Journal articles: 'Technologie au cinéma'

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Gaudreault, André, and Martin Lefebvre. "Cinéma et technologie." Recherches sémiotiques 31, no. 1-2-3 (2011): 3. http://dx.doi.org/10.7202/1027437ar.

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Albera, François. "Thérèse Giraud, Cinéma et technologie." 1895, no. 42 (February 1, 2004): 154–58. http://dx.doi.org/10.4000/1895.1432.

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Slock, Ken. "Philosophie de la technologie et esthétique du cinéma." Chiasmi International 18 (2016): 277–92. http://dx.doi.org/10.5840/chiasmi20161825.

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Raynauld, Isabelle. "Le cinématographe comme nouvelle technologie." Cinémas 14, no. 1 (September 9, 2004): 117–28. http://dx.doi.org/10.7202/008960ar.

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Résumé La « découverte » qui fonde l’avènement d’un média soulève souvent un plus grand intérêt que le contenu transmis par le nouveau média lui-même. En portant son attention sur le cinéma et le multimédia, cet article évalue les impacts de l’avènement d’une technologie nouvelle, en privilégiant une approche comparative et diachronique. On y propose une comparaison entre films des premiers temps et productions interactives récentes, assortie d’une réflexion sur la transparence et l’opacité des médias.

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Houillère, Jérémy. "Colloque « La Magie des effets spéciaux. Cinéma – technologie – réception »." 1895, no. 73 (September 1, 2014): 165–67. http://dx.doi.org/10.4000/1895.4845.

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Berthomieu, Pierre. "Le cinéma américain et le parc jurassique : technologie mystique." Revue Française d'Etudes Américaines 76, no. 1 (1998): 84–92. http://dx.doi.org/10.3406/rfea.1998.1731.

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Kościński, Jędrzej. "Rewolucja kina dokumentalnego w Quebecu. O The Days Before Christmas Stanleya Jacksona, Wolfa Koeniga i Terence’a Macartneya-Filgate’a oraz Les Raquetteurs Michela Braulta i Gilles’a Groulx’a." Media - Kultura - Komunikacja Społeczna 2, no. 14 (January 30, 2019): 57–75. http://dx.doi.org/10.31648/mkks.2898.

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Tematem artykułu jest początek nowego nurtu w filmie dokumentalnym, umożliwionego przez nowe technologie, w którym rejestrowana rzeczywistość jest możliwie niezainscenizowana, a dźwięk jest zasadniczo zsynchronizowany z obrazem. Autor stwierdza, że podział tego nurtu na wariant amerykański (direct cinema) i francuski (cinéma-vérité) jest niesprawiedliwy dla twórców z Kanady, w których upatruje rzeczywistych rewolucjonistów formuły dokumentu. Uzasadnia to analizą dwóch filmów powstałych w prowincji Quebec – The Days Before Christmas (1958, reż. Stanley Jackson, Wolf Koenig i Terence Macartney-Filgate) i Les Raquetteurs (1958, reż. Michel Brault i Gilles Groulx) – wskazując na sposoby, w jakie wypracowano techniki i zabiegi formalne, obecne w kolejnych latach w kinie bezpośrednim.

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Meininger, Sylvestre. "Terminator 2. Technologie et identité sexuelle." Cinémas 5, no. 3 (February 28, 2011): 131–50. http://dx.doi.org/10.7202/1001151ar.

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À travers l’analyse de la représentation des deux machines créées par le film Terminator 2 (Cameron, 1992), ce travail se propose d’exposer et de comprendre le rapport entre technologie et masculinité dans le cinéma hollywoodien. Ce rapport particulier prenant ses origines au plus profond de la culture occidentale, nous nous appuierons sur l’étude d’un des produits les plus extrêmes de cette culture : le fascisme en Allemagne entre les deux guerres. La perception fasciste des corps, masculin et féminin nous permettra en effet de comprendre les angoisses et les désirs exprimés par la forme des deux machines antagonistes dans Terminator 2. Parallèlement, la comparaison, diégétique cette fois, de ce film avec le premier épisode de la serie, The Terminator (Cameron, 1984), nous aidera à évaluer de quelle manière ces représentations de machines influent sur le contenu narratif de Terminator 2.

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Couchot, Edmond. "Au-delà du cinéma. Image et temps numériques." Cinémas 5, no. 1-2 (February 28, 2011): 69–80. http://dx.doi.org/10.7202/1001005ar.

