Relevant bibliographies by topics / Film criticism

Academic literature on the topic 'Film criticism'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Film criticism"

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Wang, Yunning. "Film Literary Criticism and Image Aesthetics: Around Film Criticism." SHS Web of Conferences 167 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202316701014.

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Film criticism has been carried out in the form of activities since its inception, in which many outstanding intellectuals and artists have participated.Especially in this respect, European intellectuals can contrast with American intellectuals, who have long held films in contempt. “In Europe, intellectuals have been fascinated by filmmaking since the beginning of their media,” writes Tim Bewart and Thomas Szobak.It is not surprising, therefore, that in the 1920s, throughout Europe, Paris, Berlin, Moscow, a group of intellectuals dedicated to all corners of the art and other artists on the same basis as art, came together to discuss and write about film. “Unlike the U.S., where movies were excluded from intellectual reflection until the late 1950s, film criticism was a battleground for intellectuals in France.
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Balázs, Béla. "Film Criticism!" October 115 (January 2006): 55–56. http://dx.doi.org/10.1162/octo.2006.115.1.55.

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Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.

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A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.
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Thorina, Jenifer, and Suzy Azeharie. "Representasi Kritik Sosial dalam Film ‘The White Tiger’ (Analisis Semiotika Roland Barthes)." Koneksi 7, no. 2 (October 5, 2023): 365–74. http://dx.doi.org/10.24912/kn.v7i2.21393.

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The film is an effective form of mass media to convey messages to a wide audience. Not only are films entertaining, but they also often include hidden messages such as social criticism. 'The White Tiger' is a Netflix film released in 2021. The film, which is set in the country of India, inserts many scenes and narratives that contain criticism of social problems that occur in India. This research uses a qualitative approach with a descriptive method with Roland Barthes semiotic analysis technique. The theories used are mass communication, film as mass media, Roland Barthes semiotics, and representation of social criticism. The purpose of this research is to find out the representation of social criticism in the film 'The White Tiger’. Data collection methods were observation, interview, literature study, and documentation. As a result, film becomes a means of conveying social criticism. In the film 'The White Tiger', the criticisms include the low level of education, the high dropout rate and underage labor, the lack of adequate health facilities, the high social gap, racism, caste, and discrimination against women. Film merupakan salah satu bentuk media massa yang efektif untuk menyampaikan pesan ke khalayak luas. Tidak hanya menghibur, film juga sering kali menyisipkan pesan-pesan tersembunyi seperti kritik sosial. ‘The White Tiger’ merupakan film Netflix yang dirilis pada tahun 2021. Film yang berlatar belakang di negara India ini menyisipkan banyak adegan dan narasi yang berisi kritik tentang masalah sosial yang terjadi di India. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif dengan teknik analisis semiotika Roland Barthes. Teori yang digunakan adalah komunikasi massa, film sebagai media massa, semiotika Roland Barthes, dan representasi kritik sosial. Tujuan dari penelitian ini adalah untuk mengetahui representasi kritik sosial dalam film ‘The White Tiger’. Metode pengumpulan data dilakukan dengan observasi, wawancara, studi kepustakaan, dan dokumentasi. Hasilnya, film menjadi sarana penyampaian kritik sosial. Dalam film ‘The White Tiger’, kritik tersebut antara lain rendahnya tingkat pendidikan, tingginya tingkat putus sekolah dan pekerja di bawah umur, kurang memadainya fasilitas kesehatan, tingginya kesenjangan sosial, rasisme, kasta, dan diskriminasi terhadap perempuan.
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Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.
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Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.
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Nugroho, Tegar Wahyu, and Encil Puspitoningrum. "Kritik Sosial dalam Film Miskin Susah Kaya Susah dan Relevansi Pembelajaran Bahasa Indonesia." MARDIBASA: Jurnal Pembelajaran Bahasa dan Sastra Indonesia 3, no. 1 (August 25, 2023): 82–92. http://dx.doi.org/10.21274/jpbsi.2023.3.1.82-92.

