Journal articles on the topic 'Cinema'
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1
Nazario, Luiz. "O outro cinema." Aletria: Revista de Estudos de Literatura 16, no. 2 (December 31, 2007): 94–109. http://dx.doi.org/10.17851/2317-2096.16.2.94-109.
Abstract:
Resumo: Um breve panorama da trajetória percorrida pelo desejo homossexual no cinema, de seu tímido despertar no cinema mudo alemão, passando pelo seu mascaramento em Hollywood e sua estilização no “cinema de arte” europeu, até a constituição de um assumido “cinema gay” nos oásis de liberdade do capitalismo avançado.Palavras-chave: cinema; alteridade; capitalismo avançado.Résumé: Un bref panorama de la trajectoire parcourue par le désir homosexuel au cinéma, de son timide réveil au cinéma muet allemand, en passant par son déguisement à Hollywood et sa estilisation au “cinéma d’art” européen, jusqu’à la constitution d’un assumé “cinéma gay” dans les oasis de liberté du capitalisme avancé.Mots-clefs: cinema; altérité; capitalisme avancé.
2
Bellour, Raymond. "“Cinema, Alone”/Multiple “Cinemas”." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 116–43. http://dx.doi.org/10.33178/alpha.5.08.
Abstract:
This lecture was presented as part of a series of twenty-five conferences on cinema and the arts held between 2001–2002 at the Collège d’Histoire de l’Art Cinématographique, Cinémathèque française. It was first published in French, as “Le Cinéma seul/Multiples ‘cinémas’”. Le Septième Art. Le cinéma parmi les arts. Ed. Jacques Aumont. Paris: Léo Scheer, 2003, 257–80. Print. Some elements of the essay have since been integrated in the introductory chapter of La Querelle des dispositifs. Cinéma – expositions, installations, coll. “Trafic”. Paris: P.O.L, 2012. Print.
3
Naficy, Hamid. "Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema." Journal of Media Practice 11, no. 1 (January 1, 2010): 11–20. http://dx.doi.org/10.1386/jmpr.11.1.11/1.
4
Guimarães de Oliveira, Luciene. "Opacité et Intermédialité chez le cinéma de Marguerite Duras." Revista FAMECOS 30, no. 1 (March 11, 2024): e45406. http://dx.doi.org/10.15448/1980-3729.2023.1.45406.
Abstract:
Le cinéma de Marguerite Duras, notamment ses films des années 1970, s’oppose au cinéma grand public à travers plusieurs procédés, tel que celui de briser l’illusion réaliste et référentielle, ou le principe de transparence. Par exemple, l’apparition du matériel de tournage dans la mise en scène, ou la caméra, met en évidence l’opacité de son cinéma. Nous proposons donc d’interroger le cinéma durassien selon ses procédés dysnarratifs, ainsi que son rapport de nature intermédiale avec la littérature. Opacidade e intermedialidade no cinema de Marguerite Duras Resumo: O cinema de Marguerite Duras, especialmente seus filmes dos anos 1970, opõe-se ao cinema convencional por meio de vários processos, como a quebra da ilusão realista e referencial, ou o princípio da transparência. Por exemplo, a aparição de equipes de filmagem na mise-en-scène, ou a câmera, destaca a opacidade de seu cinema. Para tanto, propomos questionar o cinema durassiano segundo seus processos disnarrativos, bem como sua relação intermediária com a literatura. Palavras-chave: opacidade; intermedialidade; processos de disnarrativa.
5
Tessougue, Moussa dit Martin. "Loisirs Urbains: Essor et Déclin des Salles de Cinéma à Bamako au Mali de 1960 à 2022, Fréquentation en Baisse et Fermenture des Salles." European Scientific Journal, ESJ 19, no. 2 (January 31, 2023): 115. http://dx.doi.org/10.19044/esj.2023.v19n2p115.
Abstract:
Les liens entre le cinéma, le tourisme et l’urbanisation sont bien évidents. L’urbanisation africaine est antérieure à la colonisation européenne. Néanmoins, ce sont les activités commerciales, industrielles, administratives et récréatives de la colonisation européenne qui ont favorisé, l’expansion de plusieurs villes en Afrique. La colonisation a aussi équipé, les villes africaines en salles de cinéma, d’où la naissance des loisirs urbains en Afrique pour l’épanouissement des activités touristiques. En adoptant, une méthodologie incluant des recherches bibliographiques et des enquêtes par interviews sur le terrain, cette étude a pour objectif de comprendre les motifs du désintérêt de la fréquentation des salles de cinéma à Bamako depuis environ 3 décennies. La question est : comment revigorer les loisirs cinématographiques, en abandon depuis environ 3 décennies, à Bamako, la principale ville du Mali L’hypothèse est que dans l’animation touristique de Bamako, les salles de cinéma ne sont pas du tout importantes actuellement. Les résultats révèlent que : Bamako, objet de cette étude a vu sa première salle de cinéma fonctionnelle en 1920. Si en 1980, il existait 15 salles de cinéma fonctionnelles à Bamako en 2022, on ne recense que 3 salles de cinéma fonctionnelles. La dissolution de l’office cinématographique du Mali intervenue en 1988 entraînera la fermeture des salles de cinéma à Bamako. Cette fermeture s’accentuera, par la promotion de la télévision puis la diffusion grandissante des films sur support DVD et CD Roms dès les années 1990, expliquent les jeunes. Voilà, les principaux motifs d’abandon actuellement des salles de cinéma à Bamako. Enfin, les jeunes de Bamako suggèrent à l’Etat de construire des salles de cinéma confortables dans chaque commune de Bamako, en vue de la relance des activités cinématographiques dans les loisirs urbains et l’animation touristique de Bamako.
