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Journal articles on the topic 'Cinema study'

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Published: 4 June 2021

Last updated: 6 February 2022

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1

Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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2

Wan, Xing, Nianxin Wang, and Ben Shaw-Ching Liu. "Impact of O2O platform multihoming and vertical integration on performance of local service firms – a quantile regression approach." Internet Research 30, no. 5 (May 7, 2020): 1583–610. http://dx.doi.org/10.1108/intr-03-2019-0087.

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PurposeThis study takes the cinema industry as the research context and investigates the impact of online to offline (O2O) platforms on cinemas' performance. Specifically, the purposes of this paper are threefold: first, to study the influence of platform multihoming on cinemas' performance; second, to examine the interaction impact of platform multihoming and vertical integration; third, to investigate how the influence of platform multihoming varies with cinemas' performance.Design/methodology/approachThis study collects data from 1918 cinemas in China, employs quantile regressions to estimate the model and test the proposed hypotheses and adopts an instrumental variable method to examine the robustness of our results.FindingsThe findings confirm the positive role of platform multihoming for cinemas' performance. However, when a cinema has low-degree platform multihoming, the cinema's vertical integration is positively associated with its performance; when a cinema has high-degree platform multihoming, the cinema's vertical integration is negatively associated with its performance. Furthermore, results from quantile regressions indicate that low-performance cinemas benefit more than high-performance cinemas from employing platform multihoming strategy.Research limitations/implicationsThis paper extends previous research by investigating the impact of platform multihoming on heterogeneous firms and the impact of interaction between platform multihoming and vertical integration. The findings imply that the impact of platform multihoming on firms' performance depends on firms' performance attributes and their vertical relationships.Practical implicationsPlatform multihoming can be a double-edged sword for local service firms. When multihoming platforms, a local service firm should think about the fit between platforms and its own attributes, and identify the potential conflict between platform relationships and traditional relationships of industrial organization.Originality/valueThere is a growing interest in understanding platforms' role in the digital economy. The impact of platform participation on local service firms' performance is not sufficiently investigated. Previous research rarely addressed the impact by incorporating local service firms' performance attributes and the existing relationships of industrial organization.

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Dhar, Ram Kumar. "Cinema in Bits: A Normative Study of Digital Cinema." INROADS- An International Journal of Jaipur National University 8, no. 1and2 (2019): 50. http://dx.doi.org/10.5958/2277-4912.2019.00010.9.

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4

Putra, Ramadhan Maulana, and Intan Primadini. "Covid-19 and Cinemas: The Importance of Creating the Engagement with Customers through Social Media." Ultimacomm: Jurnal Ilmu Komunikasi 13, no. 1 (June 30, 2021): 82–92. http://dx.doi.org/10.31937/ultimacomm.v13i1.1994.

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The Covid-19 pandemic has resulted in one of the largest cinema companies in Indonesia, Cinema XXI, to temporarily close their business. Despite the closing, Cinema XXI is still trying to build the engagement with their customers on social media by carrying out marketing activities through the Instagram @Cinema.21. Therefore, the aim of this study is to find out how Cinemas utilizing social media in creating customer engagement during Covid-19. This study is a quantitative research and data is obtained through survey using questionnaire. This research questionnaire was distributed to 400 respondents. Based on the result of this study, it is known that Read Dimension has the highest influence on Engagement. Furthermore, Social Media Marketing was found to significantly influence Customer Engagement. Keywords: Covid-19, Cinema XXI, Social Media, Social Media Marketing, Customer Engagement.

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Noordegraaf, Julia, Loes Opgenhaffen, and Norbert Bakker. "Cinema Parisien 3D." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 45–61. http://dx.doi.org/10.33178/alpha.11.03.

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In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of ‚Äúcontent in context‚Äù helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet‚Äôs Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.

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배수경. "A Study of Thai Cinema." JOURNAL OF KOREAN ASSOCIATION OF THAI STUDIES ll, no. 14 (October 2007): 177–223. http://dx.doi.org/10.22473/kats.2007..14.007.