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The aims of this research are (1) to describe the social criticism contained in the film Miskin Susah Kaya Susah, (2) to describe its relevance to learning Indonesian in high school. This study used descriptive qualitative method. The data source comes from the film Poor Susah Rich Susah. Data collection techniques using observation and note-taking techniques. The results of the research show that there are four social criticisms which cover the problems of poverty, population, education, and morals. In addition, the film Miskin Susah Kaya Susah can be used as Indonesian language learning material in SMA Class X1 even semester at KD 3.19 to analyze the content and language of the drama or film that is read or watched. From this it proves that there is relevance to the use of film media for learning Indonesian. The benefits that students get from analyzing social criticism in films are developing sensitivity to problems that occur in their environment.
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Salim, Vanessa, and Gregorius Genep Sukendro. "Representasi Kritik Sosial dalam Film Parasite (Analisis Semiotika Roland Barthes)." Koneksi 5, no. 2 (September 29, 2021): 381. http://dx.doi.org/10.24912/kn.v5i2.10387.

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Social criticism is considered as a form of deep communication that aims or controls a social system. Parasite is a film that represents sharp social inequalities and contains social criticism about social problems that occur in South Korea. This study uses various theories, namely mass communication theory, film, semiotics, representation and social criticism. By using a descriptive qualitative approach with Roland Barthes' semiotic analysis technique which consists of denotation, connotation and myth, this study aims to determine the representation of social criticism in the film Parasite. The method used in this research is semiotic analysis method. In this study, it was found that the message conveyed by the director as a communicator in the film Parasite regarding social problems was packaged with a dark comedy genre film that included some social criticism in it. Social criticisms depicted in this film include criticism of poverty which is depicted through living and living with unemployment, criticism of crimes committed by lower-class families by falsifying documents, and uneven urban planning.Kritik sosial dianggap sebagai bentuk komunikasi mendalam yang bertujuan atau mengendalikan suatu sistem sosial. Parasitemerupakan sebuah film yang merepresentasikan kesenjangan sosial yang tajam dan mengandung kritik sosial mengenai masalah sosial yang terjadi di Korea Selatan. Penelitian ini menggunakan berbagai teori yaitu teori komunikasi massa, film, semiotika, representasi dan kritik sosial. Dengan menggunakan pendekatan kualitatif yang bersifat deskriptif dengan teknik analisis semiotika Roland Barthes yang terdiri dari denotasi, konotasi dan mitos penelitian ini memiliki tujuan untuk memiliki tujuan untuk mengetahui representasi kritik sosial dalam film Parasite. Metode yang digunakan dalam penelitian ini adalah metode analisis semiotika. Dalam penelitian ini ditemukan bahwa pesan yang disampaikan oleh sutradara sebagai komunikator dalam film Parasite mengenai masalah sosial, dikemas dengan film bergenre komedi gelap yang menyelipkan beberapa kritik sosial didalamnya. Kritik sosial yang digambarkan pada film ini antara lain kritik terhadap kemiskinan yang digambarkan melalui tempat tinggal dan hidup dengan pengangguran, kritik terhadap kejahatan yang dilakukan oleh keluarga kelas bawah dengan memalsukan dokumen, dan pembangunan tata kota yang tidak merata.
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Buckland, Warren. "Solipsistic film criticism. Review ofThe Language and Style of Film Criticism." New Review of Film and Television Studies 10, no. 2 (June 2012): 288–98. http://dx.doi.org/10.1080/17400309.2012.672128.

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von Moltke, Johannes. "Selected Film Criticism, 1923–1931." New German Critique 47, no. 3 (November 1, 2020): 73–91. http://dx.doi.org/10.1215/0094033x-8607605.