The links between cinema, tourism and urbanization are quite obvious. African urbanization predates European colonization. Nevertheless, it was the commercial, industrial, administrative and recreational activities of European colonization that favored the expansion of several cities in Africa. Colonization has also equipped African cities with cinemas, hence the birth of urban leisure in Africa for the development of tourist activities. By adopting a methodology including bibliographic research and field interview surveys, this study aims to understand the reasons for the lack of interest in cinema attendance in Bamako for about 3 decades. The question is: how to reinvigorate cinematic leisure, which has been abandoned for about 3 decades, in Bamako, the main city of Mali The hypothesis is that in the tourist animation of Bamako, the cinemas are not at all important at present. The results reveal that: Bamako, the subject of this study, saw its first functional cinema in 1920. If in 1980, there were 15 functional cinemas in Bamako in 2022, there are only 3 functional cinemas. The dissolution of the cinematographic office of Mali in 1988 will lead to the closing of cinemas in Bamako. This closure will be accentuated, by the promotion of television then the growing distribution of films on DVD and CD Roms from the 1990s, explain the young people. These are the main reasons for the current abandonment of cinemas in Bamako. Finally, the young people of Bamako suggest that the State build comfortable cinemas in each municipality of Bamako, with a view to reviving cinematographic activities in urban leisure and tourist activities in Bamako.
6
GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (December 28, 2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.
Abstract:
O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do inácio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestágios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construádos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entreguerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais ”civilizada”.Palavras-chave: Cinema. Colonialismo. áfrica. VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesAbstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers”™ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters.Keywords: Cinema. Colonialism. Africa. Visibilidad e invisibilidad de LOS cineS en áfrica colonial: reviviendo las primeras escenasRésumé: Le cinéma connait son apogée dans les années 1950-1970 mais que savons-nous des modalités de sa diffusion á partir du début du XXá¨me siá¨cle ? Cet article évoque le succá¨s précoce du cinéma, arrivé dans les bagages de la conquête coloniale, á travers les traces laissées par les récits de voyageurs, la presse ou des souvenirs de spectateurs. Des entrepreneurs, africains ou européens, jouá¨rent un formidable rôle de passeurs de modernité pour assurer la circulation des images animées. Ils sont photographes, ingénieurs, commerçants. D”™abord évá¨nements éphémá¨res, se déroulant dans les cours des concessions ou les hôtels, les séances du cinématographe se fixent peu á peu. Tandis que le cinéma ambulant anime, sporadiquement, les places de village, des cinémas sont construits dans les grandes villes. Ce sont eux qui attirent le regard des administrateurs. Le modá¨le dominant de l”™entre-deux-guerres reste toutefois celui de vastes enclos, á ciel ouvert, protégés par un auvent á l”™arriá¨re. A la différentiation des lieux répond celle des publics : aux plus pauvres, majoritairement africains, sont assignées les places á l”™avant. L”™ambiance des séances et l”™expérience des spectateurs varient donc fortement selon l”™espace fréquenté. Les séances en plein air, oá¹ sont projetés surtout des westerns et des films d”™action, contrastent avec celles du centre-ville á l”™atmosphá¨re plus policée.Mots-clés: Cinéma. Colonialisme. Afrique.
7
Chataignier, Gustavo. "Nouvelle Vague e Cinema Novo – paradigmas de cinema e suas relações." Panambí. Revista de Investigaciones Artísticas, no. 3 (January 9, 2017): 25. http://dx.doi.org/10.22370/panambi.2016.3.547.
Abstract:
O artigo pretende explicitar um circuito de visibilidade que alçou o Cinema Novo brasileiro ao posto de cinema internacional de vanguarda. Para tanto, há que se compará-lo não só com a Nouvelle Vague francesa, mas, sobretudo, com o papel central desempenhado pela crítica especializada –notadamente os Cahiers du cinéma.
8
Lieandra, Hansen, and Suwardana Winata. "BIOSKOP SEBAGAI WADAH SOSIAL DENGAN PENDEKATAN ARSITEKTUR KESEHARIAN DI KAWASAN SENEN, JAKARTA PUSAT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (January 23, 2023): 1203–12. http://dx.doi.org/10.24912/stupa.v4i2.21815.
Abstract:
Young and old have been enjoying watching movies in the cinema for a long time. Along with the development of the times, a lot has also happened to the cinema and always follows the times. Seeing the development of cinemas, there are step-by-step cinemas that can be enjoyed outdoors, drive-in cinemas that can be watched from the car, and there are exclusive seats in cinemas such as 3d theaters, love seats, premieres, and others. Not only a place to watch, but cinemas can also be used multifunctionally which we may have encountered, for example, concerts at the cinema, meet and greets at the cinema, worship at the cinema, to performing at the cinema.The times have indeed affected cinemas and these changes continue to occur, especially now that there are streaming platforms that provide movie viewing via the internet that are easy to access now. Streaming that is easy to watch anywhere threatens the world of cinema, even though it is threatened, cinema and streaming still need each other. Like in Senen, the local community can also enjoy films, namely, at the Grand Theater Senen where there are many activities to watch and socialize at Senen. However, the activities and buildings of the Grand Theater of Senen undergo continuous changes and the lifestyle of the people in Senen also begins to change, this change makes the area around the cinema neglected. Keywords: attractor; cinema; everydayness architecture Abstrak Kalangan muda dan tua sudah lama menikmati tontonan di bioskop. Seiring berkembangnya zaman, banyak juga yang terjadi kepada bioskop dan selalu mengikuti perkembangan zaman. Melihat perkembangan bioskop, terdapat bioskop layar tancap yang bisa dinikmati outdoor, drive-in cinema yang bisa ditonton dari mobil, dan ada kursi yang eksklusif di bioskop seperti, teater 3d, love seat, premiere, dan lainnya. Tidak hanya tempat untuk menonton tetapi bioskop juga dapat digunakan secara multifungsi yang mungkin sudah pernah kita temui contohnya, konser di bioskop, meet and greet di bioskop, ibadah di bioskop, hingga melakukan pertunjukan di bioskop. Perkembangan zaman memang mempengaruhi bioskop dan perubahan itu terus terjadi, apalagi sekarang sudah ada platform streaming yang menyediakan tontonan film melalui internet yang mudah untuk diakses sekarang. Streaming yang mudah ditonton dimana saja mengancam dunia perfilman, meskipun terancam tetapi bioskop dan streaming ini masih saling membutuhkan, jadi ada persetujuan diantara keduanya untuk tetap menyediakan konten untuk menonton sehingga kita masih bisa menonton film. Seperti di Senen, film juga dapat dinikmati oleh masyarakat sekitar yaitu, di Grand Theater Senen dimana disana ditemukan banyak aktivitas untuk menonton dan bersosialisasi di Senen. Namun, aktivitas dan bangunan Grand Theater Senen mengalami perubahan yang terus terjadi dan gaya hidup masyarakat di Senen juga mulai berubah, perubahan ini menjadikan kawasan sekitar bioskop menjadi terbengkalai.
