Journal articles on the topic 'Peripheral cinema'
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Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.
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Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writers, and actors initiated the discussions of caste hierarchy in popular cinema. The political situations of Tamil Nadu have been a deep influence in molding these directors and their courageous ventures of popular cinema with Dalit subjects. Dravidian Ideology, Mandal politics, and the recent revival of Ambedkarite politics have been fuel for this. Still, fitting Dalit issues into the frames of the popular and commercial film have both pros as well as cons. Hence, this article analyses the relevance of the socio-political situations of Tamil Nadu in initiating mainstream Dalit cinemas. It also looks into the pros and cons of the popular narrative of Dalit subjects.
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Clinefelter, Joan, and Kenneth S. Calhoon. "Peripheral Visions: The Hidden Stages of Weimar Cinema." German Studies Review 25, no. 2 (May 2002): 379. http://dx.doi.org/10.2307/1433030.
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Mennel, Barbara, and Kenneth S. Calhoon. "Peripheral Visions: The Hidden Stages of Weimar Cinema." German Studies Review 26, no. 2 (May 2003): 426. http://dx.doi.org/10.2307/1433372.
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Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.
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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.
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Lyra, Bernadette. "Cinema periférico de bordas." Comunicação Mídia e Consumo 6, no. 15 (September 10, 2009): 31–47. http://dx.doi.org/10.18568/cmc.v6i15.145.
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Resumo
O cinema de bordas é produzido por realizadores autodidatas, moradores de cidades pequenas ou de arredores das grandes capitais. Os filmes periféricos têm um público específico e apresentam características alternativas que estão voltadas para o entretenimento. Esses filmes são
produtos adaptados às regiões, ao modo de vida e ao imaginário popular e massivo das comunidades envolvidas no processo de sua produção.
Palavras-chave: Cinema de bordas; filmes periféricos; paracinema; estilo cinematográfico; consumo alternativo.
Resumen
El cine de bordes es producido por directores autodidactas, moradores de las pequeñas ciudades o de los suburbios de las grandes capitales. Las películas periféricas tienen un público específico y son alternativas volcadas al entretenimiento. Estas películas son productos adaptados a las regiones, al modo de vida y al imaginario popular y masivo de las comunidades envueltas en el proceso de su producción.
Palabras-clave: Cine de bordes; películas periféricas; paracinema; estilo cinematográfico; alternativas de consumo.
Abstract
Borderline cinema is produced by self taught directors, people from small towns or from the outskirts of big capitals. Peripheral movies have specific audiences and they exhibit a mixture of alternatives meant for entertainment. These films are tailor made in order to address specific regions, the way of life and the popular imagination and massive communities
involved in the process of each production.
Keywords: Borderline cinema; peripheral movies; paracinema; cinematographic style; alternative consumption.
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Stelmach, Miłosz. "Escape from the periphery. World-system of cinema and Polish film." Studia Filmoznawcze 45 (July 16, 2024): 35–60. http://dx.doi.org/10.19195/0860-116x.45.2.
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The main aim of this text is to outline the possibilities of applying Immanuel Wallerstein’s world-systems theory to the analysis of cinema. Concepts developed by Wallerstein, especially the notion of the relationship between the core and the periphery of international political-economic systems, can be useful in trying the hegemony of Hollywood cinema in the global circulation of film content, as well as the positions smaller film industries occupy in relation to it. The assumptions of this theory will be tested using the example of the cinema of Central and Eastern Europe in recent decades, making it possible to determine its relative hierarchy in the global chain of production and consumption of audiovisual content. Special attention has been focused on Poland, presented as a model example of a local film industry attempting to emerge from the peripheral position it occupied after the political transformation of 1989.
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Zhabskiy, Mikhail Ivanovich. "Can “Native” Cinema Be Marketable." Journal of Flm Arts and Film Studies 4, no. 4 (December 15, 2012): 119–34. http://dx.doi.org/10.17816/vgik44119-134.
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The author substantiates the innovative trend in the revival and development of Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.
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Zhabskiy, Mikhail Ivanovich. "Can “Native” Cinema Be Marketable." Journal of Flm Arts and Film Studies 5, no. 1 (February 15, 2013): 108–25. http://dx.doi.org/10.17816/vgik51108-125.
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The author substantiates the innovative trend in the revival and development of the Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.
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Virginás, Andrea. "Female stardom in contemporary Romanian new wave cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 76–95. http://dx.doi.org/10.33178/alpha.10.05.
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This article analyses film roles, red-carpet appearances and nonfilmic performances of three of the most well-known and admired actresses of the Romanian New Wave (Luminița Gheorghiu, Maria Popistașu and Anamaria Marinca). Their unglamorous female stardom is paradoxical if considered from the standpoint of mainstream/dominant cinema and the tradition described by Jackie Stacey as “[t]he ‘visual pleasure’ offered by the glamour and sexual appeal of Hollywood stars” (159). Aspects such as the major contradiction between screen role and screen persona, or the lack of ideal(istic) images offered to the audience are theorised on the basis of Christine Gledhill’s and Richard Dyer’s models, Anne Morey’s term of “the elegiac female grotesque” and Ana Salzberg’s concept of narcissistic Hollywood female stardom and embodied experience (107). The coherence of unglamorous female stardom as a real-life discursive construct emerges in the article through the consideration of Romanian New Wave cinema–similarly to 1970s-1980s New Indian Cinema in which unglamorous female stars existed (Gandhy-Thomas)–as a peripheral cinematic formation defined by a specific relation to glamour and consumption (Dyer, Gundle). Furthermore, the article suggests that this coherence is dependent on considering the production context of the Romanian New Wave in the framework of small national European cinemas (Hjort and Petrie, Soila), while emphasising the lack of integrated studio background (Haskell) and the fact that its female stars have been conditioned by postcommunist possibilities to articulate female public identities (Pasca Harsanyi, Roman).
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Wankhede, Harish S. "Examining the Presence of Dalit identity in Hindi Cinema." Current Research Journal of Social Sciences and Humanities 5, no. 2 (January 10, 2023): 76–82. http://dx.doi.org/10.12944/crjssh.5.2.03.
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A century of Bombay’s popular cinema has overtly celebrated the upper caste hero on screen. Major genres of Hindi cinema are stuffed with the Hindu-Brahmanical cultural values, social themes and political interests. The caste and question of Untouchability not even figured as the peripheral aspects of the cinema. The narratives revolve around certain abstract upper caste Hindu identities, divorced from the idea that in the actual Hindu social order caste distinctions play a crucial role. Bombay’s popular Hindi cinema though showcased artistic and intellectual agency by representing the problems of urban poor during its ‘Golden Age’ period, however the caste question is visibly ignored. Importantly, the problems of the Untouchables were discussed in the national political spectrum and the new Constitution offered them a new identity and special provisions to facilitate their entry into mainstream civil life, the Hindi cinema of 1950s neglected their concerns and voices under the influence of nationalistsocialist rhetoric. It is only in the neo-liberal era that the cinema industry witnessed the arrival of nuanced Dalit representation on screen.
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Liz, Mariana. "Thinking Europe from the margins and through marginal cinema: The case of The Nothing Factory (Pinho, 2017)." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (January 1, 2020): 131–44. http://dx.doi.org/10.1386/nl_00018_1.