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Abstract Ten film reviews by Siegfried Kracauer from the 1920s and early 1930s are translated here for the first time, with a brief introduction by the translator. Leaving aside reviews that have already been translated elsewhere, and focusing almost exclusively on the silent period, the present selection was guided by two considerations. First, it includes reviews of several films that have entered the canon of world cinema (The Last Laugh, The Blue Angel, The Man with the Movie Camera, Girls in Uniform). Second, it reflects Kracauer’s attraction, particularly during the early 1920s, to American slapstick.
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Dissertations / Theses on the topic "Film criticism"

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Blose, Chris. "Ideas in action : film theory in film criticism /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421115.

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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McWhirter, Andrew Christopher. "Film criticism in the digital age." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5165/.

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In a period of proposed crisis and disruptive transformation to media, journalism and criticism, this thesis provides a comprehensive analysis of English-language film criticism by offering an empirically-grounded study of observations and interviews with some of the world’s foremost film critics and editors from influential publications such as Cineaste, CinemaScope, IndieWIRE, The Guardian, Reverse Shot, Sight & Sound and Variety. These expert opinions are not only situated in the wider context of historical perspectives on criticism from ancient and modern origins, but also positioned against on-going debates into journalism and digital media which often denote a landscape characterised by both continuity and contestation. The findings are drawn from extensive fieldwork in the UK and North America taking place at two major international film festivals in Edinburgh and Toronto, supplemented with additional interviews with film critics from each of these regions. This thesis relies upon a great deal of published literature, from text books and media coverage to film criticism. These materials detail a crisis in criticism and in the culture at large, a prehistory of existing media, concepts around literary and arts criticism in general, and provide the means for a detailed model on Six Schools of Contemporary Film Criticism to be posited. A combination of desk research with participant observation and in-depth interviews has led to and strengthened the overall findings which conclude that film criticism in the contemporary digital age is defined by more continuity than disruptive transformation. While this prosaic – but not myopic – approach to film criticism highlights the habits and norms of film critics it also notes the significant changes taking place through the interactions of individuals and institutions with technologies. However, while transformations are acknowledged and new events specified – indeed the theme of change gives shape to the findings chapters in terms of a chronology of the new, newer and newest – in print, then online and subsequently towards convergent media forms – it is argued that the long view best serves to counteract hyperbolic discourses on film criticism as dead or inhabiting a new golden age. These empirical findings, in the face of transformative digital idealism, redress the balance and argue the case for evolution rather than the often mooted digital revolution.
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Law, Hoi Lun. "Reasonable doubt : ambiguity and film criticism." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.752726.

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Weiss, Asher. "21st Century Film Criticism: The Evolution of Film Criticism from Professional Intellectual Analysis to a Democratic Phenomenon." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1910.

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Film criticism has changed since its inception and will continue to change moving forward. The evolution of film criticism has largely been a story of the shift from an elite field of intellectual exploration by a few knowledgeable experts to a democratic phenomenon where expert analysis is aggregated and averaged, and the lines are blurred between true expertise and the random opinions of the masses. This paper will address the transition from the birth of film criticism to its popularization through the 90s, to what it has become today. By exploring the nature of film criticism historically and reviewing the key elements of its growth from Victorian times through its emergence as an established field in the 1930s, 40s and 50s and its heyday in the 60s and 70s, we can understand the context of its evolution. This will provide a perspective to view today’s approach to film criticism with a clearer eye and a thorough analysis of film criticism in the digital age. It will demonstrate that more is not always a good thing, and the democratization of film criticism has not necessarily been all good.
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Roberts, Jason Kelly. "The Awkward Ages| Film Criticism, Technological Change, and Cinephilia." Thesis, Northwestern University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3741433.

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This dissertation examines the rhetoric of popular and academic film criticism across moments of major technological change, focusing on the coming of sound, television broadcasts of movies, home video, and digital projection. Specifically, I investigate the appearance of four seemingly binary oppositions (change/continuity; specificity/convergence; scarcity/plenitude; and hope/disillusionment) constructed and deployed by film critics to ascertain the scope and value of these changes. In doing so, I uncover common responses to otherwise new and distinct cinematic technologies.

