Artículos de revistas: "Cooperative cinema"

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Mendez, Jose Carlos. "Toward a Political Cinema: The Cooperative of Marginal Cinema". Wide Angle 21, n.º 3 (1999): 42–65. http://dx.doi.org/10.1353/wan.2003.0009.

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Laine, Kimmo. "Did television kill cinema? Contemporary writings on film and early television in Finland". Journal of Scandinavian Cinema 13, n.º 1 (1 de marzo de 2023): 83–89. http://dx.doi.org/10.1386/jsca_00083_1.

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The aim of this article is to survey and re-examine writings on the emergence of television in Finnish film journals and newspapers in the 1950s and early 1960s. While film history has typically pictured film and television mainly as rivals, here the relation is discussed in terms not only of competition but also of interaction and cooperation. I classify the early writings into three groups according to the mode with which the relations between television and cinema are discussed: separationist, protectionist and cooperative. Based on this classification, I argue that it was only after 1963 that the narrative about television taking over – or, indeed, killing – cinema was retroactively established.

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Berzosa, Alberto y Jaime Vindel. "Militant cinema as an energetic alternative in the 1970s in Spain". Moving Image Review & Art Journal (MIRAJ), The 11, n.º 2 (1 de septiembre de 2022): 166–88. http://dx.doi.org/10.1386/miraj_00093_1.

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This article will examine the significance of the alternative film scene, as seen in the Spanish militant cinema of this period, through an analysis of the film Les energies (‘The energies’) (1979–80) by the Cooperativa de Cinema Alternatiu (CCA – Alternative Cinema Cooperative) that helped to trigger the debate on the energy question in Spain in the late 1970s and early 1980s. The militant Spanish cinema of that time was produced in some exceptionally precarious conditions as well as had limited access to financial resources and remained marginal to official film industry systems. The article will discuss how these production conditions led the CCA to adopt a specific material filmmaking mode with a low ecological impact. Emerging as a consequence of a production context marked by precariousness and (semi-)clandestinity, it was a mode of production developed in parallel to the rise of environmental awareness in Spain, which had – as the first part of this article explores – a decisive influence on the CCA. In turn, as the article goes on to discuss, the environmentalist discourse would itself end up determining the narrative content of one of the CCA’s most important films, Les energies.

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Dianova, E. V. "Film work of the Samara Provincial Community of Consumer Cooperatives in 1926–1928". Vestnik of Samara University. History, pedagogics, philology 29, n.º 3 (24 de octubre de 2023): 32–39. http://dx.doi.org/10.18287/2542-0445-2023-29-3-32-39.

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The article deals with the film work of the Samara Provincial Community of Consumer Cooperatives in 1926–1928. The relevance of the research topic lies in the fact that, using the example of the activities of the regional cooperative union for film services to the population, it is possible to identify social factors and mechanisms of sociocultural dynamics. As a source, the materials of the magazines «Sower of Truth» of the Samara Provincial Community of Consumer Cooperatives and «Cooperative Way» of the Middle Volga Regional and District Union of Consumer Cooperatives were used. The magazines published announcements of films, announcements about the route of film shifts, instructors’ reports on film flights, and reviews from viewers. The main scientific problem is to study the ways of organizing cinema services and the results of the work of cooperative movements of the Samara Provincial Union of Consumer Cooperatives. The research methodology is based on the theory of communication. For an objective quantitative analysis of the content of communication, content analysis is used. Narrative, historical-genetic, historical-comparative, typological methods of scientific knowledge were also used. In the course of the study, it was possible to find out that the Samara cooperators used a competent strategy to attract viewers, relying on active shareholders who fully paid their share contributions, subscribers of the Sower of Truth magazine. During film screenings, before and after the films were shown, new members of the cooperatives and subscribers of the Sower of Truth magazine were recruited, and share contributions were accepted. This policy of the Gubernia Union provided a return on the rental of tapes and film flights. The organization of movie nights was linked to various socio-political and cooperative educational campaigns.

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Roque, Rosemarie O. "Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil". Plaridel 15, n.º 2 (diciembre de 2018): 71–112. http://dx.doi.org/10.52518/2018.15.2-03roque.

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Sineng Bayan (People’s Cinema) is a salient part of Philippine alternative cinema, which is in stark contrast to the dominant commercial cinema. It is an important aspect in the pursuit of a more serious Philippine cinema. Political film collectives that arose in the early 1980s and flourished during the Marcos dictatorship gave way to Sineng Bayan. This article focuses on the archival audiovisual works of AsiaVisions Media Foundation (AVMF), a non-government organization which primarily utilized film documentaries in its propaganda-education work, and Alternative Horizons (AlterHorizons), the first media cooperative in the country. This study on Sineng Bayan and the Archives forwards the discourse on film as an effective cultural weapon of the Filipino people in their struggle for national freedom and genuine democracy. Capturing the people’s experiences and struggles through audio-visual presentations, videos, and films, the works of these political film collectives are part of the collective memory and documentary heritage of the country.

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Buder, Bernd. "‘Georgian Film Is a Completely Unique Phenomenon.’ A Film Scene with History, or Georgian Cinema in the Emancipation Loop". Südosteuropa 66, n.º 3 (25 de septiembre de 2018): 426–40. http://dx.doi.org/10.1515/soeu-2018-0032.

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Abstract With a view of Georgian cinema under the current spotlights of various international film festivals, the author reviews the state of the art of Georgian film production, linking it to the impressively long history of Georgia’s cinematographic production. Recently, a targeted film promotion policy has focused on international co-productions and on fostering cooperative ventures with European partners. Among the young filmmakers a remarkably large proportion are female.

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Győri, Zsolt. "Crisis, Sociology and Agency in 1970s Hungarian Documentary Cinema". Acta Universitatis Sapientiae, Film and Media Studies 21, n.º 1 (1 de julio de 2022): 146–70. http://dx.doi.org/10.2478/ausfm-2022-0006.

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Abstract This article explores synergies between Hungarian critical sociology in the 1960–70s and the documentary films made in Balázs Béla Stúdió in the same period. It treats the rationalization of social phenomena as a battle ground for meaning and claims that both representatives of the social sciences and filmmakers, on the one hand, called upon deficient social mechanisms and the inner contradictions of existing socialism and, on the other hand, pointed to the discrepancy between ideological and empirical perceptions of reality as the root cause of the crisis characterizing the consolidated Kádár regime. Adopting Clifford Geertz’s conceptual matrix of the experience-near and the experience-distant production of social meaningfulness, the article explores how sociologists and makers of sociographic documentaries alike resisted the prevailing epistemic regime, more specifically how they punctured and undermined the ideological meanings of such concepts as maternity, the Romani, and cooperative democracy.1

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Xu, Yongrui y Peng Liang. "A Cooperative Coevolution Approach to Automate Pattern-based Software Architectural Synthesis". International Journal of Software Engineering and Knowledge Engineering 24, n.º 10 (diciembre de 2014): 1387–411. http://dx.doi.org/10.1142/s0218194014400130.

