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Journal articles on the topic 'Visual-arts film'
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1
Shostak, Arthur. "Framing Film: Cinema and the Visual Arts." European Legacy 22, no. 4 (February 17, 2017): 506. http://dx.doi.org/10.1080/10848770.2017.1291894.
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Stokes, Jane C. "Framing Pictures: film and the visual arts." Historical Journal of Film, Radio and Television 33, no. 3 (September 2013): 516–18. http://dx.doi.org/10.1080/01439685.2013.820918.
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Stankovic, Maja. "10.5937/kultura1442182s = Film and temporality in visual arts." Kultura, no. 142 (2014): 182–98. http://dx.doi.org/10.5937/kultura1442182s.
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Acham, Christine. "trinidad+tobago film festival: Nurturing a Developing Film Industry." Film Quarterly 69, no. 3 (2016): 79–83. http://dx.doi.org/10.1525/fq.2016.69.3.79.
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Festival Report: The trinidad+tobago film festival (ttff) was a whirlwind experience: fourteen days of intense programming that left Christine Acham both exhausted and exhilarated by the too-often-unacknowledged work happening in the Caribbean today. The largest film festival in the English-speaking Caribbean celebrated its tenth anniversary from September 15–29, screening some 150 films, facilitating a film mart, curating a New Media collection, and staging both a filmmaker immersion program and a three-day academic film symposium. A cursory look at the festival's program speaks to its role as historian, educator, and entertainer, with an overriding interest in building a sustainable film industry in the Caribbean. Films reviewed include: Outloud, A Safe Space, Sweet Micky for President, and My Father's Land.
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Gaber, Dr Intidhar Ali. "La relación entre lo artístico de la poesía de Arseni Alexandrovich Tarkovski y las imágenes visuales de Andrei Tarkovski en la película El espejo." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (June 1, 2017): 1–18. http://dx.doi.org/10.36473/ujhss.v221i1.413.
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This work is devoted to theoretical issues applied to the film The Mirror for the russian writer and director Tarkovsky. His work is considered a good example to study the relationship interartistic of arts in general and the visual culture of cinema in particular, where all the arts (music, painting, poetry and image) are grouped. The study includes an overview of the scenes of the film, and a structural analysis of some theoretical phenomena that show the relationship between both verbal arts (the poetic image) and visual (pictorial image - the film image), and how these arts are combined through the remedies that indicate events and references by the same ways, as ekphrasis, metaphor, synesthesia, metaimagen, etc. ... this seems to be prepare the film for the population, intensifying a certain mood or certain feelings.
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Ghaderi Ghalehno, Aynaz. "The aesthetic reception of the film Exam." Short Film Studies 12, no. 2 (September 1, 2022): 155–60. http://dx.doi.org/10.1386/sfs_00079_1.
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Few studies have observed audience reception within the context of narrative short films. Short films, with their idiosyncratic structures and smaller audience, have been overlooked by the field of film studies in favour of other forms – namely feature films. This article discusses the audience reception of the short film Exam in accordance with Molinié’s Sémiostylistique (‘semio-stylistics’) and examines the aesthetic effect of this short film on its audience.
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TEKİN KARAGÖZ, Ceren. "VISUAL ANALYSIS OF FILMS IN THE CONTEXT OF COLOR BY DIRECTORS WHO GRADUATED FROM VISUAL ARTS." IEDSR Association 7, no. 18 (March 18, 2022): 105–21. http://dx.doi.org/10.46872/pj.498.
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This study aims to make a visual analysis of each of the films of six artists-directors who received visual arts education and to examine the elements used in the films in the context of visual arts. The artist-directors selected as a sample in the study are Akira Kurosawa, David Lynch, Wong Kar-Wai, Peter Greenaway, Robert Bresson, Andrzej Wajda. These directors were selected with a homogeneous sampling method, one of the purposive sampling methods. In this context, the selected directors have been chosen because they have received visual arts education, the branches of art they are interested in, and have different cultural codes. Visual content analysis, one of the qualitative research methods, was used in this study. The content analysis approach of visual data, which is one of the main methods of analyzing visual materials and data, was used. For this purpose, first, all the films were watched by the researcher, and the image files were arranged in scenes and systematized for examination. The colors used in the resulting movie scenes were visualized in the Procreate program. In addition, the analyzes are philosophically based on the rise and retreat movement that occurs because of the dark and light fighting in Paul Klee's Theory of Colors. A film belonging to each director was examined with the visual analysis method. As a result of the analyzes carried out, it is seen that visual art education has great effects on the use of the color in the films of the directors who receive visual art education. In addition, it has been concluded that in the films of the directors, the narrative has a visual weight and, in these films, which we can call art cinema, photographic images with a linear story are frequently included.