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Dima, Vlad. "Waiting for (African) Cinema: Jean-Pierre Bekolo’s Quest." African Studies Review 62, no. 1 (June 28, 2018): 49–66. http://dx.doi.org/10.1017/asr.2017.153.
Abstract:
Abstract:Throughout his career, Cameroonian director Jean-Pierre Bekolo has been searching for cinema; not African cinema, just Cinema. In order to explain properly this claim, the essay will first consider Bekolo’s work within the context of the ever-ongoing conversation regarding the framing and aesthetics of African and Third Cinemas. Second, for a closer perspective on what will be termed “neurotic cinema,” the essay will key on Bekolo’s latest effort, Naked Reality (2016), a purposely unfinished work that echoes absurdist theater, mimics frantic contemporary thought, and proposes that cinema should not yield finalized products because that may go against its very nature.
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Hartanto, Denny Antyo. "HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER." JURNAL PAKARENA 8, no. 1 (July 4, 2023): 56. http://dx.doi.org/10.26858/p.v8i1.42032.
Abstract:
This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.
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Almeida, Jane de. "Apontamentos sobre o Cinema Científico: Arlindo Machado." Significação: Revista de Cultura Audiovisual 49, no. 57 (February 4, 2022): 41–60. http://dx.doi.org/10.11606/issn.2316-7114.sig.2022.189813.
Abstract:
Arlindo Machado realizou filmes e escreveu artigos sobre um tipo de cinema pouco debatido pelo campo comunicacional chamado “cinema científico”. Esse artigo discute suas ideias sobre o tema, articulando conceitos e a historiografia sobre as origens do cinema por meio de seus escritos sobre os pré-cinemas e os pós-cinemas. O diálogo com suas obras sugere questões a respeito da invisibilidade do cinema científico, das máquinas pré-cinemáticas e suas relações com a ciência, além de casos brasileiros de filmes científicos. A partir dos elementos abordados, especula-se a possibilidade de composição de uma linguagem que ultrapasse o mero registro de imagens. Ao final, discute-se sobre a estética e a ética do realismo atraente de imagens médicas e seus aspectos repulsivos, assim como sobre o simulacro integral das imagens astronômicas dos nossos dias.
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Brown, David Max. "Theatrical cinema in South Africa: The Parasite within, South Korea as a model for survival." Journal of African Cinemas 13, no. 1 (December 1, 2021): 43–62. http://dx.doi.org/10.1386/jac_00043_1.
Abstract:
The 2019 Oscar winner, Parasite attracted millions to South Korean cinemas even before its success in Hollywood. Nigerian cinema is also growing, with local movies topping the theatrical box office and new cinemas being built. Meanwhile, in South Africa, feature film production and cinema attendance are declining without significant transformation of access to the means of film production or to distribution and exhibition. Practical propositions, including the implementation of quotas and taxes, are presented as remedies for the survival of South African cinema, particularly in relation to content creation and the expansion of the exhibition infrastructure.
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Souza, Gustavo Ramos de. "Barthes vai ao cinema." Em Tese 21, no. 2 (January 29, 2016): 29. http://dx.doi.org/10.17851/1982-0739.21.2.29-44.
Abstract:
Embora tenha dedicado muitos de seus textos ao teatro e escrito inúmeros ensaios sobre literatura, além de seu notório ensaio sobre fotografia, o interesse crítico e teórico de Roland Barthes pelo cinema é relativamente reduzido. Se, em entrevista à revista Cahiers du Cinéma, em 1963, Barthes afirmou ir ao cinema ao menos uma vez por semana, por outro lado, em “Ao sair do cinema” (1975), abre o ensaio dizendo que o seu prazer consiste em sair da sala de cinema. Tendo em vista a relação paradoxal de Barthes com o cinema, o objetivo deste artigo é buscar um ponto comum entre as ideias barthesianas sobre a sétima arte a partir do ensaio “O terceiro sentido”, dos textos de Mitologias que versam sobre o cinema, bem como do ensaio “Ao sair do cinema”.
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Kosinova, Marina Ivanovna. "Soviet cinema as a state budget’s contributor. Distribution in the 1930s." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 8–22. http://dx.doi.org/10.17816/vgik618-22.
Abstract:
The idea of replacing revenues from alcohol sale with income from cinema attendance was put forward by L. Trotsky in Soviet Russia in the early 1920s. At the stage of transition from silent cinema to the sound one this idea received a significant number of supporters. Anyhow attendance statistics proved a considerable gap between alcohol profitability and yield, calculated on theatre booking. In order to heal the situation quite a number of new cinemas had to be built. Since the state did not have adequate resources at its disposal, it was decided to refurbish the churches into cinema theatres. As a result the two important aims were to be gained: efficient increase of attendance and effective antireligious propaganda. Achievements of Soviet cinema in the early 1930s supported the idea of cinema to triumph over alcohol. Iosif Stalin proclaimed the replacement of the income from vodka with income from cinema as an official party and state program: expanding industrial base of the Soviet cinema, making more films, increasing the film circulation, building more cinemas. I. Stalins idea was to be realized by the chairman of the GUKF B. Shumyatsky. Acquainted with American and European experience, he proposed a number of reforms in the film industry, the key to which was the creation of the Cinema city in the South of the country, the Soviet Hollywood. As a result, the Soviet film industry had to be increased 10 times. But the project of the Cinema city was not approved by the government. While B. Shumyatsky was working over this project, the assets of the Soviet cinema were actually put on the slide. As a result, the output of film production in Russia decreased significantly, not allowing to execute the annual plan. Thus the idea to replace vodka income into cinema one turned out unfulfilled.
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Aditama, Muhammad Reza. "BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998." Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, no. 1 (December 7, 2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.
