Academic literature on the topic 'Motion picture plays – History and criticism'
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Journal articles on the topic "Motion picture plays – History and criticism"
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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.
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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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GAINTY, CAITJAN. "‘Items for criticism (not in sequence)’: Joseph DeLee, Pare Lorentz and The Fight for Life (1940)." British Journal for the History of Science 50, no. 3 (September 2017): 429–49. http://dx.doi.org/10.1017/s0007087417000620.
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AbstractIn the late 1920s, the American obstetrician Joseph DeLee brought the motion-picture camera into the birth room. Following that era's trend of adapting industrial efficiency practices for medical environments, DeLee's films give spectacular and unexpected expression to the engineering concept of ‘streamlining’. Accomplishing what more tangible obstetric streamlining practices had failed to, DeLee's cameras, and his post-production manipulation, shifted birth from messy and dangerous to rationalized, efficient, death-defying. This was film as an active and effective medical tool. Years later, the documentarian Pare Lorentz produced and wrote his own birth film, The Fight for Life (1940). The documentary subject of the film was DeLee himself, and the film was set in his hospitals, on the same maternity ‘sets’ that had once showcased film's remarkable streamlining capacity to give and keep life. Yet relatively little of DeLee was retained in the film's content, resulting in a showdown that, by way of contrast, further articulated DeLee's understanding of film's medical powers and, in so doing, hinted at a more dynamic moment in the history of medicine while speaking also to the process by which that understanding ceased to be historically legible.
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Yetimova, Serhat, and Abdrasul İsakov. "An Analysis of the Kurmanjan Datka Movie in the Context of Historical and Ideological Film Criticism." Galactica Media: Journal of Media Studies 6, no. 2 (May 20, 2024): 96–120. http://dx.doi.org/10.46539/gmd.v6i2.434.
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Kurmanjan Datka Queen of the Mountains (2014) is a Kyrgyz historical drama film directed by Sadyk Sher-Niyaz tells the story of Kurmanjan Datka from Kyrgyz history. In this article, how the mentioned motion picture is discussed in Central Asian, Russian, Turkish and Western digital media is analyzed comparatively in the context of historical and ideological film criticism. It is tried to be understood how each country interprets the film in their own media, how they look at the history of Kyrgyzstan and its ideological discourse. In the research, critical discourse analysis method was used and conceptual and thematic classifications were made. At the end of the research, while more history and politics were discussed in the Central Asian media, the Russian and Turkish digital media did not show enough attention to the historical flow, while the Western digital media discussed the film in a multifaceted way in the context of economy-political, identity, gender and aesthetics. Another remarkable difference was that some of the Kyrgyz or Kazakh critics (especially statesmen, historians or artists) criticized the film on the economic-political axis. The in-depth and multidimensional criticisms of the film developed by the eastern critics were found in the Western media or Western journalists gave place to these views in their own digital media.
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Ogundokun, Sikiru. "POSTCOLONIAL READING OF WOLE SOYINKA’S THE LION AND THE JEWEL AND JEAN PLIYA’S LA SECRÉTAIRE PARTICULIÈRE." Al-Adab Journal, no. 148 (March 15, 2024): 25–36. http://dx.doi.org/10.31973/aj.v1i148.4375.
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In literary criticism, both the context and the content of a given text; speech, graph, image, or picture are essential. It is the totality of these two elements that pave the way for a better understanding of any given text. Hence, since the purpose of every communication or speech act is comprehension, this study examines the stylistic profile of Wole Soyinka and Jean Pliya in The Lion and the Jewel (1964) and La secrétaire particulière (2001) respectively. The study adopts the French ‘explication de texte’ technique as its methodology to carry out a textual analysis of the two selected plays. As a theoretical framework, the study uses Edward Said and Homi Bhabha’s Postcolonial theory which interrogates the effects of the interactions between the centre and the margin with the view to reconstructing the worldview on matters of history, race, identity, and culture. Findings reveal that in resisting colonial domination and imposition, the two African playwrights take advantage of linguistic manipulations in the composition of their literary texts. With the application of transliteration, direct translation, proverbs, figures of speech, allusions, lexical borrowing, and grammatical and phonemic corruption, the writers are able to foreground their intention to post-colonialize and africanize their literary works.
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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.
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Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
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Ameti, Lirije. "THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1749–53. http://dx.doi.org/10.35120/kij31061749a.