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Giraud, François. "Gestural Intermediality in Jean-Luc Godard’s First Name: Carmen (1983)." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 125–36. http://dx.doi.org/10.1515/ausfm-2018-0007.
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Abstract Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings, arts, and media. The interconnection between the gestures of the musicians who are rehearsing Beethoven’s late string quartets and the lovers’ gestures, inspired by Rodin’s sculptures, gives cohesion to the hybrid aesthetics of the film. Gesture is the element which incorporates, develops, and sets in motion the features of the other arts, not only by creating an in-between space that forges links between media, but especially by exhibiting the process of making itself. Indeed, the relationship between the performing, musical, and visual arts is made visible in the exhibition of the corporeal effort of making (whether it be making music, film, or love) that tends to open the boundaries separating the different arts. The aural and visual qualities of gestures communicate between themselves, generating rhythms and forms that circulate in the continuous flow of moving images. By fostering the analogy between the gesture of carving, of performing music, and of making film, Godard highlights what unites the arts in cinema, while feeding on their differences.
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Parmelee, Stephen. "Remembrance of Films Past: Film Posters on Film." Historical Journal of Film, Radio and Television 29, no. 2 (June 2009): 181–95. http://dx.doi.org/10.1080/01439680902890662.
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Chapman, James. "‘The same virile ability of Val Guest’: The Film Finances Archive and British Film-makers." Journal of British Cinema and Television 19, no. 4 (October 2022): 495–517. http://dx.doi.org/10.3366/jbctv.2022.0644.
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This article draws upon the Film Finances Archive to propose an alternative hierarchy of British directors based on their ability to deliver films on budget and schedule rather than on the artistic qualities of their films. An analysis of the archive’s large collection of budgets and cost reports for British feature films since 1950 highlights which directors had a record of economical and timely delivery of their films. The article shows that the common distinction between auteur and journeyman directors does not necessarily map onto their efficiency as film-makers. In this way the article demonstrates how a particular archive can offer new ways of thinking about British cinema history based on the professional discourses of the film industry.
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Walde, Laura. "Brevity ‐ format ‐ programme: A conceptual triangle." Short Film Studies 11, no. 2 (September 1, 2021): 233–38. http://dx.doi.org/10.1386/sfs_00058_1.
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This article outlines the theoretical tenets of considering the short film as a format. Taken as a format rather than simply a film of short duration, the conceptual triangle of Brevity ‐ format ‐ programme is used as a foundation to reflect on the particular epistemological position of short films in film studies and to address larger questions of canon, circulation and context. Rather than working towards a codification of an essence or specificity of the short film, this article proposes that the technical term ‘format’ is a suitable concept to concretely identify and discuss the factors at play in the production and exhibition of short films.
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Grgic, Ana. "Recurrent Themes, Entangled Histories, and Cultural Affinities: Balkan Cinema at the 58th Thessaloniki International Film Festival." Film Quarterly 71, no. 3 (2018): 81–86. http://dx.doi.org/10.1525/fq.2018.71.3.81.
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Since 1993, Thessaloniki International Film Festival has been home to the Balkan Survey program, showcasing new films from the region as well as presenting retrospectives of the work of significant Balkan film directors. Now in its 24th edition, the Balkan Survey offered a survey of new and exciting films from the region, and also included a special tribute on film adaptations. This special tribute, “From Words to Images: Balkan Literature and Cinema,” presented, both new and old, important and ground-breaking works from the archival collections and film heritages of each nation. This selection of landmark works from Balkan cinema comes at a mature moment when the Balkan Survey has almost completed a generation of screenings, now celebrating the best of Balkan cinema through the tribute to film adaptations. However, access to archival films in the Balkans still remains a challenge. The lack of formal cooperation and infrastructure in the region has a detrimental effect on the preservation and distribution of Balkan filmic works beyond national confines. Clearly, an effort on the part of governmental and (hopefully) private institutions will be instrumental in creating a sustainable network and frameworks of cooperation for the sharing and screening of these films.
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Galpin, Shelley Anne. "Harry Potter and the Hidden Heritage Films: Genre Hybridity and the Power of the Past in the Harry Potter Film Cycle." Journal of British Cinema and Television 13, no. 3 (July 2016): 430–49. http://dx.doi.org/10.3366/jbctv.2016.0328.
