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Journal articles on the topic 'Motion pictures – iran – history'

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Author: Grafiati

Published: 26 July 2024

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1

Mottahedeh, Negar. "Collection and recollection: On studying the early history of motion pictures in Iran." Early Popular Visual Culture 6, no. 2 (July 2008): 103–20. http://dx.doi.org/10.1080/17460650802150374.

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2

Naficy, Hamid. "Cultural Dynamics of Iranian Post- Revolutionary Film Periodicals." Iranian Studies 25, no. 3-4 (1992): 67–73. http://dx.doi.org/10.1017/s0021086200015723.

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This essay is in two parts. Part I examines the dynamism and the political economy of the popular culture in Iran by focusing on the developments in the publication of film periodicals since the revolution of 1979. Part II provides a list of periodicals since the revolution that have dealt with cinema and the film industry.Periodicals specializing in film and cinema as well as those which devote only a section of each issue to the motion-picture industry are all part of the larger cultural dynamics of what we might call the Iranian post-revolutionary popular culture. These specialized and allied periodicals cannot be considered in a vacuum since, as part of the dynamics of this popular culture, they are involved in a host of negotiations and conflicting relations with the clerical state, official censorship boards, advertisers, film producers, the publishing industry, and finally their own readers.

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3

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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4

Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (April 1, 2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.

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5

Swartz, Mark E. "Motion Pictures on the Move." Journal of American Culture 9, no. 4 (December 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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6

Oliver, Willard M. "Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures." Journal of Criminal Justice Education 22, no. 3 (September 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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7

Ayers, Lee. "Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures." Criminal Justice Review 39, no. 4 (June 25, 2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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8

Eckardt, Michael. "South African film history vs the history of motion pictures in South Africa." South African Theatre Journal 25, no. 1 (March 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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9

Dym, Jeffrey A. "Benshi and the Introduction of Motion Pictures to Japan." Monumenta Nipponica 55, no. 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

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10

Martin L. Johnson. "Motion Pictures: A Problem to Be Co-operatively Solved." Film History 29, no. 4 (2017): 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

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11

ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.

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12

Berman, Aaron, and Charles Lawrence Gellert. "The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives." Journal of American History 77, no. 4 (March 1991): 1457. http://dx.doi.org/10.2307/2078427.

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13

Serene, Frank H. "Motion Pictures, Videotapes and Sound Recordings at the National Archives." Historical Journal of Film, Radio and Television 16, no. 1 (March 1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.

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14

Algazi, Gadi. "Norbert Elias’s motion pictures: history, cinema and gestures in the process of civilization." Studies in History and Philosophy of Science Part A 39, no. 3 (September 2008): 444–58. http://dx.doi.org/10.1016/j.shpsa.2008.06.014.

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15

Griffiths. "A Portal to the Outside World: Motion Pictures in the Penitentiary." Film History 25, no. 4 (2013): 1. http://dx.doi.org/10.2979/filmhistory.25.4.1.

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16

Kotte, Claudia. "Homo Cinematicus: Science, Motion Pictures and the Making of Modern Germany." Historical Journal of Film, Radio and Television 38, no. 3 (July 3, 2018): 674–76. http://dx.doi.org/10.1080/01439685.2018.1459028.

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17

Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (November 1, 2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.

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18

Jurca, Catherine. "Motion pictures' greatest year (1938): public relations and the American film industry." Film History: An International Journal 20, no. 3 (September 2008): 344–56. http://dx.doi.org/10.2979/fil.2008.20.3.344.

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19

Joyce, Simon, and Jennifer Putzi. "“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company." Film History: An International Journal 21, no. 3 (September 2009): 189–207. http://dx.doi.org/10.2979/fil.2009.21.3.189.

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20

Ickerodt, Ulf. "The spatial dimension of history: propagation of historical knowledge via open-air museums, leisure parks and motion pictures." Public Journal of Semiotics 2, no. 2 (July 1, 2008): 73–102. http://dx.doi.org/10.37693/pjos.2008.2.8828.