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Abstract A Fábrica de Nada (The Nothing Factory) (Pinho, 2017) tells the story of a group of workers struggling to keep their jobs at a lift factory in Portugal about to be relocated. Awarded the FIPRESCI prize at the 2017 edition of the Cannes Film Festival, the film was received by critics as a 'compelling oddity', an 'enigmatic epic' and 'something genuinely new in cinema'. Almost three hours in length, and a mix of fiction and documentary, drama and musical, The Nothing Factory rehearses, also through its style and production history, the uncertainty that characterizes contemporary European society. As it depicts austerity in Portugal through a post-national lens, what does The Nothing Factory tell us about European identity? This article examines the contradictions of globalization and neo-liberalism, in tandem with the difficulties in sustaining narratives and creating meaning in contemporary European film. The Nothing Factory is a prime example of the cinema of small nations currently produced in Portugal, and a consideration of marginal and peripheral cinemas such as this one is crucial for the understanding of what is left of European identity, in geographical, political and cultural terms.
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Roaro, Eleonora. "Cinema memories in 3D modelling and virtual reality storytelling." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 113–30. http://dx.doi.org/10.33178/alpha.21.07.
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This paper focuses on the project VR and AR in the valorisation of cultural and artistic heritage within the New Cinema History framework, aims to combine microhistory related to local cinema theatres and Cinema Heritage, and to investigate the possibilities that digital media – in this case Augmented and Virtual Reality – have in the valorisation and preservation of cultural heritage. The final output of the project is the Virtual Reality reconstruction of the Odeon cinema’s architecture and habits of cinemagoing that, thanks to an immersive experience via the Oculus Rift headset, could evoke and simulate historical spectatorship that dealt both with the moment of watching a movie and its peripheral practice. the development of the project, at least four different perspectives on the Odeon cinema converged to form the basis of the VR reconstruction: the literature on the topic, the consultation of public and private archives, the oral sources, and photographs taken on site. This paper focuses mostly on the documents and sources used in the VR project and it aims to investigate how various and heterogeneous documents can be woven together into a philologically reliable historical reconstruction, and how they can be used in 3D modelling and VR storytelling related to Cinema Heritage.
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Prates de Oliveira, Marinyze das Graças. "Cinema Brasileiro Contemporâneo e Subalternidade: Impasses da Representação." Brasiliana: Journal for Brazilian Studies 2, no. 1 (April 10, 2013): 124–41. http://dx.doi.org/10.25160/bjbs.v2i1.7849.
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Resumo: Este artigo busca refletir sobre a emergência, no cinema brasileiro produzido nas duas últimas décadas, de um expressivo número de filmes que tematizam a questão da subalternidade. Priorizamos aqui a análise de Uma onda no ar (Helvécio Ratton, 2002), com a finalidade de examinar os impasses da representação de comunidades periféricas — situadas nas margens da nação — pela cinematografia contemporânea.Abstract: This article aims to reflect about the emergency of an expressive number of Brazilian films, produced during the last two decades, which thematize the question of subalternity. We prioritize here the exam of Uma onda no ar, directed by Helvécio Ratton (2002), in order to analyze the impasses that involve the representation of peripheral communities — located in the borders of the nation — by the contemporaneous cinematography.
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Andrew, Dudley. "National Turbulence and the Turbos of the World Cinema System." Studies in World Cinema 1, no. 1 (April 29, 2021): 60–86. http://dx.doi.org/10.1163/26659891-0000b0003.
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Abstract From the outset cinema was metropolitan. Producers needed access to financing, pools of talent, specialized equipment, and laboratories that one could only find in urban centers. In certain cinema-cities (Berlin, Paris, Buenos Aires, Mumbai, Taipei, etc.) reside ambitious writers, producers, and filmmakers who were driven to outdo, or modify, or simply copy what they saw, employing their own culture’s raw material. Thus, the Jameson-Moretti law applies: local content, pertinent to each nation, was poured into forms that were adopted, with strategic alterations, from Hollywood. Where are today’s hotspots? Where does cinema seem crucial and talked about? Let’s abandon the map (where necessarily one region stands front and center), and instead let’s spin the globe. As it whirls, our eye intermittently catches glimpses of the shapes of the most sizeable nations. Today China and Nigeria stand out prominently alongside India and Russia. So dense are they with film activity that the globe is distended and wobbles out of true. Only sixty years ago China and Nigeria were places that had no place in World Cinema; they gained recognition only when a few promising art films found their way to the European festivals that served as image exchange centers. Today that promise has been fulfilled beyond, indeed against, expectations. Recapitulating Hollywood in its heyday Nollywood and China (Beijing/Shanghai/Qingdao) have become thoroughly corporate and market-savvy, turning out standardized and predictable products. If fresh images are to renew World Cinema, it will hardly be from the urban image-centers. On our globalized globe, novelty should be sought on the periphery of these former peripheral nations. And indeed, exciting new work has been bubbling beyond the dense cultural centers of these nations. Independent art films and documentaries have emerged from dark corners of both places thanks to the network of festivals around the globe, but increasingly and paradoxically thanks to the rival medium of the internet, with its networks of informal distribution and what used to be called “word of mouth.”
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Chung, Hye Seung. "Multiculturalism as “New Enlightenment”: The Myth of Hypergamy and Social Integration in Punch." Journal of Korean Studies 23, no. 1 (March 1, 2018): 135–52. http://dx.doi.org/10.1215/21581665-4339089.
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Abstract This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes the line of the South Korean government’s millennial project of multiculturalism (tamunhwa). Despite its intent to create a hopeful, affirmative message of tolerance and inclusion, Punch ironically silences the dissenting voice of a migrant bride character (played by Jasmine Lee, a Philippine-born TV personality-turned-representative in the National Assembly) who remains marginalized and peripheral in the masculine narrative wherein male bonding and mentoring reign supreme.
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Weyl, Francisco. "I-MARGENS DE UM CARUANA ENTRE ESTÉTICAS DE GUERRILHAS." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 96. http://dx.doi.org/10.18542/arteriais.v5i9.9819.
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ResumoEste artigo reflete questões artísticas, políticas, antropológicas e identitárias, que atravessam ações culturais em comunidades periféricas e quilombolas da Amazônia Paraense, sendo um recorte à pesquisa que desenvolvo no âmbito do Programa Doutoral em Artes Plásticas da Faculdade de Belas Artes da Universidade do Porto, tendo esta narrativa emergido das memórias de práxis transgressoras que caracterizaram resistências coletivas no cenário da arte contemporânea e da antropologia visual, particularmente nas experiências do Projeto Mola, junto a crianças, jovens e adultos em comunidades tradicionais do Município de Cametá, Pará, onde foram realizadas oficinas de Cinema de Guerrilha e outras práxis pedagógicas democráticas subjacentes à construção e à produção de obras audiovisuais, culminando-se com o surgimento da metodologia de ensino do cinema, batizada de “Caruana das Imagens”.Abstract“I-Margins of a Caruana between Guerrilla Aesthetics” reflects artistic, political, anthropological and identity issues, which cross cultural actions in peripheral and quilombola communities in the Paraense Amazon, and is an excerpt from the research developing under the Doctoral Program in Visual Arts at the Faculty of Fine Arts of the University of Porto, this narrative emerged from the memories of transgressive praxis that characterized collective resistance in the contemporary art and visual anthropology scene, particularly in the experiences of Projeto Mola with children, youth and adults in traditional communities in the municipality of Cametá, Pará, where Guerrilla Cinema workshops and other democratic pedagogical praxis underlying the construction and production of audiovisual works were carried out, culminating in the emergence of cinema teaching methodology, called “Caruana das Imagens”.
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Näripea, Eva, and Ewa Mazierska. "Transcending ‘Cold Intimacies’ in Veiko Õunpuu’s Works." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 60–87. http://dx.doi.org/10.1515/bsmr-2017-0004.