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L’auteur, en retraçant les statuts temporels du cinéma (re-présentation), des émissions en « direct » (sur-présentation), avance l’idée que l’image numérique (simulation) se distingue essentiellement de celle du cinéma et de la télévision par son caractère dialogique ou interactif. Sont ici mises au jeu deux grandes catégories de temps relatives à l’image, le temps du voir et le temps du faire. L’auteur interroge la technologie numérique en tant qu’elle peut être représentative d’une nouvelle esthétique dans laquelle le temps est uchronique et où l’acte de figuration complet n’a lieu que par la présence du regardeur : le temps du voir est aussi, autrement et à la fois, un temps du faire.

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Barnier, Martin. "Réception critique et historique des technologies du son au cinéma 1." Cinémas 24, no. 1 (February 26, 2014): 35–57. http://dx.doi.org/10.7202/1023109ar.

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Autour de 1900, les discours des journalistes et inventeurs concernant les technologies du son cinématographique sont enthousiastes et prophétiques. Cet article analyse l’évolution des écrits, journalistiques puis historiques, concernant ces techniques du son. Le lyrisme associé aux images sonorisées avant 1914 pousse les journalistes vers un langage purement promotionnel. On y trouve une fascination pour « l’illusion » devant des « personnages bien vivants ». Ces exploits techniques ont longtemps été oubliés par les historiens, alors que les séances étaient largement relayées par la presse de l’époque. Après la généralisation du parlant, la presse des années 1930 s’est avidement penchée sur le son des années 1900, pour le revendiquer sur une base nationaliste, aussi bien en France qu’aux États-Unis. Dans les années subséquentes, jusque dans les années 1980, le discours historique restera imprégné d’une vision téléologique sur le son cinématographique, tout en restant réticent devant son aspect « nouvelle technologie ». Cet article conclut donc à une transformation des discours sur le son en fonction des époques d’écriture des textes. Ce n’est que depuis les années 2000 que lessound studiesse sont multipliées et diversifiées.

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Kessler, Frank, and Sabine Lenk. "L’écriture de l’histoire au présent. Débuts de l’historiographie du cinéma." Cinémas 21, no. 2-3 (August 11, 2011): 27–47. http://dx.doi.org/10.7202/1005583ar.

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Dès la fin du xixe siècle, on trouve de nombreux textes qui abordent la cinématographie comme un objet ayant une histoire. Ainsi, les photographies animées sont inscrites dans une, voire plusieurs histoires qui, d’une part, les rattachent à des découvertes techniques ou scientifiques du passé et, d’autre part, en esquissent l’évolution à la fois technique et, parfois du moins, formelle. Les auteurs de l’article qui suit cherchent à distinguer quatre dimensions dans ces écrits. Ces dimensions concernent, respectivement, l’établissement d’une généalogie, les querelles de priorité, l’incorporation de l’histoire dans la description de la technologie et, finalement, les débuts d’une histoire des formes. Ajoutons à cela que ces champs d’analyse comportent tous des topoï qui seront repris par la suite par les histoires du cinéma traditionnelles.

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12

Arsenault, Michel. "De la synthèse au synthétique. Histoire de transparence." Cinémas 7, no. 3 (February 25, 2011): 147–58. http://dx.doi.org/10.7202/1000953ar.

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L’image, qu’on disait hier de synthèse, devient aujourd’hui de plus en plus synthétique. Dans ce passage du visuel de la synthèse lisse et pure au synthétique rugueux et texture, la technologie atteint un nouveau seuil de transparence. Encouragée par le star system hollywoodien, elle infiltre chaque jour un peu plus l’espace écranique québécois. Mais, malgré ce danger culturel, l’identité québécoise trouve quelquefois des solutions de résistance originales. L’étude du film Screamers de Christian Duguay (1996) démontre que le cinéma québécois peut jouer la carte de la transparence hollywoodienne tout en s’opposant à son idéologie.

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Rivest, Johanne. "La représentation des avant-gardes à la Semaine internationale de musique actuelle (Montréal, 1961)." Canadian University Music Review 19, no. 1 (March 8, 2013): 50–68. http://dx.doi.org/10.7202/1014605ar.

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Les avant-gardes des années 50 et 60 ont été marquées par l’appropriation de la technologie à des fins créatives. Elles visaient également la démocratisation de l’art en favorisant la participation simultanée de plusieurs intervenants et de diverses formes artistiques, d’une part, et en désinvestissant le créateur du pouvoir décisionnel absolu, d’autre part. La Semaine internationale de musique actuelle, organisée par Pierre Mercure à Montréal en 1961, exemplifie ces aspects par le recours à la multidisciplinarité et à la musique électroacoustique, alors en plein essor. Elle accueillait donc certains des plus illustres représentants de l’avant-garde mondiale d’alors, en musique surtout, mais également en danse, en cinéma et en arts visuels, et ce, malgré les contraintes économiques de l’époque, qui ont pourtant eu un impact sur la provenance des œuvres.