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Man's environment is full of references to history. Archaeological sites and cultural landscapes are examples. History is a constituent of our social identity. In this sense, on a social level, it has an integrating function and helps to structure and canalize social behaviour. In this paper we shall examine, taking archaeological sites, open-air museums, leisure parks and motion pictures as examples, how this form of promotion of history works and what effect it has on society.

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21

Knight, Arthur. "Spotlight on Film: All the World's a Stage." Media Information Australia 43, no. 1 (February 1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.

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22

CHING, May Bo. "Rethinking media history in modern China: the cases of lithography, slide shows, the telegraph, and motion pictures." Journal of Modern Chinese History 12, no. 2 (July 3, 2018): 175–79. http://dx.doi.org/10.1080/17535654.2018.1561095.

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23

Brégent-Heald, Dominique. "Leaky Borders: Smuggling Opium and Chinese Labor in Progressive-Era Motion Pictures." Journal of American Culture 37, no. 4 (December 2014): 393–403. http://dx.doi.org/10.1111/jacc.12270.

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24

Rashidbeigi, Samin. "Iran in Motion: Mobility, Space, and the Trans-Iranian Railway by Mikiya Koyagi." Technology and Culture 63, no. 1 (2022): 280–82. http://dx.doi.org/10.1353/tech.2022.0033.

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25

HUANG, Jianmin. "From motion pictures to still photographs: a case study of A Page in the History of the Republic." Journal of Modern Chinese History 12, no. 2 (July 3, 2018): 246–62. http://dx.doi.org/10.1080/17535654.2018.1550302.

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26

Antomi, Satria, and Zubaidah A. Zubaidah A. "MOTION GRAFIS SEJARAH JEMBATAN RATAPAN IBU PAYAKUMBUH SUMATERA BARAT." DEKAVE : Jurnal Desain Komunikasi Visual 11, no. 1 (May 4, 2021): 154. http://dx.doi.org/10.24036/dekave.v11i1.112338.

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Payakumbuh has historical events. Among the historical events that occurred in the city of Payakumbuh called the Ratapan Ibu bridge. The bridge is one proof of the history of struggle in West Sumatra, especially in Payakumbuh City. Lack of public appreciation for historical stories and evidence of historical heritage of the Ratapan Ibu bridge. This causes the later generations to know less about the story and care less about its historical evidence. It is necessary to re-communicate these historical events to the public, through motion graphics. The advantage ofmotion graphicscombination is aof illustration, typography, photography, video and audio using animation techniques.The design method used is the 4D (design methodfour-D)using 4 design stages, namely define, design, development, and disseminate. Sources of data used in this design are in the form of statements about the tools, properties, conditions and specific activities concerned.The design results in the form of motion graphics that have stories, pictures, and audio, can make today's young generation learn local history, so that its sustainability can be maintained. The motion graphic of thehistory of the Ratapan Ibu bridge is supported by supporting media in the form of mugs, billboards, tote bags, Youtube, Instagram, twitter and facebook, which are able to promote the Motion Graphic of the History of the Ratapan Ibu Bridge.Keywords: Motion Graphic, History, Mother's Lamentation Bridge,Payakumbuh

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27

Mukhopadhyay, Aparajita. "Iran in Motion: Mobility, Space and the Trans-Iranian Railway by Mikiya Koyagi." Journal of Interdisciplinary History 53, no. 2 (2022): 381–82. http://dx.doi.org/10.1162/jinh_r_01863.

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28

Amin, Camron Michael. "Mikaya Koyagi. Iran in Motion: Mobility, Space, and the Trans-Iranian Railway." American Historical Review 128, no. 4 (December 1, 2023): 1937–39. http://dx.doi.org/10.1093/ahr/rhad395.

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29

Larson, Edward J., and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Journal of American History 84, no. 2 (September 1997): 698. http://dx.doi.org/10.2307/2952674.

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30

Dischl, Jonas. ""Nuit et brouillard" – Die erinnerungskulturelle Gedächtnismaschine. Ein Blick auf Alain Resnais' Meisterwerk." Didactica Historica 3, no. 1 (2017): 47–51. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.47.