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7

Shirinova, Mekhrigiyo Shokirovna. "THE ROLE OF IN THE ROLE OF INTONATION IN CINEM TION IN CINEMA LANGUAGE." Scientific Reports of Bukhara State University 4, no. 4 (August 28, 2020): 139–43. http://dx.doi.org/10.52297/2181-1466/2020/4/4/8.

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Background. The article reveals the essence of the concept of intonation, reveals its composition, function and roles in the language of cinema. Intonation is an adornment of oral speech, it is argued that it is the most important element in revealing the character of the characters. This is proved with factual examples from the films Onam bilmasin (Let Mama Don't Know) and Katta Odam 2 (Big Man 2). It is substantiated that the study of the language of cinema in the linguistic aspect, especially, the study of the phonetic, lexical-semantic and grammatical aspects in the future can lead to an increase in the level of films, some recommendations are given to improve the language of cinema.

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8

Hong, Sang Woo. "Discovery of Central Asian Cinema, A Study on the Kyrgyzstan Cinema." Comparative Study of World Literature 66 (March 30, 2019): 173–85. http://dx.doi.org/10.33078/cowol66.08.

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9

Rachamalla, Suresh. "Influence of Liberalisation & Globalisation on Indian Cinema - A study of Indian cinema and it’s diasporic consciousness." Journal of Advanced Research in Journalism & Mass Communication 05, no. 01 (February 27, 2018): 18–24. http://dx.doi.org/10.24321/2395.3810.201804.

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10

Kak, Dr Sabzaar. "Fort and Fortress in Indian Cinema: Study on the Role of Indian Historical Monuments on Indian Cinema." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 1930–38. http://dx.doi.org/10.37200/ijpr/v24i5/pr201867.

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11

Pandowo, Aditya, and Merinda H. C. Pandowo H. C. Pandowo. "Servisscape in the Finest Cinema." International Journal of Research in Business and Social Science (2147-4478) 8, no. 3 (May 10, 2019): 83–93. http://dx.doi.org/10.20525/ijrbs.v8i3.257.

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The aim of the study is to investigate the consequences of servicescape and to explore the application of it in the premium cinema. Several stimuli related to cinemas’ physical attraction are added to determine their relation such as ambiances, spatial layouts, and signs. 154 visitors are taken by purposive sampling. The respondents are the young regular audience in the finest cinema. Closed structure questioners are spread for primary data and examined with path analysis. The results show that servicescape is related to perceived quality, perceived value, and willingness to pay a premium. Meanwhile, a significant relation also is shown between perceived quality and perceived value. There is also evidence that both perceived quality and perceived value as antecedents of willingness to pay the premium price. The findings provide the applicability of servicescape in the cinema industry, especially in high-class cinema where the consumer-brand relationship is needed.

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12

Iordanova, Dina. "Women’s Place in Film History: the Importance of Continuity." Panoptikum, no. 23 (August 24, 2020): 10–23. http://dx.doi.org/10.26881/pan.2020.23.01.

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The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often associated with the support of the author on the international festival circuit. The author calls for ‘watching across borders’, i.e. a supranational approach to the study of women’s cinema. Crossing the borders of national cinemas, in which the authors have not been recognised, allows a broader perspective to see the critical mass of the authors of world cinema. Politically, for the feminist cause, it is better to talk about European women’s cinema. Iordanova selects from the history of Central and Eastern European cinema, the names of authors who did not receive due attention. Moreover, she proposes specific inclusive and corrective feminist practices: the inclusion of filmmakers in the didactics, repertoires of film collections and festival selections; a commitment to self-study by watching at least one woman’s film a week.

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13

Centeno Martín, Marcos. "¿Es el cine japonés un cine nacional?" Studium, no. 23 (August 13, 2018): 245–72. http://dx.doi.org/10.26754/ojs_studium/stud.2017232597.