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Cameron, Douglas M. "La représentation des frontières dans le cinéma contemporain : l’imbrication des cultures dans El Mariachi." Analyses 29, no. 3-4 (April 12, 2005): 147–61. http://dx.doi.org/10.7202/501177ar.

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Douglas M. Cameron démontre, avec le film El Mariachi (1992) de Robert Rodriguez, qu'une nouvelle sorte de héros est apparue dans les films réalisés pour l'Amérique latine: le héros postmoderne d'aventures, qui devient écrivain et transcende sa culture sans la perdre. Le film, qui a bien des points communs avec les autobiographies fictionnelles de la littérature contemporaine (celles de Cortàzar, Fuentes ou de certains romanciers québécois), démontre comment un mariachi devient écrivain après avoir été remplacé par les synthétiseurs des cantinas du Mexique. Le mariachi survit au traumatisme causé par la perte de son idéal (emblématique de la vie le long de la frontière américano-mexicaine) en abandonnant l'institution de la cantina et en orientant sa carrière vers un autre espace collectif, le cinéma. Le changement est une réussite du fait que le mariachi a accepté la technologie afin de devenir le narrateur d'un film dont il est le sujet, afin de devenir (probablement) le premier cinéaste- mariachi. Le film, ainsi, offre au public une image du changement qui valorise l'expérience régionale, communautaire, mais qui s'ouvre en même temps à la discussion, aux débats et à la reconfiguration.

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Guibert, Joris. "Uscopie électronique. Muabilité & simultanéité." Cinémas 26, no. 2-3 (April 5, 2017): 73–98. http://dx.doi.org/10.7202/1039367ar.

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Ce texte examine, à travers l’oeuvre de Jean-Christophe Averty, les différences fondamentales entre cinéma et vidéo. La démarche du réalisateur y est mise en parallèle avec les utopies des artistes pionniers de la vidéo, qui visent une picturalité par la malléabilité de l’image vidéographique, tandis qu’Averty en expérimente la plasticité pour inventer une écriture inédite spécifiquement télévisuelle. Prenant en considération la dialectique essentielle réel/artificiel de la vidéo, Averty utilise le signal et le trucage (notamment l’incrustation) comme figures d’expression. Il compose avec la simultanéité de cette technologie de flux, et avec la planéité de l’écran du téléviseur, pour conférer des dimensions nouvelles à l’image — contre le réalisme perspectiviste. L’auteur propose ainsi d’étudier l’ontogenèse de l’image électronique, afin de concevoir ce qui détermine une esthétique du médium. Si la technique ouvre des potentialités de création et d’énonciation singulières, elle engage une logique créatrice, et infuse alors une pensée inventrice. En interrogeant les notions de montage, de mixage, d’assemblage et de collage, l’approche technique et théorique adoptée ici élabore des distinctions entre fixation et transmission, représentation et simulation, afin d’évaluer l’écart entre écriture cinématographique et écriture vidéographique.

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Lévêque, Samuel. "Entre fan service, machinerie commerciale et vision d’auteur." Transcr(é)ation 2, no. 1 (March 14, 2023): 1–16. http://dx.doi.org/10.5206/tc.v2i1.15644.

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Si la longue histoire des mangas et de l’animation japonaise débutent au début du XXe siècle, l’industrie du manga en tant que telle n’émerge qu’après la Seconde Guerre Mondiale, dans le cadre de la reconstruction du pays. La renaissance du cinéma nippon dans les années 50, l’arrivée du téléviseur dans les foyers dans les années 60 et la naissance progressive d’une industrie de haute technologie vont conduire les éditeurs de mangas à investir le domaine de l’image via des adaptations télévisées, puis via des films d’animation produits localement. Événement initialement rare et prestigieux, l’adaptation d’un manga en film d’animation tiens désormais du fait routinier pleinement intégré dans la stratégie transmédia des grandes sociétés de divertissement japonaises. Une stratégie qui, si elle est la plupart du temps réduite à la production d’œuvres mineures voire à de simples remontages de séries télévisées animées, a pu conduire de nombreux cinéastes de talents (Mamoru Oshii, Mamoru Osoda…) à faire leurs preuves. De plus, de nouvelles méthodes d’adaptations de mangas, alternant séries télévisées et films, se multiplient à mesure que se brouille la frontière entre petit et grand écran.

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Wade, Diana. "Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 203–21. http://dx.doi.org/10.7202/1027448ar.

