Journal articles on the topic 'Film world'
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1
Martin-Jones, David. "Introduction: Film-Philosophy and a World of Cinemas." Film-Philosophy 20, no. 1 (February 2016): 6–23. http://dx.doi.org/10.3366/film.2016.0002.
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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.
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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Varghese, Simi. "Remapping the Visual Contours: An Enquiry into the Film Narratives of Adoor Gopalakrishnan." Asian Review of Social Sciences 8, S1 (February 5, 2019): 96–100. http://dx.doi.org/10.51983/arss-2019.8.s1.2778.
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Adoor Gopalakrishan has been the greatest film director who had elevated Malayalam film to the level of World Cinema. Truly, he is the master craftsman of Indian cinema second only to Satyajit Ray. He had discovered the identity of Malayalam through his visual narratives. He had metamorphosed each film as an experience and eked out a new visual repertoire for Malayalam films. Hitherto, no serious study has been conducted to absorb the visual magnificence of Adoor films. Concerted efforts have been initiated in other Indian languages and world languages to trace the visual dynamics employed in Adoor films. When foreign film critics approach his films seriously, even today we often falter to imbibe the film sensitivity and culture kickstarted by Mr Adoor Gopalakrishnan. Still, he is the ‘unravished fragrance’ of Malayalam film industry. Adoor has been truly one of the masters of world cinema and had carved a special niche for him in the global film map. My paper tries to portray the new visual fervor inculcated by Adoor films in the Malayalam psyche and will unravel the subtle nuances which deeply touch the labyrinthine milieu of Malayalam film world.
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Gimbel, Steven, and Thomas Wilk. "“I Said Something Wrong”: Transworld Obligation in Yesterday." Film-Philosophy 25, no. 2 (June 2021): 151–64. http://dx.doi.org/10.3366/film.2021.0166.
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Danny Boyle's film Yesterday (2019) is a contemporary morality play in which the main character, Jack Malik, a failing singer-songwriter, is magically sent to a different possible world in which the Beatles never existed. Possessing his memory of the Beatles’ catalogue in the new possible world, he is now in sole possession of an extremely valuable artifact. Recording and performing the songs of the Beatles and passing them off as his own, he becomes rich, famous, and deeply unhappy. Once he confesses his wrong-doing, however, he is redeemed and his life becomes wonderful. The presupposition that underlays the plot is that in claiming authorship of the songs of the Beatles in a world in which the Beatles never existed, he is acting immorally. But on what theoretical grounds can this intuitive judgment be justified? Can one plagiarize work for which there is no author in one's world? Saul Kripke, in Naming and Necessity, dubs terms that refer in all possible worlds to be “rigid designators” and considers the metaphysics necessary to support them. In this case, it is not reference but moral responsibility that is invariant under changes of possible world and so we must ask a similar question for “rigid obligators.” We argue that a virtue ethics approach is the only way to support the foundational moral intuition.
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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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Tarr, Carrie. "World Film Locations: Paris." Modern & Contemporary France 20, no. 3 (August 2012): 376–77. http://dx.doi.org/10.1080/09639489.2012.679218.
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Bryant, Wayne M. "BI FILM-VIDEO WORLD." Journal of Bisexuality 2, no. 4 (September 2002): 151–55. http://dx.doi.org/10.1300/j159v02n04_10.
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Reinhardt, Regina. "BI FILM-VIDEO WORLD." Journal of Bisexuality 3, no. 1 (January 2003): 119–22. http://dx.doi.org/10.1300/j159v03n01_08.
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Yescavage, Karen, and Jonathan Alexander. "BI FILM-VIDEO WORLD." Journal of Bisexuality 3, no. 2 (March 2003): 109–27. http://dx.doi.org/10.1300/j159v03n02_07.
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Bryant, Wayne. "BI FILM-VIDEO WORLD." Journal of Bisexuality 4, no. 1-2 (July 2004): 257–62. http://dx.doi.org/10.1300/j159v04n01_13.
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Bryant, Wayne M. "Bi Film-Video World." Journal of Bisexuality 4, no. 3-4 (November 17, 2004): 219–26. http://dx.doi.org/10.1300/j159v04n03_17.