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Resumen La construcción del cine japonés como cine nacional ha partido a menudo de una visión esencialista que ha ignorado la dimensión transnacional de esta filmografía. Por un lado, el descubrimiento occidental de ciertos autores japoneses en los años cincuenta condujo a la articulación del paradigma del cine nacional japonés a partir de películas dirigidas a asombrar al público europeo con imágenes exóticas de Japón. Los grandes maestros, Kurosawa, Mizoguchi y Ozu fueron escogidos como representantes de una supuesta japonesidad cinematográfica ignorando el peso de Occidente en sus obras. Por otro lado, el estudio de este corpus tradicionalmente ha evolucionado con herramientas teóricas desarrolladas en Occidente y necesita renovarse con conceptos de la tradición cultural, estética y filosófica propia. Pero además, es necesario evaluar cómo se implementaron los elementos del lenguaje fílmico en Japón para entender su relativismo respecto a la historia general del cine. Sus usos y formas no siempre han coincidido con los desarrollos occidentales, de forma que conceptos fílmicos occidentales no han tenido exactamente el mismo significado en el contexto japonés. Palabras clave: cine japonés, cine nacional, transnacionalidad teoría fílmica, cine de postguerra Abstract The construction of Japanese cinema as a national cinema has often drawn on a essentialist vision neglecting the transnational nature of this filmography. On the one hand, the Western discovery of certain Japanese authors in the fifties triggered the articulation of the paradigm of the Japanese “national cinema” from films aiming to astonish European audiences with exotic images of Japan. The great masters, Kurosawa, Mizoguchi and Ozu, were chosen as main representatives of the apparent cinematographic japaneseness neglecting the weight of the West on their works. On the other hand, the study of this corpus has been traditionally evolved with theoretical tools developed in the West and need a renewal with concepts taken from Japanese philosophical, aesthetic and cultural tradition. Moreover, it is necessary to assess how the film language elements were implemented in Japan in order to understand its relativism regarding the general film history. Their usages and forms were not always equivalent to those in the West and as a consequence, Western concepts ended up having different meanings in the Japanese context. Key words: Japanese cinema, national cinema, transnationality, film theory, postwar cinema

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Carreón Piñera, Jamie. "Cinema Fantasma's Extraordinary Creatures. A Case Study." Economía Creativa, no. 14 (2021): 165–221. http://dx.doi.org/10.46840/ec.2020.14.06.

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This article describes the case of Cinema Fantasma, a Mexican Stop Motion animation studio. It presents the process by which this firm designed and matured its business model, its creative process, as well as its current methods of creation and production, prop and character development. The research for this case study was made through the use of personal interviews with the founders and past employees; fieldwork and research. The main findings of this case study are as follows. There are several ways of achieving success, economic success is not always the most important one. The most important thing to achieve success is to focus on your passion and vision, then the story will follow. Success needs some luck and a lot of hard work. Having an agile methodology, such as SCRUM, and a multidisciplinary team allows the studio the flexibility to adapt to change and the project’s needs.

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15

조해진. "A Study of 3D Cinema Strorytelling." Film Studies ll, no. 49 (September 2011): 353–79. http://dx.doi.org/10.17947/kfa..49.201109.013.

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16

한상언. "A Study on Seoul Cinema Town." Contemporary Film Studies 13, no. 3 (August 2017): 41–65. http://dx.doi.org/10.15751/cofis.2017.13.3.41.

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17

Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.

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18

Sheremeta, Bozhena, Nataliya Chukhray, and Oleh Karyy. "Marketing tools as the competitiveness enhancer of the Ukrainian film distribution market entities." Innovative Marketing 15, no. 4 (December 18, 2019): 88–101. http://dx.doi.org/10.21511/im.15(4).2019.08.