Although material and cultural differences distinguish these moments and their respective critical receptions, I argue that the persistence of these tropes belies claims frequently made by film critics that such changes represent “radical breaks.” My analysis of film criticism thus reminds us that both the use and interpretation of new technologies is contingent and relational, not determined by the technologies themselves. Technological determinism of this sort is stubbornly resilient among film critics, but viewed in the alternative perspective I propose, cinema and film criticism become interdependent mirrors of one another. Forged by humans and therefore lacking an immutable essence, cinema and film criticism are subject to being transformed, redefined, and reevaluated. Each must be understood as liberated from any medium-specific destiny; indeed, they are always the products of our invention, not objects of archaeological discovery. As I demonstrate, film critics meet such epistemological uncertainty ambivalently, evoking sensations of exhilaration and melancholy.

In tandem with my study of technological change, my study of cinephilia looks at the styles of thought and structures of feeling characteristic of serious film culture since the silent era. Whereas most studies of film criticism and technological change assess new styles or articulate new theories, I also contemplate technological change’s emotional resonances. In other words, I am interested not only in problems of filmmaking practice and modern technology, but also in probing the affective bonds connecting film critics to the medium. The Awkward Ages shows us, then, that film culture’s current crisis—the impact of digital technologies—is just the most recent instance of a larger pattern, whereby moments of major technological change simultaneously unsettle the myth of medium specificity, and provide an occasion for affirming the myth.

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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.

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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.

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PhD
The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
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King, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.

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Hales, Barbara. "Dark mirror: Constructions of the femme fatale in Weimar film and Hollywood film noir." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187445.

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The femme fatale is a marker for the past is evident in the film noir work of German exile directors. These directors created a femme fatale character similar to Weimar examples of the sexual woman icon, using Weimar cultural constructions as a template for their work in Hollywood. The femme fatale figure in film noir is specifically an enigma or duplicitous mystery, a woman with a gun who threatens the male protagonist. She represents a piece of the male character's past often seen through the structure of the voice-over and flashback. These narrative devices enable the male protagonist to rework this jaded past vis-a-vis his relationship to the femme fatale and his fatal attraction to her. The film noir femme fatale is linked to German exile directors' desire to review a past that has been lost and cannot be recuperated. In the case of the Weimar femme fatale, she is a sign for the trauma of World War I and the ensuing political/social crises of the Weimar republic. The femme fatale in her castrating capacity is a marker for historical upheaval and male subjectivity in flux. She is ultimately the scapegoat for male questions of self and a split subjectivity brought on by historical events such as war and the experience of exile. Her various guises include the criminal woman, the technological entity, and the double.
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Books on the topic "Film criticism"

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Law, Hoi Lun. Ambiguity and Film Criticism. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62945-8.

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Jones, Kent. Physical evidence: Selected film criticism. Middletown, Conn: Wesleyan University Press, 2007.

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1938-, Erens Patricia, ed. Issues in feminist film criticism. Bloomington: Indiana University Press, 1990.

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Lash, Dominic, and Hoi Lun Law, eds. Gilles Deleuze and Film Criticism. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33305-7.

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Institute, British Film, ed. Film moments: Criticism, history, theory. London: Palgrave Macmillan on behalf of the British Film Institute, 2010.

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Y, Hamamoto Darrell, and Liu Sandra 1967-, eds. Countervisions: Asian American film criticism. Philadelphia: Temple University Press, 2000.

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1947-, Grant Barry Keith, ed. Britton on film: The complete film criticism of Andrew Britton. Detroit: Wayne State University Press, 2008.

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Kauffmann, Stanley. Distinguishing features: Film criticism and comment. Baltimore: John Hopkins University Press, 1994.

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1940-, Mast Gerald, Cohen Marshall, and Braudy Leo, eds. Film theory and criticism: Introductory readings. 4th ed. New York: Oxford University Press, 1992.

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Leo, Braudy, and Cohen Marshall, eds. Film theory and criticism: Introductory readings. 5th ed. New York: Oxford University Press, 1999.