Abstract:
This article aims to answer the following 3 questions: 1) How is the development of cinema in Palu City?; 2) How is the influence of cinema on the people of Palu City?; and 3) Why does the presence of cinema produce a new cultural identity in the people of Palu City? The problems in this article are solved using historical methodologies and anthropological approaches. The results of this study indicate that: 1) In the period between 1951-1990 the development of cinema was only in the form of an increase in number, then in 1991 there was one cinema that was different from previous cinemas so that it could create a discourse on traditional and modern cinema and the difference was the shape of the building, facilities, and film distribution network. However, without distinguishing between traditional and modern cinemas, all of them stopped operating at the end of 2000 because there were so many alternative media for film screenings; 2) Cinema as popular culture can increase and have an influence on the consumption of fashion, music, and especially films to the behavior of the people in Palu City; 3) Cinema, in the process of presenting a new cultural identity there are several phases in certain periods in society, namely initially only as popular culture (1951–1989), the second learning space (1984–1998), the third non-privacy space (1990–2000), then these three things become markers that cinema, which is only space, can form a new cultural identity in society.
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Andrzej Dębski, Andrzej Dębski. "Kina na Dolnym Śląsku: rekonesans historyczny." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 129–45. http://dx.doi.org/10.14746/i.2019.35.07.
Abstract:
The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.
17
Martin, Florence. "Cinéma-monde: de-orbiting Maghrebi cinema." Contemporary French Civilization 41, no. 3-4 (December 2016): 461–75. http://dx.doi.org/10.3828/cfc.2016.31.
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Karinkurayil, Mohamed Shafeeq. "The Islamic Subject of Home Cinema of Kerala." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 30–51. http://dx.doi.org/10.1177/0974927619855451.
Abstract:
Migration to the Arabian Gulf as the experience of the state of Kerala has mostly been elided in mainstream Malayalam cinema. The digital revolution towards the end of the last century has spurred a local film practice in northern Kerala, usually called ‘Home Cinema’/‘home video’/‘home film’ and so on. Home Cinema of Kerala is locally produced low-quality CD/DVD video productions which are full-length feature films distributed through video shops, stationeries, bookstores and so on. Home Cinema, synonymous in its beginning with the films of Salam Kodiyathur, began as an attempt to oppose what was perceived as the immoral qualities of mainstream cinema, both global and regional. As a counter to the mainstream, Kodiyathur attempted to formulate Islamic cinema but in the idiom of a strand of mainstream Malayalam cinema. This article looks at the constitution of the Islamic subjects of these cinemas as negotiating the figure of the migrant Muslim in the dominant idiom of Malayalam cinema.
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Jefferson Kline, T. "The Film Theories of Bazin and Epstein: Shadow Boxing in the Margins of the Real." Paragraph 36, no. 1 (March 2013): 68–85. http://dx.doi.org/10.3366/para.2013.0078.
Abstract:
When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that ‘true realism’ constituted the ontology and the essence of cinema was remarkably out of step with the major philosophical movements of his time. Paradoxically, it was not Bazin but Jean Epstein who best explained and defined the modernity of cinema. A reading of Epstein's Le Cinéma du diable will allow us to appreciate just how paradoxical it was that it was Bazin and not Epstein who was ‘selected’ to present cinema to a France immersed in existential and post-existential thought.
20
Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia." Media International Australia 131, no. 1 (May 2009): 83–94. http://dx.doi.org/10.1177/1329878x0913100110.
Abstract:
Cinema-going is a cultural experience shaped by logistics and mobility, as film distributors and exhibitors operate to enable films to be screened in places and at times when audiences can physically assemble to view them together. A historical understanding of the geography of cinema distribution, exhibition and attendance can therefore help us to understand what factors other than the choice of film title may have shaped the experience of the cinema audience. This article uses samples of trade commentary on small country cinemas in the late 1920s from the Australian trade journal Everyones, and suggests that historical GIS maps could help us to understand regional differences in the cinema-going experience, or track phenomena such as the diffusion of racial and social segregation in cinemas. Nevertheless, we need to remain mindful of the limits of maps to adequately explain the cultural experience of encountering these phenomena.
21
Kuntoh, Sarah. "Is the African Cinema Definition ‘Real’ or ‘Idealistic’." International Journal of Current Research in the Humanities 26, no. 1 (February 25, 2023): 25–38. http://dx.doi.org/10.4314/ijcrh.v26i1.2.
Abstract:
To a large extent, the world seems to have seen more films from the West than from anywhere else. In sub-Saharan Africa for example, it was not until the early 1960s that the Africans had the opportunity to stand behind the lens to tell their own story. Unlike the cinema of the West, ‘African cinema’ was borne more out of the resistance to its representation by the West. From Ousmane Sembene’s time till now, other filmmakers from Anglophone as well as Lusophone countries have made different films on different subjects about nation and culture. But in many scholarly writings, for several years, these national cinemas are not seen as such but are bundled up under the rubric of African cinema. Who defines African cinema, can we look at its constituents as national cinemas? Is the definition known before evolving? Are the films made in contemporary times in cosmopolitan settings losing their ‘Africanness’? Does the term African cinema possess colonial undertones? This article seeks to trace the beginnings of African cinema and its evolution and find out how the cinemas in sub-Saharan Africa especially kowtowing to the pigeonhole of the idealism of how the West defines it, or whether gradually the emerging stories from different nations are making the world rethink films from Africa in a different or ‘real’ way. The paper further considers the progress of filmmaking in Anglophone Africa, with a particular reference to Ghana and how this art wrapped in culture and ideology has defined itself over the years. The study adopts analytical and historicocritical methods.
22
Ferraz, Talitha Gomes. "Os lugares dos cinemas no subúrbio carioca da Leopoldina: falências, usos e destinos // The place of the cinemas in the Leopoldina suburb of Rio de Janeiro: collapses, uses and destinies." Contemporânea Revista de Comunicação e Cultura 13, no. 1 (June 2, 2015): 193. http://dx.doi.org/10.9771/contemporanea.v13i1.13140.
Abstract:
Este artigo examina a transformação do acesso à sala de cinema, quando este equipamento coletivo, antes vigoroso em ruas e praças do espaço urbano da cidade do Rio de Janeiro, perde seu fôlego no final do século XX, cedendo lugar para os cinemas de shopping entre as práticas de lazer dos indivíduos. Nosso foco de análise é o caso dos extintos “cinemas de estação”, que existiram em frente a cada estação de trem dos bairros da Zona da Leopoldina, subúrbio ferroviário carioca, e as atuais condições da exibição cinematográfica nesta região. Com base em dados etnográficos e numa literatura sobre o papel do cinema nas dinâmicas urbanas, pensamos o estatuto da sala de cinema hoje nesta área da cidade.
