilités plastiques et iconographiques qu’offre le roman de Cervantès. Au-delà de la traduction plastique d’un texte littéraire, l’enjeu est de comprendre comment les artistes parviennent à s’insérer dans la pensée de leur société, c'est-à-dire comment ils arrivent à influer sur la lecture d’une œuvre littéraire. En comparant l’iconographie de don Quichotte à celle d’autres héros, il s’agit de voir en quoi le personnage créé par Cervantès permet aux artistes de se réapproprier cette silhouette et à quelle fin. Son image est largement exploitée dans les domaines de la publicité et de la caricature. L’étude vise à saisir par quels moyens les deux héros vont se retrouver transposés dans une société pour en faire, tantôt la critique, tantôt l’apologie, au gré des contingences politiques, économiques et sociales, voire oniriques ou fantaisistes, c'est-à-dire sans substrat critique et par pure référence ludiqueThe Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing
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De, Jesus Samuel. "Non-lieux. Hors-temps. Pour une iconographie contemporaine et photographique de la saudade." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030077.
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Quels liens la saudade, expression majeure de la littérature portugaise du XVIe siècle peut-elle a priori entretenir vis-à-vis de la photographie contemporaine ? Si la saudade, phénomène que le poète Almeida Garett apparenta à une « délicieuse douleur du cœur » née de la piqûre d’«une cruelle épine », éveille le souvenir d’un être ou d’un lieu chers – dont l’absence, le manque ou la perte nous cause autant de tristesse que joie –, elle demeure difficilement traduisible, et reste souvent assimilée à la mélancolie. Pourtant la saudade se révèle aussi comme une pensée singulière opérant une synthèse temporelle et spatiale de l’expérience que l’homme éprouve vis-à-vis du monde, un montage « virtuel » régi comme un véritable agencement d’images. Comment ce sentiment peut-il dès lors trouver dans la photographie lieu de représentation? Quels symptômes, quelles « marques » viennent ainsi nous révéler ses possibles formes d’application? Quels paradoxes peuvent aussi surgir, dès que nous tentons de retirer depuis leur dormance ou révéler présent par leur absence, tout ce qui fut mais qui n’est plus, ou peut-être, l’espoir de ce qui n’est pas encore advenu? C’est à ses questions majeures que cette thèse tentera de répondre, en explorant un corpus constitué principalement parmi un choix de photographies françaises et brésiliennes contemporaines, mais qui n’omet pas néanmoins d’autres sources visuelles qu’il s’agisse de peintures, de gravures, ou encore de films, de performances ou d’installations souvent éphémères. C’est aussi tenter de comprendre comment ce concept vient finalement composer une iconographie photographique d’une image-saudade qui se révèle elle-même riche, complexe et paradoxaleWhich relations can the saudade, major expression of the Portuguese literature of the XVIth century, maintain a priori with contemporary photography? If saudade, phenomenon described by the poet Almeida Garett as a « delicious pain of the heart », born of the puncture of « a cruel spine », wakes up the remembrance related to a beloved being or place – whose absence, lack or loss cause us as much sadness as joy –, remains not easily translatable, and often continues to be comparable with the melancholy. However saudade also appears as a singular thought operating a temporal and spatial synthesis coming from man’s experience of the world, a « virtual » collage governed like a true layout of images. How can this feeling consequently find in photography a place of representation? Which symptoms, which “marks” thus come to reveal us its possible forms of application? Which paradoxes can also emerge, as soon as we try to withdraw them since their dormancy, or to reveal présent by their own absence, all that was, one day, but which is not anymore, or perhaps, the peculiar hope of what has not occurred yet? It is with these main questions that this thesis will try to answer, by exploring a corpus made up mainly among a choice of French and Brazilian contemporary photographs, but does not omit nevertheless other visual sources, such as paintings, engravings, films, performances, or often ephemeral installations. It is also trying to understand how this concept finally comes to compose a photographic iconography of an image-saudade which reveals itself as rich as complex and paradoxal
Books on the topic "Cinema iconography"
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Vital crises in Italian cinema: Iconography, stylistics, politics. Austin: University of Texas Press, 1995.