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Book chapters on the topic "Film criticism"

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Dick, Bernard F. "Film Criticism." In Anatomy of Film, 235–70. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26388-2_9.

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Hagener, Malte, and Michael Töteberg. "Theory, Criticism, Publishing." In Film — An International Bibliography, 330–73. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-03686-5_5.

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Walmsley-Evans, Huw. "Sites of film criticism." In Film Criticism as a Cultural Institution, 64–90. Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315643762-4.

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Lee, Jonathan Rhodes. "Theory and Criticism." In Film Music in the Sound Era, 69–180. [1.] | New York : Routledge, 2020. | Series: Routledge music bibliographies: Routledge, 2020. http://dx.doi.org/10.4324/9781351190794-3.

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Walmsley-Evans, Huw. "Film critics circles." In Film Criticism as a Cultural Institution, 120–46. Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315643762-6.

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Walmsley-Evans, Huw. "Institutional approaches to film criticism." In Film Criticism as a Cultural Institution, 44–62. Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315643762-3.

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Walmsley-Evans, Huw. "The profession of film criticism." In Film Criticism as a Cultural Institution, 91–119. Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315643762-5.

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Walmsley-Evans, Huw. "Film criticism and the internet." In Film Criticism as a Cultural Institution, 147–74. Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315643762-7.

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Klevan, Andrew. "Aesthetic Criticism." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 409–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_18.

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Neupert, Richard. "Certain Tendencies of Truffaut's Film Criticism." In A Companion to François Truffaut, 242–64. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118321591.ch12.

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Conference papers on the topic "Film criticism"

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Li, Xinxin. "Study on Film and Television Literature Criticism." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.94.

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Liu, Chuchun, and Shaoqiang Wang. "Emotional Analysis of Film Criticism Based on RoBERTa." In BIC 2023: 2023 3rd International Conference on Bioinformatics and Intelligent Computing. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3592686.3592723.

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Zhang, Jingren, Fangai Liu, and Weizhi Xu. "The Application of An Optimized Convolutional Neural Network Model in Film Criticism." In 2019 IEEE 2nd International Conference on Information and Computer Technologies (ICICT). IEEE, 2019. http://dx.doi.org/10.1109/infoct.2019.8710969.

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Fajar, Yusri. "Film Adaptation of Eka Kurniawan’s Short Story Kandang Babi: Imagining Student Life in Post-Reformation Era and Criticism Towards University Apparatus in Indonesia." In Proceedings of the 1st International Conference on Language, Literature, Education and Culture, ICOLLEC 2021, 9-10 October 2021, Malang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.9-10-2021.2319694.

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Radzobe, Zane. "‘Alternative Knowledge’ in Latvian Culture: Roots and Contexts." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.12.

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The aim of the current research is to establish how alternative knowledge is represented in the latest Latvian cultural texts, how this representation compares with the texts written in previous cultural eras, and what structure of reality is characteristic of the texts. The research explores popular cultural texts in which distributors of ‘alternative knowledge’ operate (wizards, witches, servants of the devil, etc.), and the historical texts are compared with the latest yield of Latvian culture – director Uģis Olte’s film “Upurga” (2021) and Linda Nemiera’s novel “Rīgas Raganas” (2021). The research methodology is based on Richard Schechner’s understanding of social and aesthetic drama, as well as post-structural text analysis, analysing texts according to pairs of dichotomies. The research found that in the oldest texts, the alternative reality is not considered real, but represented metaphorically. The individual who is given the imagined supernatural status aspires to fit into the group. The ‘supernatural’ is most frequently associated with knowledge that an individual gradually imparts to a group. Recent texts affirm the belief in parallel realities as real, physically existing. Criticism of contemporary culture (‘reality’) is pronounced, the alternative reality gives it what it lacks (the opposition of nature vs civilization, the basis for social processes in the real world, etc.). The contrast between the individual and the group can be clearly observed, besides, the individual does not fit into the group after all, remaining isolated.
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Medvedeva, Arina. "Transformation Of Film Critics: Aesthetics Of “Bad Movie Review” Genre." In III PMMIS 2019 (Post mass media in the modern informational society) "Journalistic text in a new technological environment: achievements and problems". Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.08.02.27.