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This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A masterpiece of 1037 pages published in 1939 and subsequently in the greatest and longest motion picture on screen. Piling up records and building it's own history and legends. The novel has sold in more than 25 million copies in at least 27 languages in thirty countries and in more than 185 editions according to the research conducted in 2004. These figures continue to increase, not to mention that the film is seen by more individuals than the total population of the USA. GWTW has grown and conflated into a phenomenon of American and later into a phenomenon of levels of basic appreciation after international popular culture. Thus criticism was attested at the levels of basic appreciation , often in the opposite poles of love and /or hate , the evaluation again in bipolar terms of praise and / or scorn. On the popular level the book was lauded and in the literary world it was defamed. Mitchell's novel " Gone With The Wind " was seen as important symbols of American culture forces. A serious biography in 1965 sparked reconsiderations simply by the assumption of Mitchell's importance as a writer. Other re- evaluations followed which asserted the literary quality of the work, notably in feminist terms. Attesting the qualities that critics wrote such as Michener who said: " The spiritual history of a region". Many other scholarly papers have been undertaken to attack it and completed to praise it. Because of the enormous popularity , readability , embodiment of the heroine woman character Scarlett O'Hara with many other women who saw themselves in those situations or experienced the same then or even nowadays. These multi themes to discuss about, issues primarily of women, the novel is defined as a woman's literary artistic achievement, seen through the eyes off a woman Scarlett herself and many other women characters. Is seen the distinction of the past and present of the old and new society. Mitchell herself says it is about courage and gumption to change as a necessity in order to survive war, reconstruction and transition. The search of survival by poor and nearly defeated young women who had no control or capacity to understand these tensions. Indeed this novel has become an icon of the US culture.
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Ratna, Ellya, and Malta Nelisa. "SCIENCE MAPPING BASED ON CO-WORD FOR STUDY OF INDONESIAN LITERATURE ARTICLE IN SCIENTIFIC JOURNAL." Humanus 16, no. 1 (September 20, 2017): 93. http://dx.doi.org/10.24036/jh.v16i1.6515.
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PEMETAAN BERBASIS CO-WORD UNTUK KAJIAN ARTIKEL SASTRA INDONESIA DALAM JURNAL ILMIAHAbstractStudies in the field of Indonesian literature plays an important role in demonstrating what life style Indonesia's diverse society. From studies that have been done have not seen a picture whether the study of Indonesian literature has evolved over some period of time with the possibility of the emergence of new topics in the study of Indonesian literature. Research conducted with quantitative approach using bibliometric analysis which includes analysis of the subject, co-word analysis, cluster analysis, and multidimensional scalling. Data were collected by identifying the scientific articles in the field of Indonesian literature contained in published scientific journal in Indonesia from 2008—2012 through the Indonesian Scientific Journal Database (ISJD) PDII LIPI. The results of this study indicate the following matters. First, the linkage of subjects in the field of Indonesian literature illustrated by the analysis group produced five cluster group. Each group describes the linkages between topics in a subject. Second, the development of the subject field map Indonesian literature for the years 2008—2012 shows five study groups in literature articles Indonesia, namely literary criticism, folklore, literary theory, history of literature, and philology. Most of the articles discuss various topics of literary theory in the study.Keywords: bibliometric; co-word analysis; multidimensional scalling Abstrak Kajian di bidang sastra Indonesia berperan penting dalam memperlihatkan corak kehidupan masyarakat Indonesia yang beraneka ragam.Dari kajian-kajian yang telah dilakukan belum terlihat gambaran apakah kajian sastra Indonesia mengalami perkembangan dari beberapa kurun waktu dengan kemungkinan munculnya topik-topik baru dalam kajian sastra Indonesia.Penelitian dilakukan dengan pendekatan kuantitatif menggunakan analisis bibliometrika yang mencakup analisis subjek, analisis co-word, analisis gugus, dan peta multidimensi. Data penelitian dikumpulkan dengan mengidentifikasi artikel-artikel ilmiah di bidang sastra Indonesia yang terdapat dalam jurnal ilmiah yang terbit di Indonesia dari tahun 2008—2012melalui Indonesian Scientific Journal Database (ISJD) PDII LIPI.Hasil penelitian menunjukkan hal-hal sebagai berikut.Pertama, keterkaitan subjek dalam bidang sastra Indonesia digambarkan melalui analisis gugus yang menghasilkan lima kelompok gugus. Setiap gugus menggambarkan keterkaitan diantara topik-topik dalam suatu subjek. Kedua, peta perkembangan subjek bidang sastra Indonesia untuk tahun 2008—2012 memperlihatkan lima kelompok kajian artikel bidang sastra Indonesia, yaitu kritik sastra, folklore, teori sastra, sejarah sastra, dan filologi. Sebagian besar artikel membahas tentang teori sastra dalam berbagai topik kajian.Kata Kunci:bibliometrik; analisis co-word; peta multidimensi; sastra Indonesia
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SHPYK, Igor. "PERIODIZATION OF SOUTH-EAST SLAVIC RELIGIOUS AND CULTURAL INTERACTION IN THE MIDDLE AGES: OVERVIEW OF MAIN APPROACHES." Problems of slavonic studies, no. 68 (2019): 99–115. http://dx.doi.org/10.30970/sls.2019.68.3073.