23
Zanatto, Rafael Morato. "O Festival de Cinema Científico e Educativo (1954): Jean Painlevé, INCE, B. J. Duarte." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 10, no. 2 (November 27, 2021): 47–73. http://dx.doi.org/10.22475/rebeca.v10n2.805.
Abstract:
A realização do Festival de Cinema Científico Educativo como parte da programação do I Festival Internacional de Cinema do Brasil (1954) foi um evento importante para o desenvolvimento do cinema científico brasileiro em termos técnicos, artísticos e institucionais. Contando com a presença de Jean Painlevé e com o empréstimo de filmes da Associação Internacional de Cinema Científico, o festival movimentou o cenário científico e cultural brasileiro suscitando importantes discussões sobre a natureza desse cinema, seus objetivos, técnicas, critérios e temas. Exibindo lado a lado os cinemas europeu e brasileiro, o festival liga o Brasil ao fenômeno dos festivais que floresce após o fim da II Guerra mundial na Europa e dos quais o cinema científico é partícipe. Em linhas gerais, a significação local do festival foi imensa, tanto pelos programas que exibiu quanto pela reflexão que suscitou a propósito do passado, do presente e também do futuro do cinema científico no Brasil.
24
Косинова, Марина, Marina Kosinova, Артур Аракелян, and Artur Arakelyan. "Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry." Servis Plus 9, no. 4 (December 1, 2015): 17–26. http://dx.doi.org/10.12737/14569.
Abstract:
In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of
Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in
the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66
new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily
increase the production. The growth of the film industry contributed to the cinema spreading and film distribution.
In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in
1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957,
and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted
of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered
new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully
mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from
films increased annually in largely through the construction and commissioning of new cinemas, and due to
the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly
centralized administrative-command system which had been formed in the 1930s continued to operate until
the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the
estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the
film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films.
Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have
the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.
25
Čivrná, Tereza. "The Evolution of Cinemas in Prague from the Second Half of the Twentieth Century: A Contemporary Perspective." Stavební obzor - Civil Engineering Journal 33, no. 1 (April 30, 2024): 1–19. http://dx.doi.org/10.14311/cej.2024.01.0001.
Abstract:
The article approaches the situation of Prague cinemas in the second half of the 20th century from the end of the Second World War to the Velvet Revolution within the socio-historical background from the point of view of an architect and a cinephile. The entire text is arranged chronologically in four paragraphs reflecting the contemporary political and social situation. It approximates the post-war period full of ideological ideals, when the construction of a dense network of cinemas became a key element of national renewal, not only in large cities but also in the regions. The following decade brought a paradigmatic shift, when local single-screen cinemas gave way to large cultural houses with multifunctional use (film, theatre, gallery, restaurant, sports facilities, etc.). It deals with the socially relaxed sixties, reflecting the synergy of various artistic disciplines, thanks to which Czechoslovakia presented to the world new artistic disciplines based precisely on film projection – “polyekran” (polyscreen) and “laterna magika” (a combination of projection and performance with live actors). The imaginary culmination of the new wave period was the opening of the luxury cinema 64 U Hradeb, which is given more attention in the text below. Furthermore, the text outlines the situation of cinemas in large Prague housing estates and deals with Czech brutalism in the context of foreign architecture and with the only brutalist cinema still operating today – the Dlabačov cinema. The final part of this article gives a brief overview of the total number of cinemas established in this period in the territory of Prague and a comparison with other European metropolises with a similar socio-cultural background. The research has the ambition to understand and approach how to integrate valuable cinema buildings on the territory of Prague into the daily life of contemporary Prague residents through the investigation of the cinema phenomenon, and the development of cinematography and cinema architecture as such, from its inception to the present day. The general logical processing methods are historical and socio-cultural analysis, architectural and urban research including architectural drawings, photographic documentation and a study of the urban development of the appearance of individual cinemas, comparison and deduction.
26
Agustin, Nurmalia, Deby Ayu Ismawati, and Mustasyifa Fauziah. "Membuka Pintu Hiburan di Era Kolonial: Sejarah Perkembangan Bioskop di Batavia, 1900-1942." Warisan: Journal of History and Cultural Heritage 4, no. 1 (August 16, 2023): 27–37. http://dx.doi.org/10.34007/warisan.v4i1.1816.
Abstract:
This research aims to discuss the history of cinema in Batavia from entertainment before the existence of cinemas, the background of the beginning of cinemas to Chinese involvement in the cinema industry. Of course, in the past, watching in theaters already existed during the Dutch colonial period. Movie theaters have existed in Batavia since 1900. The culture of watching this movie began to enter in the early 20th century where the indigenous people at that time called the moving image "Ideop Picture". The method used in this research is the historical method in which there are heuristics, internal and external criticism, interpretation, and historiography. From the results of this study, it is hoped that it can provide insight to the public about the history of cinema, not only exist to be enjoyed at this time but also can be remembered and remembered how the history of cinema in Batavia opened the gateway to entertainment in Indonesia.
27
Higgins, MaryEllen. "The Winds of African Cinema." African Studies Review 58, no. 3 (November 23, 2015): 77–92. http://dx.doi.org/10.1017/asr.2015.76.
Abstract:
Abstract:This article argues for a departure from theories of new cinema “waves” and proposes the notion of cinema “winds” as a more compelling conceptual framework for studies of African film movements. Building on the work of Ngũgĩ wa Thiong’o, Manthia Diawara, Ken Harrow, and Nwachukwu Frank Ukadike, in addition to commentaries by various African film directors, this article looks at various dimensions of global visibility and the elusive movements of African cinemas. It also explores how African directors challenge habits of seeing and interpreting world cinema.
28
Keller, Sarah. "“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema." rythmer, no. 16 (April 11, 2011): 129–43. http://dx.doi.org/10.7202/1001959ar.
Abstract:
This essay examines the connection between modern poetry and cinema through their mutual emphasis on rhythm. It argues that rhythm provides both an alternative mode for structuring non-narrative cinemas as well as an explanatory device for how filmmakers in the modernist milieu believe the cinema works.