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To reuse successful experience in software architecture design, architects use architectural patterns as reusable architectural knowledge for architectural synthesis. However, it has been observed that the resulting architecture does not always conform to the initial architectural patterns employed. Architectural synthesis using architectural patterns is also recognized as a challenging task, especially for novice architects due to lack of experience. In this paper, we propose a cooperative coevolution approach to automate architectural synthesis using architectural patterns. We first analyze several common architectural patterns and the constraints when using them. We then extend existing architectural synthesis activity with patterns based on the results of this analysis. Finally, we map the extended architectural synthesis to a cooperative coevolution model, which can optimize the resulting architectural solutions and avoid the violations to the pattern constraints automatically. We evaluate the proposed approach through a case study: architecture design of a cinema booking system. The results show that the proposed approach can generate architectural solutions which are closer to the expert design.

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Botella-Martinez, Maria y Rebeca Cristina López-González. "Intercultural Cinema to Foster Education for Sustainable Development and Global Citizenship: a Didactic Case Study". Journal of Literary Education, n.º 7 (30 de diciembre de 2023): 204. http://dx.doi.org/10.7203/jle.7.27486.

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Abstract As societies evolve, a new global context is rising which demands respect for human rights and a new model for coexistence as promoted and defended by the 2030 Agenda from the United Nations. These necessary new models, which include Education for Sustainable Development and Global Citizenship, can be learnt through films since some of these visual materials constitute a useful training tool when related to the acquisition of values. This article is aimed at evidencing how the introduction of intercultural cinema as a pedagogical tool to learn about unknown social issues, foreign cultures and people enhances student’s communication, cooperative skills and motivation. To accomplish this objective a didactic experience shared by Secondary Education Students shall be presented. As a result, an increase in student’s motivation to learn more about mixed opinions, languages, cultures, actions and reactions has been observed. Key words: ESL, cinema for education purposes, Education for Sustainable Development and Global Citizenship, communicative competence, interculturality. Resumen A medida que las sociedades evolucionan, surge un nuevo contexto global que exige el respeto de los Derechos Humanos y un nuevo modelo de convivencia como el que promueve y defiende la Agenda 2030 de Naciones Unidas. Estos nuevos modelos necesarios, que integran la Educación para el Desarrollo Sostenible y la Ciudadanía Global, se pueden asimilar a través del cine, ya que algunos de estos materiales audiovisuales constituyen una herramienta de formación útil cuando se enfoca en la adquisición de valores. Este artículo tiene como objetivo evidenciar cómo la introducción del cine intercultural como herramienta pedagógica para aprender sobre temas sociales desconocidos, culturas y personas extranjeras mejora la comunicación, las habilidades cooperativas y la motivación del estudiantado. Para lograr este objetivo se presentará una experiencia didáctica compartida por estudiantes de Educación Secundaria. Como resultado, se ha observado un aumento en la motivación de los estudiantes para aprender más sobre opiniones, idiomas, culturas, acciones y reacciones encontradas. Palabras clave: inglés como segunda lengua, cine con fines educativos, Educación para el Desarrollo Sostenible y la Ciudadanía Global, competencia comunicativa, interculturalidad. Resum A mesura que les societats evolucionen, sorgeix un nou context global que exigeix el respecte dels drets humans i un nou model de convivència com el que promou i defensa l'Agenda 2030 de les Nacions Unides. Aquests nous models necessaris, que integren l'Educació per al Desenvolupament Sostenible i la Ciutadania Global, es poden assimilar a través del cinema, ja que alguns materials audiovisuals constitueixen una eina de formació útil quan s'enfoca en l'adquisició de valors. Aquest article té com a objectiu evidenciar com la introducció del cinema intercultural com a eina pedagògica per aprendre sobre temes socials desconeguts, cultures i persones estrangeres millora la comunicació, les habilitats cooperatives i la motivació dels estudiants. Per assolir aquest objectiu, es presentarà una experiència didàctica compartida per estudiants d'Educació Secundària. Com a resultat, s’ha observat un augment en la motivació dels estudiants per aprendre més sobre opinions, idiomes, cultures, accions i reaccions trobades. Paraules clau: anglès com a segona llengua, cinema amb finalitats educatives, Educació per al Desenvolupament Sostenible i la Ciutadania Global, competència comunicativa, interculturalitat.

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10

Stjernholm, Emil. "Visions of Post-independence India in Arne Sucksdorff’s Documentaries". BioScope: South Asian Screen Studies 8, n.º 1 (junio de 2017): 81–102. http://dx.doi.org/10.1177/0974927617699648.

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This article studies two post-war documentary films set in India, Indian Village (1951) and The Wind and the River (1953), directed by the celebrated Swedish filmmaker Arne Sucksdorff. While many scholars have studied these films in relation to Sucksdorff’s biography and Swedish national cinema, less emphasis has been placed on these Indian documentaries in relation to other international documentary work that took place in India during the post-independence period. The excursion to India took place on commission from the Swedish Cooperative Union and Wholesale Society and therefore the films are studied in relation to Charles R. Acland and Haidee Wasson’s notion of “useful cinema.” In doing so, this article emphasizes the didactic ideas behind the production of sponsored film and the way in which ideas of the welfare state were projected onto post-independence India. Reading these documentaries against the grain, this article also addresses the question of how these films affected the authorial discourse surrounding Arne Sucksdorff and conversely what impact his films had among critics and filmmakers in India.

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Lee, Yunhee y Paul Cobley. "Peirce’s diagrammatic reasoning and the cinema: Image, diagram, and narrative in The Shape of Water". Semiotica 2020, n.º 236-237 (16 de diciembre de 2020): 29–46. http://dx.doi.org/10.1515/sem-2019-0025.

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AbstractThis article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love.

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Syam, Shafira Fa Izuniar. "The Meaning of Marriage on Film: Analysis of Film 'Teman Tapi Menikah 2". Jurnal Media dan Komunikasi 2, n.º 1 (26 de octubre de 2021): 41. http://dx.doi.org/10.20473/medkom.v2i1.29588.

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This study focuses on the meaning of marriage which is represented in the film Teman Tapi Menikah 2 (2020) directed by Rako Prijanto. The divorce rate in Indonesia is increasing sharply, according to data from the Central Bureau of Statistics, it was recorded that 5.89% of the total 67.2 million household couples have divorced in 2015. In 2020, the number of divorce case has increased to 6.4% from 72.9 million married couples. Marriage it seems doesn’t look promising in the society. This high percentage of divorced coupled reflects the changes of social discourse on marriage in the society. However, this phenomenon seemingly hasn’t reflected in the cinema, while many films portray marriage in their narratives. Thus, it is interesting to explore how marriage has been represented in the cinema. This paper explores film Teman Tapi Menikah 2 (Friend but married 2), aiming to provide insight and cinematic representation about marriage by using descriptive qualitative. This research utilizes Tzvetan Todorov's narrative analysis as a technique to analyze the content of the film and find the meaning of marriage in the narrative. This paper relies on representation theory as a form of the theoretical basis of this research. The analysis is carried out by describing the storyline in the film, which will be divided into three parts according to the structure of Tzvetan Todorov's narrative analysis. They are the initial phase of marriage - marriage conflict - conflict resolution. This research finds that the film Teman Tapi Menikah 2 articulated a marriage is a form of a cooperative relationship between husband and wife that runs in a balanced and harmonious manner according to their respective roles and portions, with the aim of creating and build a harmonious family, both in parent-child relationships, as well as husband and wife themselves.