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The main goal of the article is to study the features of film marketing and distribution of film products in Ukraine and to determine what kind of marketing tools are appropriate to be used within a cinema network to ensure their competitiveness in the national film distribution market.This article determines the characteristics of the movie market services and their compliance with modern consumer requirements, outlining the directions for increasing the usefulness of cinema-related services to consumers and developing a set of marketing tools to ensure the competitiveness of the cinema market.The results of the assessment of the impact of competitive forces revealed that intra-industry competition has the strongest impact on private cinema networks, the consumers of film distribution services and potential competitors have the moderate influence, the suppliers and substitute services have a low level of influence. According to the results of the survey, it can be concluded that cinemas are worth reducing the cost of tickets (this can be done by introducing the promotions and discounts for regular customers), since the solvency of a larger population does not correspond to the level of ticket prices. Also expanding the range of products will allow the consumers to spend more time in the cinema, which will lead to an increase in the value of the average check. Cinemas are quite realistic to open their own pizzerias or bars to add value to their customers.

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Smith, Frances. "Femininity, ageing and performativity in the work of Amy Heckerling." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 49–63. http://dx.doi.org/10.33178/alpha.10.03.

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In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of ‚Äúcontent in context‚Äù helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet‚Äôs Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.

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20

Karolina, Cut Meutia, Eni Maryani, and Dian Wardiana Sjuchro. "Developing an alternative media for visually impaired audiences: ‘Bioskop Harewos’ Bandung." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 1 (February 16, 2021): 134. http://dx.doi.org/10.25139/jsk.v5i1.2451.

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Bioskop Harewos is a cinema in the Bandung, West Java, intended for visually impaired audiences. This research focused on efforts to uncover the existence of Bioskop Harewos for the visually impaired and the model of watching films of visually impaired audiences in Bioskop Harewos. The research method was a qualitative case study using several theories and concepts for alternative media. This research collected various data from cinematographers, cinema managers, and Bioskop Harewos team and audiences through interviews. The results showed that Bioskop Harewos is an alternative media for visually impaired audiences in Bandung to watch films in cinemas. Even with the ‘Harewos’ system, the Bioskop Harewos had fulfilled the visually impaired audiences’ demands to watch films in the cinema. The technical limitations of Bioskop Harewos did not reduce the value of entertainment for visually impaired audiences.

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Menteş, Aliye, and Valentina Donà. "Transformation of Cinema Buildings and Spaces in Nicosia: Early-Mid 20th Century Heritage." ATHENS JOURNAL OF ARCHITECTURE 7, special issue (March 1, 2021): 199–226. http://dx.doi.org/10.30958/aja.7-0-4.

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Cinemas emerged as a new and genuine expression of culture at the beginning of the 20th century. In the 1920s cinema buildings became important for developing city life and especially as a social public space for entertainment. The period of great success of cinemas was inevitably destined to fade with the arrival of TV. However, this period left behind interesting architectural heritage. On the other hand, the “box of dreams”, the cinema industry, is a suggestive media contributing in defining other aspects of popular culture in a period of hectic changes and progress. The scope of this paper aims to investigate this specific building type, cinemas, within the context of modern heritage value in northern Cyprus. The purpose is to raise awareness on significance of cinema buildings thus to foster their protection and enhancement. The study also aims to investigate the historical relation of these buildings to their environments and neighborhoods as well as their transformed current situations. Some buildings were replaced with new ones, some were abandoned, and some others were converted into different uses. These transformed situations are results of changing economic, socio-cultural life styles and changing morphology of the cities. This paper aims also to stress the role of Cypriot architects and architecture in the international panorama within the Mediterranean area, in a peculiar multicultural context. Common features with other countries and local characteristics of the selected buildings are detected and analysed. Architectural qualities and solutions are studied to understand the reflections of the studied period. This study follows a qualitative research approach. The key discussions are made through investigating the cinema buildings and spaces in Nicosia, Northern Cyprus, as a case study method. This research investigates these buildings and spaces through historical archives, photographic surveys and producing maps for showing the location of these within the historic Walled City of Nicosia and its close surrounding. This stage provides significant data about their historic conditions and surroundings and comparisons with today’s current situations. In addition, interviews with local residents who used these cinemas in those periods are also carried out to support historical information and highlight the socio-cultural and economic understanding of those days.