29
Volkov, E. V., and M. V. Sapronov. "Wartime Leningrad Cinemas: During and After the Blockade." Modern History of Russia 12, no. 3 (2022): 581–95. http://dx.doi.org/10.21638/11701/spbu24.2022.303.
Abstract:
This article considers cinemas in Leningrad during the Great Patriotic War was a social space, which, using concept of the French sociologist Henri Lefebvre, can be considered as having three levels. First, there is a “representation of space”, that implies these aspects: how cinemas were represented and embodied in material forms (architectural appearance and interior decoration), and how the work of this institution was planned. The second level is “spatial practices”: the functioning of the cinema in real conditions through the activities of its employees, which could differ from orders from above. The third level is the “space of representations”, or how the cinema appears to viewers who visited it. During the Great Patriotic War, the social space of architectural structures in Leningrad cinemas largely remained the same as in the pre-war period. However, in wartime, mobilization acquired a larger character in cinemas. The spatial practices of cinema employees, whose composition has undergone changes in connection with the mass conscription to the front, labor mobilizations, diseases, and high mortality (mostly elderly and disabled people worked there) were also been transformed. The working day for cinema workers increased significantly. At the same time, a number of cinemas in Leningrad were temporarily closed and “conserved”. Cinemas as “spaces of representation” were associated for many viewers with a place of cultural practices, recreation, and distraction from the scourge of war. The repertoire of cinemas in Leningrad in contrast to the pre-war period, has changed significantly in the direction of increasing the display of newsreels, educational and documentary films, as well as military-historical feature films and “allied films” of American and British production.
30
Safitri, Karina Khairunnisa, Putri Sonya, and Nico Wattimena. "Public Relations Strategy in Improving Cinema Company Reputation (Case Study Cinema21)." COMMENTATE: Journal of Communication Management 2, no. 2 (December 20, 2021): 185. http://dx.doi.org/10.37535/103002220217.
Abstract:
Human beings needs to fulfill their life, entertainment is one of them. In this era of digitalization there are various form of enrtainment, one of them is cinema. CINEMA 21's is the largest and vast growing group of cinemas in Indonesia with many branches nationwide. CINEMA 21 public relations always try to improve their reputation by providing best facilities to its customers. The purpose of this research, is to analyze CINEMA 21's public relations activities to improve their reputation. The research method used is qualitative descriptive with primary data collection conducted through in-depth interviews with internal and external corporate sources, while secondarydata through company data (Company Profile), books, Internet (Articles) and Websites. The results of this research found that CINEMA 21's public relations activities managed to maintain the company's reputation.
31
Esteves, Leonardo Gomes. "Sobre o “cinema violento” e seus manifestos esquecidos." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 10, no. 1 (August 20, 2021): 292–314. http://dx.doi.org/10.22475/rebeca.v10n1.729.
Abstract:
Este artigo investiga a origem e o significado do “cinema violento”, proposto nas páginas da revista Opus international em junho de 1968. Sob o impacto do Maio de 68, o periódico faz uma espécie de dossiê sobre a violência, pensando em sua abrangência sobre diversas modalidades artísticas. No cinema, destacam-se os “Quatre manifestes pour un cinéma violent” e o engajamento do principal teórico por trás da publicação, Alain Jouffroy. Como conclusão, são apontados dois possíveis desdobramentos do “cinema violento”.
32
Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (January 27, 2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.
Abstract:
Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.
33
White, Jerry. "Remembrance and the fate of a commercial Canadian cinema." Short Film Studies 10, no. 1 (January 1, 2020): 79–81. http://dx.doi.org/10.1386/sfs.10.1.79_1.
Abstract:
Abstract Remembrance highlights the possibilities of a modest commercial cinema that prioritizes craftsmanship and focus. This has special importance in Canadian and Quebec cinema, and Remembrance's afterlife as the three-season Canadian TV show X-Company raises important questions about the flourishing of small national cinemas in a globalized age.
34
Косинова, Марина, and Marina Kosinova. "Distributing and returning mechanism of Soviet cinema in the period of «stagnation»." Servis Plus 10, no. 2 (July 4, 2016): 64–73. http://dx.doi.org/10.12737/19460.
Abstract:
The article discusses the process of film distribution in Soviet cinema in the 1970s. This complex, multi-path way of the film to the viewer that begins with scenarios of application, and finishes with the replication of film prints. This article describes the mechanism of film award, the system of payment of fees (“production fees”) of the Soviet filmmakers, depending on the category and the payment process “potirazhnye” («printing fees»). The author analyzes the work of «GUKK»- General Directorate of cinema spreading and the distribution, the specifics of its work in the “stagnation”, considering the work of the distribution companies and cinemas, the mechanism of distribution of gross income of cinemas, in the period of “stagnation”, they were rather nominal
in nature. Every filmmaker knew only his job and his salary, the overall picture of the industry was not inter-esting for him. Distributing and returning links of Soviet cinema, in essence, were not for its return and were separated from production. According to the notorious principle of thematic planning it was obligatory to make certain proportions of films about the leading role of the party and its leaders, revolution, the working class, the collective farm of the village and etc. The Soviet Studio were to run the movies of similar subjects every year regardless of whether they had appropriate, high-quality scripts, good Directors and, most importantly, potential
audience. Based on the studied material the author concludes that in the 1970-ies the Central headquarters of the Soviet cinematography – Institute of State cinema of USSR –determined: who, what, where and when to watch at the cinemas. The professional consciousness of each member of the creative team, therefore, did not fix the desire to achieve success with the audience, and the willingness to achieve recognition by the College of the Institute of State cinema and the film award of the highest category (which assumed significant additional benefits and bonuses). However, Institute of State cinema («Goskino»), the state cinema management was not the ultimate authority in the control of cinema industry process. At the head of the system was the Communist party.
35
Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.
Abstract:
his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?
36
Косинова, Марина, and Marina Kosinova. "Technical base of soviet cinema in the period of “stagnation”." Servis Plus 10, no. 1 (February 26, 2016): 70–80. http://dx.doi.org/10.12737/17485.