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Abstract This article examines five films by Veiko Õunpuu, Estonia’s most renowned contemporary director – Empty (Tühirand, Estonia, 2006), Autumn Ball (Sügisball, Estonia, 2007), Temptations of St Tony (Püha Tõnu kiusamine, Estonia/Finland/Sweden, 2009), Free Range: Ballad on Approving of the World (Free Range: ballaad maailma heakskiitmisest, Estonia, 2013) and Roukli (Estonia, 2015), focusing on his representations of neoliberalism and especially its effect on the emotional and intimate lives of the characters. We argue that the characters of his films typically reject the conventional romance promoted by neoliberal discourses, including Hollywood cinema, yet this does not make them happy, but disoriented and restless. The repudiation of ‘emotional capitalism’ also pertains to the way Õunpuu’s films are conceived and executed. Most importantly, he resists the conventions of Hollywood cinema, including a classical script and happy ending, and also sets and shoots his films in peripheral places. Our main theoretical framework is the concept of ‘emotional capitalism’ as elaborated by Eva Illouz.
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Vailati, Alex. "New arenas for small media: towards an ethnological exploration of family cinema." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (December 2012): 253–71. http://dx.doi.org/10.1590/s1809-43412012000200009.
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The advent of cheap, user friendly, video technology has created a huge revolution in representational agency. Videos are now made by production units that are at times comprised of families, churches, music groups, community associations or individuals. In this way, videos produced and distributed within local and atypical networks profoundly shape contemporary imaginaries. This article is an analysis of the so called family cinema phenomenon that is still peripheral in ethnological research. The analysis of experiences of "family film archives", a recognized field of studies for historical sciences, shows for example how these media become "memories" of events for families and individuals. This article will address the importance of field-based research on how "local videos" are produced from an economic, political and aesthetic perspective. This can be a key strategy for understanding how imaginaries are "locally produced" and how they relate to global narratives.
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Biswas, Amrita. "Tracing Kolkata's cinephilic encounters: An analysis of alternative cinema in the city." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 113–28. http://dx.doi.org/10.1386/safm_00009_1.
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Abstract This article attempts to delineate the cartography of alternative cinematic productions in the region of Kolkata, which, being a nodal juncture that shapes the cultural milieu of Bengal, offers the technological and cultural infrastructures and the scope for cinephilic engagement crucial to the production of non-mainstream cinemas. To explore the gradual development of independent and amateur films in Kolkata, this article emphasizes the cinephilic tradition of the city that not only triggered cinematic movements (such as the film society movement and the Super-8 movement) but also ushered in the institution of film festivals in the region. Despite the mutations due to technological shifts, both film societies (in altered forms) and film festivals occupy central positions in the contemporary city's cinephilic culture. This article analyses the cinephilic legacies of the film society and the Super-8 movements that have historically fostered the contemporary cinephilic ecology of Kolkata, spurring peripheral media products.
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Lisboa, Aline, and Osvando José De Morais. "Quanto vale o show dos subalternos? Pop stars de periferia em Amor, Plástico e Barulho de Renata Pinheiro // How much is the subaltern show worth? Peripheral pop Stars in Renata Pinheiro’s Amor, Plástico e Barulho." Contemporânea Revista de Comunicação e Cultura 18, no. 3 (March 11, 2021): 47. http://dx.doi.org/10.9771/contemporanea.v18i3.33193.
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A proposta analisa a representação de grupos subalternos no filme pernambucano Amor, plástico e barulho (2013), de Renata Pinheiro, examinando as personagens centrais e os principais temas da obra. O percurso metodológico utiliza a análise fílmica, com base em Vanoye; Goliot-Letè (2011), a fim de propor uma acurada observação, descrição e discussão acerca do filme, estabelecendo ainda uma relação com teorias que discutem Estudos dos Subalternos e cinema de Terceiro Mundo, em uma perspectiva revisitada de cinema periférico contemporâneo. Para tanto, Gayatri Spivak; Homi Bhabha; Djamila Ribeiro; Patrícia Hill Collins; Ângela Prysthon; Robert Stam são alguns dos autores que embasam nossas argumentações teóricas. Os resultados de nossa investigação apontam para um agenciamento de vozes de mulheres subalternas, realizado pela diretora, sendo este feito de modo responsável, através do trabalho cênico das atrizes principais e da construção de todo contexto trabalhado no filme.
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Podruczna, Agnieszka. "Transgressive Automatons. Re-Visioning the Cyborg in Larissa Lai’s Rachel." Przegląd Kulturoznawczy, no. 1 (55) (March 30, 2023): 69–83. http://dx.doi.org/10.4467/20843860pk.23.005.17848.
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The article aims to analyze the ways in which Larissa Lai, in her short story Rachel, appropriates and racializes the figure of the cyborg by re-visioning and retelling the story of one of the most iconic characters in the history of cinema, the android Rachael from Ridley Scott’s Blade Runner (and, by extension, her literary predecessor). Using postcolonial theory as well as theory of science fiction as the primary methodological frameworks, the article demonstrates how – by infusing the character of Rachael/Rachel with a hybrid identity – Lai engages in a discussion concerning race, belonging, and the power struggle between the central and the peripheral. This struggle, in turn, is embodied by the liminality of the cyborg, who may be interpreted as a metaphor for all that eludes (and actively rejects) the colonial Self–Other binary. This, in turn, highlights the tensions accompanying the intrusion of the peripheral into the hegemonic and allows for a more in-depth discussion of the processes concerning negotiation of identity. Moreover, the paper focuses on the way in which Lai constructs the metaphor of the Othered, racialized cyborg in order to deconstruct the notion of the cyborg perceived as a neutral (i.e. white) entity, writing against the hegemonic canon. In this way, the racialized cyborg stands as the symbol of transgression, rebellion and rejection of the center/periphery dichotomy, one which eschews the (neo)colonial binaries and becomes a source of anxiety for the hegemonic discourse.
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Pelucacci, Lindsey. "‘Coming into focus’: Realizing the potential of strange girl cinema in Todd Haynes’s Carol." Queer Studies in Media & Popular Culture 5, no. 1 (March 1, 2020): 69–82. http://dx.doi.org/10.1386/qsmpc_00025_1.
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This article explores the 2015 film Carol, reading the two protagonists’ mutual coming-into-focus as emblematic of the film’s calling-into-focus cinematic representations of love, motherhood and artistry in relation to the intersections of queer and gendered challenges. In observing these challenges, the cinematic camera adopts the disposition of Therese, a ‘strange girl’, as Carol calls her, who develops a loving inquisitiveness that drives her towards romantic and artistic discovery. The film depicts and itself utilizes what I call a ‘strange girl gaze’, which, marked by a gentle curiosity and a willingness to listen to alternate perspectives, counters the domineering gaze of heteropatriarchal surveillance. Using a queer understanding of hope, my article considers the cinematic potential of this new way of looking, which attends to socially peripheral individuals, including their painful pasts, with innocence, open-mindedness and compassion.
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Doxandabaratz, Beñat. "On shifting sands: Exploring the role of the third space in new Basque cinema’s Pikadero and Oreina." International Journal of Iberian Studies 37, no. 1 (March 1, 2024): 7–25. http://dx.doi.org/10.1386/ijis_00119_1.