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Digital image technology facilitates the production and distribution of images, and at the same time, instills doubt as to the integrity of those images. As a result, spectators today trust and doubt the image while still retaining a need to see a double of the world on screen. Edgar Morin’s work on cinema permits us to speak of cinema in the digital age because he recognizes that from its origins cinema has been a “mirror-machine” that reflects the spectator’s imaginary and practical relationship with images as experienced through new technologies. I will explore Morin and Christian Metz’s writings on cinema to analyze cinema’s foundational element : the ability to satisfy the besoin de cinéma throughout changes in technology. Cinema persists as digital moving images because by evolving technologically it responds to the spectator’s need to see a double of the world on screen in order to negotiate the demands of society and personal desires.

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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.

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Rosskam, Jules. "Making Trans Cinema: A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac, and Madsen Minax." Somatechnics 8, no. 1 (March 2018): 14–26. http://dx.doi.org/10.3366/soma.2018.0234.

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In conversation with Jules Rosskam, trans filmmakers Felix Endara, Chase Joynt, Reina Gossett, Madsen Minax, and Jess Mac explore the contemporary state of trans cinema production, trans methodologies and social practices, the corporeality of cinema, and the relationship between theory and practice. Like somatechnics complicates the term ‘body modification,’ cinema broadens the ways in which we think and talk about films to include the world around the film – the technologies, power(s), relationships, disciplines, spaces, and techniques. The filmmakers discuss the various ways in which their embodied experiences influence and necessitate particular modes of production, reception, and theorization. There is a dynamic and organic movement between the past, present, and future, between dominant and experimental cinemas; one deeply rooted in the urgent intersectionality of trans.

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Artemov, Vladislav Vladimirovich, and Vladislav Artemov. "Digital Technologies in Cinema." Journal of Flm Arts and Film Studies 2, no. 1 (January 15, 2010): 132–38. http://dx.doi.org/10.17816/vgik21132-138.

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The article is devoted to certain tendencies of digital cinema development. It contains the comparison of tape and modern devices based on Panasonic cameras digital technology. Features of different digital recording formats and AVC-Intra codec application are being described.

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Schuck, Miller, and Gary Sharp. "3D digital cinema technologies." Journal of the Society for Information Display 20, no. 12 (December 2012): 669–79. http://dx.doi.org/10.1002/jsid.135.

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Agapov, M. G. "“Screen on the Chum”: Social Reconstruction and Mobile Film Propaganda in the North of the Ob region in the 1930s." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(61) (June 15, 2023): 190–98. http://dx.doi.org/10.20874/2071-0437-2023-61-2-16.

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Drawing on the example of agitation and propaganda campaigns carried out in the north of the Ob region in the 1930s among the indigenous population, a specific tool of the Soviet ideological indoctrination of the Great Break period — a mobile cinema (installations designed to screen silent and sound films to a small audience in open areas and in premises not equipped with stationary film projectors) — has been comprehensively studied. The mobile cinema is considered as one of the varieties of cultural management technologies that are equally characteristic of all states and empires of the modern era, including the USSR, where, due to the existence of state ideology and low literacy of the population, it was even more important than other cultural technologies. The management supported and strengthened the centralized power, serving as a complement to force and coercion. Based on the materials of the State Archive of the Socio-Political History of the Tyumen Region, it has been es-tablished that the first mobile cinema in the north of the Ob region was created under the auspices of the Commit-tee of the North under the All-Russian Central Executive Committee of the USSR, but it reached its fullest flou-rishing in the area during the period when the region came under the jurisdiction of the Chief Directorate of the Northern Sea Route (1935–1938). The repertoire of a mobile cinema was compiled centrally, and it included popular science and feature films, united by a common goal, which was the ideological indoctrination of the audi-ence. For representatives of the indigenous peoples of the North, movie screening itself was the most important experience of joining a new life, akin to the rite of initiation. Indigenous peoples were most interested in movies that narrated about their own daily life: hunting, fishing, travelling. Mobile cinemas were moved around the north by sled and specially equipped boats. The work of a mobile cinema in the north of the Ob region was associated with constant overcoming of a number of problems: the shortage of films, frequent breakdowns of movie cameras, and the lack of qualified projectionists. Nevertheless, mobile cinemas made significant contribution to the mo-dernization of everyday life and worldview of the indigenous peoples of the Ob North.

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Zadorozhnyuk, Andriy. "Development of cinematography and functioning of cinemas in Kamianets-Podilskyi in the early twentieth century based on the material of the local Podolianyn newspaper (1910-1911)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 41 (October 2, 2023): 60–70. http://dx.doi.org/10.32626/2309-2254.2023-41.60-70.