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Bryant, Wayne M. "Bi Film/Video World." Journal of Bisexuality 7, no. 1-2 (January 2007): 125–33. http://dx.doi.org/10.1300/j159v07n01_08.
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Ellis, A. "Film: In this World." BMJ 326, no. 7393 (April 12, 2003): 827a—827. http://dx.doi.org/10.1136/bmj.326.7393.827/a.
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Calabretta-Sajder, Ryan. "World Film Locations: Florence." Italica 99, no. 2 (June 1, 2022): 306–7. http://dx.doi.org/10.5406/23256672.99.2.12.
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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (February 2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.
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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’
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Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.
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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).
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Franklin, Ieuan. "BBC2 and World Cinema." Journal of British Cinema and Television 14, no. 3 (July 2017): 344–60. http://dx.doi.org/10.3366/jbctv.2017.0377.
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This article examines the origins of BBC2's reputation as a purveyor of films from around the world, exploring the significance and impact of the strand World Cinema (1965–74) and assessing the range and diversity of its offer. Foreign-language titles had been broadcast by the Corporation since before the Second World War, due partly to their ready availability at a time when Hollywood films were ‘off limits’, given the hostility of American (and British) film companies towards the new rival medium of television. During this early period, however, these continental films were not popular, undoubtedly due to the fact that subtitles were very difficult to read on small, low-definition television screens. BBC2, with its commitment to minority tastes and interests and its use of both the higher-definition 625-line UHF system and colour, was perfectly placed to revive and foster interest in world cinema. For those who urged broadcasters to adopt and maintain an enlightened film policy, World Cinema became exemplary, as a rare exception to the general rules in early television of editing for content or length, block buying (the practice of buying the rights to a mixed package of films in order to acquire certain gems) and haphazard scheduling. For a generation of cinephiles, World Cinema was a formative and educative experience. Particular attention is paid here to the first five years of World Cinema, which saw the strand give attention to a variety of ‘New Waves’ and relay experiences from behind the Iron Curtain and further afield.
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Barnard, Timothy P. "Film Melayu: Nationalism, modernity and film in a pre-World War Two Malay magazine." Journal of Southeast Asian Studies 41, no. 1 (December 21, 2009): 47–70. http://dx.doi.org/10.1017/s0022463409990257.
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Prior to World War Two many of the Malay-language films released in Singapore and Malaya were made in Java and the Philippines. Beginning in 1940 the Shaw Brothers began producing Malay films in Singapore for distribution to their theatre network throughout Malaya. The first Malay film magazine, Film Melayu, which began publishing in May 1941, documented the production and release of a number of these pre-war films in Singapore, providing one of the few avenues for a better understanding of the origins of Malay cinema. More importantly, this periodical was firmly ensconced within the Malay publishing community and thus reflects debates over issues ranging from the proper script to use in publishing to technology and its relationship to the nation (or community, bangsa).
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Rifeser, Judith. "Patricia White (2015) Women's Cinema, World Cinema: Projecting Contemporary Feminisms." Film-Philosophy 21, no. 1 (February 2017): 142–45. http://dx.doi.org/10.3366/film.2017.0037.
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Zulkifli, Nurul Deeyana, and Nur Hidayah Abd Rahman. "Malaysian Youth Motivational Factors of Film-Induced Tourism for Indonesian Film." Journal of Indonesian Tourism, Hospitality and Recreation 4, no. 2 (October 1, 2021): 135–46. http://dx.doi.org/10.17509/jithor.v4i2.39284.
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There are lots of efforts require in maintaining the sustainability of the tourism business, including promoting and marketing tourism destinations world widely. One of the alternatives recently used by the tourism industry around the world in promoting and marketing the places is through film tourism. In Indonesia, the film of Laskar Pelangi sparked the tourism industry in Indonesia. However, research on motivational factors of film-induced tourism in Indonesian film is limited. Thus, the study aims to identify the motivational factors that influence Malaysian youth to visit Indonesia after watching Indonesian films. To achieve the aim, the push and pull factors of film-induced tourism for Indonesian film have been investigated. This study using quantitative method for collecting the data and the questionnaires have been distributed to Malaysian youth who had watched Indonesian films as the target respondents. A total of 117 respondents were influenced to visit Indonesia after watching Indonesian films have participated in this research. This results show that novelty, entertainment and film location influenced Malaysian youth to visit Indonesia. The study suggests exploring other factors, such as accessibility, which could influence Malaysian youth to visit film location. Thus, this study provides a clear insight to research academic on motivational factors from Indonesian films that influence Malaysian youth to visit Indonesia. Further, it gives benefit to the tourism and film industry in Indonesia.Keywords: Film-Induced Tourism, Indonesian Film, Travel Motivation, Push and Pull Factors
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Rogers, Jamie Ann. "“Sometimes It Seems You’re in Another World”." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 125–57. http://dx.doi.org/10.1215/02705346-8359552.
