Academic literature on the topic 'Colore nel cinema'

La cucina italiana è il risultato di tradizioni, molte delle quali risalgono a tempi molto antichi ed ai molti popoli stranieri che hanno dominatole regioni italiane, apportandovi cultura ed innumerevoli ricette chene fanno, nelle sue diversità, il prodotto Made in Italy, conosciuto in tutto il mondo. Molti autori hanno parlato del cibo in momenti di azione dei personaggi, attorno ad imbandite tavole di gente ricca e potente, o del campo, senza risorse per fare delle buone ricette. Però non parleremo qui dei piaceri del buon cibo italiano, ma della necessità del cibo come alimento che dà la forza per continuare a vivere. Ed allora, così come Primo Levi in Se questo è un uomo, ci domandiamo: è uomo chi mangia un cibo senza sapore, senza colore, senza odore e quindi senza piacere, che gli serve solo per sopravvivere? E vedremo anche la maniera giocherellona ed allegra, cheall’inizio del film La vita è bella Benigni usa per parlare del cibo, mentre nella seconda parte, quando la sua vita non è più un gioco - malgrado lui la conduca come tale affinché il figlio non capisca dove sono stati portati, fadi tutto affinché non manchi al piccolo Giosuè.

Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3 1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation of watching movie activities. The process of collecting information data by doing an observation to site location at the movie theater, and do an interviewed with one of the staff, also one of customer at the movie theater. The result of those observation will be analyzed using qualitative analyses method and glass box method by listing what people’s demand as for services and facilities should be provide at movie theater, to figuring what rooms that needed, as well as theme and concept for the design. The conclusion is Futuristic Entertainment applied as theme and concept at theater’s interior redesign has a hope will become the new face of the Movie Theater as of facing high business competition among movie theater industry also to calibrate the Industry 4.0 era where internet based at most of life aspect, nowadays. Key words : movie theater, movie, watching, services, public, Futuristic, Entertainment, redesign, interior A B S T R A K Bioskop merupakan salah satu tempat sarana hiburan untuk menonton film yang dirancang memberikan kualitas audio-visual yang baik dan kegiatan pelayanan dalam meningkatkan kenyamanan dalam menonton film. Tujuan dari redesain interior ini untuk dapat meningkatkan kualitas pelayanan pada bioskop, serta meningkatkan minat masyarakat untuk menghargai perfilman di Indonesia dengan memberikan fasilitas dan sarana yang baik dalam kegiatan menonton film. Proses pengumpulan data dilakukan dengan observasi ke lokasi site bioskop tersebut dan melakukan wawancara pada salah satu pegawai bioskop, serta salah satu pengunjung dari bioskop. Hasil dari observasi tersebut kemudian di analisa menggunakan metode analisa kualitatif dan metode desain glass box, dengan mendata pelayanan yang harus disediakan pada area bioskop, untuk mengetahui kebutuhan ruang, serta tema dan konsep dalam redesain interior. Simpulan redesain pada interior bioskop menggunakan tema dan konsep Futuristic Entertainment, yang mana dari tema dan konsep tersebut akan memberikan wajah baru untuk menghadapi persaingan bisnis bioskop yang semakin tinggi dan sekaligus menyesuaikan era Industry 4.0 sekarang, dimana Internet based pada hampir segala aspek kehidupan. Kata Kunci: bioskop, film, menonton, pelayanan, masyarakat, Futuristic, Entertainment, redesain, interior. PENDAHULUAN Di digital era seperti sekarang ini, menonton film menjadi salah satu pilihan sarana hiburan bagi masyarakat untuk melepas penat maupun kebosanan akan rutinitas sehari-hari. Cerita-cerita dalam film dapat diadaptasi dari novel, dokumentasi ilmiah, autobiografi, sejarah dari sebuah peristiwa, maupun dari kisah nyata seseorang yang menarik untuk diangkat ke dalam sebuah film, sehingga sebuah film pun juga dapat menjadi media visual informasi bagi masyarakat luas. Sekarang ini bioskop sebagai tempat pemutaran film-film sudah banyak tersebar di seluruh wilayah Indonesia. Hal ini dilihat dari jumlah layar bioskop yang semakin bertambah, sekaligus berpengaruh pada pertambahan jumlah penonton Indonesia. Menurut data GPBSI (Gabungan Pengusaha Bioskop Indonesia), jumlah layar bioskop di Indonesia terus bertambah dalam dekade terakhir, pada tahun 2008 tercatat ada 574 layar, kemudian terus bertambah menjadi 1518 layar pada 2017, bertambah lagi menjadi 1774 pada 2018, dan hingga pada per 13 Mei 2019, bertambah 87 layar, sehingga total jumlah menjadi 1861 layar bioskop. Di Kota Madiun sendiri terdapat 2 bioskop yang beroperasi yaitu New Star Cineplex (NSC) Timbul Jaya Plaza dan CGV*Blitz, dari kedua bioskop terdapat perbedaan dari segi fasilitas, jumlah pengunjung bioskop, dan juga desain yang diterapkan. Berdasarkan data survey pengunjung pada Goggle Trend yang diambil dari bulan September – November 2019, menunjukkan perbedaan signifikan jumlah pengunjung antara bioskop NSC Timbul Jaya Plaza Madiun dengan bioskop CGV*Blitz, dimana jumlah pengunjung di bioskop NSC Timbul Jaya Plaza cenderung lebih rendah dari bioskop CGV*Blitz. Gambar 1. Data perbadingan jumlah pengunjung bioskop [Sumber : Google Trend, 2019] Kurang nya pembaharuan dari segi fasilitas dan desain pada interior bioskop NSC Timbul Jaya Plaza Madiun juga menjadi salah satu faktor sepinya pengunjung pada bioskop. Gambar 2. Keadaan eksisting bioskop NSC Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] Maka dari itu di dalam makalah ini akan dibahas redesain interior dari bioskop dengan menggunakan tema dan konsep Futuristic Entertainment yang bertujuan memberikan suasana baru pada bioskop untuk menghadapi persaingan bisnis bioskop yang semakin ketat seiring pertumbuhan jumlah layar bioskop yang semakin meningkat setiap bulannya dan era Industry 4.0 yang semakin canggih, selain itu pembaharuan dari segi desain dan hiburan dapat menarik perhatian pengunjung untuk datang ke bioskop NSC ini. METODE PENELITIAN 2.1 Metode Pengumpulan Data Terdapat dua data pada metode ini, yaitu Data Primer dengan dilakukan pengumpulan informasi-informasi melalui wawancara pada salah satu staff bioskop dan salah satu pengunjung bioskop. Data Sekunder dengan mengumpulkan data informasi dari berbagai sumber referensi akurat. Metode ini diyakini dapat memberikan data yang akurat, dan dapat memberikan gambaran jelas permasalahan pada bioskop. 2.2 Metode Analisa Data Metode Analisa Data pada redesain ini menggunakan metode kualitatif. Metode dengan pendekatan kualitatif merupakan metode penelitian yang di gunakan untuk meneliti pada populasi atau sampel tertentu, pengumpulan data menggunakan instrument penelitian, analisis data bersifat deskripsi. Metode penelitian kualitatif sering disebut metode penelitian naturalistik karena penelitianya di lakukan pada kondisi yang alamiah (natural setting). Dimana untuk hasil desainnya lebih bersifat umum, fleksibel serta berkembang dan muncul dalam proses penelitian. Kesimpulannya desain hanya digunakan sebagai asumsi untuk melakukan penelitian sehingga desain harus bersifat fleksibel dan terbuka. 2.3 Metode Desain Metode yang digunakan pada redesain ini yaitu metode glass box, dimana metode yang menggunakan parameter yang terukur, sesuai dengan fakta dan telah dianalisisa secara mendalam serta sistematis. Sehingga metode desain menggunakan sistem ini hasilnya diharapkan mampu rasional sehingga memenuhi standar kenyamanan. HASIL DAN PEMBAHASAN 3.1 Lokasi Site Bioskop ini berlokasi di Jalan Pahlawan Kav. 46 – 48, Mangu Harjo, Kota Madiun. Untuk akses ke bioskop tersebut sangatlah mudah, karena bangunan Timbul Jaya Plaza sendiri berada tepat dipinggir jalan raya dan berada di tengah kota Madiun sebagai pusat perekonomian kota tersebut sehingga mudah untuk ditemukan. Dari lokasi tersebut dapat dihasilkan data berupa eksisting dari bioskop tersebut. 3.2 Tema dan Konsep Menentukan tema dan konsep merupakan langkah awal dalam meredesain suatu interior. Hal ini akan memberikan gambaran yang jelas suatu ruangan dari segi bentuk, warna, dan material yang akan digunakan, sehingga memiliki visual yang menarik. Tema yang diaplikasikan pada redesain ini adalah Futuristic, Futuristik sendiri merupakan tema desain yang berorientasi pada masa depan, dengan banyak menggunakan bentukan yang tidak lazim, dan jarang diterapkan pada furniture pada umumnya. Dalam tema futuristik yang akan diterapkan pada redesain ini memiliki karakteristik dan ciri-ciri tersendiri, seperti tampilan artistik namun memiliki bentuk sederhana, elegant modern, dan dengan nuansa ruangan yang penuh dengan permainan lampu. (a) (b) Gambar 3. (a) Ruangan tema futuristic (b) aksen garis lampu pada garis pada furniture futuristic [Sumber : pinterest, 2020] Konsep yang diplikasikan pada redesain ini adalah Entertainment. Konsep ini mengambil elemen dari bioskop ini sendiri yaitu sebagai tempat hiburan yang sekaligus memberikan kesan dan pengalaman terbaik untuk menonton film bagi pengunjungnya. Dari tema dan konsep akan muncul suatu skema warna yang akan banyak diterapkan pada interior, yaitu cyan, hitam dan putih. Untuk material, banyak akan diterapkan menggunakan bahan stainless steel, aluminium, dan kaca tempered glass. 