Abstract:
The article is devoted to such technical aspects of Soviet cinema as cinema spreading, film, movie taking and film equipment. We consider the activities of NIKFI [National Research film and photo institute] in the 1970s. One of the major problems in cinema spreading is a deep-rooted lag of the cinema network from the audience needs. There was not only few cinemas, but also there was less technical equipment which often left much to be desired. In addition, large one-hall cinemas, which always prevailed in the USSR, significantly narrowed the choice of repertoire. In the late 1970’s – early 1980’s in the Soviet Union there was dramatically reduced cinema building, while the number of urban residents continued to grow. Status of rural cinema network also left much to be desired: it was often increased at the expense of the reorganization of rooms poorly adapted for this purpose into cinemas. The technical base of the Soviet film industry has always been its Achilles heel. In our country, there was always a certain gap between the level of scientific research and their practical realization. The reason is that all the forces were at the defense industry. A huge number of people (even in “peaceful” factories there were often secret workshops) employs on the “defense industry”. So in many fields we had advanced science (because the “defense industry” science always moves forward) and backward production. The perversity of this approach negatively affected the efficiency of NIKFI. Laboratories operating according to the plans approved by Institute of State cinema were busy with works which were not directly related to the cinematography; as the result, every year the Soviet Cinema equipment remained more and more behind the world standards, equipment dilapidated and were gradually replaced by foreign novelties. Especially serious lag observed in a number of areas cinema techniques: in the projection, the developing and copying equipment, new types of imaging optics, carrier transport. The most difficult situation was in the production and development of new varieties of film. In the late 1970s and early 1980s the problem of the quality laid on the problem of the quantity. Soviet film industry began to have trouble with positive film, which resulted in a forced reduction in circulation of new films.
37
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.
Abstract:
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 “content in context” 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’s 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.
38
Portanova, Eduardo. "Michel Marie e a poesia do olhar." Revista FAMECOS 14, no. 33 (April 14, 2008): 7. http://dx.doi.org/10.15448/1980-3729.2007.33.3428.
Abstract:
Professor da Universidade Sorbonne (III) e autor de livros já incorporados à cultura cinematográfica no âmbito acadêmico, como “Dicionário teórico e crítico de cinema” e “A estética do filme”, ambos em coautoria com Jacques Aumont, Michel Marie pode ser considerado, hoje, um dos principais teóricos franceses e mundiais da história do cinema. Acaba, ainda, de lançar, junto com Laurent Jullier, “Lires les images de cinéma”, pela Larousse, no qual apresenta as ferramentas da análise fílmica, considerando as escalas do plano, da seqüência e do filme, e reflexões sobre o Cinema Mudo, a Idade de Ouro dos gêneros, as lições de vida do classicismo, o cinema da modernidade, o segundo sopro de Hollywood e a era pós-moderna.
39
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.
Abstract:
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.
40
Coate, Bronwyn, Deb Verhoeven, and Alwyn Davidson. "The Cinema Cities Index: comparing urban cinema cultures around the world." Media International Australia 163, no. 1 (February 1, 2017): 163–75. http://dx.doi.org/10.1177/1329878x17693931.
Abstract:
[Cinema culture varies markedly around the globe and between cities. While this is obvious, the drivers of cinema culture are complex and interact in different ways across different locations and often give rise to a distinct character of localised cinema. This can be witnessed at different scales: across countries, between cities and, on a more granular level, based on localised neighbourhoods. In this article, we apply quantitative methods to investigate cities’ ability to support cinema-going, or what we term ‘cinemability’. We focus on four inter-related aspects that we argue contribute to a city’s cinemability. These include the physical infrastructure of cinemas, the number and variety of films available, the presence of film festivals as a form of cultural signalling and the average cost of cinema admissions. In this article, we construct a ranked index of ‘cinemability’ based on data sourced from the Kinomatics Screen Dataset in order to facilitate a global comparison of contemporary cinema-going across 311 world cities. Our Cinema Cities Index is then compared with public contributions on the Cinema Cities website, http://www.cinemacities.com , where users can generate their own version of the index by assigning weights to the different variables based on their personal preferences. The results of our analysis reveal that the public place emphasis on factors such as the diversity of films offered and the affordability of cinema admission as key contributors to what makes a particular city amendable to ‘cinemability’.
41
Szymański, Karol. "Kina warszawskie: wrzesień–grudzień 1939 roku." Przegląd Humanistyczny 61 (September 4, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.4154.
Abstract:
Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable to fulfill their informational or propaganda role and provide the inhabitants of the fighting city with the escapist or uplifting entertainment. During the siege of Warsaw some cinemas changed their functions and became a shelter for several thousand fire victims and refugees, while others were irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of the city by the Germans, some of the most representative cinemas which survived (they were entirely expropriated by the administration of the General Government) began to gradually resume their activity from the beginning of November. By the end of 1939 there were already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium) intended only for the Germans. These cinemas showed only German films – they were entertaining productions which were well-executed, devoid of explicit propaganda or ideological elements, with the greatest stars of the Third Reich cinema. However, December 1939 brought also the first action of the Polish resistance against German cinemas and cinema audience in Warsaw, which in the years to come developed and became an important element of the civilian fight against the occupant.
42
Biltereyst, Daniel. "Sex Cinemas, Limit Transgression and the Aura of ‘Forbiddenness’: The Emergence of risqués Cinemas and Cinema Leopold in Ghent, Belgium, 1945–54." Film Studies 18, no. 1 (2018): 14–33. http://dx.doi.org/10.7227/fs.18.0002.
Abstract:
Arguing that limit transgression is a key feature for understanding the cinematic performance of, and the controversy around, sexuality in the public sphere, this contribution focuses on various aspects of limit transgression in relation to sex cinemas. Following a new cinema history approach and concentrating on the case of an emerging sex cinema in postwar Belgium (Cinema Leopold in Ghent, 1945–54), this article looks at various dimensions of limit transgression in terms of concrete physical and spatial relations; programming strategies; audience experiences; and a range of disciplining societal practices and institutional discourses.
43
España Rodríguez, Jesús. "El cine de José Luis Guerín: En construcción (2001) y Unas fotos en la ciudad de Sylvia (2007)." Norba. Revista de Arte, no. 43 (January 11, 2024): 261–83. http://dx.doi.org/10.17398/2660-714x.43.261.