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Cinema is a powerful tool for depicting and critically addressing the dual nature of identity (composed of both individual and social traits). This article analyses two underrated titles of the post-2005 wave of Basque-language cinema: Pikadero (Sharrock 2015) and Oreina (The Deer) (Almandoz 2018). In both films, certain liminal third spaces – the ‘non-places’ coined by Augé and the ‘in-between’ spaces formulated by Bhabha – seem to interact with the misfit characters, who live between rootedness and lack of belonging within a new social context created by the influx of migrants and the economic crisis in the Basque Country. The article argues that these on-screen third spaces (mainly the railway station and the peripheral marshlands in Pikadero and The Deer, respectively) become a kind of resilient deuteragonist in their own right, i.e. witnesses or accomplices to the protagonists’ wanderings and their shallow and fleeting relationships. There is, however, a difference between the non-places featured in Pikadero, which mainly evoke solitude and similarity, and those in-between spaces present in The Deer. The latter appear as metaphorical hybrid places that can harbour otherness and foster collective solidarity, thus playing a role in shaping the new centrality of Basque identity.
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Wicks, James. "“In the Dark Places, Getting Burned”: Portrayals of Street Culture in Taiwan Cinema Today." Journal of Chinese Film Studies 1, no. 2 (October 13, 2021): 435–48. http://dx.doi.org/10.1515/jcfs-2021-0022.
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Abstract Street culture is represented in two mid-2010 Taiwan films, The Kids (Xiaohai, 2015) and Thanatos, Drunk (Zui sheng meng shi 2015), in such stunning and beautiful ways that this essay sets out to etch each of them not only into the annals of Taiwan’s most memorable urban films ever made, but also position them as essential texts within the emergent field of street culture more broadly. Both movies depict physical and ideological boundaries that separate urban spaces from Taiwanese culture at large, and reveal the extent to which their young protagonists are perceived as “abnormal” even as they use street literacy in sophisticated ways to interact with formal actors (such as school teachers and the police) and informal actors (such as hooligans and petty criminals). These two films arguably present the best vantage point to understand the peripheral status of Taiwan’s urban young people who do not conform to hegemonic norms.
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Bouchard, Norma. "FILM IN CONTEXT(S)." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 121–34. http://dx.doi.org/10.1163/18757405-90000090.
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Beckett's only work for cinema, Film, continues to occupy a peripheral, marginal position in the ever-growing bibliography of Beckett criticism. Without denying that the shift into the cinematic medium resonates with issues common in Beckett's narrative and dramatic œuvre, I intend to explore Film as a document of Beckett's interrogation of vision, widened to include the eye's technological extension; the camera. I contend that Film is a paradoxical œuvre. Couched behind the camera, it uses vision to blind vision, it employs the eye to undermine the eye. Beckett's double gesture becomes a means of probing the visual obsessions of modernity – the enframings by which being is fashioned into a being-imag(e)ined – and modeling an alternative scopic regime.
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Aertsen, Víctor, Agustín Gámir, and Carlos Manuel. "MADRID IN NON-SPANISH SPEAKING CINEMA (1955-2020): FILM LOCATIONS AND THE TOURIST GAZE." Cuadernos de Turismo, no. 50 (November 28, 2022): 183–202. http://dx.doi.org/10.6018/turismo.541911.
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The article investigates the image of the city of Madrid and its relationship with the tourist gaze in non-Spanish-speaking films shot between 1955 and 2020. For the research, 606 clips from a selection of 40 feature films have been geolocated and analyzed. The study shows the distribution of filming locations in different areas of the city, with relevant contrasts between the historic center of Madrid and other areas such as the Ensanche and the peripheral areas. Finally, it reflects on the relationship between the most frequent locations and the commonly recognized tourist landmarks in Madrid. El artículo investiga la imagen de la ciudad de Madrid y su relación con la mirada turística en películas de habla no española rodadas entre 1955 y 2020. Para ello se han geolocalizado y analizado 606 clips de una selección de 40 largometrajes. El estudio evidencia la distribución de localizaciones de rodaje en las diferentes áreas de la ciudad, con contrastes relevantes entre el centro histórico de Madrid y otros ámbitos como el Ensanche y las periferias. Finalmente, se reflexiona sobre la relación existente entre las localizaciones más frecuentes y los enclaves turísticos comúnmente reconocidos en Madrid.
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Castillo-Soriano, María de los Ángeles, Alberto Canavati-Espinosa, and Diana Isabel Maldonado-Flores. "O imaginário suburbano e o Mass Media: um reflexo de sua construção e desmontagem na geração do chamado Baby Boom nos Estados Unidos (1946-1974)." Revista Perspectivas 6, no. 1 (February 15, 2021): 6–23. http://dx.doi.org/10.22463/25909215.2917.
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According to Cambridge Dictionary, the meaning of Suburbia is related to peripheral parts of a city where there are houses, but there is not a considerable amount of retailers, work places and leisure venues. Obviously this definition is understood from an elemental point of view, it is, since the ends of the 18th century according to the urban conditions of English and newly North American towns. Even so, throughout the last six decades, more specifically 1946 and 1974, there was an interesting, as well as a vast record of information regarding this peculiar sort of urban planning, so representative of a young and naïve post-war consumption society, that shaped a lifestyle that was envied as imitated abroad (with several local interpretations in all over the globe). However, these imaginaries, largely, have been built from the positivist perspectives of a society in the curb of its industrialization, but also as a result of the critical thinking, have mutated towards the disassembly and the demystifying of what once was considered the ideal way of making a new city from this outskirt urban-planning format. The role that cinema, literature and visual arts have played in the idealization, the projection, the construction and disassembly of Suburbia as an urban model of social aspiration, have been so influential in a large number of American families, who pretend to resemble the models shown in television media, and in certain way in literature, which has been a line of argument that gave rise to the advertising and programs in film and television industry. In this article there will be an approach about the role that both literature, cinema and art have played in the idealization, projection, construction and disassembly of the suburb as an imaginary of apparent social welfare for a large part of American society.
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Ravetti, Graciela. "Em estado de tradução: Manuel Puig e Lars von Trier." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 232–40. http://dx.doi.org/10.17851/2317-2096.8..232-240.
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Resumo: Leitura de dois textos (La traición de Rita Hayworth, romance de Manuel Puig e Dancer in the dark, filme de Lars von Trier) nos quais é possível capturar de que maneira certas formas como a dos musicais melodramáticos — muito difundidas e já clássicas do fazer cinematográfico hollywoodiano — foram recepcionadas por pessoas que viviam em sociedades periféricas, estigmatizadas por carências econômicas e culturais, entre outras. Trabalha-se também com a possibilidade de reconstruir hipoteticamente o modo como essas formas e suas significações, habitualmente rotuladas de alienantes, foram transformadas em instrumentos, se não de liberação, pelo menos de consolo e de alimento nas horas de resistência à dor e ao sofrimento humanos.Palavras-chave: cinema; literatura; América Latina; pós-colonialismo.Abstract: This paper presents a reading of two texts, namely La traición de Rita Hayworth, Manuel Puig’s novel, and Dancer in dark, a film by Lars von Trier. This analysis aims at an investigation of the reception of the already widespread classical style of Hollywood movies, like the musical melodrama, by those who live in peripheral societies, marginalized by economic and cultural lack, among others. It deals with the possibility of reconstructing hypothetically the way these forms and their significance, generally labelled as alienating, were transformed into instruments, if not of liberation, at least of solace and nurturing in moments of resistance to pain and human suffering.Keywords: movies; literature; Latin America; post-colonialism.
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Večeřa, Michal. "Remaining silent: The ongoing presence of silent films on cinema programmes in Brno between 1930 and 1936." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 65–78. http://dx.doi.org/10.14746/i.2022.41.04.