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Qin Xie, Qin Xie. "Construction of Personalized Movie Recommendation Model Relying on Recurrent Neural Network". Journal of Electrical Systems 19, n.º 4 (25 de enero de 2024): 159–77. http://dx.doi.org/10.52783/jes.630.

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Recommendation system and classification machine learning techniques have emerged as a major area of investigation into the issue of information overload. Software tools called "recommender systems" aim to help users make informed choices about services. This paper developed a low-dimensional embedding in which a limited number of features can be used to represent the data object. For the purpose of acquiring the low rank latent factors, matrix factorization techniques have received a lot of attention. The proposed model is stated as the Collaborative Filtering Machine Learning (CFML) for the multi-label classification are focused. In most extreme edge lattice factorization plan of cooperative sifting, appraisals framework with different discrete qualities is treated by uncommonly stretching out pivot misfortune capability to suit numerous levels. The comparative analysis is performed for the two-class classifier into a single multi-class classifier. Alternately, multiple two-class classifiers can be arranged in a hierarchical fashion to create a multi-class classifier. To deal with the ordinal rating matrix's completion. The performance of the CFML model is effective for the recommendation system design. Through automatic feature extraction and pattern recognition, deep learning models excel at capturing intricate relationships and latent factors that underlie user preferences. The paper discusses the multifaceted considerations that these systems can incorporate, such as genre, cast, director, viewer ratings, and individual viewing history. Simulation analysis examine the impact of deep learning-based movie recommenders on streaming platforms and the entertainment industry, demonstrating their ability to not only suggest movies but to curate a personalized journey through the world of cinema.

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Pomar Tojo, Carmen Mª, Guillermo Calviño Santos, Andrea Irimia Nores, Luis Rodríguez Cao y Laura Reyes Quintela. "LOS PROGRAMAS DE ENRIQUECIMIENTO: DESARROLLO INTEGRAL DE LAS ALTAS CAPACIDADES". International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 6, n.º 1 (12 de enero de 2017): 27. http://dx.doi.org/10.17060/ijodaep.2014.n1.v6.714.

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Abstract."ENRICHMENT PROGRAMS: COMPREHENSIVE DEVELOPMENT OF HIGH ABILITY"A satisfactory response to the unique needs of high ability students is an ongoing concern for education professionals. The educational intervention offers possible answers, including enrichment, which aims to provide more depth and richness in learning through the change in the depth of content and methodology. The project is a QVO extracurricular enrichment program, by expanding knowledge, developing strategies and skills, and promoting various attitudes, especially those related to socialization and affection. In QVO intellectual potential is stimulated, cooperative attitudes, social and communication skills, emotional intelligence and team work. Taking cinema as an educational tool, QVO provides a space for innovative learning opportunities and collaborative creation.Keywords: Educational Intervention, High Abilities, Enrichment, Emotional Intelligence, Team work.Resumen.La respuesta satisfactoria a las necesidades únicas de los alumnos con altas capacidades es una preocupación constante para los profesionales de la educación. La intervención educativa nos ofrece alternativas de respuesta, entre ellas el enriquecimiento, encaminado a ofrecer aprendizajes más ricos y variados a través de la modificación en la profundidad del contenido y de la metodología empleada. El proyecto QVO es un programa de enriquecimiento extracurricular, supone la ampliación de conocimientos, el desarrollo de estrategias y destrezas, y la promoción de actitudes diversas, especialmente las referidas a la socialización y a la afectividad. En QVO se estimula el potencial intelectual, las actitudes de cooperación, las habilidades sociales y de comunicación, la inteligencia emocional y el trabajo en equipo. Tomando el cine como vía e instrumento educativo, QVO proporciona un espacio de novedosas oportunidades de aprendizaje y de creación colaborativa.Palabras clave: Intervención Educativa, Altas Capacidades, Enriquecimiento, Inteligencia Emocional, Trabajo en Equipo.

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Staiger, Janet. "Speculating about Spectatorship". Projections 14, n.º 2 (1 de junio de 2020): 75–80. http://dx.doi.org/10.3167/proj.2020.140207.

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Todd Berliner’s Hollywood Aesthetic: Pleasure in American Cinema (2017) offers useful broad theoretical arguments about how to understand our pleasures in viewing cinema. Yet, moving to individual cases requires recognizing the historical conditions of spectatorship including contemporaneous ideological issues, levels and types of knowledges, and cooperation (or non-cooperation) by a spectator.

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Algarra Navarro, Ana. "“Primus inter pares: Fazendo os filmes ou distribuindo-os, éramos todos iguais”: Práticas e discursos da Cooperativa de Cinema Alternatiu (Catalunha, 1975-1981)". Aniki: Revista Portuguesa da Imagem em Movimento 11, n.º 1 (29 de enero de 2024): 132–54. http://dx.doi.org/10.14591/aniki.v11n1.1016.

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O objetivo principal deste texto é dar um primeiro passo na análise das práticas e dos discursos do grupo catalão de produção de cinema militante, Cooperativa de Cinema Alternatiu (CCA), sempre dentro do seu contexto histórico e cinematográfico – a transição para a democracia no Estado espanhol dos anos 70 e 80, e o cinema militante –, colocando especial ênfase na conceção da produção cinematográfica como arma de intervenção política. A análise baseia-se em diversas fontes para reconstruir a história da cooperativa e os seus discursos, começando com as experiências coletivas anteriores que condicionaram o aparecimento da CCA, passando pela sua reestruturação produtiva, e finalizando com a sua gradual desintegração e desaparecimento após a chegada da democracia.

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Belova, Ekaterina. "The regional cooperation in cinema industry of Iberoamerican countries". Latinskaia Amerika, n.º 2 (2022): 79. http://dx.doi.org/10.31857/s0044748x0018355-9.

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Iberoamerican countries have been developing regional integration in cinema industry since 1960. The advantages of the integration were the reduction of the cost of producing films and the expansion of their distribution in local film markets. The fund for financing the production of films that has the longest history and the most widespread recognition in this region is the Ibermedia program, which has been functioning since the end of the 20th century. The article analyses the structure of film distribution of Iberoamerican countries: at the beginning of the XXI century the share of films produced by the USA in cinema was an average of 84%. The low representation of Iberoamerican films is partially compensated by Ibermedia-TV, which collects up to 500 million views. In contrast to the expansion of American film producers, the countries of the region are developing co-production (mainly with each other) under the Ibermedia program. The co-production leads to the growth of the cinema industry in Colombia and Chile. Co-production also plays the key role in both the production and distribution of films for the worldwide noticeable leaders of the region – Argentina, Brazil, Spain, Mexico. The main contribution to the development of cinema industry in Iberoamerica is the regional integration driven by Ibermedia.

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RAZLOGOV, KIRILL E. y EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT". ART AND SCIENCE OF TELEVISION 17, n.º 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.