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The heritage film is generally considered to be a less commercial form of film-making, one which eschews populism for ‘quality’. This article seeks to question the distinctions drawn between the heritage film and more commercial film franchises by examining the links between the conventions of heritage cinema and the Harry Potter films. Bringing together scholarship on the heritage film, the Harry Potter series and film genre, the article considers these productions in the light of their themes, with the political or class-centred aspects of the narrative examined in relation both to the visual display and to Andrew Higson's early critique of the heritage film. The article argues for different associations of heritage iconography in contemporary film-making from the initial criticisms of heritage cinema made by Higson. Details of the visual style of the Harry Potter films are also considered in relation to the allegedly typical characteristics of the heritage film. Ultimately, the article argues for the success of this film cycle being due to the incorporation of genre characteristics from both the heritage film and the fantasy genre and suggests that because of the increased prevalence of generic hybridity it is time that we began to reconceptualise the heritage film and its associated audiences.
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Biswas, Moinak, Ravi Vasudevan, Arun Kumar Roy, and Maharghya Chakraborty. "Hari Sadhan Dasgupta: Short Film Maker." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 146–70. http://dx.doi.org/10.1177/0974927617705933.
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Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 50 odd documentaries and commercials between 1948 and 1984, of which Panchthupi: A Village in West Bengal (1955), The Story of Tata Steel (1958), and Konarak (1949) have earned iconic status. He also made two feature-length fiction films Eki Ange Eto Rup (1965) and Kamallata (1969).
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Ljungbäck, Hugo. "‘Hands at Work’: Patching Women’s Film Histories through Sabrina Gschwandtner’s Film Quilts." Cinéma & Cie. Film and Media Studies Journal 22, no. 39 (January 24, 2023): 127–45. http://dx.doi.org/10.54103/2036-461x/16678.
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This paper examines the work of artist Sabrina Gschwandtner, whose recent series of 16mm and 35mm film quilts reproduce sequences from early women directors’ films and from orphaned textile-production documentaries and re-edits their narratives through spatial montage by sewing celluloid strips into traditional quilt patterns. Appropriated from film archives, each strip of film holds embedded within it a history of women’s labor, and through her sewing techniques, which call attention to the connection between film’s intermittent motion mechanism and the sewing machine, Gschwandtner patches women’s film histories back together. By considering the techniques of colorists and editors in early cinema as originating within handcrafting and ‘feminine’ labor, the traces of their hands at work form new histories through Gschwandtner’s quilts. In her artwork, the invisible contributions of these forgotten women become visible, foregrounding their tactile, intensive, and time-consuming labor. Gschwandtner’s film quilts also suggest that, rather than digital technology marking the death of cinema, it has just liberated the celluloid strip to be used and encountered in endless new ways.
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Kim, Darae, Dina Iordanova, and Chris Berry. "The Busan International Film Festival in Crisis or, What Should a Film Festival Be?" Film Quarterly 69, no. 1 (2015): 80–89. http://dx.doi.org/10.1525/fq.2015.69.1.80.
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Former Busan International Film Festival curator Darae Kim, and film scholars Dina Iordanova and Chris Berry engage in a discussion of the Busan International Film Festival. BIFF’s nineteenth edition was held in October 2014 and screened 312 films from 79 countries to 226,473 audience members. Despite such outward signs of success and continued growth, the festival is now undergoing a crisis that is threatening its future, on the eve of its twentieth anniversary. Are such difficulties specific to Busan, or do they indicate a more general trend that results from new configurations in the public space of cinema and new managerial approaches to culture at large? This dossier combines a report on the Busan International Film Festival crisis with larger questions regarding film festivals. Three short essays consider the Busan festival situation from different perspectives, followed by a conversational exchange that aims to spur further thinking.
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Day, Tom. "Andy Warhol Eating a Hamburger and the Pop Cinema portrait." Short Film Studies 10, no. 2 (April 1, 2020): 153–56. http://dx.doi.org/10.1386/sfs_00007_1.
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Abstract The film is placed in an under-explored lineage of Pop Cinema ‐ experimental films concerned with the themes and aesthetics of Pop Art. Specifically, the work is read as a Pop portrait film which shares the formal characteristics of stasis and duration that mark Warhol's and other artists' Pop portrait films.
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Felando, Cynthia. "Editor’s Introduction." Short Film Studies 12, no. 2 (September 1, 2022): 131–32. http://dx.doi.org/10.1386/sfs_00074_2.
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This introduction summarizes the collection of essays in Short Film Studies, Issue 12.2, with attention to the films, filmmakers, short film themes and critical/theoretical approaches used for analyses.
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Morley, Catherine. "Why A Doc With a Dip Doc?" Critical Dietetics 1, no. 1 (April 24, 2011): 30–34. http://dx.doi.org/10.32920/cd.v1i1.837.