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This article traces the development of Afrocentric feminist aesthetics within the LA Rebellion, a film movement made up primarily of Black film students at UCLA from 1970 to the late 1980s. It argues that these aesthetics are integral to the movement’s heterogeneous but radical politics, even as the filmmakers express them through widely different means. The article focuses primarily on three films that span the final decade in which Rebellion filmmakers were active at UCLA: Barbara McCullough’s Water Ritual #1: An Urban Rite of Purification (1979), Alile Sharon Larkin’s A Different Image (1982), and Zeinabu irene Davis’s Cycles (1989). Each of these films’ renderings of Afrocentric feminist aesthetics—through attention to African oral and mythical traditions, African and Pan-African-inflected mise-en-scène, rich col-oration and film stock, and play with nonlinear, nonteleological time—register at once the sedimented condition of patriarchal anti-Blackness in the United States and Black feminists’ ongoing projects of freedom that perdure within and despite that condition. In many ways, such representations anticipate contemporary Black feminist grapplings with recent Black studies scholarship that orbit around Afro-pessimist theories of Black ontology and social death. Through their expressions of Afrocentric feminist forms of communal, caring, and creative living, the films represent a form of Black social life that expresses value systems and ways of being that are incompatible with social death, even when they are inevitably moored within its ontological structure.
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Biedny, Jan. "Posybilizm metafzyczny w filmie i serialu najnowszym." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (December 15, 2021): 263–80. http://dx.doi.org/10.14746/i.2021.39.13.
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The article focuses on the reading of Waldemar Frąc’s film theory in the context of the newest film examples. In the first part, the author presents the most important features of the “possible cinema” and expands it with a philosophical possible worlds theory, and also gives the context of mind-game films. In the second part, the author proposes an interpretation of two films: Annihilation and Arrival, and the Dark series in the face of the presented theoretical solutions. The main point of the analysis is to show how the worlds presented in the given films exist, how the concept of possibility/the possible world is manifested, and what changes occur at the level of the film narrative itself. Interpretation of the film examples leads the author to the conclusion that metaphysical possibilism in the film and series reveals not only ontological themes, but also has significant intercultural value and moves existential reflection.
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Aziz GÖKSEL, Mehmet. "THE WORLD OF "THE MAN WHO SAVED THE WORLD"." Journal Human Research in Rehabilitation 4, no. 2 (April 2014): 23–29. http://dx.doi.org/10.21554/hrr.041404.
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In this study, a semiotic reading of the famous Turkish science fantasy film “The Man Who Saves the World” has been made from different aspects. This film which constitutes the research material for this article was made in 1982 and became a cult classic by the end of the nineties because of it’s comprehensive deficencies. The Man Who Saves the World must be considered as a project that can assert social and psychological appearenace of Turkish people not entirely but partially in early eighties who lived in a peripheric country such as today. With this respect the idea of reading Turkish societie’s -especially- geopolitical location, percieving and defining levels of high technology in comparison with western societies in a bi-polar world of cold war period via this production is remarkably interesting and therewithal ironic. As this study is a semiotic analysis of the connections of “signifier-signified” relations of film language, the determined significations are arranged in a matched order within a table. By this analysis the attributes of the feature and the film language are discussed in a structural unity and concluded.
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Koutsourakis, Angelos. "The Politics of Humour in Kafkaesque Cinema: A World-Systems Approach." Film-Philosophy 24, no. 3 (October 2020): 259–83. http://dx.doi.org/10.3366/film.2020.0145.