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he documentary film Nuit et brouillard of the year 1955 is a masterpiece. Ten years after the end of World War II, Alain Resnais (1922‒2014) created a striking documentary about the NS regime’s policy of extermination. The movie had a lasting impact on the visual commemorative culture of the Shoa. Numerous iconographic illustrations of the Shoa are based on this documentary. Hence, later documentaries and motion pictures borrowed heavily from the imagery of Nuit et brouillard. This paper focuses on the history of reception of Nuit et brouillard and outlines one possible application for history lessons at secondary levels I and II.

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31

Bowers, Lauren. "The “Devil-May-Care Song of the Leathernecks”: A HISTORY OF THE “MARINES’ HYMN,” 1920–47." Marine Corps History 7, no. 2 (December 27, 2021): 36–53. http://dx.doi.org/10.35318/mch.2021070203.

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From 1920 to 1947, the “Marines’ Hymn” was a familiar sound over the radio waves and in motion pictures. Beyond its popular appeal, however, the hymn was scrutinized by Marine Corps leadership under the reforms of Major General Commandant John A. Lejeune, subjected to a prolonged ownership dispute, updated during a world war, and given an official birthday. This article continues the author’s research on the topic and examines these important milestones in the history of the “Marines’ Hymn” and the conflicts that arose as Marine Corps leadership attempted to maintain and promote one dignified official version that would foster a positive public image for the increasingly professional Corps.

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32

Carlson, W. Bernard, and Michael E. Gorman. "Understanding Invention as a Cognitive Process: The Case of Thomas Edison and Early Motion Pictures, 1888-91." Social Studies of Science 20, no. 3 (August 1990): 387–430. http://dx.doi.org/10.1177/030631290020003001.

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33

Lee, Sangjoon. "Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association." Historical Journal of Film, Radio and Television 37, no. 3 (March 10, 2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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34

Khalilov, Vladimir. "Films as pedagogical tools: Cinema and the Teaching of History in the USA." Russia and America in the 21st Century, no. 3 (2023): 0. http://dx.doi.org/10.18254/s207054760026353-5.

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The article explores the historical and educational value of cinematic works drawing on the experience of the United States. The specific abilities of cinema to influence the audience in unique ways, to distribute certain information, and to develop skills of critical and historical thinking have turned it, at least potentially, into a powerful pedagogical tool. However, in the process of practical realization of this potential in educational institutions, many obstacles and challenges arise, depriving films of a significant portion of their pedagogical efficacy. By examining a number of films used in American schools, the author demonstrates how they can serve as effective and authentic pedagogical instruments, while also highlighting the issues that emerge when motion pictures are deployed as tools for learning and education.

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35

Higashi, Sumiko, and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." American Historical Review 103, no. 4 (October 1998): 1340. http://dx.doi.org/10.2307/2651353.

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36

Marsden, Michael T., and Craig W. Campbell. "Reel America and World War I: A Comprehensive Filmography and History of Motion Pictures in the United States, 1914-1920." Journal of American History 73, no. 4 (March 1987): 1114. http://dx.doi.org/10.2307/1904194.

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37

Varghese, Priju. "Marriage in Cinema." Journal of Student Research 4, no. 2 (June 3, 2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

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Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

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38

Fuchs, Michael, and Martin Butler. "Introduction Science and Popular Audio-Visual Media." Arbeiten aus Anglistik und Amerikanistik 47, no. 2 (March 31, 2023): 171–87. http://dx.doi.org/10.24053/aaa-2022-0010.

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Our introduction to this special issue on science and popular audio-visual media sheds light on the intricate interconnections between science (and discourses about science) and different popular audio-visual media. Focusing on the topics of global warming and the ongoing pandemic, on the one hand, and the genres of horror, science fiction, and fantasy, on the other, we illustrate some functions of science and scientists in audio-visual media and also turn to the history of photography and motion pictures and their significance as both scientific tools and entertainment media, before briefly introducing the individual essays included in this issue.

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39

Gorchakov, S. Yu. "Mathematical modeling of velocity and accelerations fields of image motion in the optical equipment of the Earth remote sensing satellite." Russian Technological Journal 11, no. 6 (December 14, 2023): 47–56. http://dx.doi.org/10.32362/2500-316x-2023-11-6-47-56.