3.3 Scheme Color Dalam setiap konsep desain ruangan, terdapat warna-warna yang akan secara dominan muncul dalam pengaplikasiannya. Pada tema ini akan memiliki skema warna : Gambar 4. Scheme Color Redesain Bioskop New Star Cineplex Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] 3.4 Visualisasi tema dan konsep Tema dan konsep yang akan diterapkan pada interior adalah Futuristic Entertainment pada bagian lantai, dinding, ceiling/plafond, furniture, ruangan, dan fasilitas pada bioskop. Lantai Area lantai bioskop yang akan diterapkan adalah lobby bioskop dan area ruang teater. a) Lobby Gambar 5. Lantai Karpet [Sumber : dokumentasi pribadi, 2020] Pada bagian lobby bioskop, diaplikasikan karpet sebagai lapisan penutup lantai, dan aksen garis lampu untuk futuristic look yang mengelilingi area ruangan lobby, selain sebagai aksen, penggunaan garis ini berfungsi sebagai garis emergency ketika keadaan darurat terjadi, yang akan menyala untuk menuntun pengunjung ke arah pintu keluar. b) Ruang Teater Gambar 6. Lantai Ruang Teater [Sumber : dokumentasi pribadi, 2020] Area ruang teater diberikan lapisan karpet tile, dengan hidden lamp pada bagian tangga teater. Hidden lamp pada tangga selain berfungsi sebagai penunjuk jalan bagi penonton, sekaligus sebagai lampu emergency, penunjuk jalan ketika dalam keadaan darurat. Dinding Area yang akan diterapkan yaitu pada dinding lobby, ruang tunggu dan ruang teater. a) Lobby Gambar 7. Dinding Lobby [Sumber : dokumentasi pribadi, 2020] Dinding lobby menggunakan bentuk yang simetris, asimetris dan banyak menggunakan permainan hidden lamp untuk menyesuaikan konsep futuristik pada ruangan. b) Ruang Tunggu Gambar 8. Dinding Ruang Tunggu [Sumber : dokumentasi pribadi, 2020] Pada area dinding ini di aplikasikan bentuk simetris organic berbentuk honeycomb, bentuk ini menjadi focal point di salah satu sudut area ruang tunggu sebagai futuristic look. c) Ruang Teater Gambar 9. Dinding Ruang Teater [Sumber : dokumentasi pribadi, 2020] Dinding pada ruang teater, diterapkan backdrop untuk menambah kesan futuristik dalam ruangan, dan sebagai menambah pencahayaan ruangan. Ceiling/Plafond Area yang diterapkan yaitu pada lobby, ruang teater, dan lorong Exit Ruang Teater 2. a) Lobby Gambar 10. Plafond Ruang Lobby [Sumber : dokumentasi pribadi, 2020] Pada area lobby menggunakan drop ceiling yang terdapat hidden lamp di dalamnya mengelilingi lampu gantung. Penggunaan ceiling ini untuk memberikan tambahan pencahayaan dan menambah estetika futuristik pada ruangan. b) Ruang Teater Gambar 11. Plafond Ruang Teater [Sumber : dokumentasi pribadi, 2020] Ceiling pada area bioskop terdapat lampu pada setiap garis nya untuk memberikan futuristic look pada ruangan. Selain itu ceiling pada area ini sedikit diberikan bentuk lengkungan sebagai pengatur akustik audio ruangan. c) Lorong Exit Teater 2 Gambar 12. Plafond area lorong exit teater 2 [Sumber : dokumentasi pribadi, 2020] Area lorong exit diaplikasikan plafon kaca dengan ceiling yang tinggi, ukuran ruang lorong yang sempit, tidak ingin memberikan kesan claustrophobic pada pengunjung sehingga penggunaan plafond kaca memberikan kesan ruang yang lebih lapang, dan banyak penggunaan permainan lampu untuk memberikan daya tarik pada pengunjung. Furniture Gambar 13. Bentuk Desain [sumber : dokumentasi pribadi, 2020] Furniture pada area lobby memiliki bentuk yang berbeda dan memiliki bentukan yang simple. Furniture pada konsep ini banyak menggunakan LED strip yang mengikuti garis bentuknya, selain sebagai penambahan pencahayaan pada ruangan, sekaligus menambah estetika pada ruangan. Ruangan Bioskop Salah satu ruangan yang diterapkan tema dan konsep ini yaitu area lorong exit teater 2. Gambar 14. Area Lorong Exit Teater 2 [sumber : dokumentasi pribadi, 2020] Permainan lampu dan penempatan permainan cermin pada ruangan, untuk memberikan suasana fun dan eye catching pada para pengunjung, sehingga menjadi daya tarik tersendiri bagi pengunjung. Fasilitas Bioskop Fasilitas ini sebagai pelayanan yang diberikan oleh bioskop kepada pengunjung yang datang. a) Penggunaan teknologi terbaru pada bioskop. (Proyektor NEC NC3200S) Pengaplikasian proyektor versi ini akan memberikan kualitas gambar video 2K – 4K dan kontras warna yang jernih, sehingga akan memanjakan mata para penonton film. b) Audio berkualitas Dolby Atmos Pengaplikasian audio berkualitas Dolby Atmos akan memberikan kualitas suara yang lebih jernih, dan tampak realistis, sehingga memberikan pengalaman menonton yang menyenangkan. c) Fasilitas pendukung yang berbasis Smart Technology Pengaplikasian fasilitas yang telah mendukung Smart Technology selain mempermudah aktivitas agar lebih efisien, juga akan menarik pengunjung untuk datang, mencoba fasilitas baru yang belum pernah mereka coba. d) Online Based and Self-Service activity Pada era industry 4.0 sekarang ini, hampir segala aspek kegiatan sehari-hari barbasis pada internet, dan online dimana hal ini dimaksudkan untuk mempermudah kegiatan masyarakat agar lebih efisien. Dari keunggulan tersebut juga dapat diterapkan pada fasilitas hiburan publik seperti pada bioskop. Pemesanan tiket film tidak perlu lagi harus datang mengantri ke bioskop, cukup memesan tiketnya via online. Jika pun tidak sempat memesan tiket online bisa langsung memesan tiket on the spot, dengan self-service pada ticket box, yang telah disediakan layanan pemesanan tiket. Selain pelayanan pemesanan tiket film, kegiatan ini juga akan diterapkan pada pemesanan makanan di cinema café. Pengunjung dapat memesan makanan secara online melalui aplikasi sebelum menonton, ataupun on the spot. Sistem pembelian on the spot memiliki 2 cara, yaitu memesan sebelum menonton, atau ketika sedang menonton film. Pesan makanan sebelum menonton dapat dilakukan di cinema café dengan sistem self-service, pemesanan ketika sedang menonton dapat dilakukan melalui layanan customer service yang di install pada setiap kursi penonton, layanan ini terhubung langsung pada cinema café yang nantinya akan dibawakan makanan/minuman nya ke dalam ruang teater oleh pegawai cinema café. Material Bahan Material yang digunakan disesuaikan dengan tema dan konsep yang akan diterapkan pada bioskop. Penggunaan material logam seperti stainless steel, aluminum, dan besi banyak digunakan pada ruang interior, hal ini untuk memberikan kesan glossy pada ruangan. (a) (b) (c) Gambar 15. (a) Aluminum (b) Stainless Steel (c) Besi [Sumber : google, 2020] Selain itu penggunaan bahan kaca tempered glass dan cermin untuk memberikan reflective, bersih, sederhana, dan elegan. (a) (b) Gambar 16. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] Lalu adanya penambahan material akustik, seperti rockwool dan gypsum digunakan pada area ruang teater sebagai pengaturan akustik pada ruangan. (a) (b) Gambar 17. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] 3.5 Branding Branding pada New Star Cineplex ini bertujuan untuk mengenalkan desain logo baru pada bioskop ini, dengan tampilan yang berbeda dengan dengan sebelumnya menyesuaikan dengan konsep baru pada bioskop. Logo (a) (b) Gambar 18. (a) Logo Before (b) Logo After [Sumber : dokumentasi pribadi, 2020] Desain dari logo baru ini menyesuaikan dengan tema yang diterapkan pada ruang bioskop, yaitu futuristik dengan skema warna hitam, putih dan cyan. Font pada “New Star” dan “Cineplex” dirubah untuk mendukung tema menjadi lebih modern. Bentuk bintang dari logo sebelumnya masih tetap dipertahankan dan sedikit diberikan pembaharuan dari segi warna logo, untuk identitas diri dari bioskop tersebut. Tiket Film Gambar 19. Desain tiket bioskop [Sumber : dokumentasi pribadi, 2020] Desain tiket film ini terinspirasi oleh desain tiket film yang ada di Korea Selatan. Setiap tiket film terdapat gambar poster dari film yang ingin ditonton, bertujuan sebagai kenang-kenangan dan menambah daya tarik pecinta film bioskop yang gemar mengoleksi tiket film yang sudah ditonton. Interface pada aplikasi online Gambar 20. Interface pada aplikasi online [Sumber : dokumentasi pribadi, 2020] Pada desain aplikasi bioskop ini menyesuaikan dengan tema pada bioskop, sehingga dibuat simple agar mudah pengoperasian nya oleh masyarakat. 3.6 Hasil Desain Berikut beberapa hasil desain penerapan dari tema dan konsep pada bioskop Façade Gambar 21. Façade bioskop [Sumber : dokumentasi pribadi, 2020] Lobby Gambar 22. Lobby bioskop [Sumber : dokumentasi pribadi, 2020] Ruang Teater Gambar 23. Ruang Teater [Sumber : dokumentasi pribadi, 2020] Lorong Exit Teater 2 Gambar 24. Ruang Teater [Sumber : dokumentasi pribadi, 2020] SIMPULAN Bioskop New Star Cineplex (NSC) Timbul Jaya Plaza kota Madiun, bioskop ini berada di area pusat perbelanjaan (mall), dimana NSC merupakan salah satu tenant yang menjadi pendukung perputaran ekonomi pada area mall tersebut. Sayang, kurangnya minat pengunjung untuk datang ke bioskop, sedikit menghambat perputaran tersebut. Persaingan akan bisnis tempat pemutaran film semakin ketat, dimana setiap bulannya jumlah bioskop semakin bertambah dan hal ini menjadi tantangan bagi pengusaha bisnis bioskop untuk tetap mempertahankan usahanya. Maka dari itu, dari pihak pengelola harus tetap terus melakukan inovasi, perawatan, dan peningkatan fasilitas yang terdapat pada bioskop. Selain itu penerapan konsep Futuristic Entertainment ini bertujuan memberikan fasilitas hiburan yang bernuansa masa depan, sehingga dapat mengimbangi persaingan bisnis tempat bioskop yang semakin berkembang setiap bulannya. Apalagi di era Industry 4.0 sekarang ini dimana segala aspek didasari oleh teknologi internet dan online harus dapat diterapkan dalam segala hal, termasuk pada bioskop sebagai media hiburan masyarakat untuk memperluas jangkauan nya. DAFTAR PUSTAKA A. Wicaksono, D. Kharisma, dan S. Sastra. Ragam Desain Interior Modern. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. A. Wicaksono, dan E. Tisnawati. Teori Interior. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. P. Satwiko. Fisika Bangunan 1. Yogyakarta: CV Andi Offset. 2004. L. Doelle. 1972. Environmental Acoustics. New York, NY: Reprinted with permission from McGraw-Hill Book Company. 1972. W. Swasty. A-Z Warna Interior: Rumah Tinggal. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2010. V. Leiwakabessy. 2013. “LANDASAN KONSEPTUAL PERENCANAAN DAN PERANCANGAN CINEMA AND FILM LIBRARY DI YOGYAKARTA, no. 3, http://e-journal.uajy.ac.id/3395/3/2TA13281.pdf, (Diakses pada 11 Desember 2019) Tim CNN Indonesia. 2019. “Jumlah Layar Bioskop Indonesia Mulai Kejar Korea Selatan”, Jakarta, 16 Mei. https://www.cnnindonesia.com/hiburan/20190516152929-220-395469/jumlah-layar-bioskop-indonesia-mulai-kejar-korea-selatan, Diakses pada 11 Desember 2019) Dekoruma, Kania. 2018. “8 Ciri Desain Futuristik, Gaya Desain Interior Masa Depan” Jakarta, 27 April. https://www.dekoruma.com/artikel/66939/gaya-desain-futuristik, (Diakses pada 11 Desember 2019) D. Agasbrama. 2014. “Konsep Desain Interior Futuristik” Jakarta, 15 Mei, https://interiorudayana14.wordpress.com/2014/05/15/konsep-desain-interior-futuristik/, (Diakses pada 11 Desember 2019) N. Khmairah, S. Wahyuning. 2017. “KAJIAN KARAKTERISTIK PENCAHAYAAN BUATAN PADA BIOSKOP (STUDI KASUS : CINEMACITRA XXI,MALL CIPUTRA,KOTA SEMARANG)” MODUL 17, no. 1(2017): 75-77. http://dx.doi.org/10.14710/mdl.17.2.2017.75-77, (Diakses pada 11 Januari 2020