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In 2007, when I began studies toward two diplomas, one in textile arts, and one in documentary film this seeming ‘change of focus’ prompted questions from dietetics and research colleagues: Was I changing careers? What did visual arts and film have to do with dietetics and research? In addition to personal reasons for these studies, I wanted ‘time out’ from consulting and research to develop my knowledge and skills in these artforms, and to explore them as means to broaden the reach of research findings. In this article, I discuss the potential for film and visual arts in dietetics practice and education. Arts-based inquiry and practice offer ways to disrupt power differentials, to question what counts as knowledge and whose/what voices ought to count, to invite reflections on and conversations about meanings imbedded in food and in eating behaviour, and to integrate this knowledge into collaborative, client-centred approaches to nutrition education.
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Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (January 2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.
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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the British period/costume films of the preceding decade, the 1970s, have attracted almost no scholarly attention, and none which connects them with the post-1979 British heritage film, nor the 1980s cultural and industry conditions said to have fostered these productions with those of the 1970s. This article pursues these questions through the prism of Britain’s largest film production and distribution entity throughout 1970–86, EMI, and EMI’s place as a significant and sustained, but little-acknowledged, force in British period film production throughout that time. In so doing, the article establishes the case for studying ‘pre-heritage’ period cinema. EMI’s period film output included early proto-heritage films but also ventured notably wider. This field of production is examined within the broader terrain of 1970s British and American period cinema and within wider 1970s UK cinema box-office patterns and cultural trends, attending to commercial logics as well as to genre and the films' positioning in relation to the later heritage film debates.
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Sarkisyan, S. K. "The Musical Phenomenon in the Films of Sergey Parajanov." Critique and Semiotics 37, no. 2 (2019): 64–77. http://dx.doi.org/10.25205/2307-1737-2019-2-64-77.
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Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.
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Gaycken, Oliver. "‘Beauty of Chance’: Film ist." Journal of Visual Culture 11, no. 3 (December 2012): 307–27. http://dx.doi.org/10.1177/1470412912455618.
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A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciation of the science film. Taken together, these approaches suggest an alternative strand of documentary history that is located at the intersection of scientific and avant-garde filmmaking practices.
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Hicks, Jan. "Well I Never! Locating Alexander Esway's Films for the Electrical Development Association in the History of Industrial Film-making." Journal of British Cinema and Television 17, no. 3 (July 2020): 375–98. http://dx.doi.org/10.3366/jbctv.2020.0534.
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The Science Museum Group's archive for the Electricity Council, held at the Science and Industry Museum in Manchester, includes films sponsored by the British Electrical Development Association (EDA). The three earliest films in the archive date from 1934 and share a director in Alexander Esway. During content development research for the collaborative exhibition Electricity: The Spark of Life and research into Esway's films for a paper given at the Material Cultures of Energy BFI film workshop Picturing Energy: Approaches to Energy Films, questions arose about the lack of attention shown to commercial and industrial films included in Rachael Low's definition of ‘quota’ films and also about Esway's significance as a film-maker and his place in the history of British industrial films. This article provides information about the three films, the man who directed them and the context of what was happening in both the electricity industry and the film-making world at the time, including why the EDA decided to use film in its publicity campaigns. It attempts to discover whether Esway has been unjustifiably neglected by film historians, with his career a footnote to those of his more famous peers, and questions whether his work for the EDA forms part of a body of commercial and industrial films that need to be re-evaluated.
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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.
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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.
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James, David E. "Soul of the Cypress: The First Postmodernist Film?" Film Quarterly 56, no. 3 (2003): 25–31. http://dx.doi.org/10.1525/fq.2003.56.3.25.
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In the late 1920s, European expatriates in Hollywood made a number of independent experimental films influenced by avant-garde cultural movements. But these were preceded by three short experimental films made in 1920 by an American, Dudley Murphy, of which one, Soul of the Cypress, survives. Influenced by California Pictorialist photography of the preceding decades, it was in its own day recognized as an avant-garde film, but nevertheless it secured successful commercial distribution. The surviving print of the film, however, was drastically framed by the later addition of a pornographic coda that radically transformed its erotic theme and its social function.
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Tseng, Chiao-I. "The Impact of New Visual Media on Discourse and Persuasion in the War Film." Film Studies 19, no. 1 (November 2018): 34–57. http://dx.doi.org/10.7227/fs.19.0004.