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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.

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Konkin, А. y I. Romanova. "CINEMA AS A PROMISING AREA FOR THE DEVELOPMENT OF THE POLITICAL AND CULTURAL DIALOGUE OF THE BRICS COUNTRIES". Transbaikal State University Journal 27, n.º 5 (2021): 68–78. http://dx.doi.org/10.21209/2227-9245-2021-27-5-68-78.

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The article is devoted to the current state and prospects of cooperation between the BRICS countries in the field of cinema. The forms of cooperation are presented through the prism of the formed experience, the architecture of the modern system of international relations, the processes of globalization, the actual search for new ways to improve the development strategy. Today, the search for new ways to improve the development strategy and strengthen the overall potential of “soft power”is extremely important for the BRICS members. The first meeting of the BRICS Ministers of Culture, held in June 2015 in Moscow and the draft agreement on cooperation in the field of culture adopted at it, are considered as a starting point for actions on cooperation in cinematography in the aspect of transmitting universal and national values to the world community through the art of cinema. During the meeting, the organization outlined the most promising trajectories of cooperation between the countries, and cooperation in the field of cinema was highlighted as one of the most promising areas. The research focus of this article is to analyze the external pressure factors that encourage BRICS participants to cooperate in the field of cinema, to examine in detail the experience of countries in organizing media platforms for showing films, as well as to predict the prospects for cooperation between the BRICS countries in the field of film production. From the perspective of prospects, the article analyzes such forms of partnership as the formation of the film market, the development of the film business, the creation of professional personnel exchange programs, a joint repository of media materials, international agencies and foundations, holding film festivals, discussions, symposiums, etc. One of the promising areas for developing cooperation between the BRICS countries in the field of cinema is the creation of a single database of actors. Such a project can significantly facilitate the search for the necessary types of directors from the BRICS countries. The participants confirmed their readiness to strengthen and expand cooperation within the framework of BRICS. For this purpose, a BRICS Working Group on Culture will be established, whose members will annually exchange information on multilateral cultural cooperation, as well as inform each other about upcoming large-scale events that will be held in their countries

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MELTEM, TEKEREK. "CINEMA IN TURKISH-SOVIET RELATIONS IN THE ATATURK PERIOD". History and Modern Perspectives 2, n.º 1 (30 de marzo de 2020): 31–37. http://dx.doi.org/10.33693/2658-4654-2020-2-1-31-37.

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Cinema had been found at the end of the 19th century. The first cinema shows in the Ottoman Empire and the Russian Empire had been held in 1896. Since the beginning of the 20th century, cinema, which was an effective tool in propaganda, had some experiences until the end of the First World War. After the war, developments in international relations brought Turkey and Soviet Russia closer together. Thus, good relations that started in 1919 will have been continued for a long time. During this period, cinema was used by the Bolsheviks in Russia about realizing the objectives of the regime, and this experience affected Turkey. Therefore, one of the issues which mentioned in the relations between the two countries was the cinema. Turkey wanted to benefit from propaganda and indoctrination power of cinema in Atatürk period dominated by the friendly relations between the two countries. This study aims to examine how cinema reflected on the relations between the two countries during the Atatürk period. It has been seen that cinema had an important status in relations between Turkey and Soviet Russia. The interaction on cinema started in the 1920s and continued in the 1930s. Although the cooperation continued between the two countries about the cinema, Turkey had been sensitive to any threat to the regime which could be coming from the Soviet Union in this process.

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Pułka, Leszek. "Kino, czyli świat. Recenzja książki "KINtop. Antologia wczesnego kina", red. Andrzej Dębski i Martin Loiperdinger, Wrocław 2016, część I, ss. 452, część II, ss. 452". Studia Filmoznawcze 40 (27 de junio de 2019): 237–41. http://dx.doi.org/10.19195/0860-116x.40.19.

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Cinema or the world. Review of the book Kintop. Antologia wczesnego kina, ed. By Andrzej Dębski and Martin Loiperdinger, Wrocław 2016, Part I, 452 pp., Part II, 452 pp.The texts included in the anthology edited by Andrzej Dębski and Martin Loiperdinger were chosen from the yearbooks of KINtop of the period 1992–2013. They show the change of the cinema paradigm and the most important tendencies of the media and cultural modernism turn. Both volumes fill the cognitive gap in the Polish film studies. They bring out the value of the Polish–German scientific cooperation of authors and they present the state of researches of the so-called early cinema. Apart from the treatises on the phenomenon of film the book consists of some articles on institutions of the early cinema, on the evolution of film forms — from short-feature movies to full-length ones, on the changes of esthetics, on the connection of picture and sound, cinema and literature and also on the glocalization of cinema. The book gives the panoramic view, which is methodologically inspiring and cognitively brilliant.

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Melnychenko, Svitlana, Anatolii Mazaraki, Nadiia Vedmid, Alla Okhrimenko y Aliona Shtanova. "Communication policy of cinema industry enterprises in the context of COVID-19 (on the example of cinema chains)". Innovative Marketing 17, n.º 2 (7 de junio de 2021): 112–24. http://dx.doi.org/10.21511/im.17(2).2021.11.

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The global pandemic caused a crisis in the Ukrainian cinema industry. Some entities were closed, but the biggest market players were able to concentrate their efforts on interacting with visitors through social networks, public attention, frequent press mentions and discussions of influencers as synergies of communication policy tools. The purpose of the paper is to make proposals for improving the communication policy of cinema chains under new challenges. Based on a system analysis and indices of activity in social media of ten key Ukrainian cinema chains during the COVID-19 period, the main trends of their behavior and vision of development were determined. Changes were detected in the product strategy. To increase the effectiveness of communication policy, a focus should be on enhanced communications with consumers, especially through the implementation of a content-plan for publications on Facebook and Instagram, including facts from the lives of actors or filmmaking process, uniting followers around the filming theme, interacting, etc. Based on the above, the proposals are made to strengthen communication policy: activating posting frequency, generating more interesting content, and focusing on engaging with the followers. It turned out that such changes affect the key quality efficiency of social media marketing in two cinema chains. Such events rebuild the online community of moviegoers, which fosters loyalty and increases in visitors in the post-pandemic period. In this context, the implementation of online cinema in cooperation with distributors will contribute to formatting an online platform aimed at attracting a larger number of consumers, regardless of external circumstances.

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Alicata, Maria. "Tra intimità e ricerca di sé: Pia Epremian e il cinema sperimentale in Italia tra gli anni Sessanta e Settanta." Boletín de Arte, n.º 40 (28 de noviembre de 2019): 245–53. http://dx.doi.org/10.24310/bolarte.2019.v0i40.5703.