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Kafka's work has exercised immense influence on cinema and his reflections on diminished human agency in modernity and the dominance of oppressive institutions that perpetuate individual or social alienation and political repression have been the subject of debates by philosophers such as Theodor Adorno, Walter Benjamin, Gilles Deleuze, Félix Guattari, and Alexander Kluge. Informed by a world-systems approach and taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of the future, and André Bazin's suggestion that literary concepts, characters and styles can exceed “novels from which they emanate”, I understand the Kafkaesque as an elastic term that can refer to diverse films that might share thematic preoccupations, but also aesthetic and formal differences. In this article, I explore the politics of humour in Kafkaesque cinema with reference to the following films: The Overcoat ( Шинель, 1926, Gregor Koznitzev and Leo Trauberg), The Shop on Main Street ( Obchod na korze, 1965, Ján Kadár), and Death of a Bureaucrat ( La muerte de un burócrata, 1966, Tomás Gutiérrez Alea). I draw attention to the dialectics of humour and the connection between the Kafkaesque and slapstick so as to show how humour is deployed as a means of political critique.
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Liang, Liqiao. "The Construction of U.S. Armed Forces` Image Through Translation Activities in Hollywood Blockbusters." International Journal of Linguistics, Literature and Translation 4, no. 10 (October 29, 2021): 137–47. http://dx.doi.org/10.32996/ijllt.2021.4.10.17.
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This paper studied 22 influencing Hollywood war films, and extracted translation behaviors among them. Some of the most influencing Hollywood blockbusters themed on wars would be examined to see the role they played in depicting the image of the United States Armed Forces hope to build through the plot(s) of translation activities performed in theatre. From such changes can see the change of people`s attention, as well as the effect Hollywood blockbusters contributed on the building of the U.S. Armed Forces` images. Video productions (especially films) are some of the most welcomed ones. The United States has one of the most powerful film-making industries in the world, which successful products of its are popular around the world, definitely have the American way of thinking and judgment spread and accepted by the film-lovers around the world. Research conducted on such films would reveal how the U.S. Armed Forces` image has changed on cinema screens, and provide a collection of data for translation researchers who has an interest in the field combining translation (behaviors) with the mass media.
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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (December 1, 2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.
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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Adelaar, Samuel. "A World in the Making: Contingency and Time in James Benning's BNSF." Film-Philosophy 21, no. 1 (February 2017): 60–77. http://dx.doi.org/10.3366/film.2017.0031.
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This article presents an analysis of James Benning's film, BNSF (2013). It argues that the film comprises a landscape rendered in such a way that the temporal aspects of the processes, both cultural and natural, of which it is composed are brought forth. The article also asserts that, by relating a world that unfolds with a measure of contingency, the film not only manifests the inherent inadequacy of representation, but also it draws attention to the efficacy of the world in the making of its moving image. Finally, the article demonstrates that the qualities of the world delimited by the film impel the viewer to attempt to envision facts of nature that greatly outsize the horizon of her human point of view.
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Turczyn, Katarzyna. "Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films." Panoptikum, no. 18 (December 29, 2017): 178–90. http://dx.doi.org/10.26881/pan.2017.18.11.
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This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: Mania. The history of a cigarette factory worker (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), Pan Tadeusz ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and Zew morza ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (2008–2014) in the National Film Archive. The aim is to show how knowledge about silent film is communicated to the audience, and how these movies can be used to achieve educational goals/targets. The theoretical framework of this essay is examining the changing function of film archives, where technological change, the possibilities of restoration and digitization of films contributes to increasing popularisation of audiovisual heritage by film archivists and museums. An essential category in this essay is the authenticity both for the reconstructed film and its presentation. The perception of authenticity often determinates strategies for presentation of this heritage. The article is based on qualitative research (interviews with the audience and workers at the film archive;participant observation, press materials and websites).
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Mishra, Samina. "The World in the Classroom." Contemporary Education Dialogue 15, no. 1 (December 18, 2017): 111–16. http://dx.doi.org/10.1177/0973184917742250.
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Using the experience of teaching film in the International Baccalaureate programme, this article presents the intellectual and emotional learning that film can enable as well as the possibilities of using film as a pedagogic tool for the collaborative construction of knowledge.