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The purpose of the study is to use the existing source base to cover the proces- ses of formation and development of cinematographic art and the functioning of cinemas in Kamianets-Podilskyi in the early twentieth century on the pages of the local Podolianyn newspa- per. Th e research methodology is based on the principles of a specifi c historical approach, ob- jectivity, comprehensiveness and integrity, as well as the use of methods of analysis and synthe- sis, historical-comparative, and problematic-chronological. Th e scientifi c novelty is the fact that for the fi rst time in historiography it was shown how cinemas developed in Kamianets-Podilskyi; the sources we identifi ed, namely, publications in the Podolianyn newspaper, made it possible to study the social history of cinematography on the basis of the provincial case, to consider cinema as a phenomenon of culture and history, and to analyze the number and functioning of cinemas in the city in the early twentieth century. Conclusions. Th e emergence of cinema in Kamianets- Podilskyi dates back to 1901, and the popularization of Kamianets cinema was facilitated by the publication of the local Podolianyn newspaper, the fi rst issues of which were published in September 1910. In addition to publishing advertisements with dates and schedules of movie shows, the newspaper also popularized the Humanitarian Society cinema, stating that part of the collected money would be used for charity. In early March 1911, Kamianets-Podilskyi was visited by an authorized representative of a cinematographic company in Russia, who noted that Kamianets-Podilskyi cinema theatres were maintained at a decent level and all worked on elect- ricity. It is also worth mentioning that local photographers produced their own fi lms. Thus, we can conclude that cinematography appeared in Podillia, quite soon aft er its appearance, due to the proximity of the borders with European countries. At the same time, there were several cin- emas in the city, which generated competitiveness. Photographers became interested in the new business, mastered new technologies, bought movie projectors, and created fi lms. In general, the issue of the development of cinematographic art in Kamianets-Podilskyi has not been the subject of in-depth studies by Ukrainian researchers, which requires a detailed study in the future.

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MacDonald, Michael, and João Lima. "Devemos apelidá-los de estudos cine-culturais? O cine-mundificar da música popular e dos estudos juvenis." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 10–34. http://dx.doi.org/10.21747/21843805/tav5n1a1.

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This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not been accepted by academia. It has been anthropology that has done the most to develop cinematic research through ethnographic film. New developments in the digital cinema ecosystem have been little explored so far. The digital cinema ecosystem, emerging since 2009, consists of relatively cheap digital cameras and smartphones, free professional-grade digital platforms, a worldwide network of film festivals and the transformation of most art-house cinemas into digital screenings. This means that digital cinema made on a laptop can be shown anywhere. We are at the best possible moment for academic filmmaking, but then why do academics do so little of it?

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Nazir, Sajid, and Mohammad Kaleem. "Optical Network Technologies for Future Digital Cinema." Advances in Optical Technologies 2016 (December 13, 2016): 1–8. http://dx.doi.org/10.1155/2016/8164308.

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Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state of the art in optical technologies that support the digital cinema work flow.

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Morley, Steven A., K. S. Thyagarajan, and Chris Irvine. "Balancing the Technologies in Digital Cinema Systems." SMPTE Journal 110, no. 4 (April 2001): 220–27. http://dx.doi.org/10.5594/j12430.

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27

Langkjær, Birger. "Spatial Perception and Technologies of Cinema Sound." Convergence: The International Journal of Research into New Media Technologies 3, no. 4 (December 1997): 92–107. http://dx.doi.org/10.1177/135485659700300408.

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Schuck, Miller, and Gary Sharp. "47.1:Invited Paper: 3D Digital Cinema Technologies." SID Symposium Digest of Technical Papers 43, no. 1 (June 2012): 629–32. http://dx.doi.org/10.1002/j.2168-0159.2012.tb05860.x.

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29

Stezhko, Natalia G. "VR technologies in docudrama." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 73–80. http://dx.doi.org/10.17816/vgik11173-80.