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Il saggio vuole approfondire alcuni aspetti specifici della filmografia di Pia Epremian De Silvestri filmmaker nata a Chivasso in provincia di Torino nel 1942. Attraverso l'analisi dei suoi film è possibile ripercorrere la vicenda del cinema sperimentale in Italia che fiorisce nella seconda metà degli anni Sessanta epoca che vede nascere spazi di condivisione e collaborazione: collettivi di artisti, di cineasti come la Cooperativa Cinema Indipendente (1967-1971), di studenti, di femministe. Tra le poche donne filmmakerattive in quel periodo, i suoi lavori rispecchiano la ricchezza di questo momento storico tra produzione e sperimentazione artistica, dove la dimensione soggettiva e personale è predominante. Si tratta di un cinema girato in prima persona che caratterizza la sua produzione e che ha contribuito alla creazione di una nuova identità femminile.

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Kempna-Pieniążek, Magdalena. "Niedokończona konkwista. O niezrealizowanym projekcie filmowym Wernera Herzoga". Prace Kulturoznawcze 22, n.º 3 (7 de mayo de 2019): 41–52. http://dx.doi.org/10.19195/0860-6668.22.3.4.

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Unfinished conquest. On Werner Herzog’s unmade film projectThe paper shows Werner Herzog’s unmade project The Conquest of Mexico in the context of the director’s complex relations with mainstream cinema. The film which was supposed to initiate closer Werner Herzog–Francis Ford Coppola cooperation with time became known as one of cinema’s “unfinished masterpieces”. Trying to pinpoint the causes of the project’s failure, the author of the paper analyses the status of European auteur in contemporary Hollywood. One of the main contexts of the analysis is Indiewood, where the influence of mainstream cinema meets the potential of independent cinema and where such directors as Werner Herzog may find their place without the necessity of abandoning their artistic visions.

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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, n.º 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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Yeremenko, Evgenii Dmitrievich y Zoya Vyacheslavovna Proshkova. "Редакторская практика в киносотрудничестве Советского Союза и Японии". Vestnik of Saint Petersburg State University of Culture, n.º 4 (53) (diciembre de 2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-4-18-23.

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The ideological and cultural context of Soviet-Japanese cinematographic contacts is determined by the activities of foreign film editors. The front of the work of representatives of this profession is selection, literary translation, dubbing, and in some cases – abbreviations, remounting of Japanese films for Soviet rental. Despite the «alien lifestyle», Japanese films were not just exotic «land of the rising sun», but also a kind of interpretation of European and American cultures in different genres: post-neorealist drama («Naked Island», «Red Beard»), sports film («The Genius of Judo»), film catastrophe («The Death of Japan», «The Legend of the Dinosaur»), children’s animation («Puss in Boots»). Joint film productions with Japan are especially noteworthy for the domestic cinema of the 1970s and 80s. The artistic space of these works is presented in the form of a historical drama («Dersu Uzala»), a melodrama («Moscow, my love», «Melodies of the White no-chi»), an animated fairy tale («The Adventures of the Penguin Lolo»). The Soviet Japanese co-production remains a historical example of a creative compromise between states with diverse types of social devices.

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Golovnyov, Ivan Andreyevich. "The Great Kamchatka Expedition". Journal of Flm Arts and Film Studies 5, n.º 1 (15 de febrero de 2013): 18–28. http://dx.doi.org/10.17816/vgik5118-28.

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Russian ethnographic cinema has over a hundred-year history of bright names and classical films. The peak of the ethnographic cinema was in the late 1920s-early 1930s, which was connected with the government order for ‘uniting’ the USSR peoples on the screen. Professional scientists took an active part in the production of the first ethnographic films. The most significant example of such cooperation is the mutual work of the explorer V.K. Arsenyev and the filmmaker A.A. Litvinov in creating films about the nations of the Far East.

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Laviosa, Flavia. "Intersections between Italian and Slavic cinemas". Journal of Italian Cinema & Media Studies 11, n.º 3 (1 de junio de 2023): 417–21. http://dx.doi.org/10.1386/jicms_00188_2.

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The purpose of this issue is to explore the encounter between Italy and Central, Eastern and Southeastern Europe and Russia during and after the Soviet period, as well as the fervid cooperation and fruitful co-productions between the film industries in this vast geographic region. More specifically, this Special Issue covers the following topics: the reception of neorealist films in Slavic countries and the influence of neorealism in Slavic cinema, the links between Italian political cinema and Slavic media, the presence of popular Italian genres of television shows and series in these geographical areas, transnational stardom in cinema and television, co-productions and their adaptation to the needs of national film and television markets, Soviet–Italian film institutional exchanges and co-productions and Italian film festivals in Russia and Italy.

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Олена Василівна Цимбалюк. "POLISH CINEMA AND ACTORS IN SOVIET REALITY". Intermarum history policy culture, n.º 5 (1 de enero de 2018): 263–72. http://dx.doi.org/10.35433/history.111819.

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The article considers the preconditions and distribution of Polish cinema in the Soviet Union in the second half of the 60’s – the first half of the 80’s of the XX century. The paper states that the Soviet authorities used cinema as a means of influencing the society, propagating the values and ideals of the Communist Party. It is noted that the spread of Polish cinema was facilitated by the state policy of cooperation with socialist Poland, but only within the limits set by the Soviet state censorship. The restrictions were imposed on the films presenting alternative interpretation of the history of Soviet-Polish relations, religious and mystical subjects, as well as approval of the creative activity of film directors who emigrated to the West. The content and distinctive features of such artistic movements in Polish cinema of the socialist era as «Polish cinema school» (1956-1961) and «cinema of moral anxiety» (1975-1981) are disclosed. The examples of Polish films which appeared in Soviet cinema during the period from 1964 to 1985 are provided, taking into account their genre classification. Based on the reviews, it is determined that Polish films aroused interest among Soviet audience and film critics. The representatives of the Polish acting school became very popular, and Soviet film directors began to extensively shoot actors from Poland in their films. Polish actors have become real idols for ordinary movie viewers. They imparted the appearance of their favorite film characters in everyday life, copying their hairstyles, clothes, behavior, and the like.

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30

Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film". Journal of Flm Arts and Film Studies 7, n.º 2 (15 de junio de 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.

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31

Pohrebniak, Halyna. "Ukrainian cinematography in the context of intercultural cooperation". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, n.º 43 (20 de octubre de 2023): 97–110. http://dx.doi.org/10.14746/i.2023.34.43.6.

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The article describes the production and distribution of Ukrainian films and establishes scientific guidelines that will contribute to a comprehensive analysis of Ukrainian cinema in the intercultural space. An analytical method was used to develop this topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the author used the methods of systematization and generalization to argue for the originality of Ukrainian cinematography and its place in modern culture-creating processes. The scientific novelty of the study is that it describes the work of film directors whose films were created as international projects.

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Yudin, Kirill. "Cinema politics and ideology of the USA during the Cold War". OOO "Zhurnal "Voprosy Istorii" 2020, n.º 12-1 (1 de diciembre de 2020): 84–97. http://dx.doi.org/10.31166/voprosyistorii202012statyi07.

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The article analyzes the specifics of American ideology and cultural space, its influence on the activities of state and public institutions, the position of representatives of the theater and cinema corporation in the United States under conditions of control and censorship, propaganda pressure. Conclusions are drawn about the consequences of forced segregation of filmmakers into «friends» and «strangers» - the need to adapt in an atmosphere of «cold» information and ideological challenges, the examination of media-texts (films) and their images for political reliability. The ambiguity and inconsistency of cinema policy, allowing the realization of opportunities for legal cooperation and interaction with the opposition, is shown.