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The recent uses of digital technology in war films have sparked a wave of discussions about new visual aesthetics in the genre. Drawing on the approach of film discourse analysis, this article critically examines recent claims about new visual grammar in the war film and investigates to what extent the insertion of different media channels has affected the persuasive function of the genre. Through a detailed analysis of Redacted (2007), which constitutes an extreme case of a fiction filmmaking use of a variety of digital channels, this article demonstrates that the multimedia format works within systems of classical film discourse while also generating new patterns of persuasion tied to new visual technology.
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Lippit, Akira Mizuta, Noëël Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Shaefer, and Jeffrey Sconce. "Round Table: Showgirls." Film Quarterly 56, no. 3 (2003): 32–46. http://dx.doi.org/10.1525/fq.2003.56.3.32.
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As recently as December, 2002, the New York Times' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?
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Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 72, no. 1 (2018): 58–63. http://dx.doi.org/10.1525/fq.2018.72.1.58.
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This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series of VS columns that will revisit U.S. films of the 1970s in order to understand their historical, theoretical, and contemporary relevance.
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Tri Widadijo, Wahju. "PRINSIP DASAR TATA RUPA DALAM FILM ANIMASI “THE SECRET OF KELLS”." AKSA: Jurnal Desain Komunikasi Visual 3, no. 2 (June 29, 2020): 475–88. http://dx.doi.org/10.37505/aksa.v3i2.36.
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This article reviews the analysis of the application of the basicprinciples of visual arts and design in the animated movie “TheSecret of Kells” (2009) directed by Tomm Moore. The pictures andillustrations used in this animation is very unique and very artistic.The pictures and illustrations are created with the ornamental styleof the medieval art period. This study is based on the initialassumption, that is, one of the indicators of good animation is howthe impression of every cut of the film is influenced by artisticelements applied within the composition, the layout, and theblocking. In the staging aspect, as one of the aspects of 12 principlesof animation, it says that every visual asset in animation should belayouted properly to make a good and right composition. One of thestrategies is by applying the basic principles of visual arts anddesign such as rhythm, unity, domination, balance, and proportion.The analytical process itself was using a descriptive qualitativemethod. The purpose of this analysis is to show the intensity of theuse of the basic principles of visual arts and design in the animatedmovie “The Secret of Kells” (2009).
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Palmer, Tim. "Beside Du Côté de la côte (1958): Agnès Varda’s early applied cinephilia." Short Film Studies 12, no. 1 (May 1, 2022): 81–95. http://dx.doi.org/10.1386/sfs_00069_1.
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This article reappraises Agnès Varda’s formative career as she made Du Côté de la côte in 1958. To do this, it explores Varda’s situation within the post-war French film ecosystem before the French New Wave, how she engaged key practices of that overlooked era. By studying the ways Varda directly cites peer productions in Du Côté de la côte, we reveal her as heir to, and in dialogue with, a number of significant but neglected practitioners, notably women like Nicole Vedrès, Jacqueline Jacoupy and Yannick Bellon. Extrapolating from these creative protocols, we can properly gauge Varda’s primary, and long-term, affinities for short films and essay films, two formats that film studies is often reluctant to recognize, let alone canonize. Nourishing Varda’s work as a post-war short film essayist, we will also discover how applied cinephilia ‐ intertextual deployments of film history that catalyse actual filmmaking ‐ informed Varda’s professional rise.
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Petrychyn, Jonathan. "Getting the Queer Word Out: Word is Out and 16mm Distribution as Gay and Lesbian Activism." Canadian Journal of Film Studies 31, no. 2 (November 1, 2022): 80–93. http://dx.doi.org/10.3138/cjfs-2021-0058.
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Cet article retrace la distribution en 16mm du film Word is Out: Stories of Some of Our Lives (Mariposa Film Group, 1977, États-Unis) à travers le Canada entre 1977 et 1985. Il contribue au corpus croissant de travaux sur la distribution de films en se penchant sur celle des films gais et lesbiens durant cette période. En s’appuyant sur des journaux numérisés ainsi que sur la correspondance et la documentation en archives, l’auteur démontre que la distribution en 16mm de Word is Out dépendait de son intermédialité avec d’autres médias et technologies de communication, notamment le film en 35mm, la télévision, les grands journaux et les revues gaies, qui étaient tous cruciaux pour former un contre-public discursif. L’analyse de ces connexions intermédiales élargit notre compréhension des façons complexes par lesquelles les militants gais et militantes lesbiennes ont utilisé le film pour créer des communautés et élargir leur mouvement.
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MacDonald, Scott. "Morgan Fisher: Film on Film." Cinema Journal 28, no. 2 (1989): 13. http://dx.doi.org/10.2307/1225115.