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Li, Guang-Hui. "A Study on Chromatology in Cinema Aesthetic." Journal of the Korea Entertainment Industry Association 10, no. 5 (October 31, 2016): 1. http://dx.doi.org/10.21184/jkeia.2016.10.10.5.1.

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23

JinWol Yoo. "A Study on as a Women’s Cinema." Korean Studies Quarterly 39, no. 2 (June 2016): 271–95. http://dx.doi.org/10.25024/ksq.39.2.201606.271.

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Kim, Seong-Hoon. "Study on Allegory shown in Bong Joon-ho's Cinema -Focusing on the Cinema "Snowpiercer"-." Journal of the Korea Contents Association 16, no. 10 (October 28, 2016): 701–10. http://dx.doi.org/10.5392/jkca.2016.16.10.701.

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Emamzadeh, Zahra, and Shaho Sabbar. "How Can Cinema Justify Wars? A Qualitative Study on War Justification in American Cinema." Journal of Politics and Law 10, no. 1 (December 29, 2016): 18. http://dx.doi.org/10.5539/jpl.v10n1p18.

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Cinema is a powerful media that can shape people’s minds about different issues. Movies can focus on very detailed or hidden matters in society, and critical issues that profoundly affect the lives of large populations are usually at the center of cinema’s attention. Among these issues are wars that can affect tens of millions of people financially, mentally and of course physically.Films can question or justify wars. To answer if they questioned wars or justified them one should choose a specific war, a period and maybe a particular group of films and analyze their content and discourse. However, to do so, it would be helpful and maybe necessary to first better understand how films may question or justify wars.The present research is an effort to analyze a specific number of movies to see in what ways they may have justified the role of the United States in the Second World War. The results include eight issues that the movies raised regarding the legitimacy of the war and America’s role in it.

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Gürkan, Hasan. "The Portrayal of Journalists in Turkish Cinema: A Study about Journalism Ethics through Cinema." Medijske studije 8, no. 16 (December 19, 2017): 41–60. http://dx.doi.org/10.20901/ms.8.16.4.

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27

Bacon, Henry. "A transnational history of Finnish cinema – rethinking the study of a small nation cinema." Journal of Scandinavian Cinema 3, no. 1 (March 1, 2013): 7–14. http://dx.doi.org/10.1386/jsca.3.1.7_1.

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28

Leonard, Michael. "Cinema/history." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 89–104. http://dx.doi.org/10.33178/alpha.1.07.

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This article compares the engagement with the history of May 1968 in Philippe Garrel’s Les Amants réguliers/Regular Lovers (2005)and Bernardo Bertolucci’s The Dreamers (2004). Through a close study of both films, it demonstrates how Garrel finds a more nuanced and transformative aesthetic than Bertolucci in representing this defining moment in modern French culture and politics. The films share a number of aspects; most notably, they draw upon the history of cinema itself in recalling this period, an approach that can be related to Godard’s project in Histoire(s) du Cinéma (1988-1998). However, their differing approaches to cinematographic citation (metonymic in the case of Bertolucci, and metaphoric in the case of Garrel) have significant implications for the temporal dynamics of each film. The article argues that Bertolucci’s method is intrinsically conservative—reactionary, even—implying an historical linearity that reinforces the “pastness” of May, its significance as a piece of “heritage” rather than part of an ongoing historical process, or dialectic. Garrel’s practice of citation, by contrast, generates a more radical, heterochronous form that constitutes a testimony to May 1968 by evoking its continued presence. In the course of its discussion, the article also reflects on the relationship between Les Amants réguliers and the nouvelle vague, exploring in particular the relations between this film and Jacques Rivette’s Paris nous appartient (1961).

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Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

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Park, Dong-Ho. "A case study on Urban Regeneration utilizing Community Cinema from Japan: Focused on Fukaya Cinema." Korean Arts Association of Arts Management 49 (February 28, 2019): 149–76. http://dx.doi.org/10.52564/jamp.2019.49.149.