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Background:The deepening of knowledge about the religious and cultural links between the southern and eastern Slavs during the Middle Ages requires deep scientific reflection, comprehensive understanding of all the best practices, especially from the point of view of modern methodological approaches. It has been done a lot at the level of narrow specializations, codicology, philology, paleography, art criticism, but in general, the significant changes have not happened in summarizing the results of these various studies, which makes it impossible to create a clearer picture of the process as a whole, in motion and variety of manifestations. An important step in this direction should be the development of general periodization, which would take into considerationthe key phenomena not only of literary and literary life, but also of all other spheres of these relations. An important step in this direction should be the development of general periodization, which would take into consideration the key phenomena not only of book and literary life, but also of all other spheres of these relations. Purpose: Taking into account the vastness of the research topic, it is worth noting that the author does not aim to deeply and comprehensively analyze all the works that in one way or another determine the chronology of the main stages of medieval religious and cultural relations between the Orthodox Slavs. Many of these publications, moreover, express their views on the temporal markers of the process in question, which largely coincide with already established periodization (sometimes partially modified by binding to the turning points of the history of the Balkan countries, or Rus, or taking into consideration specific features of the interaction process itself). Therefore, the object of our consideration was only those works that were most important for the development, supplementation, concretization or change of the periodization of the Southeastern Slavic relations in the Middle Ages as a whole or in some of its stages; as well as those that contain important considerations and remarks regarding the dating of the underlying phenomena of the process. Results: The problem of the periodization of South-East Slavic religious-cultural interaction during the Middle Ages remains actual and needs special and priority attention. The criteria and, in general, the schemes of chronological systematization of the material, developed by previous generations of scientists, are largely outdated and contain conflicting and incompatible points. Their productive revision is possible only if a comprehensive comparison and generalization of the results of the study of all major points of contact between the religious and cultural life of Rus and the South Slavic countries. In addition, in this context, time periods are particularly noticeable, such as the second half of the IX–X c., the second half of the XI – the end of the XII c.,the second half of the XIII–the first half of the XIV c., the second half of the XV – the beginning of the XVI c. of which we have too little information, so they seem to be partly lost, fall out of general narratives. Accordingly, a more thorough study of them is potentially able to adjust and refine the stages of this complex and time-consuming process. And, importantly, when it comes to Rus, especially during the late Middle Ages, it is also very important to take into account the local features of its development, in accordance with the borders of the states (Moscow State, Grand Duchy of Lithuania and the Polish Kingdom) that existed in its territory as well as the jurisdictional boundaries of the divided Kyiv Metropolitanate. Keywords: periodization schemes, religious and cultural relations, the Middle Ages, the southern and eastern Slavs, Rus, Bulgaria, Serbia.
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McEwan, Paul, Gwendolyn Waltz, and Peter P. Reed. "Review Articles: D.W. Griffith's the Birth of a Nation: A History of ‘The Most Controversial Motion Picture of All Time.’, Griffith in Context: A Multimedia Exploration of the Birth of a Nation (CD-ROM), the Birth of a Nation, the Griffith Project., Biograph Shorts., Jim Crow, American: Selected Songs and Plays, Slavery and Sentiment on the American Stage, 1787–1861: Lifting the Veil of Black." Nineteenth Century Theatre and Film 37, no. 1 (May 2010): 68–87. http://dx.doi.org/10.7227/nctf.37.1.9.
Full textDissertations / Theses on the topic "Motion picture plays – History and criticism"
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Pouliot, Carolle. "Le scénario : cinéma ou littérature?, suivi de Malebouge." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63846.
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Preston, Barry A. (Barry Alan). "Myths and Movies: a Mythographical Methodology of Motion Picture Analysis." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279362/.
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Over the past decade, cinema studies scholars have begun to recognize the value of mythographical methodologies for motion picture analysis; however, most of the scholarly research in this field has focused either on mythic archetypal images or on monomythic narrative structure, rather than combining the two approaches into a unified theory. This essay addresses the problem by proposing a mythographical methodology of motion picture analysis based on Carl Jung's theory of archetypal images and Joseph Campbell's theories concerning the monomythic structure of heroic narratives. Combining the two approaches of myth interpretation results in a more comprehensive methodology for interpreting the mythic elements of motion pictures. This essay illustrates the application of this methodology through a detailed analysis of Terry Gilliam's film, The Fisher King.
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Douglas, John Anthony Art College of Fine Arts UNSW. "Aberations of self : manifestations in cinema histories." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.
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The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the directors intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the films meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.
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Beaulieu, Renée. "Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.