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Sitney, P. Adams. Vital crises in Italian cinema: Iconography, stylistics, politics. New York: Oxford University Press, 2013.
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Watkins, Raymond. Late Bresson and the Visual Arts. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.
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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.
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Sitney, P. Adams. Vital Crises in Italian Cinema: Iconography, Stylistics, Politics. Oxford University Press, Incorporated, 2013.
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Xiao, Ying. Chinese Rock ‘n’ Roll Film and Cui Jian on Screen. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0006.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
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Diffrient, David Scott. Hands, Fingers and Fists: ‘Grasping’ Hong Kong Horror Films. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0008.
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The cultural imaginary of kung-fu cinema has been codified as a physically balletic and graceful, if also violently bloody and brutal, genre defined in part by the persistent presence of deadly, thrusting hands. Of course, hands are also central to another type of cultural production, one that has often incorporated kung-fu action and iconography. This chapter assesses a broad range of motion pictures that showcase hands in thematically complex and symptomatically relevant ways, be they the severed anatomical remnants of long- departed souls sprung back to life in Witch from Nepal (1986) or the skeletal appendages that comically grab the protagonist’s crotch in Encounters of the Spooky Kind (1980). This chapter strives to pin down the powerful forces that lay dormant within the genre, including its tendency to dredge up and display moments of excessive, otherwordly violence for which there is seemingly no “rational” explanation.
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Halfyard, Janet K. Cue the Big Theme? The Sound of the Superhero. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0009.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The most successful superheroes of modern cinema are Superman and Batman. This chapter considers the changes wrought by digital technology in their cinematic construction and the impact on their music. The relationship between action, heroic theme, and the iconography of the superhero demonstrates a significant shift in how thematic music is employed in the more recentBatmanandSupermanfilms. This chapter contrasts musical and visual construction of the title characters inSuperman(Richard Donner, 1978) andBatman(Tim Burton, 1989) with the treatment of the same characters inBatman Begins(Christopher Nolan, 2005) andSuperman Returns(Bryan Singer, 2006). The problem of superheroic action and the musical solutions that analog films employed to address the limitations on representing the superheroes’ abilities is then contrasted with the subsequent decoupling of heroic action and musical theme in the later films, in which digital technology allows more convincing presentation of superheroic powers.
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Margulies, Ivone. In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.001.0001.
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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.
Book chapters on the topic "Cinema iconography"
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Phillips, Alastair, and Jean-Loup Bourget. "From Meryon to Ulmer’s Bluebeard A Baudelairian Iconography." In Paris in the Cinema, 187–95. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-820-7_18.
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Riach, Alan. "It Happened Fast and it was Dark: Cinema, Theatre and Television, Comic Books." In Representing Scotland in Literature, Popular Culture and Iconography, 195–222. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230554962_9.
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"The Iconography of the Sublime." In Disaster Cinema in Historical Perspective, 65–94. Amsterdam University Press, 2020. http://dx.doi.org/10.2307/j.ctv15d7zv1.5.
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Mathias, Nikita. "The Iconography of the Sublime." In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch03.
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This chapter sets out to describe the establishment of the iconography of the sublime by focusing on three central motifs: the shipwreck, the hostility of mountain summits, and the volcano eruption. I first analyze a shipwreck painting by Joseph Vernet in relation to Denis Diderot’s writings and the particularities of the picture’s exhibition at the Paris Academy Salon. Then, the Alpine landscapes of the Swiss painter Caspar Wolf and their oscillation between academic traditions, vedute painting conventions, sublime imagery, and geological accuracy is analyzed by example of the painting Lower Grindelwald Glacier with Lightning. The motif of the volcano eruption is addressed through a group of paintings, whose interplay makes visible a variety of complications inherent to the sublime. The discussed artworks depicting the three motifs feature intrinsic – that is stylistic and formal – innovations that seek to intensify the pictorial experience of their sublime content matters.