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Mutka, Maria. "“To Begin on Again”: A Study of Early Cinema’s Unique Influence on Modernist Literature." Film Matters 12, no. 1 (March 1, 2021): 66–81. http://dx.doi.org/10.1386/fm_00131_1.

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This article examines the intersectionality of modernist literature and the advent of cinema, particularly in the context of the incomparable tragedies of the First World War in the 1910s, 1920s, and 1930s. Avant-garde writers like James Joyce, Virginia Woolf, Gertrude Stein, and T. S. Eliot utilized cinema-inspired techniques in some of their most famous literary works, including Ulysses and “The Waste Land.” These techniques are especially salient in light of how much both the First World War and cinema altered societal notions of time, space, and motion.

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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.

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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.

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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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Starostova, Liudmila, and Larisa Piskunova. "FILM-STUDY AS A SOURCE OF FORMATION OF CREATIVE CROSS-CULTURAL SKILLS IN MULTICULTURAL CONTEXT." Creativity Studies 9, no. 1 (June 2, 2016): 87–101. http://dx.doi.org/10.3846/23450479.2015.1136850.

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The authors propose to look at the cinema in the education process in terms of its potential use as a tool of formation of creative cross-cultural competence. Nowadays cinema is not just a synthetic art, it is deeply integrated into the basic structure of modern culture, and forms means capable of becoming an effective source of educational innovations. The article proposes the concept of film-study as a reference for the complex of methodical use of cinema in education. Analysis of different cases of inclusion of cinema in practical lessons allowed the authors to substantiate the connection of film-study method with the formation of students’ creative cross-cultural skills. As stated in the article, techniques of film-study method used by the authors contribute to the development of students’ cross-cultural competence relevant in a multicultural context of their professional and daily activities.

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Hong, Sangwoo. "A Study on the History of Bulgarian Cinema." East European and Balkan Institute 44, no. 4 (November 30, 2020): 155–80. http://dx.doi.org/10.19170/eebs.2020.44.4.155.

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Seo, Seong-Hee. "A study on revitalization plans of digital cinema." Journal of Broadcast Engineering 12, no. 5 (September 29, 2007): 445–51. http://dx.doi.org/10.5909/jbe.2007.12.5.445.

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이수원. "Case Study of the Mannerism in the Cinema." Film Studies ll, no. 33 (September 2007): 445–68. http://dx.doi.org/10.17947/kfa..33.200709.016.

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Hong, Sangwoo. "A study on the contemporary Russian regional cinema." Journal of Slavic Studies 35, no. 3 (September 30, 2020): 313–33. http://dx.doi.org/10.46694/jss.2020.01.35.3.313.

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Kubrak, Tina A. "Post-Event Cinema Discourse: Concept, Functioning, Case Study." RUDN Journal of Psychology and Pedagogics 16, no. 4 (December 15, 2019): 600–617. http://dx.doi.org/10.22363/2313-1683-2019-16-4-600-617.

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The problems of the organization and functioning of post-event cinema discourse are discussed in the article. Post-event discourse is shaped by the viewers and represents their response statements in a communicative interaction with the movie; it reﬂects the processes of perception and understanding of the ﬁlm by the audience. It is discussed that if there is a real event underlying the ﬁlm, the ﬁlm itself becomes a post-event discourse, forming or reinterpreting the ideas about what happened depending on the cultural and historical context. The results of an empirical study that implements a case study methodology are presented. A thematic analysis of the post-event Internet discourse, expressed in the statements about a particular ﬁlm (“T-34”), has been carried out. A thematic map that revealed the structure of the post-event cinema discourse and its simpliﬁed versions, due to the genre features of the ﬁlm has been developed. It is shown that viewers not only interpret the plot of the ﬁlm, but also rethink the events behind it, express the eﬀects of inﬂuence, raise topics for discussion that are not directly related to the ﬁlm. The structure of post-event discourse changes depending on the characteristics of the audience. It has been revealed that the signiﬁcant part of the audience perceived the ﬁlm in accordance with the original function of cinema as “entertainment”. This determined both the peculiarities of its understanding and the eﬀects of the impact, mainly emotional. Another part of the audience discovered the cognitive implications of the ﬁlm and demonstrated a more complex structure of post-event discourse organization; understanding the ﬁlm in a broader context contributed to the comprehension and actualization of additional themes. It is assumed that the unfolding post-event discourse in the process of communicative interaction of the viewer with the ﬁlm contributes to the formation of discursive reality.