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Spicer, Andrew. "The Impresario in British Cinema: Bernard Delfont at EMI." Journal of British Cinema and Television 18, no. 1 (January 2021): 7–33. http://dx.doi.org/10.3366/jbctv.2021.0553.
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The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film. In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry. Delfont made a series of bold choices. The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent. The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen. Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business. He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money. This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer. This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player. Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units. Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.
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Gillespie, Michael Boyce. "Death Grips." Film Quarterly 71, no. 2 (2017): 53–60. http://dx.doi.org/10.1525/fq.2017.71.2.53.
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Black death in contemporary cinema requires understanding how film blackness always means provoking new entangled measures of the aesthetic, political, social, and cultural capacities of black visual and expressive culture. As a result, the critical consequence of film blackness always entails issues of affect, narrativity, visual historiography, and genre/modalities. Black death, then, signifies both the violent injustice of African American deaths and the rendering of death in cinema. Three short films by black women filmmakers represent an ever-growing archive of recent works that merit critical attention as they advance cinematic practices that point to new political philosophies and circuits of knowledge related to black death and film form. Taken together as a “cinema in the wake,” the three—Leila Weefur's Dead Nigga BLVD (2015), Frances Bodomo's Everybody Dies! (2016), and A. Sayeeda Clarke's White (2011)—pose a range of formal propositions about black death that include animation, the racial grotesque, and speculative fiction. With distinct and compelling conceptions of black death, these three short films are deeply located in their contemporary American moment. Thinking with these films involves thinking through performing objects, the racial grotesque, and the futurity of social deletion. Together these films exquisitely suspend, disrupt, and disturb constituting distinct visual historiographies and strategies. As cinema in the wake, these films are stirred by incitements of film form, materiality, temporality, and conceptions of black being. But, more importantly, to think through black death across the formal experimentation and critical capacities of this work is to contend with an enduring urgency, the precarity of black life.
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Olarescu, Dumitru. "The docudrama of a destiny: Bogdan Petriceicu Hasdeu." Arta 30, no. 2 (December 2021): 89–93. http://dx.doi.org/10.52603/arta.2021.30-2.13.
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First, a brief excursion is made in the evolution of the historical-biographical film in the Republic of Moldova by highlighting the stages and personalities from the history of this category of non-fiction films. The research focuses on the televised historical-biographical film Evocare. Bogdan Petriceicu Hașdeu/Evocation. Bogdan Petriceicu Hașdeu – a co-production of Romanian filmmakers (Romanian Television Film Studio) and the Republic of Moldova (State Company Teleradio Moldova) – dedicated to the eminent personality of the history of our culture – Bogdan Petriceicu Hașdeu. The authors of the film managed to evoke the multiple activity of the protagonist (writer, poet, playwright, scientist, folklorist and also the most dramatic moments of his troubled destiny. Some similarities and differences in the aesthetic conditions of the TV film and the one for the screen are revealed. The aesthetic peculiarities of the televised historical-biographical film were highlighted, the premises of its approach to docudrama – a species with a perspective of the non-fiction film.
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Kiejziewicz, Agnieszka. "Voices from a distance: Sámi short film production in 2020." Short Film Studies 11, no. 2 (September 1, 2021): 211–20. http://dx.doi.org/10.1386/sfs_00056_1.
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The sudden outbreak of the COVID-19 pandemic influenced many aspects of film production, which is especially visible in the example of local cinematographies. In this article, I investigate pandemic influence on depicting homeland, memory and locality in Sámi short films. The primary concern in the pre-2000 Sámi short films was the marginalization of Sámi culture, as well as tradition-modernization oppositions. However, in the productions from 2020, a switch into the discourse about the homeland and coping with pandemic in the far north is visible. In this article, I describe productions from 2020, dividing them into three thematic categories: films about the return to the homeland, films focusing on lockdown isolation and films based on genre conventions (such as comedy or horror), used for creating a discursive approach to pandemic. In the proposed article, I analyse Sámi films from the collection of International Sámi Film Institute, produced in Norway, Sweden or Finland.
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Sowiński, Emil. "Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 99–111. http://dx.doi.org/10.14746/i.2022.41.06.
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The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?
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Dancus, Adriana Margareta. "Vulnerable exposures: A conversation with Norwegian filmmaker Anne Haugsgjerd." Journal of Scandinavian Cinema 10, no. 3 (September 1, 2020): 273–79. http://dx.doi.org/10.1386/jsca_00030_7.