Resumen: En la película Eyes Wide Shut (traducida al español como Ojos bien cerrados) la tendencia no narrativa y antisicológica de la cinematografía de Kubrick alcanza su máxima expresión. No obstante la apariencia, la película no cuenta una historia o un proceso en marcha, ni siquiera se ocupa del interior de los personajes. Al contrario, el tema explorado por Kubrick es el enigma de lo visible, la sobreabundancia del sentido que emana de las imágenes. Luces, colores ambientes y fisonomías crean un mundo lleno de sentido, pero indescifrable. La realidad, luminosa y brillante para el ojo, resulta opaca e impenetrable a la razón. En este cuadro la música es un elemento fundamental que aumenta significativamente la complejidad del conjunto. El artículo examina algunas de las sofisticadas estrategias con las cuales Kubrick relaciona sonidos e imágenes según una concepción altamente evolucionada que excluye el puro y simple acompañamiento musical a las imágenes. Si lo visible es de por sí rico en sentido, lo audible no lo es menos y la interacción entre estas dos dimensiones conlleva a la enseñanza de la paradoja. Música e imagenes proceden según un juego de desfases y de contradicciones que multiplican los indicios con los cuales la realidad se vuelve legible, hasta sumergirla en una total ambigüedad. Los personajes -y espectadores- se encuentran tan perdidos en un laberinto de sentido que hipnotiza y fascina sin jamás revelar su propio secreto.Abstract: In Eyes Wide Shut la tendenza non narrativa e antipsicologica del cinema di Kubrick raggiunge un apice. Nonostante l’apparenza, il film non racconta una storia o un processo in divenire, né si occupa dell’interioritá dei personaggi. Al contrario, il tema esplorato da Kubrick è l’enigma del visibile, la sovrabbondanza del senso che promana dalle immagini. Luci, colori, ambienti e fisionomie creano un mondo pieno di senso, ma indecifrabile. La realtá, luminosa e brillante per l’occhio, risulta opaca e impenetrabile alla ragione. In questo quadro la musica è un elemento fondamentale che accresce significativamente la complessitá dell’insieme. L’articolo esamina alcune delle sofisticate strategie con cui Kubrick mette in relazione suoni e immagini secondo una concezione altamente evoluta che esclude il puro e semplice commento musicale alle immagini. Se il visibile è di per sé ricco di senso, l’udibile non lo è meno, e l’interazione fra queste due dimensioni avviene all’insegna del paradosso. Musica e immagini procedono secondo un gioco di sfasamenti e di contraddizioni che moltiplicano gli indizi con cui la realtá si rende leggibile, fino a immergerla in una totale ambiguità. Personaggi - e spettatori - si trovano così smarriti in un laberinto di senso che ipnotizza e affascina senza mai rivelare il proprio segreto.83