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The production of silent gilms in Czechoslovakia ended shortly after the advent of sound technology at the very end of the 1920s. The number of available silent films steadily decreased from that point on, yet some cinemas decided to continue to include them in their programming, even though they had sound equipment. The article analyses the scheduling of silent films in the specific case of two cinemas from the periphery of Brno, the second-largest city in Czechoslovakia. On the exhibitors’ side, there was a visible tendency to screen films 1) approximately two years from the premiere and 2) older with renowned stars or plot. This surprising presence of silent films in cinemas leads to the question: “Why were they still scheduled”? The answer lies both in the cinema owners, for whom silent films were a cheaper commodity, and in the audiences, who did not necessarily demand screenings of new sound films.
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Masoumi, Azar, and Ronak Ghorbani. "Spatial Histories: Geography, Memory, and Alternative Narratives of the Iranian Revolution of 1979." International Public History 6, no. 1 (June 1, 2023): 31–41. http://dx.doi.org/10.1515/iph-2023-2003.
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Abstract In distinction from the overwhelming tendency to conceive history primarily in terms of its temporal chronologies, this paper considers the spatiality of history and historical memory. Engaging with seven Oral History interviews with diasporic Iranians in Toronto on the Iranian Revolution of 1979, we show that narratives of historical events are deeply shaped by the geographical location of narrators: those emplaced in differing geographical locations at the time of the Revolution not only remember disparate events, but also associate distinct temporal points with the Revolution. For instance, while those remembering the Revolution from the capital city of Tehran produce narratives that closely align with the official historiography of the Revolution (such as in recounting street protests and the culmination of the Revolution on February 11th, 1979), others remember events and dates that are only peripheral to official accounts (such as the arson at Cinema Rex on August 19th, 1978, or the hostage crisis that lasted from November 4th, 1979 to January 28th, 1980). In other words, both the content of memories (what narrators remember) and their temporal associations (which dates narrators recall) are informed by the embodied geography of memories. Hence, those whose geographical locations diverge from the largely capital-focused vantage point of official histographies produce narratives that diverge from these accounts. In short, geography and embodied emplacement are central to historical narrative, whether authoritative or narrated form geographical margins.
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Kupets, L. A. "Music of the Soviet Era as Public History (Based on Materials of the Arzamas Website)." Art & Culture Studies, no. 2 (June 2024): 186–219. http://dx.doi.org/10.51678/2226-0072-2024-2-186-219.
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This article is devoted to the phenomenon of Soviet music as presented in the Russian‐language educational project Arzamas (2015–2023). Posted in the public domain of the Internet, the materials on the Arzamas website fully fit into the interdisciplinary discourse of public history. In this article, the author selects and from the perspective of cultural recycling analyses an array of materials of the Soviet period presented on the website: from folk and Soviet mass songs, gypsy and classical romance (including romance in cinema) to jazz, symphony, ballet, and break dance. The article traces how the authors of different genre materials interpret selected works and the historical and cultural profiles of their creators from the point of view of postmodernity. Special attention is paid to the principles according to which the website forms a musical image of the Soviet period for the modern audience (which statistically consists of Millennials and, if taking into account the Arzamas Children’s Room, the next two generations — Z and Alpha). The author of this article makes a conclusion that what is meant by Soviet music in the Arzamas project is compositions created from the 1920s to the late 1960s (early 1970s) and listened to by different social groups. The dominant type of a musical composition is a song in various modifications. Soviet music (mostly non-academic) is treated as an integral part of the country’s history which emotionally accurately reflects political and cultural changes. In such a context academic music becomes a peripheral phenomenon: only two composers are highlighted — Sergei Prokofiev and Dmitri Shostakovich — but shown as victims of the Soviet system.
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Viderker, Vyacheslav Vladimirovich. "The term «neo-mythology» in the foreign humanities discourse of the XX-XXI centuries: the specifics of its existence." Litera, no. 6 (June 2024): 401–11. http://dx.doi.org/10.25136/2409-8698.2024.6.70808.
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The article is devoted to the specifics of existence of the term «neo-mythology» in the foreign humanities discourse of the XX-XXI centuries. The foreign texts, which contain the term «neo-mythology» as a key word, have become the focus of research for this article. The genesis and semantics of the idea of «neo-mythology» in foreign research papers are the subject matter of the research. The origin matters of the term «neo-mythology» in the Italian cinema of the 1950s-1960s are overviewed in detail. Special attention is paid to the analysis of the main tendencies of the development of the notion «neo-mythology». Russian and foreign researches touching upon contemporary mythology differ both in the content and in the usage of the term «neo-mythology» crucially. The following research was inspired by the necessity to find the terminological equivalents in Russian and foreign scientific works on modern mythogenesis. The research is based on structural-semantic and semantic-cognitive methods. Traditional methods of analysis, synthesis, comparison and generalization are used. The results of the research enabled us to make conclusions on the peripheral role of the term «neo-mythology» in foreign scientists’ works and conclude that their preferences lie within the terms «contemporary/modern mythology». The term «neo-mythology» in the foreign discourse is mostly used in works, which are either devoted to the research of some aspects of mass culture or closely connected with Russian humanities. The usage of the term «neo-mythology» in foreign research of mass/pop culture reflects the background of theoretical analysis of modern mass consciousness turning to myths. The conclusions made in the research are supposed to help Russian scientists work with foreign studies of contemporary mythology more productively.
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Marques, Walter Rodrigues, Ana Cristina Souza Silva, Suzana Pinheiro Nascimento, Francisco das Chagas Santos Costa, Dediane Melry Martins Câmara, and Sherlene Regea Araujo Farias. "Metaverse and Artificial Intelligence: TDIC Trends in Education." Revista de Gestão Social e Ambiental 18, no. 9 (June 21, 2024): e07682. http://dx.doi.org/10.24857/rgsa.v18n9-149.
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Objective: The aim of this study is to investigate the possibility of using artificial intelligences (AI), metaverses and other digital tools understood as Digital Information and Communication Technologies (DICT) in educational activities, with the aim of discussing how education in contemporary times cannot escape the technological effect such as AI, because educational practice, especially in the post-Covid-19 pandemic world, has taken on contours that cannot be reversed. The school floor is permeated by practices such as consulting ChatGPT, Bing and other AIs, whether to plan or teach a lesson. With regard to educational practice, audiovisuals stand out as a technological possibility through futuristic-themed films to explore the dynamism and volatility of human life and its relationship with technology in the first quarter of the 21st century. In this way, it is emphasised that cinema plays an important role in introducing the digital world into everyday life, especially for young people, the new formats of reality for human adaptation to technology. Theoretical Framework: The primary goal of AI is to emulate human intelligence. Some AI that are present in our daily lives are personal assistants such as Siri on the iPhone and Apple computers, Cortana from Microsoft, Alexa from Amazon and Google Assistant on Android smartphones through deep learning neural networks (Rocha, 2019). The year 2021 was a watershed for the use of virtual reality, especially when Facebook changed its name to Meta (Rospigliosi, 2022). The use of futuristic science fiction films brings the visual arts into the field of digital technologies for the classroom. Episodes from the series Black Mirror (Netflix) and The Peripheral (Amazon Prime) are used here to discuss the study of audiovisuals as a learning method. Method: The methodology adopted for this research consists of demonstrating the concepts and functions of metaverses and AI, as well as the educational nature of films based on science fiction. The research is qualitative and is characterised by a literature review. The data was collected considering aspects of the ethnographic method in a virtual environment - virtual ethnography. The procedure consisted of creating an alert on Google Scholar (GA) by entering the terms: ‘metaverse and education’. A Scopus search was carried out on the subjects: ‘Artificial Intelligence’, ‘Distance Education’ and ‘Metaverse’. The most frequent references reported dealt with distance education and, secondarily, metaverse, and only one referred to AI. It is therefore with this theoretical scope that the inferences will be made and discussed. Results and Discussion: It is concluded that learning is more effective when technology is explained in a playful way, for example through the use of cinema, because theory alone is too tiring. It is pointed out that there is still an abysmal social, economic and cultural inequality for different social classes and regions of the world, which implies different and unequal access to technological artefacts for these different audiences. It is therefore worth reflecting that there is no real investment in human development. Research Implications: The main implications of the study are the lack of investment in both equipment and people, i.e. cognitive development alongside technological development, because there is no point in acquiring equipment that is not part of the daily lives of people in different parts of the world. Investments need to be tailored to the characteristics of each location. Originality/Value: This study contributes to the literature by demonstrating that there are still abysmal social and economic gaps in the world, especially in the different regions of Brazil, which has an alarming number of illiterates, especially digital illiterates. This is directly related to purchasing power, as public schools are scrapped and offer a much lower level of education than the financially, economically, socially and culturally superior classes.