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Chaplin, Felicity. "Conclusion: ‘Look, let’s start all over again. What’s she like?’." In La Parisienne in Cinema. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109538.003.0008.
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The conclusion offers the following provisional definition of la Parisienne: a type of which atypicality is the dominant feature; a type whose identity is continuously displaced or deferred, simultaneously reaching back to her earliest manifestations in the nineteenth century and forward to future manifestations which will both affirm and rework the iconography of the type. The further turn of the screw for the difficulty of defining la Parisienne as a type is that this difficulty is not in spite of her iconography but is in fact built into it. This apparent contradiction is accounted for within iconography itself as a methodology, the two aspects of which are stability and mutability. Since a type is only a type because of recognisable motifs, certain motifs must be established which have both universal, and particular or historical validity. One of the ways iconography may respond to its dual imperatives of stability and mutability is by constructing a cycle of films featuring a certain type, and the conclusion reveals that this book goes some way toward constructing what might be called a cycle of Parisienne films.
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"3. The Iconography of the Sublime." In Disaster Cinema in Historical Perspective, 65–94. Amsterdam University Press, 2020. http://dx.doi.org/10.1515/9789048550005-003.
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Ahmed, Omar. "Reality of the Dispossessed." In Studying Indian Cinema, 165–82. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0010.
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This chapter describes how addressing the issue of poverty has been a continuous feature of Indian cinema. Mira Nair's award-winning directorial debut Salaam Bombay! (1988), depicting the lives of Bombay's impoverished street children, is one of the most moving Indian films of the 1980s. It was also one of the few Indian films to find an international, largely arthouse, audience while launching the career of diaspora film-maker Mira Nair, who resides in America. The chapter deals with Indian diaspora cinema and Mira Nair as a female director. It also examines the production history of the shoot; the iconography of the urban slum in Indian cinema; representations of family, poverty, and power in the city of Bombay; and the film's criticisms of the state.
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"“Waas sappening?”: narrative structure and iconography in Born in East L.A." In Keyframes: Popular Cinema and Cultural Studies, 203–18. Routledge, 2003. http://dx.doi.org/10.4324/9780203165195-20.
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Mathias, Nikita. "Starting Points." In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch02.
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The starting point of my historical trajectory (the iconography of the sublime) is the second half of the eighteenth century. This was when the aesthetic appreciation of natural disaster events and the establishment of the sublime as a category of landscape perception became closely intertwined. Mapped out as a dense network of discourses, practices, and cultural phenomena, my analysis of this historical constellation stretches from, among others, seventeenth-century Dutch landscape painting and art academic understandings of the sublime to the Lisbon earthquake of 1755, the Picturesque, and natural scientific discourses to Grand Tour travelers and modern mass tourism.
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Hobbs, Simon. "Michael Haneke: Glaciation, Legitimacy and Transgression." In Cultivating Extreme Art Cinema, 139–62. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.003.0007.
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This chapter examines the extreme cinema of Michael Haneke. Whilst increasingly well covered in scholarly accounts of extreme art cinema, Haneke’s work is most often approached from an aesthetic and thematic point of view, wherein the text becomes the focal point. While these studies are key to understanding Haneke’s films, and the metaphorical significance he places on scenes of brutalism and sex, it has left certain areas underexplored. This chapter addresses this by undertaking detailed paratextual analysis of Haneke’s key extreme films. Firstly, the chapter focuses upon Funny Games, the most critically disliked Haneke film. Looking first at Tartan Video’s release before discussing Artificial Eye’s remediation, the chapter highlights the important role time can play in defining the commercial validity of extremity. Showing how the growing status of Haneke’s auteur brand challenged the use extreme iconography, the chapter alludes to the ways highbrow commercial symbols compete with lowbrow traits. Thereafter, the chapter undertakes an assessment of Artificial Eye’s ‘Michael Haneke Trilogy’. This example – due the centralisation of a dead pig on the cover – exposes the way paratexts can oppose critical and cultural canonisation.