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The essay explores the implementation of VR technologies in film production, a development due to which audio-visual content, which is in high demand both in television and on the Internet, has taken a new direction, and which is a topical issue in contemporary film studies. VR technologies allow the viewer who sits on a swivel chair and wears a VR-helmet incorporating 360-degree rotating LCD monitors to watch different areas of action. A characteristic feature of VR content is a multi-sensory experience including sight, hearing, smell and touch. VR creates a digital reality with maximum sensory immersion. VR is different from cinema, theatre and 3D technologies: here the deception takes place not only at eye level but also at cerebral level. The essay argues that the use of VR technology is particularly successful in the genre of docudrama. A vivid confirmation of this argument is The Hermitage VR. An Immersion Into History (Russia,18 minutes). In this film, the dual nature of docudrama, which combines various elements of documentary and fiction cinema, allows to recreate historical eras, with the viewer becoming a witness to unique historic events. The films director Mikhail Antykov tells the history of the Hermitage Museum in a spectacular form, making the viewer empathize with the events they see through their VR glasses. The powerful artistic image is enhanced by the excellent acting of Konstantin Khabensky in the role of a mystical museum guide. Via facial expressions, gestures and gait, the actor conveys the emotions of a person walking through museum halls. Thoughtful re-enactment scenes representing various historical epochs, augmented by unusual camera angles, inventive lighting and music score, create a metaphor for time and give the viewer an illusion of participation in the unfolding events. Identifying the latest trends in film production, the essay demonstrates that VR technologies continue the evolution of screen arts which possess the potential to transform into an independent and profitable industry similar to traditional cinema. The author concludes that an increased interest in a national culture, little-known facts of history and the general historical heritage of a nation is a fertile source of content for the producers of VR-docudramas.

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Zonn, Igor S. "Oil Thinking of World Cinema." Post-Soviet Issues 6, no. 2 (August 8, 2019): 108–28. http://dx.doi.org/10.24975/2313-8920-2019-6-2-108-128.

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Oil and cinema are nearly of the same age: they both appeared in the second half of the 19th century. Oil, and more precisely, oil money has created the movies industry. As a confirmation, take one of the first feature films — it was entitled “In the Kingdom of Oil and Millions.”It was shot on the money of oilmen in 1916 in Azerbaijan — the country supplying oil to thewhole world. V. Mayakovsky wrote that if you believed in good future, this was because theblack dense oil from Baku was pumped into hearts of world capitals.The oil industry developed hand-in-hand with the cinema industry. Today we cannot image theworld without both. In the present-day panorama of the world cinema oil has taken a specialplace — it is not only a decoration, but a full-fledged «actor». In the recent decades “films —hydrocarbons” have appeared in the world cinemas to respond to some accomplished historicalevent related to oil discovery, or enormous technogenic disaster entailing serious environmentalimplications. The role of oil can be comprehended only in the context of technological achievements in oil prospecting and oil production. Oil has technologized and commercialized thefilm-making industry — the films collecting multimillion audiences and, accordingly, returningthe millions invested in their making. The oil industry will develop and flourish with the growthof energy demand and, therefore, will grow the film-making industry and cinema business fedby oil-earned money. Filmmakers, using the modern digital and computer technologies, havesucceeded to demonstrate on the screen in a catchy artistic form many aspects of the «oil rush»in its retrospect.

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Khibadullina, A. S. "Art journalism: film art in the socio-cultural paradigm." Bulletin of L.N. Gumilyov Eurasian National University. JOURNALISM Series 142, no. 1 (2023): 112–20. http://dx.doi.org/10.32523/2616-7174-2023-142-1-112-120.

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The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recognized as an urgent issue. In society in general, no one can limit a person's inner spiritual need and taste. As demand grows, the requirements and tasks for teleworking grow. Television equipment is also being developed taking into account the requirements. Since it is impossible to separate the history of television from cinematography, there is a need to consider film journalism from a theoretical and practical point of view. Therefore, it is necessary to know the theoretical foundations of working with information in the development of art journalism as one of the directions of industry journalism, the development of cinematography. It is known that speech in cinema and on television forms the culture of speech in society, so it is important from a practical point of view to pay attention to the use of the possibilities of cinema, theater and new media and consider the way of a comprehensive study of screen culture

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Orzel, Charlotte. "“See the Big Picture”: Cineplex Entertainment and Branded Cinemagoing." Canadian Journal of Film Studies 32, no. 1 (June 1, 2023): 31–60. http://dx.doi.org/10.3138/cjfs-2022-0002.

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Résumé : L’article étudie la transformation historique de la présentation de films en salle depuis le début des années 2000 à travers le cas de Cineplex Divertissement, la plus grande chaine de salles de cinéma au Canada. Suivant la tendance générale du marché des films sur grand écran aux États-Unis et au Canada, Cineplex a réagi à la crise par un mouvement de consolidation et de diversification et par de nouvelles options de projection haut de gamme. En réponse aux changements sectoriels, sa campagne publicitaire de 2016 donnait à son marketing un tour personnel, émotionnel et nostalgique en évoquant une éthique bourdieusienne du plaisir, qui fait de celui-ci une responsabilité morale. Ce faisant, la chaine de cinémas a révélé son investissement dans les classes moyennes et supérieures, ciblées par les nouvelles pratiques de diversification et les technologies de projection de pointe. Le recours à la nostalgie inscrivait fictivement Cineplex et ses nouvelles activités dans la lignée des pratiques de projection antérieures, ce qui a permis à la chaine de légitimer ses offres les plus récentes et la continuité de sa position centrale dans la vie culturelle publique.