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Wang, Yilan. "The Dialogue Strategy Between Left-wing Filmmakers and Film Audience in the 1930s — Focusing on the Construction of Audience by Film Critics of “Morning Paper·Daily Film”." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.068.

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Dong, Hanzhang. "A cross-cultural contextual study of Wong Kar-wai’s films driven by online reviews." In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004562.

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With the development of science and technology, the distance between people in space is getting smaller and smaller, and economic globalization has been a historical inevitability. At the time of accelerating globalization, the film and television industry, as a part of the economy, cannot escape the impact of globalization. Moreover, compared with other industries, film and television works often carry more cultural connotations. How should filmmakers cope with the cultural differences in storytelling, create cross-cultural works, and get the same or different word-of-mouth feedback from different cultural groups? In the current multi-cultural context, Wong Kar-wai can be said to be one of the representative figures. In his films, From "Carmen", "Ashes of Time" and "Days of Being Wild" to "Chungking Express", "In the Mood for Love" and "The Grandmaster", Wong Kar-wai has been widely understood and accepted in different cultural and social contexts. This article start with online comments and study the elements of cross-cultural film creation in the context of globalization according to data mining technology. Research methods and processes: Firstly, data acquisition and pre-processing are carried out. The data source of online comments needs to be determined before crawling the review data. For the research objects selected in this study, the relevant sections of online movie rating websites, online movie platforms and social attribute platforms with large audiences were chosen as data source. For example, metascore has a weighted average of many movie reviews from well-known critics, which is highly reliable. Then, the key step in text mining is word segmentation. It's the process of breaking a sentence into several words. Accurate word segmentation can improve the efficiency and accuracy of subsequent text mining. After the word cloud is established, attribute features of the comments are extracted and classified, and the factors that highly affect the acceptance and empathy of Wong Kar-wai's film works in the cross-cultural context are summarized. Finally, combined with the study of his film scenes and narrative structure, the research focuses on the following factors:1.Theme selection: Explore universal themes, such as love, loneliness, loss and dreams. These themes are cross-cultural, and people face similar issues and emotions across cultures.2.Narrative structure: Such as non-linear narrative structure, which not only increases the complexity of the film, but also provides the audience with space to think and interpret, so that audiences from different cultural backgrounds can interpret the film in different ways.3.How emotions are expressed: Wong Kar-wai's films emphasize the emotions and inner world of characters, which is a universal emotional experience that can touch people's emotions across cultural boundaries.4.Character complexity: Complex and multi-dimensional characters with unique personalities, desires and inner conflicts enable the audience to immerse themselves in understanding the inner journey of these characters, regardless of their cultural background.5.The beauty of cultural elements: Different cultural elements, such as the backgrounds and traditions of China Mainland, Hong Kong, or elsewhere. Although these elements sometimes have a specific impact on the story, they are usually presented in an aesthetic and emotional way that allows the audience to enjoy the film without knowing the cultural details.6.Aesthetic of sight and sound: Films have a distinctive vision and sound style. Create memorable movie atmospheres. This visual and aural allure can transcend the language barrier and touch the hearts of the audience.In a word, the reason why Wong Kar-wai's films can be accepted and understood by people in cross-cultural contexts will be explored in a more specific way along the above directions, and the methods of film creation will be explored under the background of multi-context globalization.
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Khadafi, Bima, and Riyadi Santosa. "Evaluative Language of Male and Female Film Critics in Atomic Blonde Movie Reviews: An Appraisal Study with Gendered Perspective." In Proceedings of the First International Conference on Communication, Language, Literature, and Culture, ICCoLLiC 2020, 8-9 September 2020, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.8-9-2020.2301338.

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Canned, David S. "Recent Developments in Laser Light Scattering." In Photon Correlation and Scattering. Washington, D.C.: Optica Publishing Group, 1996. http://dx.doi.org/10.1364/pcs.1996.wa.3.