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Fokaidis, Athena. "Voice-over and sharing bodies in Alice Diop’s Vers la tendresse (2016)." Contemporary French Civilization: Volume 47, Issue 1 47, no. 1 (March 1, 2022): 109–29. http://dx.doi.org/10.3828/cfc.2022.6.
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Films in French have long been global in scope, and debates around the nomenclature used to describe these cinematic works have emerged as a means to acknowledge the power imbalance invoked by categorizations such as French and francophone. Cinéma-monde serves as an organizing principle to articulate the relationships between films and the French-speaking world without reinforcing spatial and linguistic boundaries by way of a center/periphery paradigm. This article addresses the implications of the cinéma-monde framework within the Hexagon to illustrate the representational modes of diffusing marginality in cinema made in France. This article offers a close reading of a scene from Alice Diop’s documentary Vers la tendresse (2016) that mobilizes what Mary Ann Doane calls a disembodied voice-over in combination with camera movement to create an open cinematic space which disjoins the internal experiences expressed by the voice-over from the outward appearances of the characters. Diop assembles a fictional mise-en-scène and recordings of male interviewees speaking at a workshop held in Seine-Saint-Denis on the subject of intimacy. As the camera pans slowly across a group of men, it is unclear which body is the visual representation of the narration. Calling upon Michel Chion’s audiovisual contract and its rupture in Vers la tendresse, this article addresses how a dissonance between image and sound permits one voice to accompany several different bodies, an effect that reveals and dismantles the building blocks of the narrator’s isolation. Viewed through the framework of cinémamonde and its decentering approaches, Vers la tendresse underscores the flexibility of the film space and, consequently, social boundaries, to shed light on how we intentionally or unintentionally constitute others in society.
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Miyao, Daisuke. "Japonisme and the Birth of Cinema." Journal of Japonisme 1, no. 1 (January 4, 2016): 66–92. http://dx.doi.org/10.1163/24054992-00011p05.
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In this essay, I examine the connection between Japonisme and the films of the Lumière brothers. Lumière films have been considered to be “actuality films” or documentary. By focusing on Japonisme that is observed in these films, I locate them in a broader field of media interactions among such cultural products as painting and photography. One of my focuses is on the conflict and negotiation between the camera eye and the physicality of the human eyes and hands that can be witnessed in Lumière films. Moreover, considering the questions posed in Marxist, subaltern, and postcolonial theory about the relationship between center and periphery in formations of modernity, this essay attempts to reveal the process of conflict and negotiation encountered by France and Japan during the period of emerging cinema as a new global visual medium.
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Onwuliri, Edmund Chukwuma. "The Biafra Story in Film: An Appraisal of Biyi Bandele’s <i>Half of a Yellow Sun</i>." International Journal of Current Research in the Humanities 27, no. 1 (April 30, 2024): 370–83. http://dx.doi.org/10.4314/ijcrh.v27i1.23.
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Diverse scholarly and artistic expressions in book form and documentary films have been employed to document the story of the Nigerian Civil War by persons who were actively or peripherally involved in the events surrounding it. Attempts at telling the story have been coloured by different factors like military, political, ethno religious and egocentric considerations. This study examined the war's account through Biyi Bandele’s Half of a Yellow Sun, a filmic adaptation of Chimamanda Adichie’s novel with the same title. Using qualitative content analysis method and grounded on the Trauma and Cinema Theory, the study examined the film’s representation of historical facts and how such perspectives may have been received. The film's reception by the Nigerian cinema audience and government through the cinema regulatory authority were examined. The study concluded that the suppression of critical historical facts in the film through censorship represents the unwillingness of the government to allow for citizen conversation, which the film could provoke and which may lead to proper closure and possibly lay to rest, the ghost of the fratricidal war that almost ripped the country apart between July 1967 and January 1970.
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Mikhaylova, E. V. "Architectural and artistic solutions of the OTC during the gentrification of soviet cinemas." Building and Reconstruction, no. 2 (May 7, 2024): 83–94. http://dx.doi.org/10.33979/2073-7416-2024-112-2-83-94.
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In the professional environment of architects, there is concern about the formation of a trend of reconstruction and renovation of buildings and structures in large and major cities in order to develop urban infrastructure. The underestimation of the contribution of Soviet architecture to the cultural heritage of post-Soviet countries and countries of the socialist camp is noted. At the same time, the "new architecture" forms the urban environment under the stereotypes of homologation, which does not correspond to the socio-cultural demand of the glocalization of "digital nomads" seeking to live in eco-digital cities. The obsolescence of the "new architecture" is observed already at the project stage or in five years. In Moscow, the reconstruction program includes 39 Soviet cinemas in the peripheral zone of the city. Public and shopping complexes with underground levels are being built on the site of these cinemas. The article classifies the types of projects of Soviet cinemas and shopping centers, and also forms diagrams for their qualitative comparison. This eventually made it possible to evaluate the architectural and artistic contribution to the Moscow development of both Soviet cinemas and new shopping complexes, the continuity between them and differences in design principles.
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Marchetti, Gina. "Chinese Film Studies Online: Technological Innovations, Pedagogical Challenges, and Teaching Chinese-Language Cinema in the Digital Age." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 135–52. http://dx.doi.org/10.1515/jcfs-2021-0007.
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Abstract Because of the impact of the COVID-19 pandemic on higher education, online initiatives have moved from the periphery to the very heart of teaching and learning across disciplines. However, the profession has just begun to consider the full impact these new technologies have on the way we research and teach Chinese-language cinema. Using the Massive Open Online Course (MOOC) and University of Hong Kong Common Core campus-based course, Hong Kong Cinema through a Global Lens, as my principal case study, I explore some of the ways in which the digital revolution has transformed research on and teaching about Hong Kong film. From surveying the types of material available for research to exploring the differences between MOOCs and flipped classrooms, this essay considers the positive implications and potential drawbacks of these new technologies in global, regional, and local educational contexts.
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Parvulescu, Constantin. "Romanian Film for the World: the Cultural Embedding of an Independent vod." Studies in World Cinema 2, no. 1-2 (May 24, 2022): 142–60. http://dx.doi.org/10.1163/26659891-bja10015.
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Abstract The article analyzes the catalog, acts of curation, and promotional materials of the Romanian-based vod platform Cinepub (www.cinepub.ro). It also draws evidence from an interview conducted with the founder and manager of the platform, Lucian Georgescu. The analysis reveals the embedding of the service in the Romanian cinema culture, as well as in a global digital periphery. Some of the aspects that make Cinepub’s service stand out, the article argues, can be interpreted as responses to and reflections of its embedding. The broader question raised by my case study is to what extent and under what conditions vods from the European periphery can become viable actors on present-day markets.