Sinopse:Em Belém do Pará, no dia 4 de novembro de 2014, o policial militar afastado Antônio Marco da Silva Figueiredo, conhecido por Cabo Pet, líder de um grupo de milícias, foi assassinado perto de sua casa, no bairro do Guamá, alvejado com 30 tiros. Logo após sua morte, circularam mensagens nas redes sociais, de membros de seu grupo, ordenando um urgente toque de recolher. As mensagens falavam sobre vingança à morte do Cabo e assustaram a cidade. Repartições públicas, escolas, comércio, fecharam as portas mais cedo. A violência começou na noite do dia 4 e se estendeu entre até a manhã do dia 5. Pessoas encapuzadas em motos e carros de cor preta atiravam indiscriminadamente matando 10 jovens, moradores dos bairros da periferia. Rapidamente a imprensa local enquadram as mortes como acerto de contas ou ao tráfico de drogas, transformando as vítimas em bandidos.A repercussão da tragédia, aliada à pressão dos movimentos sociais articulados com as famílias das vítimas, provocou a instauração de uma Comissão Parlamentar de Inquérito para investigar o caso, a CPI das Milícias, cujo relatório final, atesta, em nome do Estado, pela primeira vez, a existência de grupos de milícias no Pará e sua atuação contundente nos bairros mais pobres da capital. A CPI reconhece ainda que, ao contrário do que havia sido propalado pela imprensa, nenhum dos jovens assassinados tinha antecedentes criminais, tampouco envolvimento com a morte do Cabo Pet.As famílias das vítimas selecionam, descartam, guardam e produzem objetos que são patrimônios familiares e também peças que atestam a inocência, a boa índole e o sucesso da família em formar vidas passiveis de luto. A pesquisa para o documentário se interessou pelas representações e sentidos a eles atribuídos, bem como pelas motivações, sentimentos e intuitos por trás do ato de transformá-los em objetos expositivos, dispostos em quartos e outros cômodos da casa, ou do ato de salvaguardá-los em armários e gavetas, como acervos de acesso restrito aos parentes. Por conseguinte, pelo movimento contínuo de seleção, manutenção, manuseio e ressignificações desses objetos, numa perspectiva de musealização particular que tangencia enlutamento, privacidade e intimidade.A Chacina de Belém é um emblema do movimento deliberado de extermínio da juventude da periferia e da atuação de grupos de milícias na capital paraense. O documentário registra as narrativas de quatro das dez famílias vítimas da tragédia. A partir da pergunta “o que você guarda dele?”, atentamos para as narrativas acerca da Chacina e para os processos de musealização particular ativados pelo evento crítico, encontramos, inadvertidamente, a conexão entre os acervos familiares (patrimônios afetivos) e a realidade social, além de histórias de vida que são, ao mesmo tempo, retratos do fracasso da experiência urbana e do estado de bem-estar social. O documentário é um dos resultados do projeto de pesquisa desenvolvido pelo professor Dr. Hugo Menezes Neto (UFPE), intitulado “Patrimônios afetivos e acervos familiares: olhares antropo-museológicos sobre a relação entre morte, memória e objetos”, apoiado pela PROPESP/UFPA, em parceria com o Núcleo de Experimentação Cinematográfica (NEC) do curso de Cinema/UFPA, coordenado pela Professora Drª Iomana Rocha.Synopsis:En la ciudad de Belém do Pará, el 4 de noviembre, el policía militar alejado Antonio Marco da Sila, conocido como Cabo Pet, líder de un grupo de milicias, fue asesinado cerca de su casa en el barrio de Guamá, alcanzado por 30 tiros. Después de su muerte, circularon mensajes en las redes sociales, de miembros de su grupo, ordenando un urgente toque de queda. Los mensajes hablaban de venganza a la muerte del Cabo y asustaron a la ciudad. Las oficinas públicas, las escuelas, el comercio, cerraron las puertas antes. La violencia comenzó en la noche del día 4 y se extendió hasta la mañana del día 5. Personas encapuchadas en motos y coches de color negro disparaban indiscriminadamente matando a 10 jóvenes, moradores de los barrios de la periferia. Rápidamente la prensa local enmarca las muertes como acierto de cuentas o al tráfico de drogas, transformando a priori a las víctimas en bandidos.La repercusión de la tragedia, aliada a la presión de los movimientos sociales articulados con las familias de las víctimas, provocó la instauración de una Comisión Parlamentaria de Investigación para investigar el caso, la CPI de las Milicias, cuyo informe final, atestigua, en nombre del Estado, por la primera la existencia de grupos de milicias en Pará y su actuación contundente en los barrios más pobres de la capital. La CPI reconoce que, a diferencia de lo que había sido propalado por la prensa, ninguno de los jóvenes asesinados tenía antecedentes penales, tampoco implicación con la muerte del Cabo Pet.Las familias de las víctimas seleccionan, descarta, guardan y producen objetos que son patrimonios familiares y también piezas que atestiguan la inocencia, la buena índole y el éxito de la familia en formar vidas pasibles de duelo. La investigación para el documental se interesó por las representaciones y sentidos a ellos atribuidos, así como por las motivaciones, sentimientos e intuiciones detrás del acto de transformarlos en objetos expositivos, dispuestos en habitaciones y otras habitaciones de la casa, o del acto de salvaguardarlas, en los gabinetes y cajones, como acervos de acceso restringido a los parientes. Por consiguiente, por el movimiento continuo de selección, mantenimiento, manipulación y resignificación de estos objetos, en una perspectiva de musealización particular que tangencia enlutación, privacidad e intimidad.La Chacina de Belém es un emblema del movimiento deliberado de exterminio de la juventud de la periferia y de la actuación de grupos de milicias en la capital paraense. El documental registra las narrativas de cuatro de las diez familias víctimas de la tragedia. A partir de la pregunta "¿qué guardas de él?", Atentamos para las narrativas acerca de la Chacina y para los procesos de musealización particular activados por el evento crítico, encontramos inadvertidamente la conexión entre los acervos familiares (patrimonios afectivos) y la realidad social , además de historias de vida que son a la vez retratos del fracaso de la experiencia urbana y del estado de bienestar social. El documental es uno de los resultados del proyecto de investigación desarrollado por el profesor Hugo Menezes Neto (UFPE), titulado "Patrimonios afectivos y acervos familiares: miradas antropo-museológicas sobre la relación entre muerte, memoria y objetos", apoyado por la PROPESP / UFPA , en asociación con el Núcleo de Experimentación Cinematográfica (NEC) del curso de Cine / UFPA, coordinado por la Profesora Drª Iomana Rocha.Palavras-chave: Chacina; Memória; Objetos; Violência urbana.Palabras clave:Chacina; Memoria; Objetos; Violencia urbana.Ficha técnica:Direção:Hugo Menezes, Iomana Rocha, Hugo Menezes Neto, Moyses Cavalcante, Artur Tadaiesky, Felipe Mendonça, Marcio Crux.Produção: Iomana Rocha, Hugo Menezes e Andrey LeãoAssistente de direção: Maurício Moraes, Fillipe Rodrigues, Lays Portela, Edson Palheta, Eder Monteiro e Thamires RafaelFotografia: Moyses Cavalcante, Artur Tadaiesky, Felipe Mendonça, Marcio Crux, Fillipe Rodrigues, Lays Portela, Edson Palheta, Eder Monteiro e Thamires RafaelSom: Guga S. Rocha, Felipe Mendonça, Thamires RafaelEdição: Moyses Cavalcanti, Felipe Mendonça, Fillipe Rodrigues, Márcio Crux e Lays PortelaPesquisa: Hugo Menezes e Andrey LeãoCredits:Dirección:Hugo Menezes, Iomana Rocha, Hugo Menezes Neto, Moyses Cavalcante, Artur Tadaiesky, Felipe Mendonça, Marcio Crux.Producción:Iomana Rocha, Hugo Menezes e Andrey LeãoAsistente de dirección:Maurício Moraes, Fillipe Rodrigues, Lays Portela, Edson Palheta, Eder Monteiro e Thamires RafaelFotografía:Moyses Cavalcante, Artur Tadaiesky, Felipe Mendonça, Marcio Crux, Fillipe Rodrigues, Lays Portela, Edson Palheta, Eder Monteiro e Thamires RafaelAudio: Guga S. Rocha, Felipe Mendonça, Thamires RafaelEdición: : Moyses Cavalcanti, Felipe Mendonça, Fillipe Rodrigues, Márcio Crux e Lays PortelaBúsqueda: Hugo Menezes e Andrey Leão

Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the figure of the samurai, according to which the samurai “change[s] in nature and connect[s] with other multiplicities” (Deleuze and Guattari, 9). The soundtrack consequently emancipates and redistributes the idea of the samurai from within the dynamic context of a fundamentally different aesthetic intensity, which the Wu-Tang has always hoped to communicate, that is to say, an aesthetics of adaptation or of what is called in hip-hop music more generally: an aesthetics of flow. At the center of Jarmusch’s film is a fundamental opposition between the sober asceticism and deeply coded lifestyle of Ghost Dog and the supple, revolutionary, itinerant hip-hop beats that flow behind it and beneath it, and which serve at once as philosophical foil and as alternate foundation to the film’s themes and message. Ghost Dog: The Way of the Samurai tells the story of Ghost Dog (Forest Whitaker), a deadly and flawlessly precise contract killer for a small-time contemporary New York organised crime family. He lives his life in a late 20th-century urban America according to the strict tenets of the 18th century text Hagakure, which relates the principles of the Japanese Bushido (literally, the “way of the warrior,” but more often defined and translated as the “code of the samurai”). Others have noted the way in which Ghost Dog not only fails as an adaptation of the samurai genre but thematises this very failure insofar as the film depicts a samurai’s unsuccessful struggle to adapt in a corrupt and fractured postmodern, post-industrial reality (Lanzagorta, par. 4, 9; Otomo, 35-8). If there is any hope at all for these adaptations (Ghost Dog is himself an example), it lies, according to some, in the singular, outmoded integrity of his nostalgia, which despite the abstract jouissance or satisfaction it makes available, is nevertheless blank and empty (Otomo, 36-7). Interestingly, in his groundbreaking book Spectacular Vernaculars, and with specific reference to hip-hop, Russell Potter suggests that where a Eurocentric postmodernism posits a lack of meaning and collapse of value and authority, a black postmodernism that is neither singular nor nostalgic is prepared to emerge (6-9). And as I will argue there are more concrete adaptive strategies at work in the film, strategies that point well beyond the film to popular culture more generally. These are anti-nostalgic strategies of possibility and escape that have everything to do with the way in which hip-hop as soundtrack enables Ghost Dog in his becoming-samurai, a process by which a deterritorialised subject and musical flow fuse to produce a hybrid adaptation and identity. But hip-hip not only makes possible such a becoming, it also constitutes a potentially liberating adaptation of the past and of otherness that infuses the film with a very different but still concrete jouissance. At the root of Ghost Dog is a conflict between what Deleuze and Guattari call state and nomad authority, between the code that prohibits adaptation and its willful betrayer. The state apparatus, according to Deleuze and Guattari, is the quintessential form of interiority. The state nourishes itself through the appropriation, the bringing into its interior, of all that over which it exerts its control, and especially over those nomadic elements that constantly threaten to escape (Deleuze and Guattari, 380-7). In Ghost Dog, the code or state-form functions throughout the film as an omnipresent source of centralisation, authorisation and organisation. It is attested to in the intensely stratified urban environment in which Ghost Dog lives, a complicated and forbidding network of streets, tracks, rails, alleys, cemeteries, tenement blocks, freeways, and shipping yards, all of which serve to hem Ghost Dog in. And as race is highlighted in the film, it, too, must be included among the many ways in which characters are always already contained. What encounters with racism in the film suggest is the operative presence of a plurality of racial and cultural codes; the strict segregation of races and cultures in the film and the animosity which binds them in opposition reflect a racial stratification that mirrors the stratified topography of the cityscape. Most important, perhaps, is the way in which Bushido itself functions, at least in part, as code, as well as the way in which the form of the historical samurai in legend and reality circumscribes not only Ghost Dog’s existence but the very possibility of the samurai and the samurai film as such. On the one hand, Bushido attests to the absolute of religion, or as Deleuze and Guattari describe it: “a center that repels the obscure … essentially a horizon that encompasses” and which forms a “bond”, “pact”, or “alliance” between subject/culture and the all-encompassing embrace of its deity: in this case, the state-form which sanctions samurai existence (382-3). On the other hand, but in the same vein, the advent of Bushido, and in particular the Hagakure text to which Ghost Dog turns for meaning and guidance, coincides historically with the emergence of the modern Japanese state, or put another way, with the eclipse of the very culture it sponsors. In fact, samurai history as a whole can be viewed to some extent as a process of historical containment by which the state-form gradually encompassed those nomadic warring elements at the heart of early samurai existence. This is the socio-historical context of Bushido, insofar as it represents the codification of the samurai subject and the stratification of samurai culture under the pressures of modernisation and the spread of global capitalism. It is a social and historical context marked by the power of a bourgeoning military, political and economic organisation, and by policies of restraint, centralisation and sedentariness. Moreover, the local and contemporary manifestations of this social and historical context are revealed in many of the elements that permeate not only the traditional samurai films of Kurosawa, Mizoguchi or Kobayashi, but modern adaptations of the genre as well, which tend to convey a nostalgic mourning for this loss, or more precisely, for this failure to adapt. Thus the filmic atmosphere of Ghost Dog is dominated by the negative qualities of inaction, nonviolence and sobriety, and whether these are taken to express the sterility and impotence of postmodern existence or the emptiness of a nostalgia for an unbroken and heroic past, these qualities point squarely towards the transience of culture and towards the impossibility of adaptation and survival. Ghost Dog is a reluctant assassin, and the inherently violent nature of his task is always deflected. In the same way, most of Ghost Dog’s speech in the film is delivered through his soundless readings of the Hagakure, silent and austere moments that mirror as well the creeping, sterile atmosphere in which most of the film’s action takes place. It is an atmosphere of interiority that points not only towards the stratified environment which restricts possibility and expressivity but also squarely towards the meaning of Bushido as code. But this atmosphere meets resistance. For the samurai is above all a man of war, and, as Deleuze and Guattari suggest, “the man of war [that is to say, the nomad] is always committing an offence against” the State (383). In Ghost Dog, for all the ways in which Ghost Dog’s experience is stratified by the Bushido as code and by the post-industrial urban reality in which he lives and moves, the film shows equally the extent to which these strata or codes are undermined by nomadic forces that trace “lines of flight” and escape (Deleuze and Guattari, 423). Clearly it is the film’s soundtrack, and thus, too, the aesthetic intensities of the flow in hip-hop music, which both constitute and facilitate this escape: We have an APB on an MC killer Looks like the work of a master … Merciless like a terrorist Hard to capture the flow Changes like a chameleon (“Da Mystery of Chessboxin,” Enter) Herein lies the significance of (and difference between) the meaning of Bushido as code and as way, a problem of adaptation and translation which clearly reflects the central conflict of the film. A way is always a way out, the very essence of escape, and it always facilitates the breaking away from a code. Deleuze and Guattari describe the nomad as problematic, hydraulic, inseparable from flow and heterogeneity; nomad elements, as those elements which the State is incapable of drawing into its interior, are said to remain exterior and excessive to it (361-2). It is thus significant that the interiority of Ghost Dog’s readings from the Hagakure and the ferocious exteriority of the soundtrack, which along with the Japanese text helps narrate the tale, reflect the same relationship that frames the state and nomad models. The Hagakure is not only read in silence by the protagonist throughout the film, but the Hagakure also figures prominently inside the diegetic world of the film as a visual element, whereas the soundtrack, whether it is functioning diegetically or non-diegetically, is by its very nature outside the narrative space of the film, effectively escaping it. For Deleuze and Guattari, musical expression is inseparable from a process of becoming, and, in fact, it is fair to say that the jouissance of the film is supplied wholly by the soundtrack insofar as it deterritorialises the conventional language of the genre, takes it outside of itself, and then reinvests it through updated musical flows that facilitate Ghost Dog’s becoming-samurai. In this way, too, the soundtrack expresses the violence and action that the plot carefully avoids and thus intimately relates the extreme interiority of the protagonist to an outside, a nomadic exterior that forecloses any possibility of nostalgia but which suggests rather a tactics of metamorphosis and immediacy, a sublime deterritorialisation that involves music becoming-world and world becoming-music. Throughout the film, the appearance of the nomad is accompanied, even announced, by the onset of a hip-hop musical flow, always cinematically represented by Ghost Dog’s traversing the city streets or by lengthy tracking shots of a passenger pigeon in flight, both of which, to take just two examples, testify to purely nomadic concepts: not only to the sheer smoothness of open sky-space and flight with its techno-spiritual connotations, but also to invisible, inherited pathways that cross the stratified heart of the city undetected and untraceable. Embodied as it is in the Ghost Dog soundtrack, and grounded in what I have chosen to call an aesthetics of flow, hip-hop is no arbitrary force in the film; it is rather both the adaptive medium through which Ghost Dog and the samurai genre are redeemed and the very expression of this adaptation. Deleuze and Guattari write: The necessity of not having control over language, of being a foreigner in one’s own tongue, in order to draw speech to oneself and ‘bring something incomprehensible into the world.’ Such is the form of exteriority … that forms a war machine. (378) Nowhere else do Deleuze and Guattari more clearly outline the affinities that bind their notion of the nomad and the form of exteriority that is essential to it with the politics of language, cultural difference and authenticity which so color theories of race and critical analyses of hip-hop music and culture. And thus the key to hip-hop’s adaptive power lies in its spontaneity and in its bringing into the world of something incomprehensible and unanticipated. If the code in Ghost Dog is depicted as nonviolent, striated, interior, singular, austere and measured, then the flow in hip-hop and in the music of the Wu-Tang that informs Ghost Dog’s soundtrack is violent, fluid, exterior, variable, plural, playful and incalculable. The flow in hip-hop, as well as in Deleuze and Guattari’s work, is grounded in a kinetic linguistic spontaneity, variation and multiplicity. Its lyrical flow is a cascade of accelerating rhymes, the very speed and implausibility of which often creates a sort of catharsis in performers and spectators: I bomb atomically, Socrates’ philosophies and hypotheses can’t define how I be droppin’ these mockeries, lyrically perform armed robberies Flee with the lottery, possibly they spotted me Battle-scarred shogun, explosion. … (“Triumph”, Forever) Over and against the paradigm of the samurai, which as I have shown is connected with relations of content and interiority, the flow is attested to even more explicitly in the Wu-Tang’s embrace of the martial arts, kung-fu and Chinese cinematic traditions. And any understanding of the figure of the samurai in the contemporary hip-hop imagination must contend with the relationship of this figure to both the kung-fu fighting traditions and to kung-fu cinema, despite the fact that they constitute very different cultural and historical forms. I would, of course, argue that it is precisely this playful adaptation or literal deterritorialisation of otherwise geographically and culturally distinct realities that comprises the adaptive potential of hip-hop. Kung-fu, like hip-hop, is predicated on the exteriority of style. It is also a form of action based on precision and immediacy, on the fluid movements of the body itself deterritorialised as weapon, and thus it reiterates that blend of violence, speed and fluidity that grounds the hip-hop aesthetic: “I’ll defeat your rhyme in just four lines / Yeh, I’ll wax you and tax you and plus save time” (RZA and Norris, 211). Kung-fu lends itself to improvisation and to adaptability, essential qualities of combat and of lyrical flows in hip-hop music. For example, just as in kung-fu combat a fighter’s success is fundamentally determined by his ability to intuit and adapt to the style and skill and detailed movements of his adversary, the victory of a hip-hop MC engaged in, say, a freestyle battle will be determined by his capacity for improvising and adapting his own lyrical flow to counter and overcome his opponent’s. David Bordwell not only draws critical lines of difference between the Hong Kong and Hollywood action film but also hints at the striking differences between the “delirious kinetic exhilaration” of Hong Kong cinema and the “sober, attenuated, and grotesque expressivity” of the traditional Japanese samurai film (91-2). Moreover, Bordwell emphasises what the Wu-Tang Clan has always known and demonstrated: the sympathetic bond between kung-fu action or hand-to-hand martial arts combat and the flow in hip-hop music. Bordwell calls his kung-fu aesthetic “expressive amplification”, which communicates with the viewer through both a visual and physical intelligibility and which is described by Bordwell in terms of beats, exaggerations, and the “exchange and rhyming of gestures” (87). What is pointed to here are precisely those aspects of Hong Kong cinema that share essential similarities with hip-hop music as such and which permeate the Wu-Tang aesthetic and thus, too, challenge or redistribute the codified stillness and negativity that define the filmic atmosphere of Ghost Dog. Bordwell argues that Hong Kong cinema constitutes an aesthetics in action that “pushes beyond Western norms of restraint and plausibility,” and in light of my thesis, I would argue that it pushes beyond these same conventions in traditional Japanese cinema as well (86). Bruce Lee, too, in describing the difference between Chinese kung-fu and Japanese fighting forms in A Warrior’s Journey (Bruce Little, 2000) points to the latter’s regulatory principles of hesitation and segmentarity and to the former’s formlessness and shapelessness, describing kung-fu when properly practiced as “like water, it can flow or it can crash,” qualities which echo not only Bordwell’s description of the pause-burst-pause pattern of kung-fu cinema’s combat sequences but also the Wu-Tang Clan’s own self-conception as described by GZA (“Jizza”), a close relative of RZA and co-founder of the Wu-Tang Clan, when he is asked to explain the inspiration for the title of his album Liquid Swords: Actually, ‘Liquid Swords’ comes from a kung-fu flick. … But the title was just … perfect. I was like, ‘Legend of a Liquid Sword.’ Damn, this is my rhymes. This is how I’m spittin’ it. We say the tongue is symbolic of the sword anyway, you know, and when in motion it produces wind. That’s how you hear ‘wu’. … That’s the wind swinging from the sword. The ‘Tang’, that’s when it hits an object. Tang! That’s how it is with words. (RZA and Norris, 67) Thus do two competing styles animate the aesthetic dynamics of the film Ghost Dog: The Way of the Samurai: an aesthetic of codified arrest and restraint versus an aesthetic of nomadic resistance and escape. The former finds expression in the film in the form of the cultural and historical meanings of the samurai tradition, defined by negation and attenuated sobriety, and in the “blank parody” (Otomo, 35) of a postmodern nostalgia for an empty historical past exemplified in the appropriation of the Samurai theme and in the post-industrial prohibitions and stratifications of contemporary life and experience; the latter is attested to in the affirmative kinetic exhilaration of kung-fu style, immediacy and expressivity, and in the corresponding adaptive potential of a hip-hop musical flow, a distributive, productive, and anti-nostalgic becoming, the nomadic essence of which redeems the rhetoric of postmodern loss described by the film. References Bordwell, David. “Aesthetics in Action: Kungfu, Gunplay, and Cinematic Expressivity.” At Full Speed: Hong Kong Cinema in a Borderless World. Ed. and Trans. Esther Yau. Minneapolis: Minnesota UP, 2004. Bruce Lee: A Warrior’s Journey. Dir./Filmmaker John Little. Netflix DVD. Warner Home Video, 2000. Daidjo, Yuzan. Code of the Samurai. Trans. Thomas Cleary. Tuttle Martial Arts. Boston: Tuttle, 1999. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Trans. Brian Massumi. Minneapolis: Minnesota UP,1987. Forman, Murray, and Mark Anthony Neal, eds. That’s the Joint!: The Hip-Hop Studies Reader. New York: Routledge, 2004. Ghost Dog: The Way of the Samurai. Dir. Jim Jarmusch. Netflix DVD. Artisan, 2000. Hurst, G. Cameron III. Armed Martial Arts of Japan. New Haven: Yale UP,1998. Ikegami, Eiko. The Taming of the Samurai. Cambridge: Harvard UP, 1995. Jansen, Marius, ed. Warrior Rule in Japan. Cambridge: Cambridge UP, 1995. Kurosawa, Akira. Seven Samurai and Other Screenplays. Trans. Donald Richie. London: Faber and Faber, 1992. Lanzagorta, Marco. “Ghost Dog: The Way of the Samurai.” Senses of Cinema. Sept-Oct 2002. http://www.sensesofcinema.com/contents/cteq/02/22/ghost_dog.htm>. Mol, Serge. Classical Fighting Arts of Japan. Tokyo/New York: Kodansha Int., 2001. Otomo, Ryoko. “‘The Way of the Samurai’: Ghost Dog, Mishima, and Modernity’s Other.” Japanese Studies 21.1 (May 2001) 31-43. Potter, Russell. Spectacular Vernaculars. Albany: SUNY P, 1995. RZA, The, and Chris Norris. The Wu-Tang Manual. New York: Penguin, 2005. Silver, Alain. The Samurai Film. Woodstock, New York: Overlook, 1983. Smith, Christopher Holmes. “Method in the Madness: Exploring the Boundaries of Identity in Hip-Hop Performativity.” Social Identities 3.3 (Oct 1997): 345-75. Watkins, Craig S. Representing: Hip Hop Culture and the Production of Black Cinema. Chicago: Chicago UP, 1998. Wu-Tang Clan. Enter the Wu-Tang: 36 Chambers. CD. RCA/Loud Records, 1993. ———. Wu-Tang Forever. CD. RCA/Loud Records, 1997. Xing, Yan, ed. Shaolin Kungfu. Trans. Zhang Zongzhi and Zhu Chengyao. Beijing: China Pictorial, 1996. Citation reference for this article MLA Style Eubanks, Kevin P. "Becoming-Samurai: Samurai (Films), Kung-Fu (Flicks) and Hip-Hop (Soundtracks)." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/11-eubanks.php>. APA Style Eubanks, K. (May 2007) "Becoming-Samurai: Samurai (Films), Kung-Fu (Flicks) and Hip-Hop (Soundtracks)," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/11-eubanks.php>.