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Prozhiko, Galina Semenovna, and Galina Semyonovna Prozhiko. "Second World War Film Chronicle." Journal of Flm Arts and Film Studies 2, no. 2 (May 15, 2010): 21–36. http://dx.doi.org/10.17816/vgik2221-36.
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The article is a fragment of the book «The Screen of World Documentary», prepared for publication, and deals with the organization of propaganda and the artistic problems of newsreel and documentary film during World War II in the USA, Great Britain and Germany.
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Trahair, Lisa. "Being on the Outside: Cinematic Automatism in Stanley Cavell's The World Viewed." Film-Philosophy 18, no. 1 (December 2014): 128–46. http://dx.doi.org/10.3366/film.2014.0009.
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Brown, William. "Jennifer Fay (2018) Inhospitable World: Cinema in the Time of the Anthropocene." Film-Philosophy 24, no. 1 (February 2020): 78–81. http://dx.doi.org/10.3366/film.2020.0132.
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Lapsley, Robert. "Allan James Thomas (2018) Deleuze, Cinema and the Thought of the World." Film-Philosophy 25, no. 2 (June 2021): 224–27. http://dx.doi.org/10.3366/film.2021.0173.
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Ince, Kate. "Feminist Phenomenology and the Film World of Agnès Varda." Hypatia 28, no. 3 (2013): 602–17. http://dx.doi.org/10.1111/j.1527-2001.2012.01303.x.
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AbstractThrough a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly onLa Pointe Courte(1954),L'Opéra‐Mouffe(1958), The Gleaners and I(2000), andThe Beaches of Agnes(2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential‐phenomenological approach to her films particularly fruitful. Drawing both directly on the work of Maurice Merleau‐Ponty and on some recent film‐ and feminist‐theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy inThe Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film‐texts.
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Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.
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This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries.
The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies.
A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century.
The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.
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Wibowo, Ridha Mashudi, and Rudi Ekasiswanto. "Penulisan Naskah Film Pendek Komunitas Saba Eksploit SMAN I Bantul, DIY." Bakti Budaya 5, no. 2 (October 31, 2022): 216–29. http://dx.doi.org/10.22146/bakti.5604.
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The Official Selection World Cinema Amsterdam Award in 2019, given to the film "Tilik" opened the public's eyes to the fact that even a short film can convey a moral message as powerfully as a feature-length film. It does not matter that short films have more limitations than long ones. This phenomenon encourages short film script writing assistance as a community service activity. Saba Exploit (SE) SMAN 1 Bantul DIY was designated as the target for assistance because of its potential and impressive track record in making short films. Given the uneven transmission of knowledge and skills between generations, assistance is needed so that they have collective quality skills and skills, standardized guidelines for writing film scripts, and complete documentation so they can be developed across generations. Mentoring activities present speakers who present material presentations, best practices, and evaluations of films made by SE. The post-assistance evaluation stated that the curiosity of the SE community was accomplished. Hereafter, it was hoped that SE's hard skills, soft skills, and insights in creating short films would earn higher quality based on solid, focused, and expressive film script writing.
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Penghargaan Official Selection World Cinema Amsterdam pada 2019 yang diberikan kepada film “Tilik” membuka mata masyarakat bahwa film pendek pun bisa menyampaikan pesan moral yang sama kuatnya dengan film panjang. Hal tersebut dapat terjadi padahal film pendek memiliki lebih banyak keterbatasan. Fenomena tersebut mendorong pendampingan penulisan naskah film pendek sebagai kegiatan pengabdian kepada masyarakat. Saba Eksploit (SE) SMAN 1 Bantul DIY ditetapkan sebagai sasaran pendampingan karena potensi dan rekam jejak mengesankan dalam pembuatan film pendek. Mengingat pewarisan pengetahuan dan keterampilan yang tak mulus antargenerasi, diperlukan pendampingan agar mereka memiliki kemampuan dan keterampilan kolektif berkualitas, pedoman penulisan naskah film terstandarkan, serta dokumentasi lengkap agar dapat dikembangkan secara lintasgenerasi. Kegiatan pendampingan menghadirkan narasumber yang menyajikan presentasi materi, best practice, dan evaluasi atas film-film buatan SE. Evaluasi pascapendampingan menyatakan bahwa keingintahuan komunitas SE terpenuhi, sehingga diharapkan kemampuan keras, kemampuan lunak, dan wawasan SE terhadap pembuatan film pendek makin berkualitas didasarkan atas penulisan naskah film yang padat, terfokus, dan ekspresif.