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Since the 1980s, the quirky and explorative filmmaker Anne Haugsgjerd has experimented with staging her own vulnerability in front of the camera and is thus a pioneer of self-mediation in Norwegian film. In this interview, Haugsgjerd talks about how she developed her unique approach to making film, including a questioning and uncertain voice-over that has become her signature. In addition to situating her own film practice in a Norwegian and international context, Haugsgjerd reflects on ethical issues pertaining to self-mediation, shares anecdotes that speak of the popular appeal of her films and discusses challenges and opportunities connected to making and distributing films like hers to national and international audiences.
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Rozenkrantz, Jonathan. "The precariousness of Jewish visibility: Surviving antisemitism in Swedish cinema." Journal of Scandinavian Cinema 12, no. 1 (March 1, 2022): 87–104. http://dx.doi.org/10.1386/jsca_00066_1.
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The article examines Jewish ‘self-images’ in Swedish post-war film. Before World War II, antisemitic caricatures were prevalent in Swedish film and visual culture. Following the Holocaust, Jews as such were virtually erased from Swedish screens. Written by and starring Marie-Louise Ekman, Hallo Baby (Bergenstråhle 1976) was a rare exception, the first Swedish post-war film to explore Swedish-Jewish identity. The 2002 comedy Livet i 8 bitar (Bit by Bit) (Metzger) remains the last of only a handful of films to fit said description. Significantly, both films draw heavily on established antisemitic tropes in their figurations of ‘Jewishness’. Through historically contextualized readings of the two films, including their reception, the article thus shows how the tradition of antisemitic caricature that prevailed until World War II has continued to condition Jewish self-representation in the post-war era.
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Gomes, Juliano. "The Impossible Embrace." Film Quarterly 74, no. 2 (2020): 47–53. http://dx.doi.org/10.1525/fq.2020.74.2.47.
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In the twentieth century, the Black Brazilian filmmakers who managed to accumulate a substantial body of work were few and far between, with a striking number of Black directors succeeding in making only one or a handful of films. Juliano Gomes examines how this landscape has changed in recent years, prompted by a new generation of film school graduates and reflected in landmark events such as the “Soul in the Eye” program at the International Film Festival Rotterdam in 2018, in which at least a quarter of the program’s films were made by students. His article focuses on two films representative of these changes: Ilha (2018), whose codirectors Ary Rosa and Glenda Nicácio met in the cinema course at the Federal University of Recôncavo da Bahia, and Travessia (2017), an award-winning student film by Safira Moreira.
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Koskinen, Maaret. "Time, memory and actors: Representation of ageing in recent Swedish feature film." Journal of Scandinavian Cinema 9, no. 1 (March 1, 2019): 89–104. http://dx.doi.org/10.1386/jsca.9.1.89_1.
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As has been noted in scholarship across various disciplines, issues of age and ageing have attracted much interest in recent years. In film production as well, ageing character actors have entered centre stage, in both popular films (for instance the Hotel Marigold films) and existential dramas (for instance Lucky, with 90-year-old Harry Dean Stanton in his last role). However, little has been written on Swedish film production in this regard. This article attempts to demonstrate, through an empirical overview, that interest in age and ageing has increased in feature film during the last two decades, not only internationally but more specifically in Swedish film. This article also strives to hypothesize, drawing on the area of memory studies, that the mere representation of ageing bodies and identities by well-known actors may inspire positive affective experiences related to memory, and that such representations, accumulatively across time, may be beneficial to health.
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Dupont, Joan. "Michelle Porte." Film Quarterly 74, no. 3 (2021): 56–65. http://dx.doi.org/10.1525/fq.2021.74.3.56.
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Film Quarterly contributing editor and Paris correspondent Joan Dupont introduces readers to the films of Michelle Porte, a French director best known for her intimate portraits of writers, actors, and filmmakers. The focus of a retrospective at the Bibliothèque nationale in Paris in 2018, Porte’s films offer remarkable access to the private worlds of their subjects, including Virginia Woolf (1981) and Françoise Sagan (1996). Porte is best known, however, for her long association with the celebrated author, playwright, and filmmaker Marguerite Duras. Following their first meeting in 1966 on the set of Duras’ first film, La musica, Porte became Duras’ frequent collaborator, all the while gathering material for her own film, Les lieux de Marguerite Duras (1976). Dupont’s wide-ranging interview with Porte offers insight into the French televisual landscape that supported Porte’s films as well as into her oeuvre and relationship with Duras.
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Tybjerg, Casper. "The spy who loved me: Benjamin Christensen and the Danish silent spy melodrama." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 253–76. http://dx.doi.org/10.1386/jsca_00003_1.