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Eckardt, Michael. "The development of film criticism in Cape Town's daily press 1928-1930 : an explorative investigation into the Cape Times and Die Burger." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53767.
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Thesis (MPhil)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.
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Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
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Peeler, Scott Edward. "The dynamics of proximity : Hitchcock's cinema of claustrophobia." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.
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The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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McGinney, William Lawrence. "The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.
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McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.
Full textBooks on the topic "Motion picture plays – History and criticism"
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Corrigan, Timothy. New German film: The displaced image. Bloomington: Indiana University Press, 1994.
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1952-, Thompson Frank T., ed. Between action and cut: Five American directors. Metuchen, N.J: Scarecrow Press, 1985.
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Brunetta, Gian Piero. Identikit del cinema italiano oggi: 453 storie. Venezia: Marsilio, 2000.
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Günther, Dahlke, and Karl Günter, eds. Deutsche Spielfilme von den Anfängen bis 1933: Ein Filmführer. Berlin: Henschelverlag Kunst und Gesellschaft, 1988.
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Tyler, Parker. The Hollywood hallucination. New York: Garland, 1985.
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István, Kovács. Robogás a nyárba: Írások a lengyel filmről. Pécs: Jelenkor, 1992.
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István, Kovács. Robogás a nyárba: Írások a lengyel filmrművészetről. Budapest: Rejtjel, 1998.
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Kasten, Jürgen. Film schreiben: Eine Geschichte des Drehbuches. Wien: Hora Verlag, 1990.
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Schwartz, Ronald. Spanish film directors (1950-1985): 21 profiles. Metuchen, N.J: Scarecrow Press, 1986.
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Piazza, Roberta. The discourse of Italian cinema and beyond: Let cinema speak. London: Continuum, 2011.
Find full textBook chapters on the topic "Motion picture plays – History and criticism"
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Sizova, Irina I. "To the Problem of Editions of Folk Literature by L.N. Tolstoy in the 1880s." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference, 127–40. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-127-140.
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The article discusses the distinction between the concepts of «edition» and «version» in the history of the text of L.N. Tolstoy’s stories and plays of the 1880 s, addressed to the people’s audience. The author revises the traditional approach to the textual criticism of the writer’s works, according to which the indicators of a new edition appearance are taken from the graphic features of manuscripts, such as quantitative indicators of changes in the text and the abundance of its discrepancies. The author of the article concludes that the problem of editions and versions of Tolstoy’s folk stories and plays should be solved by combining the tasks of textual and literary studies: to trace the formation of such categories as content and form of works from manuscript to manuscript, to take into account the dynamics of the artist’s worldview, his creative and aesthetic search. To create an objective picture in the research, it is necessary to cover the entire manuscript corpus of writer’s works, but not selectively published fragments in the Anniversary edition and or the volumes of the academic series «Literary Heritage».
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Yogerst, Chris. "Second Recess, National Unity, and the End of the Investigation." In Hollywood Hates Hitler!, 161–74. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0014.
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The second recess began with the plan to resume the hearings in October after watching a series of films discussed during the investigation. However, the mounting criticism would make it difficult to predict a victory for the isolationist senators. Because the films had not yet been screened, and with the growing divide within the subcommittee with Senator Tobey’s antics on the last day, the Los Angeles Times predicted the end of the investigation was near. The Senate subcommittee on Motion Picture Propaganda was finally disbanded on December 18, 1941. The subcommittee would never reconvene as Hollywood, along with the rest of the country, had become wholeheartedly dedicated to the war effort. The isolationists had no choice but to go along for the ride. Those involved with the Senate investigation would continue to do their jobs and live their lives. Unlike other events in political history, this one would not have many ripple effects after December 7, 1941. The United States senators would see a mixed bag of career success.
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Mulvey, Laura. "Citizen Kane: From Log Cabin to Xanadu." In Orson Welles ’s Citizen Kane, 217–47. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0008.
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Abstract Although The idea of embarking on a new analysis of the most written-about film in film history is daunting, I am using Citizen Kane for a specific and experimental purpose. That is, I want to speculate about certain areas of overlap between psychoanalysis and history and use the film, as it were, as a guinea pig. I have two further excuses for this project. First, although the history in question here is primarily that of the United States, I have tried to approach that history from a European perspective which, I feel, illuminates aspects of the film that have been over-looked. Second, I am applying the film theory and criticism of my generation to this film, which has been put through the mill by each generation of critics since it appeared in 1941. The main influences on my thought have been psychoanalytic theory and feminism, and both have strongly inflected my analysis of Citizen Kane. Although the presence of feminism in this essay may not be obvious at first glance, the principles of feminist film theory have not only molded my way of thinking about cinema in general, but have necessarily informed my approach throughout this Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.