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Rick Altman. "Whither Film Studies (in a Post–Film Studies World)?" Cinema Journal 49, no. 1 (2009): 131–35. http://dx.doi.org/10.1353/cj.0.0160.
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Dodou, D., M. van den Berg, J. van Gennip, P. Breedveld, and P. A. Wieringa. "Mucoadhesive films inside the colonic tube: performance in a three-dimensional world." Journal of The Royal Society Interface 5, no. 28 (March 25, 2008): 1353–62. http://dx.doi.org/10.1098/rsif.2008.0075.
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A self-propelling colonoscopic device moving inside the colonic tube should be able to periodically grip safely to the colonic wall as well as to manipulate the generated friction. The feasibility of achieving high grip and friction manipulation by covering the device with mucoadhesive films is experimentally tested. More precisely, the frictional behaviour of mucoadhesive films inside the colonic tube is tested in vitro in porcine colon. It appears that mucoadhesive films generate significantly higher friction than conventional materials (ANOVA p =0, 95% CIs=−3.04, −2.14). The geometry of the film plays a role as well. When holes are, for instance, present in the film geometry and are large enough so that the colonic tissue can wrap their borders, friction can be significantly increased (ANOVA p =0, 95% CIs=−2.53, −1.26). By altering the contact area or the film geometry, friction manipulation can be achieved. Moreover, a simple theoretical model is developed and experimentally verified ( R =0.92). The model can be used to estimate the level of the friction generated by three-dimensional configurations of mucoadhesive films as a function of their geometric characteristics and the material properties of the colon.
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Baum, Seth D. "Film Review: Transcendence." Journal of Ethics and Emerging Technologies 24, no. 2 (September 1, 2014): 79–84. http://dx.doi.org/10.55613/jeet.v24i2.23.
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Is it possible to create an artificial mind? Can a human or other biological mind be uploaded into computer hardware? Should these sorts of artificial intelligences be created, and under what circumstances? Would the AIs make the world better off? These and other deep but timely questions are raised by the recent film Transcendence (dir. Wally Pfister, 2014). In this review, I will discuss some of the questions raised by the film and show their importance to real-world decision making about AI and other risks. Reader, be warned: This review gives away much of the film’s plot, though it also suggests ideas to keep in mind when watching.
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Harrison, Britt. ""The New World": Heideggerian or Humanist Cinema?" Aesthetic Investigations 3, no. 2 (July 22, 2020): 200–227. http://dx.doi.org/10.58519/aesthinv.v3i2.11936.
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I offer a new Heideggerian reading of Terrence Malick’s 2005 film The New World, in the style of film-philosophy, alongside a contrasting Cinematic Humanist encounter. I consider if the former is a theory-involving example of philosophy of film, and whether a positive answer to this question entails the latter must be also. I argue that the whilst both engagements with the film use the work of other philosophers as part of their appreciation, Cinematic Humanism nonetheless remains one of many possible ways of doing philosophy of film without theory. Having compared these two methods, I suggest reasons why there is nonetheless a potentially valuable relation to be had between philosophy of film with and philosophy of film without theory. Close attention is paid to the film throughout.
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Zhang, Jiayi. "Mexican Retrogrades in the Wave of American Film Culture." BCP Education & Psychology 7 (November 7, 2022): 151–56. http://dx.doi.org/10.54691/bcpep.v7i.2628.