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If so inclined, one might trace photoelectric mixing back to at least 1883, when Righi [1] demonstrated experimentally that a beam of light, split into two beams and frequency shifted relative to each other produced moving fringes when recombined, which he interpreted as beating. By 1947 Forrester, Parkins and Gerjuoy [2] had proposed that even light from two different, and thus completely incoherent, sources could be made to produce beats, and Gorelik [3] had pointed out that the output current from a fast photo-detector, when illuminated by a single spectral line should contain frequency components up to approximately the spectral linewidth. Forrester, Gudmundsen and Johnson [4] silenced all critics when they detected the beat note between two Zeeman components of the 5461 Å line of Mercury in 1955, and by 1959 Raman [5] had described a time-dependent speckle pattern observed by scattering light from a thin film of milk illuminated by a narrow beam of light from a Mercury arc lamp.
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Reports on the topic "Film criticism"

1

Ruff, Morgen. Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century. Portland State University Library, January 2012. http://dx.doi.org/10.15760/honors.13.

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Chong, Alberto E., and Virgilio Galdo. On Foreign Participation and Hiring Patterns After Privatization. Inter-American Development Bank, March 2006. http://dx.doi.org/10.18235/0010849.

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Critics of globalization claim that foreign ownership of privatized firms is linked to negative post-privatization labor outcomes, such as more firing and less hiring. This paper uses new firm-level data for a cross section of countries to test this idea and provides evidence that foreign purchasers of state-owned enterprises tend to acquire firms that were already better restructured before privatization. Additionally, this paper does not find evidence that foreign participation in privatized firms is linked to negative labor outcomes.
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Hertel, Thomas, David Hummels, Maros Ivanic, and Roman Keeney. How Confident Can We Be in CGE-Based Assessments of Free Trade Agreements? GTAP Working Paper, June 2003. http://dx.doi.org/10.21642/gtap.wp26.