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Egorova, Tatiana Konstantinovna. "Soviet Cinema Music. The Second Generation – Composers of the Sixties". Pan-Art 1, n.º 2 (2021): 34–44. http://dx.doi.org/10.30853/pa20210008.

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The paper attempts to analyse the results of the activities undertaken by the generation of composers of the Sixties in cinema. The aim of the study is to identify the specifics of the Soviet school of cinema music, the core of which included the brightest and most extraordinary representatives of the Russian musical avant-garde who achieved fame and world recognition in various fields of academic and experimental music of the post-war period. The scientific novelty lies in understanding, both in each specific case and in general patterns, the degree of mutual influence of cinema, focused on the perception of the mass audience, on the one hand, and the manifestations of creative individuality of the composers, on the other hand. As a result of the study, the author comes to the conclusion that due to the effective creative activities of the composers of the sixties, the tradition of cooperation of Soviet cinematographers with the most talented and highly professional musicians was preserved for several years, which would not allow the Soviet school of cinema music to descend to the level of standardised narrative soundtrack.

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Köksal, Selma. "Pioneering "Experimental Heroes" of Turkish Cinema". CINEJ Cinema Journal 11, n.º 2 (20 de diciembre de 2023): 177–99. http://dx.doi.org/10.5195/cinej.2023.548.

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While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayurt Oteli-Ömer Kavur-hero: Zebercet, Uzak-Nuri Bilge Ceylan-hero: Mahmut), which were shot in a realistic theme, and to reveal how they developed their heroes and what kind of experience they offered to the audience with the heroes they presented, starting from the literary narrative genre Epos. Based on the concept of objectivity, the presentations of the heroes were examined by using the cinema's own language and forms with the cooperation of the screenwriter-director.

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Raudino, Giuseppe. "Questions of transnational cinema: the Baltic case from culture to branding". Romanian Journal for Baltic and Nordic Studies 7, n.º 2 (15 de diciembre de 2015): 103–24. http://dx.doi.org/10.53604/rjbns.v7i2_8.

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Although Baltic Cinema is nowadays acclaimed as an industry full of great potential, its international success is still dependent on – and limited by – some factors that are worth being explored. It is undeniable that huge efforts have been made in the past years with regards of cooperation beyond the national borders of the involved countries, promoting transnational productions, festivals and debates; though, it seems that Baltic Cinema as a unity, model, or even genre, is not yet achieved. The paper aims to explore – starting from the cultural, economic and political diversity of the players – the reasons why the works produced within this area are not always perceived as parts of the same cinematographic paradigm. In fact, the idea of Baltic Cinema as a whole clashes with a plethora of different interpretations and perspectives, so that it is possible to distinguish in the first place between narrow and broad acceptations of the adjective Baltic and the geographical range it stands for. Furthermore, the paper presents a reflection on some concepts and common habits typical of the mainstream cinema industry, such as product placement, synergy, cross-media entertainment, in relation to their presence in the Baltic film production (or the lack thereof). The ultimate goal of the paper is to provide the reader with some elements that might be useful to characterize, (re)define and come up with a preliminary idea about Baltic Cinema as a profitable, internationally appealing and unique brand.

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Crusafon-Baqués, Carmina. "Euro-Latin-American Audiovisual Space: Cinema as the Backbone of Supranational Cooperation". Anàlisi, n.º 41 (11 de febrero de 2011): 27. http://dx.doi.org/10.7238/a.v0i41.1190.

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Nefedova, Darya N. "Destiny of Indian Cinema in Russia". Journal of Flm Arts and Film Studies 8, n.º 4 (15 de diciembre de 2016): 66–74. http://dx.doi.org/10.17816/vgik8466-74.

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The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.

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Riabov, Oleg. "The Enemy with Human Face? Rehumanization of the Images of Americans in the Soviet Thaw Cinema". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, n.º 1 (marzo de 2024): 6–15. http://dx.doi.org/10.15688/jvolsu4.2024.1.1.

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Introduction. The article focuses on the changes that happened in the portrayal of U.S. characters in Soviet Thaw cinema. The contribution of the article in the field of cultural Cold War is threefold: for the first time, it studies the American characters’ images through the prism of the concept of rehumanization; establishes common and particular traits of deconstruction of the image of the enemy in Soviet and American cinema; and introduces new materials into scientific circulation. The materials consist of the movies on which Soviet cinematography worked in the early 1960s; reviews in film magazines; and archival data of discussions on movies and their scenarios that took place in film studios. Analysis. Specifics of the dehumanization of ‘enemy number one’ in Soviet cinema. The Soviet anti-Americanism was based on the idea of ‘two Americas’: dehumanization has been subjected only to class and politically alien Americans. Deconstructing the image of the enemy in Thaw cinema. Humanizing U.S. characters was achieved with the help of endowing them with kindness, empathy, creativity, emotionality, moral behavior, ability for love, friendship, and comradeship, emphasizing the similarity of the basic values of ‘us’ and ‘them’, and demonstrating the possibility of peaceful coexistence through cases of mutual aid, cooperation, and the occurrence of friendly and romantic relations. The humanness of U.S. characters becomes less dependent on political factors. The cinema expressed the idea that man by nature was good, and this original human goodness was noticeable most of all in children, including American ones. The limits of rehumanization. The conservative part of the Soviet elite accused ‘abstract humanism’ of forgetting the class principle and juxtaposed it to ‘revolutionary humanism’. Criticism of ‘abstract humanism’ in ideology was accompanied by a tightening of demands for representing America that representatives of the Soviet controlling bodies made. Results. In the 1960s, Soviet cinema (just like U.S. cinema) had the tendency of deconstructing the image of ‘enemy number one’, which took the form of rehumanization. The rehumanization had its limitations.

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Ditazha, Julya, Eko Pujiyanto y I. Wayan Suletra. "Designing The Proposed Improvement of TIX ID Online Cinema Ticket Purchase Service Quality". Jurnal Ilmiah Teknik Industri 19, n.º 2 (23 de diciembre de 2020): 167–75. http://dx.doi.org/10.23917/jiti.v19i2.11540.

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TIX ID is application in Indonesia that provides new experiences in purchasing cinema tickets. The success of a company can be seen from service quality in fulfilling the satisfaction of customers. Therefore, the purpose of this study is to designing the proposed improvement TIX ID online cinema ticket purchase service quality. This study was conducted in three stages, namely testing the hypotheses of the relationship between variables using PLS-SEM, measuring service quality using the servqual method, and designing the proposed improvement. The result of this study is e-service quality has a significant effect on e-satisfaction and e-loyalty. In addition, the dimensions of e-service quality are dominant effect on the low TIX ID service quality is compensation, with a gap of 27%. Recommendations for improvement are providing customer access to be able to contact customers service directly and SOP of the cooperation TIX ID and DANA.

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Siavoshi, Sussan. "Cultural Policies and the Islamic Republic: Cinema and Book Publication". International Journal of Middle East Studies 29, n.º 4 (noviembre de 1997): 509–30. http://dx.doi.org/10.1017/s0020743800065181.