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As one of the most penetrating media, film is an important expression of national cultural soft power. From the beginning of the 20th century to the present, American film culture has swept the world, directly or indirectly dominating the global screen entertainment. Relying on its mature film industry, the United States has rapidly penetrated its culture and values to the world, affecting the cultural identities of other countries. (Under the long-term hegemony of "Hollywood" values, the Mexican film culture as its neighbor has been seriously affected. In Hollywood films, Mexico seems to be synonymous with "chaos", "poverty" and "violence". For Mexican filmmakers, how to keep the Mexican style in the film in the "encirclement and suppression" of American films is the first problem, and then the goal is to show the real Mexico to the world. In response to this situation, some Mexican filmmakers have successively tried a genre-based creative path, transplanting the Hollywood genre film model into the local narrative, in order to achieve a balance between commerciality and artistry. This is also the goal that a group of Mexican filmmakers of the new genre have always pursued. They reject the domineering "cultural fusion" of Hollywood, but take the initiative to choose the "wall" that crosses national borders, galloping into the global film industry with Mexican concepts and creativity. One of the worthiest of exploration is the Mexican director Alessandro Gonzalez Inarito, because he has lived in the United States for a long time, so he has witnessed the situation of Mexicans in the United States, in his film The two perspectives of the United States and Mexico have appeared many times, intuitively revealing Mexico in the eyes of Americans. And almost all the films he shoots contain Mexican elements, trying to break the world's stereotypes about Mexico through the perspective of Mexicans. In the past ten years, Mexican films have made good news on the international stage and become one of the most active countries in the film industry in the world. Therefore, through the study of Alessandro's films, it is necessary to break the Mexico established by the United States and to re-establish the understanding of Mexico and its films.
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Wang, Haizhou. "The Historical Roots and Cultural Core of the Chinese Film School." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 101–13. http://dx.doi.org/10.1515/jcfs-2021-2010.
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Abstract Chinese cinema has its own unique features, created through nationally distinct methods. Once revealed, these methods make possible the construction of a unique “Chinese film school.” This article explores the historical development of Chinese film arts in order to uncover general trends along its winding path. While being open to the world, the Chinese film school ultimately returns to traditions in Chinese art as a method to construct a unique theory of Chinese film. This methodology has enabled Chinese films to reflect wider developments in world cinema, while also maintaining distinctive Chinese cultural characteristics.
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Vande Winkel, Roel. "Film Distribution in Occupied Belgium (1940–1944)." TMG Journal for Media History 20, no. 1 (June 26, 2017): 46. http://dx.doi.org/10.18146/2213-7653.2017.280.
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The military successes achieved by the Wehrmacht in the first years of World War II, provided Nazi Germany with the opportunity to realise a long-dormant ambition of cultural hegemony. This article, focusing on film distribution in German-occupied Belgium (1940–1944), investigates the concrete steps that were taken to bring this new cultural order into practice and identifies the obstacles the German Propaganda Division (‘Propaganda-Abteilung Belgien’) encountered. Through various measures, the number of Belgian film distributors, and the number of films offered by them, were reduced. The market position of German film in general and of German film distributors Ufa and Tobis in particular, was fortified. Nevertheless, these measures did not lead to a complete German market monopoly. This would have been politically undesirable, but also turned out to be economically impossible. Towards the end of the war, the cultural, ideological, but also the undeniable economic mission to make German films as strong as possible in occupied Belgium, proved incompatible with the German war economy.
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Shaul, Dylan. "Hegel and Hitchcock’s Vertigo: On Reconciliation." Film-Philosophy 26, no. 2 (June 2022): 196–218. http://dx.doi.org/10.3366/film.2022.0195.
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This article reconstructs and evaluates a debate between Pippin and Žižek over the proper interpretation of Hitchcock’s Vertigo, in relation to Hegel’s concept of reconciliation. Both Pippin and Žižek agree that Vertigo exemplifies Hegelian reconciliation: Scottie exhibits Hegel’s reconciliatory “negation of negation” when he realizes that his lost love Madeleine had really been Judy all along, thereby losing his original loss. Yet Pippin and Žižek disagree on the precise significance of the concept of reconciliation both for the film and for the contemporary world. Žižek argues for a revolutionary reading of reconciliation in Vertigo: we learn from reconciliation that we must make a revolutionary break from the present world, in order to bring about a wholly new world. Pippin argues for a reformist reading of reconciliation in Vertigo: we learn from reconciliation that we must find the “traces of reason” latent in the present world, in order to gradually reform it for the better. Ultimately, I argue that Žižek’s reading offers the more authentically Hegelian approach to interpreting Hitchcock’s Vertigo. But if nothing else, the Pippin-Žižek debate demonstrates the profound intellectual fecundity of the intersections between film and philosophy for understanding our current historical moment.
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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film." Leonardo 36, no. 1 (February 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.
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The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.