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 240, no. 2 (June 1, 2022): 45–52. http://dx.doi.org/10.3917/all.240.0045.

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 238, no. 4 (December 9, 2021): 206–12. http://dx.doi.org/10.3917/all.238.0206.

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 239, no. 1 (March 7, 2022): 57–63. http://dx.doi.org/10.3917/all.239.0057.

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Mishurova, O. I. "Technologies for Teaching Law Students a Professionally Oriented Foreign Language." Courier of Kutafin Moscow State Law University (MSAL)) 1, no. 11 (April 2, 2024): 178–85. http://dx.doi.org/10.17803/2311-5998.2023.111.11.178-185.

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The article considers the influence of traditional and innovative technologies on the process of learning a foreign language by law students, investigates their educational potential, identifies advantages and disadvantages. The author presents the prospects of integration of “Foreign Language in Law” and artistic means (literature, music, cinema) as a means of vocabulary expansion, introduction to the socio-cultural reality of the country of the studied language, development of students’ creative potential, removal of psychological barriers to communication in a foreign language. Examples of working out professional lexical units and grammatical structures with the help of song compositions are given. The positive influence of cinema on moral and ethical development of youth is also noted.

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Holliday, Christopher. "Retroframing the Future: Digital De-aging Technologies in Contemporary Hollywood Cinema." JCMS: Journal of Cinema and Media Studies 61, no. 5 (2021): 210–37. http://dx.doi.org/10.1353/cj.2021.a922658.

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ABSTRACT: An emergent current of contemporary Hollywood cinema’s virtual population is the digitally age-regressed body, whereby computer animation “de-ages” star performers in feats of astonishing technological expressivity. This article examines the critical implications of virtual de-aging processes as both an institutional shift and a set of regularized formal practices. While the computerization of stardom by visual effects studios permits the aged star to transcend the limitations of their flesh-and-blood bodies, de-aging technologies intervene into critical discussions surrounding computer-mediated acting and digital performance; Hollywood’s increasingly “puzzling” narrative structures; gendered representations of aging in popular cinema; and the historical relationship between cinema, physiognomy, and memory.

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Faden, Eric S. "Assimilating New Technologies Early Cinema, Sound, and Computer Imagery." Convergence: The International Journal of Research into New Media Technologies 5, no. 2 (June 1999): 51–79. http://dx.doi.org/10.1177/135485659900500205.

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Boddy, W. "Beyond the Multiplex: Cinema, New Technologies and the Home." Screen 49, no. 1 (January 1, 2008): 95–98. http://dx.doi.org/10.1093/screen/hjn009.

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Westland, J. Christopher. "The adoption of social networking technologies in cinema releases." Information Technology and Management 13, no. 3 (January 31, 2012): 167–81. http://dx.doi.org/10.1007/s10799-012-0114-0.

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GROENING, STEPHEN. "BEYOND THE MULTIPLEX: CINEMA, NEW TECHNOLOGIES, AND THE HOME." Journal of Film and Video 59, no. 2 (July 1, 2007): 56–58. http://dx.doi.org/10.2307/20688560.

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Sharolapova, Nina, Volodymyr Danyliuk, and Oleksii Krasnenko. "Innovative Way of Cinema Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 233–43. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248696.

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The purpose of the research is to identify the characteristics of modern cinema, to analyze the factors of cinema language formation and to reveal new possibilities for displaying reality in screen art. The research methodology consists in the application of the following methods: theoretical is a review of the history of the screen arts development, analysis of art direction works and modern screen artworks (films, TV series, web series), generalization of modern technologies influence on the perception of the world and human socialization. Scientific novelty. For the first, time new possibilities of displaying reality on the screen, which change the artistic development of culture, are analyzed, a new approach to the perception of modern technologies, their influence on consciousness and development trends in screen art is implemented. Conclusions. The development of screen arts and factors of the formation of the cinema language has been analyzed. With the help of the analysis of art direction's works and works of screen art, the characteristics of modern cinema have been identified and new opportunities have been revealed. The influence of modern technologies on the perception of the world and human socialization has been generalized.