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The evolution of the Islamic Republic of Iran and the dynamics of the relationship between the Iranian state and society can be explored by examining the postrevolutionary regime's policies toward intellectuals, particularly as expressed in its regulation of cinema and book publication. This relationship—at least in the period from the early 1980s to the early 1990s—was complex and nuanced. Factionalism within the regime provided an opportunity for intellectuals to engage the state in a process of negotiation and protest, cooperation and defiance, in pushing the boundaries of permitted self-expression. The degree of their success depended in part on which faction controlled the government and its regulatory agencies during particular phases in the evolution of the postrevolutionary regime.

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Bodrug, Anatoliy. "THE PHENOMENON OF UKRAINIAN DIASPORIC CINEMA IN THE CONTEXT OF CANADIAN MULTICULTURALISM POLICY". Scientific Herald of Uzhhorod University. Series: History, n.º 1 (46) (27 de junio de 2022): 140–45. http://dx.doi.org/10.24144/2523-4498.1(46).2022.257132.

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The article is devoted to a comprehensive study of the genesis and development of Ukrainian cinema in the conditions of being outside the ethnic territory. The author explores cinema as one of the essential aspects of the national and cultural movement of the Ukrainian diaspora in Canada from the second quarter of the 20th – to the beginning of the 21st century. Particular attention is paid to the phenomenon of Canadian multiculturalism and its role in the development of both Anglo-French and Ukrainian cultural traditions. The relevance of this work is related to the current geopolitical, economic and cultural state of Ukraine in the world. Today, in the conditions of military aggression, ethnic genocide, and information chauvinism, which caused a new wave of Ukrainian emigration, it is necessary to take steps to preserve the national heritage and acquaint the world community with the achievements and urgent needs of Ukraine. Therefore, cultural and strategic cooperation between Ukraine and Canada is too important. This publication summarizes the main aspects of the history of Ukrainian and Canadian cinema, formulates standard and distinctive features of Western – Anglo-Saxon, French, and East Slavic – Ukrainian film tradition, analyzes various manifestations of Ukrainian diaspora cinema in Canada, and studies acculturation trends. We included the necessary source base to achieve this goal, containing Canadian and Ukrainian periodicals, the vast majority of which were put into scientific circulation for the first time. Based on carefully studied relevant historiography, the author draws the appropriate conclusions necessary for the entire disclosure of the topic of the scientific article. It is essential to compare the vision of the creative process from the standpoint of historians, cultural study researchers, and artists - actors, directors, and screenwriters who have influenced the development of domestic and foreign cinema. The article's methodology consists of analysis, historical-comparative, and historical-genetic methods. The object of the work is the culture of the Ukrainian diaspora in Canada, and the subject is the analysis of the history and development of Ukrainian cinema in Canada as a multicultural state. This article attempts to supplement and summarize various aspects of the problem.

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Pulakis, Nik. "Post in the 'modern': Greek film music and the work of Nikos Mamangakis". Muzikologija, n.º 8 (2008): 77–89. http://dx.doi.org/10.2298/muz0808077p.

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This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis' cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the so-called Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis' most important film scores, I hope to reveal the transition process from a realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.

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ÖZSOY, Özgür y Bülent Onur TURAN. "SUCCESS AND FAILURE ANALYSIS OF FILMS ADAPTED FROM VIDEO GAMES". TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, n.º 2 (1 de abril de 2021): 635–58. http://dx.doi.org/10.7456/11102100/020.

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One of the intersections of the video games and cinema industry is the subject of adaptation. There are many productions adapted from movies to video games or from video games to movies. In this study, it is aimed to define the response of the films adapted from video games on the audience side. The audience and the actor are part of these adapted productions, their location plays a role in shaping the future of these productions, in this context the results obtained in this study are valuable in terms of expressing the potential of these productions. In this study, two different methods were used to achieve objective results; Online survey with 11 professionals in the cinema industry and cinema education, an analysis of the data collected from the criticism sites on www.imdb.com and www.metascore.com, and the comments of registered users. With the analysis of these comments obtained from the audience, the focus of the audience has been determined, and with the answers given by the people who have received cinema education or professionals who are professional in the cinema sector, information has been provided on both the foresight and the situation in it. These methods are analyzed within themselves and in the conclusion part, the results of the two methods are combined. As a result, it is that the audience evaluates these films without separating them from the game and they wish that this cooperation will continue to develop and continue. It has been determined that failed film samples are not decisive for video games. Although the audience thinks that this genre will develop, more successful results will be achieved, it has been understood that the feeling of being active in the game is more dominant to the feeling of being passive in the movie. It was seen that the relationship of the audience with the films was video game centered, and the emotions he felt in the game and the details of the game were also looked for in the inner structure of the film.

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Romanko, Oleg y Ekaterina Prosolova. "Memory of Betraition: The Image of a Collaborationist in Post-War Soviet Cinema". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, n.º 1 (marzo de 2023): 240–49. http://dx.doi.org/10.15688/jvolsu4.2023.1.22.

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Introduction. Researchers have studied manifestations of collaborationism of Soviet citizens during the Great Patriotic War quite well, however, the problem of the perception of collaborators in the postwar period needs additional coverage. Of particular interest is the reflection of this topic in art cinema, which was one of the most important means of propaganda. Methods and materials. The basis of the study was a systematic approach. Historical-genetic and historical-comparative methods were applied, in addition, content analysis was used to identify characteristic characters, images, ideas in films. The study was carried out on the basis of published materials, as well as archival files, which make it possible to compare the motivation of collaborators during the Great Patriotic War with its representation in Soviet cinema. Analysis. The study of the evolution of the coverage of the Great Patriotic War and related events in cinema made it possible to identify the main genre and stylistic devices used to demonstrate the place and role of collaborators. Through the analysis of the motivation of collaborators based on the protocols of their interrogations and investigative cases, as well as the consideration of their behavior in feature films, the functions of this topic in the Soviet propaganda discourse were determined. Results. The study of the methods and forms of demonstration of collaborationism showed this problem was reflected in Soviet cinema throughout the entire post-war period. Cooperation with the Germans was explained by several reasons: nationalist motives, hatred of the Soviet regime, cowardice or a desire to save one’s own life, or pathological manifestations up to mental illness. Authors’ contribution. O.V. Romanko proposed the concept of the article, supervised the research, studied the sources and historiography of the problem, and edited the final text of the paper. E.V. Prosolova carried out analytical work on the analysis of sources, systematization and classification of the image of a collaborator in Soviet cinema, designed the text of the article.

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Peng, Weiying. "Sino-US film coproduction: A global media primer". Global Media and China 1, n.º 4 (diciembre de 2016): 295–311. http://dx.doi.org/10.1177/2059436416683959.

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This China–US case study describes the negotiation between Chinese consumer demand and the growing Chinese market for cinema, the Chinese film industry’s aspiration for international success and domestic development, the Chinese government’s soft power ambitions and the largest and most successful film industry in the world – Hollywood. This article gives a brief look at the Sino-US film coproduction history, examines the root reason for the phenomena of ‘fake’ coproduction and analyses the challenges that hurdle the deep cooperation (‘real’ coproduction) process.