La tesi di dottorato Il film a colori in Italia. 1930-1959 offre una ricognizione sui problemi fondamentali connessi allo sviluppo del colore nel cinema italiano dagli anni trenta ai primi anni cinquanta, cercando di evidenziare come lo studio della storia nazionale del film a colori debba essere affrontato in stretta connessione con il contesto tecnologico, economico, culturale e ideologico. Nel corso del trentennio esaminato, infatti, si delinea uno sforzo costante per tracciare una ipotesi di sviluppo tecnologico specificamente nazionale, dapprima nel contesto dell’indipendenza economica e dell’autarchia, e in seguito in quello dell’Italia della ricostruzione. Il quadro che ne deriva è quello di un sistema complesso di relazioni e interessi che coinvolge un arco cronologico di lungo periodo, durante il quale i cicli di innovazione non sono mai disgiunti da peculiari forme di promozione e discorsivizzazione della novità. A tale proposito, la ricostruzione storico proposta si avvale di un articolato ventaglio di fonti: i brevetti per le invenzioni realizzate negli anni trenta; i documenti di lavorazione, che testimoniano il travaglio produttivo dei primi lungometraggi a colori degli anni cinquanta; la pubblicistica di settore, che accompagna con le sue articolate prese di posizione l’intero trentennio di sviluppo tecnologico. Nello scorcio finale degli anni trenta, la comparsa dei primi sistemi esteri incentiva entro i confini nazionali le ricerche sul colore, che trovano un nuovo alleato nelle crescenti spinte autarchiche: un gran numero di inventori, stimolati dagli auspici istituzionali sulla nascita di un colore nazionale, cui non segue alcuna concreta azione di sostegno, propone in questi anni una serie di soluzioni originali e personali, talvolta immaginifiche, senza che nessuno di loro riesca a dar corso a una produzione regolare. Nel periodo successivo, dagli anni postbellici alle soglie del boom, è invece nella società nazionale Ferrania che si concretizza per il breve spazio di un decennio la possibilità di dar luogo a un colore italiano (Ferraniacolor, 1949-1959), con un aggiornamento del sogno autarchico al nuovo assetto politico e culturale. Nel quadro della ricostruzione e dell’Italia sovvenzionata dal Piano Marshall, l’alleanza strategica tra la società milanese, i settori tecnici e industriali del cinema italiano e i nuovi vertici politici crea le condizioni per un netto incentivo della produzione nazionale a colori, che viene sempre più a saldarsi con il desiderio di ripresa e di nuovi consumi che di lì a poco si sarebbe realizzato nel cosiddetto miracolo economico. Ampio spazio del lavoro è dedicato all’analisi di alcuni film ritenuti esemplari delle differenti tendenze retorico-stilistiche in atto negli anni cinquanta. Emergono tre tendenze principali che caratterizzano i film italiani a colori nei primi anni di diffusione della novità tecnologica. Un termine dialettico di riferimento sembra essere costituito dalle proposte stilistiche elaborate in seno al cinema hollywoodiano, che a loro volto sono fondate su un rapporto di tensione produttiva con il principio del color restraint, enunciato nel 1935 da Natalie Kalmus, direttrice del color control department della Technicolor (Nathalie Kalmus, Color Consciousness, «Journal of the Society of Motion Pictures Engineers», 2, August 1935, pp. 139-147). Per la Kalmus, il potere di distrazione del colore deve essere attentamente controllato, in modo da non impedire allo spettatore la comprensione della storia raccontata: la proposta della consulente per il colore è quella di un colore leggibile, drammatizzato e gerarchizzato, in grado di integrarsi al linguaggio hollywoodiano senza generare rivoluzioni formali. Nell’Italia degli anni cinquanta, in cui le pellicole hollywoodiane invadono gli schermi, i film in Technicolor costituiscono un termine di riferimento pressoché obbligato per chi intende percorrere la strada del colore. La prima tendenza che si manifesta è sulla stessa lunghezza d’onda delle proposte più euforizzanti del cinema d’oltreoceano (per esempio il musical). Sulla scorta della nozione di attrazione elaborata da Tom Gunning – che il lavoro propone di estendere a categoria formale valida per l’intera storia del cinema – questo uso del colore viene definito attrazionale: esso si manifesta essenzialmente nel dominio del film comico, del film rivista e del film musicale (Totò a colori, Steno, 1952; Aida, Clemente Fracassi, 1953). Sul piano formale, i film cercando di rispondere alla riduzione delle opzioni stilistiche imposte dalle restrizioni tecnologiche con una grande esibizione di colore. La seconda tendenza risulta maggiormente in simbiosi con i principi fondamentali del color restraint. Nei film che ad essa vengono ricondotti, l’analisi evidenzia un processo di limitazione del potere di distrazione del colore al fine di agevolare la leggibilità del racconto: per questa ragione, si può parlare di un uso narrativo del colore. Esso è più agevolmente verificabile nel genere della cosiddetta commedia italiana (Racconti romani, Gianni Franciolini, 1955), in cui si manifesta essenzialmente attraverso un processo di progressiva riacquisizione delle tecniche preesistenti del film in bianco e nero (ad esempio, gli effetti di chiaroscuro e la profondità di campo). La terza tendenza trova la sua piena manifestazione all’interno dei particolari interessi riflessivi e metalinguistici del cinema moderno: essa propone un uso poetico e critico-espressivo del colore. Indicata da Antonioni in un articolo del 1947 (Michelangelo Antonioni, Il colore e l’America, «Fiera Letteraria», 27 novembre 1947), che polemizza con l’uso del colore proposto dal cinema di Hollywood, questa tendenza si impone in maniera stabile negli anni sessanta (Il deserto rosso, Michelangelo Antonioni, 1964). Alcuni dei suoi tratti caratterizzanti possono essere rintracciati in alcuni film del decennio precedente, in particolare Senso (Luchino Visconti, 1954) e Giulietta e Romeo (Renato Castellani, 1954).