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van Beusekom, Ansje, and Amy Sargeant. "‘Peripheral Early Cinemas’, Tenth International Domitor Conference, Girona and Perpignan, 17–21 June 2008." Early Popular Visual Culture 7, no. 1 (April 2009): 103–6. http://dx.doi.org/10.1080/17460650902775427.
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Arfeen, Ayesha. "Same-sex love in Muslim cultures through the lens of Hindustani Cinema." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 51–70. http://dx.doi.org/10.5195/cinej.2017.147.
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This paper tries to explore same-sex love in Muslim cultures in India as represented in Hindustani cinema. My focus will be on Muslim female same-sex love which is generally not touched upon. Female same-sex love and male same-sex love is widely discussed and debated upon. The recent film Dedh Ishqiya (Bhardwaj, 2014) is taken as a case study to examine female same-sex love in a Muslim context. Other films will be dealt in periphery. The influence of language, place and peer group is to be checked. Amradparashti or male same-sex love is discussed in comparison to female same-sex love for which no particular term in North India is used that frequently.
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Александров, Евгений Васильевич. "Ethnographic cinema in Russia in the first half of the 20th century." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (December 25, 2019): 136–47. http://dx.doi.org/10.26158/tk.2019.20.4.011.
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Визуальная антропология как межкультурная коммуникация оформилась только во второй половине XX в. До этого времени эту роль выполнял кинематограф, пытавшийся раздвинуть рамки формирующегося общественного сознания через отображение жизни людей, оказавшихся на периферии цивилизационных процессов. В России, где о визуальной антропологии заговорили только в конце 1980-х гг., в первой половине XX в. доминирующую роль продолжает играть документальный кинематограф, повлиявший на характер становления отечественной визуальной антропологии. В статье освещается история взаимодействия социокультурных, идеологических и информационно-технологических процессов, проходивших в стране до конца 1940-х гг., когда все ресурсы были мобилизованы для участия во Второй мировой войне. В дореволюционный период документальный кинематограф начал нести познавательную функцию, ставшую со временем основной. Непритязательные короткие фрагменты хроники сегодня - редкие сохранившиеся свидетельства прошедшей жизни. После революции новое государство с первых шагов поставило перед кинематографом задачу формирования «нового человека». Это движение возглавил Дзига Вертов, идеолог особого видения действительности через кинообъектив и воздействия документального экрана на зрителя. Его «киноправда» стала символом исследования реального мира с помощью языка кино. Фильм «Шестая часть мира» оказался беспрецедентным проектом единовременного отображения жизни разных народов на огромном пространстве страны и вдохновил других документалистов на этнографическую съемку. Активный рост кинематографа в начальный предреволюционный период, очевидные достижения трудных 1920-х гг. и тревожные тенденции 1930-х определили характер будущего развития отечественного документального кинематографа в роли межкультурной коммуникации во второй половине XX в. Visual anthropology as a form of intercultural communication arose only in the second half of the 20th century. Before that this role was played by cinema, with a different degree of awareness, trying to increase emerging public consciousness by reflecting on the life of people who were on the periphery of “civilizing” processes. In Russia, where discussion about visual anthropology appeared only in the late 1980s, documentary cinema continues to play a dom- inant role, significantly influencing the formation of Russian visual anthropology. The goal of this article is to survey the interaction between the socio-cultural, ideological, information and technological processes that took place in the country until the end of the 1940s, when all of its resources were mobilized to participate in the Second World War. In the pre-revolutionary period, documentary cinema began to perform a cognitive function, which eventually became its main one. Its simple, short, filmed fragments now offer rare evidence of a past way of life. After the Revolution, the new state tasked cinema to help create a “new man”. This goal was taken up by Dziga Vertov, the ideologist of a special vision of reality seen through a film lens who became concerned with the impact of the documentary screen on the viewer. Vertov’s “film truth” became a symbol of exploring the real world using the language of cinema. In particular, his “The Sixth Part of the World” represented an unprecedented attempt to capture the life of different peoples over a vast expanse of the country and inspired other documentary filmmakers to undertake ethnographic photography. The active growth of cinema in the initial pre-revolutionary period; its obvious achievements in the difficult 1920s; and the alarming trends of the Stalinist 1930s; all provided the background for the development of domestic documentary cinema as intercultural communication during the second half of the 20th century.
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Campaner Miguel Ferrari, Sônia. "Cinema, Architecture and Conditions of Artistic Experience in Big Cities." AM Journal of Art and Media Studies, no. 21 (April 15, 2020): 108–19. http://dx.doi.org/10.25038/am.v0i21.362.
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In the first part of the paper, we take Walter Benjamin’s essay on cinema as a reference when thinking about his prognostic values. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role. The form of art that is suitable for this reflection is the cinema, and the parallel drawn by the philosopher between cinema and architecture. Our intention is to reflect on this parallel and the urban interventions as artistic forms of aesthetic modernity. Then I propose the discussion of the notion of art out of axis. The axis, we think of something that organizes and defines. The proposal to think about art in Latin America is made thinking about the center-periphery axis. However, we can still consider another starting point, thus changing direction, a change that is not only geographic but of what will be the reference to think of art, taking into account the artistic production submitted to the market and the stock exchange. Nowadays, we seek to account for the phenomenon of urbanistic growth, and we remain perplexed by the force that assumed financial capitalism, which, now, not only transforms everything into the value of exchange but has also resulted in the loss of any meaningful reference to the original value. Article received: December 10, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Original scholarly paper
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CARSTENSEN, THORSTEN. "Colliding Worlds: The Disintegration of America in the Cinema of the Coen Brothers." Journal of American Studies 53, no. 2 (February 13, 2018): 333–52. http://dx.doi.org/10.1017/s0021875817001797.
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In the cinema of Joel and Ethan Coen, contemporary America is depicted as an incoherent space in which traditional beliefs constantly collide with the new world order. Shaped by the erosion of commonly accepted values and the ubiquitous presence of the media and advertisements, this hybrid America is a world of commerce, consumption, and economic plight. While its cities are plagued by segregation, outbursts of casual violence undermine the myth of an unspoiled life in the countryside. Illustrating postmodern culture's preference for the periphery versus the center, the movies of the Coen brothers find a glimmer of morality remaining on the margin of society. Unimposing and compassionate characters such as the pregnant small-town detective inFargoor the naive yet brilliant protagonist ofThe Hudsucker Proxypersonify an idealistic, innocent America that is about to be displaced by selfish greed. Focusing onFargo,The Big Lebowski, andThe Man Who Wasn't There, my essay argues that the Coens’ visual playfulness, and their tendency to mine various cinematic genres, serve to emphasize their scathing critique of the American victory narrative.
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BARKER, THOMAS ALEXANDER CHARLES. "Screen Connections between Malaysia, Taiwan, Hong Kong, and China." Issues & Studies 54, no. 01 (March 2018): 1840002. http://dx.doi.org/10.1142/s1013251118400027.
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To date Malaysia has occupied a peripheral position in studies of Chinese cinemas and East Asian pop culture, often overlooked in favor of the more productive centers in Hong Kong, Taiwan, and increasingly China. By engaging with the field of Chinese transnationalism as developed by Aihwa Ong and others, this paper reconsiders Malaysia’s place in the broader Chinese media landscape and the role of Chinese Malaysians as agents driving Malaysia’s engagement with Taiwan, Hong Kong, and China. Focusing on Malaysia, this paper explores Malaysia’s screen connections to China through the two vectors of Malaysian migration and Chinese co-productions entering Malaysia. Increasingly, Malaysian creative workers who are already quite mobile are moving in increasing numbers to Mainland China and working on Chinese entertainment projects. Primarily, they take on intermediary roles within China’s growing entertainment industries which need cosmopolitan, multi-lingual creative labor as it increasingly globalizes and seeks foreign partners. Conversely, as China’s industry expands outwards, it seeks co-production partners and locations and has found Malaysia to be conducive. In outlining this new screen industry relationship, this paper suggests cultural and economic implications and futures for Chinese cinemas in Southeast Asia and the role of Malaysia’s ethnic Chinese population.