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Objectives. The paper considers a satellite with an optoelectronic payload designed to take pictures of the Earth’s surface. The work sets out to develop a mathematical model for determining the dependencies between the state vector of the satellite, the state vector of the point being imaged on the Earth’s surface, and the distribution fields of the velocity vectors and accelerations of the motion of the image along the focal plane of the optoelectronic payload.Methods. The method is based on double differentiation of the photogrammetry equation when applied to a survey of the Earth’s surface from space. For modeling the orbital and angular motion of the satellite, differential equations with numerical integration were used. The motion parameters of the Earth’s surface were calculated based on the Standards of Fundamental Astronomy software library.Results. Differential equations of motion of the image were obtained. Verification of the developed mathematical model was carried out. The motion of the considered satellite was simulated in orbital orientation mode using an image velocity compensation model. The distribution fields of velocity vectors and accelerations of motion of the image of the Earth’s surface were constructed. The residual motion of the field of image following compensation was investigated.Conclusions. The proposed mathematical model can be used both with an optoelectronic payload when modeling shooting modes and estimating image displacements at the design stage of a satellite, as well as at the satellite operation stage when incorporating the presented model in the onboard satellite software. The presented dependencies can also be used to construct an image transformation matrix, both when restoring an image and when obtaining a super-resolution.

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40

Caulton, Thomas. "Motion Pictures and Moral Panic: The Reception of 'White Slavery' Films in New York in 1913." Film & History: An Interdisciplinary Journal 53, no. 1 (June 2023): 61–78. http://dx.doi.org/10.1353/flm.2023.a903048.

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41

Barrett, Deborah, and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Social Forces 75, no. 3 (March 1997): 1136. http://dx.doi.org/10.2307/2580542.

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42

Mansur Qaetuly, Salahaddin Anwer. "Historial Gography Of The Kurds In The Nighboring." Journal of University of Raparin 7, no. 4 (December 15, 2020): 432–69. http://dx.doi.org/10.26750/vol(7).no(4).paper21.

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This research is entitled (historical geography of the presence of the Kurds in the neighboring regions), a study in the geo-political research scientifically concerned with the presence of Kurds in the neighboring countries i.e this research does not study the presence of the Kurds in in Iraq, Syria, Turkey, Iran just in (Khorasan region) because now they are includes the land of Kurdistan. The Kurds history of immigration to outside of their lands are related to many factors including the geographical location and the similarity of geographical elements, which can be considered the main causes to for attraction of Kurds to these regions, and despite this the cutaneous invasions especially during the periods of Iran and Turkey. This research includes three axes, the first axis study the historical presence of the Kurds in Russia and the three Caucasus countries (Armenia, Georgia and Azerbaijan) and also study Republics of (Kazakhstan and Kyrgyzstan, and Uzbekistan, Turkmenistan and Tajikistan), and briefly about Afghanistan, Pakistan and khorasan region. The second axis study the history and geographical distribution of the Kurds and their numbers in those neighboring countries.While the third axis analysis of the geopolitical history elements including (military, economy, religion and administration)of the Kurdish presence in neighboring countries. In addition of performing some important conclusions and recommendations, as well as the list of references, and abstract in English and Kurdish and an appendix of maps and pictures.

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43

Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (December 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.

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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.

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44

McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.

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45

Apple, Rima D. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick." Isis 88, no. 2 (June 1997): 369–70. http://dx.doi.org/10.1086/383755.

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46

Musser, Charles. "Reading Local Histories of Early Film Exhibition: Sylvester Quinn Breard's ‘A History of the Motion Pictures in New Orleans, 1896–1908’." Historical Journal of Film, Radio and Television 15, no. 4 (October 1995): 581–85. http://dx.doi.org/10.1080/01439689500260451.

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47

Eshghi, Sassan, and Mehran S. Razzaghi. "Performance of cylindrical liquid storage tanks in Silakhor, Iran earthquake of March 31, 2006." Bulletin of the New Zealand Society for Earthquake Engineering 40, no. 4 (December 31, 2007): 173–82. http://dx.doi.org/10.5459/bnzsee.40.4.173-182.