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Linuo, Zhao. "What’s Metaverse Film? Sci-fi, DAO or Digital installation?" Revista FAMECOS 29, no. 1 (July 13, 2022): e43354. http://dx.doi.org/10.15448/1980-3729.2022.1.43354.

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“Metaverse” has been gaining popularity since 2021 and the term has observably inextricable relation with cinema. But the implication of Metaverse film should be far more than a sci-fi subgenre. Following Deleuze and Manovich’s discourse of intermediality analysis, this paper discusses how Metaverse influences cinema with its connotation, cultural principles as well as its technologies, argues that it may bring about a fundamental change to cinema, especially when it is integrated with video installations, which will change cinema in all aspects of its aesthetics, narrative and distribution, and explores these revolutions from both the aesthetic and material perspectives of cinema.

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RODIONOVA, MARIYA. "РOSTFILM AS A NEW VISUAL STYLE OF DIGITAL CINEMATOGRAPH." Культурный код, no. 4 (2020): 29–34. http://dx.doi.org/10.36945/2658-3852-2020-4-29-34.

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The article analyzes the concept of post-cinema as a genre-stylistic form of contemporary digital cinema and its main features. They include technoartistic hybridity, visual information overload and unusual camera angles. Postcinematic storylines are characterized by nonlinear development. Post-cinematic characters reflect the mode of existence of modern network subjects. Post-cinema reflects the evolution of film technologies and characterizes the peculiarities of people's lives in today's networked environment.

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Zimmer, Catherine. "Surveillance Cinema: Narrative between Technology and Politics." Surveillance & Society 8, no. 4 (April 19, 2011): 427–40. http://dx.doi.org/10.24908/ss.v8i4.4180.

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Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, this essay offers a historical and theoretical reexamination of the manner in which screen narrative has organized political, racial, affective, and even material formations around and through surveillance. The essay demonstrates that even when films are focused on insistently visual deployments of surveillance technologies, the narrative construction around those technologies suggests highly complex dynamics—dynamics that neither psychoanalytic conceptions of voyeurism nor Foucault’s discourse on Bentham’s panopticon can entirely account for. A visual orientation has made it these approaches which have, within the realm of cinema studies, overwhelming served to explain the formations and functions of a variety of disparate surveillance-themed narratives. A more phenomenological reading of the relations between technology and narrative, as well as a more dynamic intersection with political philosophy as is represented in the growing field of surveillance studies, allows us to see how what this essay calls “surveillance cinema” serves to consolidate the stakes of surveillance technologies and practices with greater attention to historical and structural specificity.

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Alfaleh, Ahmad, and Ali Fayad. "The importance of modern digital technologies in the Jordanian film industry The movie "Captain Abu Raed" as a model." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 13–30. http://dx.doi.org/10.35516/hum.v49i2.1726.

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Modern digital technologies in cinema have added a great development in many fields; the most important of which is the field of cinematography, lighting, and the field of film editing. This research highlights the important role of these technologies in the development of the Jordanian digital cinematic film industry by analyzing one film as a sample, the Jordanian digital film "Captain Abu Raed", which used modern digital technologies in its production in cinema in 2008. The film is analyzed qualitatively and the role of modern digital technologies in making is examined. The research consists of four sections, where the first section includes the definition of the research problem, objectives, significane, the procedural definitions, and the research sample. The second section includes the theoretical framework for the research, where the research discusses the importance of modern digital technologies in Jordanian cinema and their development, and presents a theoretical framework regarding the basic elements in digital cinematography as follows: cinematography, lighting, and film editing. The third section also analyzes the research sample, which is a Jordanian digital cinematic film "Captain Abu Raed", and it highlights the digital technical aspects in its production. The fourth section includes the research results related to the research.

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Pendakur, Manjunath. "New cultural technologies and the fading glitter of Indian cinema." Quarterly Review of Film and Video 11, no. 3 (October 1989): 69–78. http://dx.doi.org/10.1080/10509208909361315.

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Dawson, Max. "Beyond the Multiplex: Cinema, New Technologies, and the Home (review)." Technology and Culture 48, no. 2 (2007): 436–38. http://dx.doi.org/10.1353/tech.2007.0064.

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Bernardy, Jean-Pierre. "Chronique cinéma… au féminin." Allemagne d'aujourd'hui N° 241, no. 3 (September 30, 2022): 45–51. http://dx.doi.org/10.3917/all.241.0045.

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Bernardy, Jean-Pierre. "Chronique cinéma… chez soi." Allemagne d'aujourd'hui N° 235, no. 1 (March 3, 2021): 259–66. http://dx.doi.org/10.3917/all.235.0259.

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Journal articles on the topic 'Technologie au cinéma'

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