Cinema was the first, and arguably the greatest, of the industrialized art forms that dominated the cultural life of the 20th century. It continues to adapt and grow as new technologies and viewing platforms become available, and remains an integral cultural and aesthetic entertainment experience for people the world over. Cinema developed against the backdrop of the two world wars, and over the years has seen smaller wars, revolutions, and profound social changes, with its history reflecting this. The History of Cinema: A Very Short Introduction looks at the defining moments of the industry, from silent to sound, black and white to colour, and considers its genres from intellectual art house to mass-market entertainment.

This chapter considers the contestation within film studies between the “spectator” and the “social audience,” focusing on the real sex film Blue Is the Warmest Colour. It explores Horeck and Kendall’s edited book The New Extremism in Cinema, which puts in apposition chapters predominantly employing a textual analysis with Martin Barker’s stand-alone social audience study. Barker rejects spectator analysis as purely speculative and “particularly disappointing and disturbing” aspects of film studies and culture generally. Instead of this mutual apposition, the chapter explores, in a pilot social audience study of Blue Is the Warmest Colour, Jennifer Hyndman’s feminist call for a blending of interdisciplinary dialogical “understanding” with “galvanizing extension.” The study deploys qualitative methodology seldom used in cinema studies and generates new findings, both at the substantive experiential level and in terms of methodological differences in interviewing style.