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Dorta, Walfrido. "Narcos in Jesús María: Dystopian empowerment in the amateur exploitation film Corazón cubano/Cuban Heart (2014)." Studies in Spanish & Latin-American Cinemas 18, no. 2 (June 1, 2021): 139–58. http://dx.doi.org/10.1386/slac_00043_1.
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This article analyses the film Corazón cubano/Cuban Heart (Liyuen Valdés 2014), a story about drug traffickers in the Jesús María neighbourhood of Havana, circulated only through the Paquete Semanal (Weekly Package). Examining the creators’ symbolic identification with the figure of the narco, this article explores Corazón as an example of amateur, alternative and informal media within the Paquete and its relationship with exploitation, cult and trash cinema. It argues that Corazón’s appropriation of narconarratives through reparteros (the inhabitants of Havana’s peripheric and poorest neighbourhoods) is linked to the relationship between reparteros, rap and reggaeton and points to the filmmakers’ will to combine social criticism and entertainment. Corazón also reproduces controversial practices and discourses like ‘necroempowerment’ (Valencia) or ‘fascinating violence’ (Valencia and Sepúlveda), developing dystopian empowerment by appropriating the narco as a ‘cultural persona’ (Edberg).
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Jeong, Seung-hoon. "From 'face-to-face' to 'side-by-side': The abject neighbour in European cinema." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (January 1, 2020): 53–67. http://dx.doi.org/10.1386/nl_00013_1.
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Abstract The Dardenne brothers' The Promise (1996) and Fatih Akin's The Edge of Heaven (2007) depict non-western migrants in western Europe as the social 'abject' in the background of multicultural conflicts between global (Christian) Europe and its (Islamic) periphery. Also, both share a motif based on the Abraham‐Isaac story. Abraham's sacrifice of Isaac epitomizes one's singular relationship with God beyond community (Kierkegaard, Marion, Derrida), but the Abraham figures in the films give themselves to the abject Isaac figures through self-abjection. This becoming-abject as an existential gift breaks the father‐son identity in the global regime, forming solidarity among the abject as strangers. Such an abject is, I claim, a 'faceless' third. For Levinas, the 'face of the other' leads one to divine infinity beyond totality, but this self-other unit is destabilized with the other's place taken (repeatedly) by the faceless third. Neither friend nor enemy, this new other should be called 'neighbour' in the context of ethical philosophy. The sovereign-subject-abject hierarchy is dismantled into the equality of the neighbours who share abjectness beyond cultural mediation or identity and walk side by side rather than face to face. I reframe Levinansian infinity in this network of neighbouring on the edge of the global system.
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Rogachev, S. V. "Non-traditional methods of detecting the boundaries of Moscow direct influence zone." Regional'nye issledovaniya, no. 3 (2019): 16–25. http://dx.doi.org/10.5922/1994-5280-2019-3-2.
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A large city shapes the surrounding space, orienting it towards itself, saturating it with elements of its lifestyle and way of thinking. At some distance, these elements begin to blur and, moreover, to turn into their opposites. These quality changes in space are geographically sensitively recorded in folklore, fiction, painting, and cinema. People’s or author’s observation highlights localities far from the center, so much so that they are clearly discordant with the center, but still perceived as a fading spatial extension of the center, and not as other regions. Elements of phobias, mystery, pejorative appear in the figurative characteristics of such localities. Strange events and actions are usually associated with such places. Settlements located at some distance from the core of the district often become objects of ridicule of the capital city’s wit. The metachronism between the periphery and in the center is underlined. The corresponding plots, which have a clear spatial addressing, are systematized and considered on the example of the periphery of the region shaped by Moscow. These provincial markers form an annular cloud of points around the capital with a well-defined east-north-east eccentricity.
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Zhurkova, D. A., and V. D. Evallyo. "Round Table “Aesthetics of Soviet Film Comedy”. Eccentric, Author’s Principle, Official Context." Art & Culture Studies, no. 2 (June 2022): 280–307. http://dx.doi.org/10.51678/2226-0072-2022-2-280-307.
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In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the playful relativity characteristic of postmodern trends in the screen arts of the late 20th and early 21st centuries. Meanwhile, Soviet film comedy remains one of the pinnacles in the development of this genre in the cinema of the 20th century. And the decline of comedy in modern Russian cinema prompts a return to the experience of the masterpieces of the Soviet era. The relevance of the topic is connected with this: the contexts of the comic and laughter in Soviet comedies, their functions of a social, communicative, aesthetic nature were not studied in detail and comprehensively in their time. The novelty of approaches today is associated with the possibility of free from ideological pressure and the most detailed consideration, and in part are vision of the formal and substantive features of the film comedy of the Soviet period. This scientific process combines the methods of art history, cultural studies, folklore and anthropology. This text reviews the reports at the Round Table “Aesthetics of Soviet Film Comedy”, organized by the Mass Media Arts Department of the State Institute for Art Studies and which brought together scientists of different generations from VGIK, the Union of Cinematographers of the Russian Federation, the Russian State University for the Humanities, the Higher School of Economics, the Academy of the Media Industry, the Free University and other institutions. The purpose of the round table was to identify the main phases of the evolution of comedy in the Soviet cinema, and therefore the order of the reports took into account the historical chronology of the appearance of certain films and genre varieties of comedy. Since the formation of film comedy in the 1920s – 1940s, a change in philosophical paradigms, the transformation of an eccentric principle, the formation of new artistic images and motives have been recorded. The attention of researchers to the problems of the relationship between society and the state, concepts and theories of the comedy principle in the context of government orders was also obvious. Particular attention of researchers was directed to the polymorphic nature of comedy, capable of combining lyricism and farcicalness, serious and frivolous, openly conditional and life-like. A number of speakers addressed to the individual elements of the comedy film poetics, the relationship between visual and sound, transformations of characters’ images, inclusions of theatrical forms, grotesque, and absurdity. Aspects of the film language of Sergei Gerasimov, Ivan Pyryev, Stanislav Barei, Edmond Keosanyan, Georgy Danelia, Leonid Gaidai were analyzed.
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Palacio-Arranz, Manuel. "Cultural Studies and film in Spain." Comunicar 15, no. 29 (October 1, 2007): 69–73. http://dx.doi.org/10.3916/c29-2007-10.
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This paper presents the use of the different methodologies in cultural studies by Spanish researchers and academics. These working methodologies are still peripheral in film studies in Spain, although the number of publications generically adhering to cultural studies viewpoints are increasing, above all those studies concerning film audience or gender and, to a lesser extent, those dealing with film reception, stereotype representation and more recently transnational studies. Este trabajo presenta el uso de las metodologías de los estudios culturales por los docentes e investigadores españoles. Estas metodologías de trabajo todavía resultan periféricas en los estudios de cine en España; sin embargo, está creciendo el número de publicaciones genéricamente adscritas a planteamientos culturalistas; en especial,y lo han hecho los estudios sobre el público del cine y los de género, y en menor medida los de recepción fílmica, la representación de los estereotipos y recientemente los estudios transnacionales.