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Several on-ground cylindrical liquid storage tanks experienced strong ground motion during the “Silakhor” earthquake of March 31, 2006 in western Iran, and some of the tanks suffered minor to moderate damage. In this study two of the affected tanks that were located close to the station of recording the time history of the earthquake were investigated. Responses of these tanks to the earthquake were estimated using published methods and also non-linear time history analysis, for both rigid foundation and flexible foundation assumptions. Theoretical results were compared and were generally in good agreement with the observed performance of tanks during the earthquake. For the broad tank uplift displacements observed from the earthquake matched quite closely the predictions of numerical analysis and some of the published methods, although there was a significant variation in the predictions of various methods. It was also shown that axial stresses in tank shells uplifting under earthquake are very dependent on the rigidity of the foundation.

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48

Horváth, Péter. "Connections between the folk dance culture and regionality in the area of Derecske and Mikepércs." Acta Agraria Debreceniensis, no. 55 (February 25, 2014): 49–54. http://dx.doi.org/10.34101/actaagrar/55/1908.

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The culture of folk dance has been prominently cultivated in Hungary nowadays, however some regions are yet to be discovered by ethnographers. Stopping this gap by this time is almost impossible due to the small number of informants. Nevertheless, memories of ethographers’ collections, motion pictures, photographs, notes and the choregraphies made from them endure, on the basis of which traditions can be reconstructed, that were so typical of some townships at one time and have been forgotten by now. What can a recreated tradition mean to a community, that sometime was left to waste by them? This is the problem the article is dealing with through the history of Derecske and Mikepércs, two townships in Hajdú-Bihar county, revealing the regional relationship system as well as late and recent potentials of the area.

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Łazarz, Radosław. "Z czerwonym Kielichem. Przedmiot wiary husytów w Trylogii husyckiej Otokara Vavry." Slavia Occidentalis, no. 73/2 (June 14, 2018): 45–56. http://dx.doi.org/10.14746/so.2016.73.29.

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The study is dedicated to Otokar Vavra’s cinematographic “Hussites Revolutionary Trilogy”. The films were shot in the 1950s as colour motion pictures. The main idea is based on Alois Jirasek’s trilogy and Frantisek Palacky’s philosophy of history combined with some ideological concepts revolving around the communist interpretation of Hussites. The three films: Jan Hus (1954), Jan Žižka (1955) and Proti všem (Against All Odds, 1957) pose some sort of a challenge by showing a religious movement from an atheist’s perspective. Vavra indeed created a work of propaganda, a heroic story of the Czech folk fighting against foreign powers (lords and nobles, crusaders) which had the potential of underpinning the communist ideology in Czechoslovakia. On the other hand, the trilogy took in a new symbolic meaning after the 1968 occupation by the Warsaw Pact.

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Widegren, Kajsa. "Sexualiserade bilder av flickor. Pippi Examples och den manliga blicken." Tidskrift för genusvetenskap 25, no. 4 (June 15, 2022): 9–27. http://dx.doi.org/10.55870/tgv.v25i4.4048.

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The aim of this article is to examine shifts of meaning of the visual material in a piece of art called Pippi Examples (2001). The Swedish artist Palle Torsson uses parts of the Pippi Långstrump motion picture for this video work, which has been accused of "making porn of Pippi". It is when the visual material is moved from its original context of children'scultureand placed in a context ofart, that the perception of the viewers' position changes. Four pictures from Pippi Examples are examined through a semiotic method. These pictures are related in different ways to signs of sexualisation used in visual pornographic material. The girls in the material are exposed in a sexualised way, related to two frames of interpretation. The first one is the references in the pictures to a pornographic visual tradition. The second important frame of interpretation is the concept of the male gaze, in the article also referred to as the male viewer's position. This position is structured through the historical meaning of children's sexuality, cultural boundaries for girls' physical use of their body and the sexualised gaze of male adults. The theoretical ground for the article is Laura Mulvey^ essay on the male gaze and Michel Foucaulfs work on the history of sexuality. In the final part of the article the gender of the artist is discussed as a vital part of Pippi Examples. The artisfs male gender both confirms the sexual content of the visual material and tums the interest to his person rather than to the art. This can be seen as a new situation for the male artist that historically has had a position related neither to sexuality nor gender.

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