Abstract:
The thinker Jacques Aumont confirms in Du visage au cinéma that a special treat-ment of the face has developed throughout the history of the cinema but refuses to admit the existence of a cinema portrait. The career of filmmaker José Luis Guerin calls into question such categorical statements. This work studies Guerin´s work, confronts it with that of Aumont´s and aims to establish a bridge between theory and practice that, in turn, brings cinema closer to a genre, portraiture, whose integration with other arts has never been questioned.
44
Betancourt, Manuel. "Whose Latin American Cinema?" Film Quarterly 70, no. 2 (2016): 9–16. http://dx.doi.org/10.1525/fq.2016.70.2.9.
Abstract:
What do we talk about when we talk about Latin American cinema within the borders of the United States? Discussions of cinema from the region remain limited to the means of production: which films are produced and financed; how local filmmakers secure the money and access to make the films that then get tied to any given country's national cinema; the aesthetic and cultural movements that these films engender and replicate. But what of the distribution templates that circumscribe the kind of films and filmmakers that can make it to the United States, and under which circumstances? Looking at examples of film programming and distribution that are actively circumventing the established arthouse-release model that has become the de facto way of releasing Latin American cinema in the U.S., this article points to new efforts at defining cinemas of the region outside the bounds of an increasingly obsolete system.
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Rice, Tom. "Distant Voices of Malaya, Still Colonial Lives." Journal of British Cinema and Television 10, no. 3 (July 2013): 430–51. http://dx.doi.org/10.3366/jbctv.2013.0149.
Abstract:
Through the example of the Crown film Voices of Malaya (1948), this article examines interrelated postwar shifts in colonial history and British documentary cinema. Produced over three tumultuous years (1945–8) – in Malaya and England, with local film-makers and British documentarians – Voices of Malaya is a hybrid text torn between traditions of British documentary cinema and an emerging instructional, colonial cinema; between an international cinema for overseas audiences and a local cinema used within government campaigns and between an earlier ideal of empire and a rapidly changing, late liberal imperialism. The article challenges the traditional decline and fall narrative of the British documentary movement, as I examine the often overlooked ‘movement overseas’ of film-makers, practices and ideologies into the colonies after the war. In charting the emergence of the Malayan Film Unit, I examine the role of the British documentary movement in the formation of local postcolonial cinemas.
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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.
Abstract:
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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McKernan, Luke. "‘Only the screen was silent . . .’: Memories of childrens cinema-going in London before the First World War." Film Studies 10, no. 1 (2007): 1–20. http://dx.doi.org/10.7227/fs.10.3.
Abstract:
Before 1906, there were no dedicated venues for the exhibition of film in London. Five years later, cinemas had spread all over the city, and 200,000 people were attending a film show in the city every day. Many in these first cinema audiences were children. Significantly - indeed probably uniquely for the time - cinema was a mass entertainment deliberated aimed at, and priced within the range of, the young. Decades later, some of these children left memoirs (published or unpublished), or were interviewed by oral historians. This body of evidence on the experience of cinema-going before the First World War has been hitherto ignored by film historians. This essay examines this testimony from London audience members, which is constructed around the various stages of the act of going to the cinema. The testimony demonstrates that the experience and the enjoyment of the social space that the cinema provided were at least as important as the entertainment projected on the screen. The early cinema demands greater recognition for its function as a social sphere, and particularly as a welcoming place for children.
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Khan, Mahek. "REFLECTIONS ON THE INTERFACE WITH REALITIES AND IDEAS: AN OVERVIEW OF IRANIAN CINEMA." Rashhat-e-Qalam 2, no. 2 (September 15, 2022): 60–78. http://dx.doi.org/10.56765/rq.v2i2.72.
Abstract:
Cinema has been playing one of the most significant influences in our modern life. A lot of countries are involved in filmmaking, so the Iranian has been actively involved in cinema which has become famous across the world. Iranian cinema offers a fascinating even astonishing masterwork; it gives an artistic sophistication, mesmerisation, and passionate significance to humanism. While Hollywood, dominated by flashy fantasies, has put up many national cinemas out of business, Iran's filmmakers have still continued to influence the world audience with their unique and notable formal ingenuity and adherence to real-life people and their problems. In the international arena, Iranian cinema inspired successive generations. There has never been a bit of a moment in the history of Iranian cinema when it remained restricted to its current domains or boundary. Iranian cinema is huge and heterogeneous in its character, as are the historical-cultural, political, and social aspects of Iran itself. 'Realism' in Iranian films can be elucidated through different models or patterns, which has been attempted to deal with in this paper.
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Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (September 5, 2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.
Abstract:
‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.
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Odio Soto, Carlos Alberto, Bartolomeu Chindumbo Delfino, and Augusto Veríssimo Victor dos Santos. "Estudo patológico do cinema ferroviário do Huambo." Revista Angolana de Ciencias 1, no. 2 (December 2, 2019): 400–421. http://dx.doi.org/10.54580/r0102.10.
Abstract:
O cinema tem vindo a refletir a forma como a sociedade se tem organizado, está intimamente relacionado com os aspetos sociais e culturais, tendo-se constituído um dos principais fenómenos contemporâneos. A sociedade em que vivemos está em permanente mudança e consequentemente surgem valores, interesses e estilos de vida diferentes. A concretização de uma vontade de resgate do cinema Ferroviário do Huambo é um ato de mérito a destacar, num território com as características como as que apresenta o Município do Huambo, constitui um desafio entusiasmante para a revitalização e conservação dos cinemas mas que está inserido em um espaço desportivo desta cidade. Em Angola o cinema está presente em todo o país e a Província do Huambo possui várias instalações de cinemas que revela a cultura e identidade da cidade, mas por motivos diversos como o fator guerra e a falta de manutenção foram se deteriorando, precisando assim de uma conservação e restauração. Depois de observadas as patologias no cinema do Clube Desportivo Ferroviário do Huambo na fase de diagnóstico surge a ideia de sua reabilitação e dos locais adjacentes, associando os espaços existentes e criando uma nova perspetiva de espaços de laser na cidade do Huambo. Este trabalho de pesquisa destina-se a um estudo patológico do cinema Ferroviário do Huambo sendo este seu objetivo principal e posterior implementação de um anteprojeto arquitetónico.