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Jungbum Shin. "A Study of the Dardenne Brothers’ Cinema Space." journal of the moving image technology associon of korea 1, no. 21 (December 2014): 153–67. http://dx.doi.org/10.34269/mitak.2014.1.21.008.

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Kelly, Brendan D. "Psychiatry in contemporary Irish cinema: a qualitative study." Irish Journal of Psychological Medicine 23, no. 2 (June 2006): 74–79. http://dx.doi.org/10.1017/s0790966700009617.

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AbstractObjective: Media portrayals of mental illness and psychiatry have a considerable impact on public perceptions of mental health issues. This paper aims to focus on portrayals of psychiatry and psychiatrists in four contemporary Irish feature films in order to make wider points on this theme.Methods: Contemporary Irish feature-films that made substantial reference to psychiatry, psychiatrists or mental health in Ireland were identified though electronic searches and consultation with the Film Institute of Ireland. Selected films were viewed. Electronic searches were performed in the medical and film literatures, with broad search terms related to film, psychiatry, psychiatrists or mental health in Ireland. Additional books and papers were identified by tracking back through references and consulting with colleagues.Results: The portrayal of psychiatrists in film is closely related to the development of both twentieth century psychiatry and twentieth century cinema. In common with recent European films, certain recent Irish films have tended to show psychiatrists as sympathetic, humane individuals (with some notable exceptions). While there have been a number of portrayals of dissocial personally disorder and various states of chronic alienation in recent Irish film, there have been fewer portrayals of psychosis or learning disability. Recent Irish films emphasise the role of alcohol in causing and perpetuating psychological distress. They generally provide unflinching portrayals of the effects of psychological distress and alienation, suicide and substance abuse at individual, family and community levels; nonetheless, there is still a regrettable tendency for films to associate mental illness with dissocial behaviour.Conclusions: The portrayal of mental health issues in film presents both challenges and opportunities to film-makers, mental health service-users and general audiences alike. It is to be hoped that the recent trend towards realistic explorations of mental health issues in many European films continues into the future. Increased research in this area would help clarify the role of cinema in shaping public understandings of mental illness, and may also help identify additional ways of addressing stigma in the future.

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Moon, Jaecheol. "A study on Tableu Effect of Digital Cinema." Film Studies 78 (December 31, 2018): 69–86. http://dx.doi.org/10.17947/fs.2018.12.78.69.

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Dae Jin Min and Song Young Ae. "A Study on Foreign Expansion of Korean Cinema." Film Studies ll, no. 42 (December 2009): 261–306. http://dx.doi.org/10.17947/kfa..42.200912.009.

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Musser, Charles. "Historiographic Method and the Study of Early Cinema." Cinema Journal 44, no. 1 (2004): 101–7. http://dx.doi.org/10.1353/cj.2004.0050.

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Demiray, Basak. "Cinema on Cinema: The Kinship between Cinema Paradiso and Zıkkımın Kökü, Karpuz Kabuğundan Gemiler Yapmak, Sinema Bir Mucizedir." CINEJ Cinema Journal 1, no. 1 (August 4, 2011): 34–42. http://dx.doi.org/10.5195/cinej.2011.10.