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Anwar, Khairul. "MENINGKATKAN KREATIVITAS BELAJAR SISWA MENGGUNAKAN MODEL COOPERATIVE SCRIPT DALAM PELAJARAN IPA DI KELAS IV SD NEGERI 107403 CINTA RAKYAT". SCHOOL EDUCATION JOURNAL PGSD FIP UNIMED 3, n.º 2 (30 de junio de 2015): 1–9. http://dx.doi.org/10.24114/sejpgsd.v3i2.2935.

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Kozlovic, Anton Karl. "Islam, Muslims and Arabs in the Popular Hollywood Cinema". Comparative Islamic Studies 3, n.º 2 (1 de noviembre de 2007): 213–46. http://dx.doi.org/10.1558/cis.v3i2.213.

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This is the age of Hollywood, yet, the pedagogic utilisation of popular films as a legitimate extra-ecclesiastical resource for the study of religion is frequently ignored, unappreciated or under-utilised. To thrive in the post-Millennial period, however, the religion professions need to integrate movies proactively into the educational curricula that go beyond their traditional deployment as visual aides, diversionary entertainment or student pacification. Applied cinema studies can thus contribute significantly to interreligious understanding, cooperation and peace-building, particularly the exposition of the many anti-Islamic messages embedded within the films of the West. Using textually based, humanist film criticism as the guiding analytical lens, the critical literature was reviewed and the popular Hollywood cinema scanned to reveal selected (mis-)representations of Islam, Muslims and Arabic culture in general. Both deconstructive and constructive issues were addressed. It was argued that: (a) the Hollywood hermeneutic is a viable pedagogic resource for the classroom, home and pulpit, (b) popular films can be profitably employed as a legitimate mode of interreligious dialogue, and (c) Islamic sacred subtexts should be constructed to spread the message of God further afield. Additional research into the emerging interdisciplinary field of religion-and-film was recommended.

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Aunoble, Eric. "Behind and Beyond Lenin and Dzerzhinskiy: Soviet-Polish Cooperation in Historical-Revolutionary Cinema (1960s–1980s)". Connexe : les espaces postcommunistes en question(s) 5 (23 de octubre de 2020): 119–38. http://dx.doi.org/10.5077/journals/connexe.2019.e254.

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Lenin and Dzerzhinskiy were the most promoted “divinities” in Soviet popular culture. The two leaders also had valuable characteristics for propagandising the “friendship of peoples” between the Soviet Union and the People’s Republic of Poland: Lenin had lived two years in the Krakow region whereas Polish revolutionary Dzerzhinskiy became a statesman in Soviet Russia. Between the 1960s and 1980s, Soviets and Poles coproduced three movies featuring Lenin and Dzerzhinskiy as transnational heroes: Lenin in Poland, by Sergey Yutkevich and Evgeniy Gabrilovich (1966), No Identification Marks (1979–1980) and Fiasco of Operation “Terror” (1981–1983) by Anatoliy Bobrovskiy and Yulian Semënov. The paper considers the interactions between Soviet and Polish professionals during the preparation, the shooting, and the release of these movies as examples of the “Statesocialist Mode of Production” and of its “micro-politics” (Szczepanik 2013). In the 1960s, Soviets and Poles officially got along well at the ideological level. Yet a muffled antagonism continued about the representation of their nation. In the late 1970s and early 1980s, revolutionary history about Dzezhinsiy was a mere setting for mainstream movies. Once political issues had been driven to the background, the professional advantage of joint movie productions became more obvious. Co-production offered professionals multiple opportunities: to enjoy tourism abroad, go shopping, improve skills by working with foreign colleagues and cutting-edge technologies. Although the involvement of some might have been motivated by personal interests, both countries ended up benefiting from the joint projects.

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Piskova, Mariyana. "The Cinema of Transcaucasia in the 1920s and 1930s". Balkanistic Forum 29, n.º 3 (1 de noviembre de 2020): 130–58. http://dx.doi.org/10.37708/bf.swu.v29i3.7.

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The paper is concerning the Soviet seizure of the cultural space of Transcaucasia and the establishment of „national“cinematography in the Soviet republics of Georgia, Armenia and Azerbaijan in 1920s – 1930s. The Soviet power realizing the influential potential of cinema turned it into instrument of state propaganda. The three Transcaucasian film studios (in Tiflis, Yerevan, Baku) had a common task – to change the image of the East as exotic world and to alternate it with the image of the Soviet East. At the same time each of the film studios was entrusted a specific role in the Soviet cinema: The Georgian film studio as the first established Transcaucasian studio initiated the earliest agitation films glorifying the Soviet republic and the earliest heroic – adventure (western) films „Red Devils“ (“Krasnye dyavolyata”) (1923). But as the most prominent success of the Georgian cinema was labelled the movie „Eliso“ (1928), which according to the Soviet critique was considered as „ historically realistic narrative about the struggles against the colonial politics of Tsar’s autocracy“. The role of the non-Muslim Armenia and the Armenian film studio was to contribute for the removing the yashmaks from the face of the East. About the highly evaluated from the Soviet propaganda film „Namus“ (1925) „the father of the Trans-caucasian cinema“ Hamo Bek-Nazarov received the recognition of being the first one to show the true image of the East without make-up. Another task of the Armenian cinema which was successfully done was to ridicule and relegate the independent Armenian republic, governed by the party of Dashnaktsutyun (1918-1920). Baku film studio was called upon to turn into centre of movies influencing ideologically and artistically the audience of Azerbaijan, Dagestan, Persia, Turkey and other Eastern countries. It was proclaimed to be national proletarian centre for export of socialism to „ the foreign countries of the East“. By Azerbaijan movies anti-Islamic Soviet propaganda was implemented denouncing „the reactionary essence of the Muslim priesthood “. Such are movies „Bismillah“ (1925) and „Sevil“(1929, co-production with Armenian film studio). The movie „Sevil“ came out during the campaign for removing the yashmaks which was organized and controlled by the Communist Party of the Soviet Union. It got the recognition of contributing for the „liberating of women of the East“. The movie is significant of the cooperation between the Azerbaijani playwright, poet and screenwriter Jafar Jabbarli, the film studio in Baku today is named after him, and the Armenian director Hamo Bek-Nazarov, the film studio in Yerevan is also named after him. In the conclusions some myths about the Soviet Transcaucasian cinema are mentioned, myths already demystified. The Transcaucasian cinema from 1920s – 1930s was not a result of free and creative exchange of knowledge and experience but it was created in a capsulated world under the control of the Soviet power. That is way the whole story of this cinema from the beginning of the 20th century is full of examples for its use for narrow political aims.

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Bono, Francesco. "Austrian-Italian Encounters: Notes on Some Films Produced Between Rome and Vienna in the 1930s". European Journal of Interdisciplinary Studies 5, n.º 1 (30 de abril de 2019): 55. http://dx.doi.org/10.26417/ejis-2019.v5i1-277.

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This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.

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