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With the proliferation of Free Trade Agreements (FTAs) over the past decade, demand for quantitative analysis of their likely impacts has surged. The main quantitative tool for performing such analysis is Computable General Equilibrium (CGE) modeling. Yet these models have been widely criticized for performing poorly (Kehoe, 2002) and having weak econometric foundations (McKitrick, 1998; Jorgenson, 1984). FTA results have been shown to be particularly sensitive to the trade elasticities, with small trade elasticities generating large terms of trade effects and relatively modest efficiency gains, whereas large trade elasticities lead to the opposite result. Critics are understandably wary of results being determined largely by the authors’ choice of trade elasticities. Where do these trade elasticities come from? CGE modelers typically draw these elasticities from econometric work that uses time series price variation to identify an elasticity of substitution between domestic goods and composite imports (Alaouze, 1977; Alaouze, et al., 1977; Stern et al., 1976; Gallaway, McDaniel and Rivera, 2003). This approach has three problems: the use of point estimates as “truth”, the magnitude of the point estimates, and estimating the relevant elasticity. First, modelers take point estimates drawn from the econometric literature, while ignoring the precision of these estimates. As we will make clear below, the confidence one has in various CGE conclusions depends critically on the size of the confidence interval around parameter estimates. Standard “robustness checks” such as systematically raising or lowering the substitution parameters does not properly address this problem because it ignores information about which parameters we know with some precision and which we do not. A second problem with most existing studies derives from the use of import price series to identify home vs. foreign substitution, for example, tends to systematically understate the true elasticity. This is because these estimates take price variation as exogenous when estimating the import demand functions, and ignore quality variation. When quality is high, import demand and prices will be jointly high. This biases estimated elasticities toward zero. A related point is that the fixed-weight import price series used by most authors are theoretically inappropriate for estimating the elasticities of interest. CGE modelers generally examine a nested utility structure, with domestic production substitution for a CES composite import bundle. The appropriate price series is then the corresponding CES price index among foreign varieties. Constructing such an index requires knowledge of the elasticity of substitution among foreign varieties (see below). By using a fixed-weight import price series, previous estimates place too much weight on high foreign prices, and too small a weight on low foreign prices. In other words, they overstate the degree of price variation that exists, relative to a CES price index. Reconciling small trade volume movements with large import price series movements requires a small elasticity of substitution. This problem, and that of unmeasured quality variation, helps explain why typical estimated elasticities are very small. The third problem with the existing literature is that estimates taken from other researchers’ studies typically employ different levels of aggregation, and exploit different sources of price variation, from what policy modelers have in mind. Employment of elasticities in experiments ill-matched to their original estimation can be problematic. For example, estimates may be calculated at a higher or lower level of aggregation than the level of analysis than the modeler wants to examine. Estimating substitutability across sources for paddy rice gives one a quite different answer than estimates that look at agriculture as a whole. When analyzing Free Trade Agreements, the principle policy experiment is a change in relative prices among foreign suppliers caused by lowering tariffs within the FTA. Understanding the substitution this will induce across those suppliers is critical to gauging the FTA’s real effects. Using home v. foreign elasticities rather than elasticities of substitution among imports supplied from different countries may be quite misleading. Moreover, these “sourcing” elasticities are critical for constructing composite import price series to appropriate estimate home v. foreign substitutability. In summary, the history of estimating the substitution elasticities governing trade flows in CGE models has been checkered at best. Clearly there is a need for improved econometric estimation of these trade elasticities that is well-integrated into the CGE modeling framework. This paper provides such estimation and integration, and has several significant merits. First, we choose our experiment carefully. Our CGE analysis focuses on the prospective Free Trade Agreement of the Americas (FTAA) currently under negotiation. This is one of the most important FTAs currently “in play” in international negotiations. It also fits nicely with the source data used to estimate the trade elasticities, which is largely based on imports into North and South America. Our assessment is done in a perfectly competitive, comparative static setting in order to emphasize the role of the trade elasticities in determining the conventional gains/losses from such an FTA. This type of model is still widely used by government agencies for the evaluation of such agreements. Extensions to incorporate imperfect competition are straightforward, but involve the introduction of additional parameters (markups, extent of unexploited scale economies) as well as structural assumptions (entry/no-entry, nature of inter-firm rivalry) that introduce further uncertainty. Since our focus is on the effects of a PTA we estimate elasticities of substitution across multiple foreign supply sources. We do not use cross-exporter variation in prices or tariffs alone. Exporter price series exhibit a high degree of multicolinearity, and in any case, would be subject to unmeasured quality variation as described previously. Similarly, tariff variation by itself is typically unhelpful because by their very nature, Most Favored Nation (MFN) tariffs are non-discriminatory in nature, affecting all suppliers in the same way. Tariff preferences, where they exist, are often difficult to measure – sometimes being confounded by quantitative barriers, restrictive rules of origin, and other restrictions. Instead we employ a unique methodology and data set drawing on not only tariffs, but also bilateral transportation costs for goods traded internationally (Hummels, 1999). Transportation costs vary much more widely than do tariffs, allowing much more precise estimation of the trade elasticities that are central to CGE analysis of FTAs. We have highly disaggregated commodity trade flow data, and are therefore able to provide estimates that precisely match the commodity aggregation scheme employed in the subsequent CGE model. We follow the GTAP Version 5.0 aggregation scheme which includes 42 merchandise trade commodities covering food products, natural resources and manufactured goods. With the exception of two primary commodities that are not traded, we are able to estimate trade elasticities for all merchandise commodities that are significantly different form zero at the 95% confidence level. Rather than producing point estimates of the resulting welfare, export and employment effects, we report confidence intervals instead. These are based on repeated solution of the model, drawing from a distribution of trade elasticity estimates constructed based on the econometrically estimated standard errors. There is now a long history of CGE studies based on SSA: Systematic Sensitivity Analysis (Harrison and Vinod, 1992; Wigle, 1991; Pagon and Shannon, 1987) Ho
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