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This study consists of a comparative analysis of four films which fall under the category of “cinema on cinema”. These films are Cinema Paradiso (Giuseppe Tornatore, 1988, Italy), Zıkkımın Kökü (Memduh Ün, 1993, Turkey), Karpuz Kabuğundan Gemiler Yapmak/ Boats out of Watermelon Rinds ( Ahmet Uluçay, 2004, Turkey), Sinema Bir Mucizedir/ Cinema is a Miracle (Memduh Ün- Tunç Başaran, 2005, Turkey). It will be argued that these films have four main points of similarity. First, they are the instances of “cinema on cinema”; second, they are biographical films; third, their plots are constructed upon the rural lives of the past; fourth, they are about cinephilia.

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Ham, Chung Beom. "A Study on the Starting Point of Korean Cinema : Focusing on ‘Discussion 1919’ in Cinema History." Journal of Asiatic Studies 62, no. 3 (September 30, 2019): 143–74. http://dx.doi.org/10.31930/jas.2019.09.62.3.143.

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정종화. "Colonial Korea’s Recognition of Hollywood - Review of Chosun Cinema and Hollywood by Study Group Cinema Babel." Journal of Humanities, Seoul National University 73, no. 2 (May 2016): 493–509. http://dx.doi.org/10.17326/jhsnu.73.2.201605.493.

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Astorino, Claudia Maria. "Cinema and Tourism." Revista Turismo em Análise 30, no. 3 (December 20, 2019): 539–61. http://dx.doi.org/10.11606/issn.1984-4867.v30i3p539-561.

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It is not a recent phenomenon that films encourage viewers to visit the places where they are set. This movement is called film-induced tourism and it has been gaining more and more studies and supporters. The associations that can be established between cinema and tourism, however, go far beyond this type of tourism, and this essay intends to present one of these associations: the one that investigates how films can be tools for teaching and learning in a Bachelor’s Degree in Tourism Course. With this scope, an eclectic study corpus was carried out, from which 40 films were selected in order to stimulate the discussion about the tourism practice. To optimize this discussion, topics that cover tourism market segmentation, tourism elements, jobs in the tourism industry, film-induced tours and the relationship between tourists and residents were established. The analysis of the findings showed that the films discussed along this essay can be used in the scope of different subjects in the context of Tourism undergraduate courses, as tools to illustrate and debate various aspects of the tourism activity.

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Soto-Sanfiel, María T., Isabel Villegas-Simón, and Ariadna Angulo-Brunet. "Youngsters and cinema in the European Union: A cross-cultural study on their conceptions and knowledge about cinema." International Communication Gazette 80, no. 8 (February 21, 2018): 714–45. http://dx.doi.org/10.1177/1748048518759171.

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Within the framework of the Creative Europe programme, and due to the inexplicable lack of current academic information on the topic, this exploratory cross-cultural study seeks to advance the understanding of the relationship between European adolescents and cinema through a sample of 937 secondary students from eight countries of the European Union. Specifically, the research contributes to the identification of young people’s conceptions of the artistic value and functions of cinema, their knowledge of cinematography and their opinions about national, European or foreign cinema. In addition, it explores the extent to which these factors are alike and differ according to nation. The results of this work are relevant for academics from different disciplines, regulators, educators and members of the audiovisual industry.

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García-Aguilar, Alberto. "Agustín Espinosa, espectador del espacio insular: la influencia del cine en Lancelot, 28°-7° (1929)." Revista de Filología de la Universidad de La Laguna, no. 42 (2021): 159–76. http://dx.doi.org/10.25145/j.refiull.2021.42.10.

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The avant-garde description of the island of Lanzarote that Agustín Espinosa developed in Lancelot, 28°-7° (1929) proves that the writer shared the same interest in cinema that other young writers had expressed in their works during the 20s. However, the interartistic relation between cinema and literature in Lancelot has not been examined carefully yet. For this reason, this paper tries to study the different ways the cinema has influenced Lancelot, which includes not only references to film stars from the Amercian silent cinema, but also using certain film techniques. Thus, Espinosa offers new images of the island, now merged with universal artistic movements. To analyze this particular use of Espinosa’s cinema background in Lancelot, this paper will study the interest in cinema that the writer showed along his life, the way he uses different film techniques, the poetic imagery related to cinema, and the references to film stars included in the text.

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