This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.

This chapter examines Sarah Bernhardt's appearance in the 1900 short film Hamlet. Part of Paul Decauville's program for the Phono-Cinéma-Théâtre at the Paris Exposition, Bernhardt's film featured the fencing scene of Hamlet. She had played (and toured) Hamlet successfully on the live stage the previous year. In this way, the film pointed backward just as it pointed forward, to a known theatrical show and to invention, to mechanical mediations that brought with them new ways of presenting and promoting theater. This chapter considers how live musicians, the phonograph, and hand-colored film contributed to Decauville's initiative and hence to Hamlet. It argues that Bernhardt's short film was a calculated response to the new media and to its possible future. Bernhardt did not just adapt her stage work for the screen; she was a savvy businesswoman aware that cinematized theater could attract new audiences to her.

Old Futures traverses the history of imagined futures from the 1890s to the 2010s, interweaving speculative visions of gender, race, and sexuality from literature, film, and digital media. Centering works by women, queers, and people of color that are marginalized within most accounts of the genre, the book offers a new perspective on speculative fiction studies while reframing established theories of queer temporality by arguing that futures imagined in the past offer new ways to queer the present. Imagined futures have been central to the creation and maintenance of imperial domination and technological modernity; Old Futures rewrites the history of the future by gathering together works that counter such narratives even as they are part of them. Lothian explores how queer possibilities are constructed and deconstructed through extrapolative projections and affective engagements with alternative temporalities. The book is structured in three parts, each addressing one convergence of political economy, theoretical framework, and narrative form that has given rise to a formation of speculative futurity. Six main chapters focus on white feminist utopias and dystopias of the nineteenth and twentieth centuries; on Afrofuturist narratives that turn the dehumanization of black lives into feminist and queer visions of transformation; on futuristic landscapes in queer speculative cinema; and on fan creators’ digital interventions into televised futures. Two shorter chapters, named “Wormholes” in homage to the science fiction trope of a time-space distortion that connects distant locations, highlight current resonances of the old futures under discussion.

To further advance the notion of the diegesis-as-environment and its material-affective nature, this chapter advocates for the atmospheric in cinematic perception. Drawing primarily upon the contemporary interdisciplinary surge of “atmosphere research” (e.g., Schmitz, Böhme, Ingold, Thibaut, and Griffero), this chapter maintains that although the concept of atmosphere has been omnipresent in the literature on film, it has yet to be adequately theoretically addressed. Moreover, what for classical narratology was deemed its conceptual weakness, its intermediate position between the subject (spectator) and object (film), is exactly its media-anthropological strength given that it carves out the anthropomedial space of their coexistence. Abandoned in the textual models of the diegesis, filmic atmospheres resurrect as the quintessential component of the diegesis-as-environment. It is argued that for atmosphere to become a key concept in narratology it needs to challenge the basic internalist assumptions of the contemporary “turn to mood” in (cognitive) film studies. Whereas the concept of “mood” is understood metaphorically as a filter that colors the already constituted narrative world in particular feeling tones, an “atmosphere” is the necessary ground out of which all filmic worlds emerge. Herein lies a new premise for understanding the narrative film: the atmospheric co-constitutes a film’s textual, representational, and propositional dimension rather than being its surplus. In its conclusion, the chapter explores two narrative atmospheric strategies employed by Alice Rohrwacher’s Happy as Lazzaro (Lazzaro Felice, 2018).

This chapter examines the ‘elsewheres’ that opened up Scandinavian film cultures globally in the 1950s, reflecting international developments in genre, style, and production mode and the increased post-war mobility of people and technologies. This includes access to new shooting locations, lighter cameras and better on-site sound uptake, a motivation to film increasingly in color and in spectacular ‘[Cinema]Scopes’ that could immerse cinema goers in (exotic) scenery. These films were all major investments, designed for global circulation. Constituting an overlooked corpus of Scandinavian ‘elsewheres’ in their portrayal of international or seemingly exotic locations, as well as indigenous populations and practices, these films also tie into period perceptions of Scandinavian politics abroad -- internationalist, pacifist, socialist, and “do-gooder,” spreading around the world the merits of the Scandinavian, especially Swedish, model of the cradle-to-grave welfare state and a Dag Hammarskjöld-inspired notion of a Third/Middle Way of international aid and solidarity. The films can also be seen as reacting specifically against the Cold War opposition between East and West, and illuminating the precarious status of small nation states wedged in between them, whether NATO members (Norway, Denmark, Iceland) or not (Sweden, Finland).

This chapter tackles the connection and influence of German filmmaker Rainer Werner Fassbinder on Ozon’s 2000 feature film. Bringing forth the stylistic components of Ozon’s queer cinema, it engages in more detail than previous studies with some Fassbinder source material, thus offering a new understanding of Gouttes d’eau/Water Drops as a complex and evocative piece. Drawing on Laura Mulvey’s theory of cinematic scopophilia, this study underlines the way Ozon’s style augments the queerness of the narrative and the visual pleasure. Indeed, the use of high-colour saturation of the production design and costumes, in addition to the campy overtones, give way to queer cinematic pleasures.

The final chapter examines teacher films, those movies in which a (typically) suburban white woman accepts a job teaching student of color in low-income urban neighborhoods. Although the late 1980s and 1990s certainly do not mark the first instances of teachers as protagonists in American cinema, it was during these years that films centered around white teachers and their inner-city nonwhite pupils became increasingly popular and developed specific themes and tropes that were inherently informed by the logic of colorblindness. This analysis of this genre is situated, most notably the 1995 film Dangerous Minds, within the context of the War on Drugs, urban blight, the dismantling of affirmative action, and, most importantly, neoliberal educational reform in arguing that colorblindness ultimately produced entirely new film genres that are inherently colorblind.

Born in Bácsborsód, Hungary, László Moholy-Nagy was one of the most influential teachers, designers, and theoreticians of twentieth-century Modernism. As a professor at the Bauhaus (1923–8) and a central figure of International Constructivism, he pioneered modern interdisciplinary art and design practice and opposed traditional media hierarchies, thereby heralding the post-war media art revolution. In 1922, with Alfréd Kemény he authored ‘Dynamic-Constructive Energy System’, a manifesto of kinetic, participatory art applied in his proposal for an immersive Kinetic-Constructive System (1928). In 1922–3 he prefigured conceptual art in the Emaille series, ordered from an enamel sign-maker using graph-paper sketches and standardised colours. In Malerei, Photographie, Film (1927), a key manifesto of twentieth-century media art, he regarded technology as an extension of our sensorium, influencing media theorists Walter Benjamin, Sigfried Giedion, and Marshall McLuhan. Regarding light as ‘raw material’, Moholy-Nagy saw painting as just one possible form of ‘light art’. He conceptualised expanded cinema and coined the term ‘New Vision’ to refer to his call for sensory training and his reform of photography based on the camera’s technical capabilities. His mechanised Light Prop for an Electric Stage (1930) projected kinetic coloured light patterns, establishing kinetic light art. With Walter Gropius he edited bauhaus (1926–8) and the bauhausbücher series (1925–9).

An underlying premise of this book is that Hong Kong martial arts cinema from the mid-1960s through the end of the 1970s, marked by new aesthetic and thematic directions as well as by new practices of transnationality, is best conceptualized as a cultural counterpart and response to processes of modernization and modernity that were shaping the former British colony. But despite its specific time focus, the issues explored in the book have broader significance and are useful for understanding martial arts films of more recent times. Without doubt, Hong Kong continued and intensified its march towards urban-capitalist modernization throughout the 1980s, the 1990s, and beyond. The pace of growth—economically, socially, and demographically—showed no signs of slowing during the period. On the one hand, the population expanded from 4 million in 1970 to 6.7 million in 2000. On the other hand, although the economy underwent a process of restructuring in the 1980s when the “Open Door” policy of post–Cultural Revolution China and other factors resulted in the relocation of Hong Kong’s industrial sector to the mainland and triggered its transition from labor-intensive manufacturing to finance- and service-oriented industries, the city continued to enjoy great prosperity and had by the mid-1990s established itself as one of the world’s foremost centers of international trade and finance. Rapid growth spawned more transportation, shops, infrastructure, entertainment, and commodities. As a result, the city became more congested, frantic, and noisy—in short, perceptually busier and more intense—than ever before. Meanwhile, gender relations and identities were also in constant reformulation as both men and women tried to negotiate the changing social, economic, and political contexts of Hong Kong....