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Kim, Hee-Jung. "Kieślowski’s Film World Seen through Documentary: Focusing on Hospital, Seven Women of Different Ages and Dworzec." East European and Balkan Institute 46, no. 2 (May 31, 2022): 25–44. http://dx.doi.org/10.19170/eebs.2022.46.2.25.
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Polish film director Krzysztof Kieślowski has directed twenty-one documentaries. His films, which have consistently offered insights into “human” and ontological concerns, began with documentaries. Kieślowski employed his unique ethical sensibility in his move from pure documentary to feature film, and even in his feature films portrays an essential, poignant and detailed portrait of what it means to be “human”. In his early works, Kieślowski explored aspects of ordinary people's lives against the background of the political situation in Poland. In his feature films, he paints a portrait of an essential “human” with whom people can universally sympathize; these are not just stories of Polish people, but of Europe. In this study, the director’s film world is analyzed focusing on three of Kieślowski’s documentary films: Hospital (Szpital), Seven Women of Different Ages (Siedem kobiet w różnym wieku), and Central Station (Dworzec). In particular, by examining the techniques of Kieślowski’s three later documentary films, this study investigates the trajectory of his film world just prior to his shift into feature film. Hospital follows orthopedic surgeons for thirty-two hours through their point-of-view, revealing how they retained their humanity even in the harshest conditions. In Seven Women of Different Ages, the lives of seven ballerinas of different ages are sequentially shown during the course of one week. In Central Station, a surveillance camera, the story of the man behind it, and the ordinary people he watches are captured with the director’s unique, sharp perspective. This study also looks into why Kieślowski felt the need to shift from the documentary genre to feature films, concluding that the director’s will to portray what it means to be “human” could be more freely represented in feature films over documentaries.
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Bolton, Jonathan. "Mendacity, Rule Consequentialist Ethics and The Ploughman's Lunch." Film-Philosophy 26, no. 1 (February 2022): 26–43. http://dx.doi.org/10.3366/film.2022.0188.
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This article examines Ian McEwan's script for director Richard Eyre's film, The Ploughman's Lunch (1983), the title of which alludes to a deceptive, post-World War II advertising campaign that promulgated a false narrative about British tradition. McEwan's script, and Eyre's film adaptation of it, offer a prescient exposé of Britain's culture of mendacity in the 1980s in ways that draw on rule-consequentialist ethics to maintain that lying on the personal, professional, and political level has a pernicious effect on society. McEwan's work on the film also marks a crucial turning point in the author's career, one in which he first begins to explore complex ethical and moral conundrums that would figure prominently in his major fiction.
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Kartal, Esma. "It Is a Man's World: Romantic Relief In The Hollywood Blockbuster." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 165–74. http://dx.doi.org/10.5195/cinej.2014.89.
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The Hollywood action blockbuster has been known to benefit from conventions that assure its success at the box-office. Since these films are often identified with male genres, they feature male protagonists, causing them to mostly appeal to male audiences. Nevertheless, to attract female spectators as well, blockbusters incorporate female characters and what I like to call “romantic relief” into their narrative. Moments of romantic relief allow both the characters in the film and the audience to forget about the main action of the film briefly. These, however, fail to change the storyline in any significant way. This article largely focuses on romantic relief and its manifestation in such films as Avatar, Armageddon, Transformers and The Hobbit: The Desolation of Smaug.
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Boylan, Amy. "Cuore and the cinema: reframing the Risorgimento for the First World War." Modern Italy 24, no. 3 (March 7, 2019): 281–94. http://dx.doi.org/10.1017/mit.2019.4.
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During the years leading up to and during the First World War, patriotic films featuring self-sacrificing child protagonists formed an important sub-genre of Italian film production. This article looks at Film Artistica Gloria’s Cuore series (1915–1916), adapted from De Amicis’ novel, with particular attention given to the two war-themed films, Il tamburino sardo (UK: The Sardinian Drummer Boy, 1915) and La piccola vedetta lombarda (The Little Lookout from Lombardy, 1915). An examination of the way in which advertising, reviews, and promotional materials worked to reframe these Risorgimento stories within a new historical context shows how the transmedial relationship between the novel, films and paracinematic texts helped to transform De Amicis’s civically-minded patriotic tales into an endorsement of Italy’s intervention in the First World War.