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This article examines the spy melodrama films produced in Denmark from 1909 to 1918, 21 in all. The best-known (and one of only two to survive) is Benjamin Christensen’s Det hemmelighedsfulde X (Sealed Orders) (1914). A coda will briefly discuss the only pre-1945 spy talking film, Damen med de lyse Handsker (The Lady with the Light Gloves) (1942), also directed by Christensen. The article employs an approach similar to James Chapman’s contextual film history, examining the Danish silent spy melodramas in the context of political climate and genre, but with an emphasis on the concerns of film producers and practitioners. Surviving plot summaries, which exist for all 21 films, reveal a considerable degree of consistency in the storylines. The article argues that the melodramatic elements found in nearly all the films suggest a more female-oriented audience appeal than that of many later spy fictions.
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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.
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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
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Melnyk, George. "Remembrance and Canadian national cinema: Incorporating classic themes." Short Film Studies 10, no. 1 (January 1, 2020): 73–77. http://dx.doi.org/10.1386/sfs.10.1.73_1.
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Abstract This analysis of Remembrance (2001) shows how this short film displays five distinct features of Canadian national cinema ‐ Canadian setting, the failed male, lack of narrative closure, auteurism and anti-romance. By displaying these characteristics found in Canadian feature-length films Remembrance rises above the short film genre.
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Schmitt, Mark. "The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films." Journal of British Cinema and Television 20, no. 1 (January 2023): 25–45. http://dx.doi.org/10.3366/jbctv.2023.0655.
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In the 1960s and 1970s, the period of the Civil War and the English Revolution featured prominently in a variety of films ranging from the mainstream historical drama Cromwell to the independent Winstanley and the folk horror film Witchfinder General. Film-makers’ interest in the period at that time coincided with the cultural, social and political turmoil of 1968 as well as with the increasingly popularised revision of the period in Marxist historiography, such as Christopher Hill’s seminal book The World Turned Upside Down. Recently, there has been a renewed interest of British film-makers in Hill’s focus on the subcultures of the English Revolution, such as the Diggers, as well as in the aesthetics of earlier films about the period. This article analyses two contemporary films about the period, Ben Wheatley’s A Field in England and Thomas Clay’s Fanny Lye Deliver’d, and through historicisation and contextualisation within film, genre and media history seeks to understand the significance of their return to the historical material of the seventeenth century as well as to the style of their filmic models from the 1960s and 1970s. The article argues that the two films perform an ‘archaeology of the future’ (Jameson) that excavates utopian ‘futures past’ (Koselleck) in British cultural history as well as in British film and media history. By analysing Wheatley and Clay’s films as hauntological and archaeological texts, the article explores the potential of the cinematic image for engaging with national and film history as well as with visions of the past and the future.
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Kachur, B. A. "The First Shakespeare Film: A Reconsideration and Reconstruction of Tree's King John." Theatre Survey 32, no. 1 (May 1991): 43–63. http://dx.doi.org/10.1017/s0040557400009455.
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In his seminal studies of Shakespeare on film—one appearing in an earlier number of this publication—Robert Hamilton Ball traced Beerbohm Tree's involvement with four film projects that spanned his twenty-year career (1897–1917) at His Majesty's Theatre: the opening shipwreck from his 1904 revival of The Tempest, captured on film at His Majesty's in 1905 by Charles Urban; a five-scene version of Henry VIII based on his 1910 production featuring him as Cardinal Wolsey and filmed in February 1911 at William Barker's Ealing studio; a 1916 Macbeth, bearing no direct resemblance to his 1911 stage version, filmed in California by D.W. Griffith with Tree playing the title role; and, though allegedly not as extensive as the others but certainly the most important historically, a brief segment from his King John revival filmed in 1899 on the Adelphi embankment—Tree's initial cinematographic venture and the very first record of Shakespeare on film. Although little is known about the exact nature of these films because the primary sources—the films themselves—are lost, Ball, working from the knowledge that the films were, in the main, transcriptions of either the stage revivals or Tree's roles, reconstructed their contents by culling mostly from theatrical documents such as reviews and programs and augmenting these with rare descriptions or photographs from the films whenever available.
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Mellen, Joan. "Treasures III: Social Issues in American Film, 1900––1934." Film Quarterly 61, no. 2 (2007): 10–17. http://dx.doi.org/10.1525/fq.2007.61.2.10.
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ABSTRACT This review essay of a National Film Preservation Foundation archival DVD boxed set of fiction and non-fiction films from the Progressive era emphasizes the underlying optimism about the future that is discernible even in those films that treat harrowing subjects (such as social deprivation, violence, and industrial exploitation).
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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.
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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.