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Artículos de revistas sobre el tema "Visual and filmic sociology"

Autor: Grafiati

Publicado: 11 de enero de 2025

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1

Kowsar, K. S. Shahanaaz y Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER". Creativity Studies 14, n.º 1 (18 de marzo de 2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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Matz, Jesse. "Montage Diversity". Representations 161, n.º 1 (2023): 41–69. http://dx.doi.org/10.1525/rep.2023.161.3.41.

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Montage diversity divides even as it unites the people it represents, making it a telling register of possibilities for social inclusion in American visual culture. Montage effects in Mr. Smith Goes to Washington (1939) and Pepsi-Cola’s 1969 campaign “You’ve Got a Lot to Live” demonstrate the problems that arise in the combination of social diversity and filmic montage, and, because one was the work of avant-garde film artist Slavko Vorkapich and the other of his son Ed Vorkapich, compose a critical genealogy of montage diversity and its implications for social inclusion.

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3

McDonough, Tom. "Calling from the Inside: Filmic Topologies of the Everyday". Grey Room 26 (enero de 2007): 6–29. http://dx.doi.org/10.1162/grey.2007.1.26.6.

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Maitra, Sritama y Sangeeta Mukherjee. "INDIAN DECENTRINGS OF MACBETH: POSTMODERN CREATIVITY IN FILMIC ADAPTATIONS BY VISHAL BHARDWAJ AND JAYARAJ". Creativity Studies 13, n.º 2 (11 de diciembre de 2020): 585–99. http://dx.doi.org/10.3846/cs.2020.12787.

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The never-ending contemporaneity of William Shakespeare’s Macbeth is established by the experimental adaptations of the play that have transcended time and space. The filmic adaptations, in particular, have recontextualized the original dramatic text in several innovative ways. This paper sets out to analyse from certain postmodern angles the creative and innovative adaptation of a classic literary text from a Scottish setting to two completely different Indian settings (geographically, culturally and politically) and also from 16th century Scotland, United Kingdom to two different time periods in India – Maqbool (director Vishal Bhardwaj, 2003) being a reimagination of Macbeth set in the 21st century underworld of Mumbai, India and Veeram (director Jayaraj, 2016) being an attempt to link the play with 13th century Kerala, India. The transmutations occur at multiple levels and this lends new interpretations to the text in two entirely different temporal and spatial contexts, though both of these adaptations are Indian.

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5

Sinka, Margit. "When the Son Is Older than the Father: Dominik Graf's 'Denk ich an Deutschland' Television Film". German Politics and Society 26, n.º 2 (1 de junio de 2008): 56–75. http://dx.doi.org/10.3167/gps.2008.260204.

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Dominik Graf's Wispern im Berg der Dinge (A Whispering in the Mountain of Things) was the second film televised in the twelve-part Denk ich an Deutschland-documentary series launched on the eve of Germany's eighth Day of Unity (October 1998). Though Graf does not refer directly to Heinrich Heine, he clearly takes Heine's mode of thinking about Germany seriously—that is, he resolutely focuses on ruptures, which characterize Heine and his writings, and on the tensions provoked by the interplay of opposites evident in Heine's poem Nachtgedanken (1843), the source of the Denk ich an Deutschland-phrase. In Graf's documentary, Heine's ruptures turn into ruptures between his father's excessively silent war generation and his own unanchored post 1968 generation. The tensions, on the other hand, are evoked by the filmic medium—in particular, between verbal and iconic images. Thinking about film when he thinks about Germany, Graf examines his deceased father's many roles in the West German films of the 1950s and 1960s—roles that had turned him into the representative of the damaged war generation. Faulting the purely verbal in a medium intended to give concrete, visual form to reality, Graf attempts to harness the powers of both verbal and iconic images in the service of identity formation, yet grants the edge to the iconic, as well as to the fictional rather than the factual.

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6

Lennon, J. John. "Dark tourism sites: visualization, evidence and visitation". Worldwide Hospitality and Tourism Themes 9, n.º 2 (10 de abril de 2017): 216–27. http://dx.doi.org/10.1108/whatt-09-2016-0042.

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Purpose This paper aims to consider dark tourism sites and their pivotal role as evidence of atrocity and evil. How they are interpreted and the role of visual imagery, most particularly photography, are considered from the perspective of the locations as heritage and learning sites. The complex arguments in relation to conservation and maintenance are juxtaposed with the behaviour of visitors in recording and uploading imagery of such material. This phenomenon allows us to consider the enormity of witnessing such events and viewing such sites as part of contemporary tourist behaviour. Design/methodology/approach The approach utilizes contemporary literature from tourism, sociology and film studies and uses secondary sources to highlight key sites that illustrate discursive elements of the paper. Findings This appeal and appetite for photographic and filmic record by visitors to such dark sites illustrates not only an inherent fascination but also a series of dark and recurring themes. However, it is also notable that in some locations, ideological selectivity in development is present and evidence, record and history are challenged. The cases of Cambodia and Russia and elements of their tragic pasts are used to illustrate why key heritage sites are developed as attractions or are ignored as evidential sites. For these reasons, this area still merits evaluation and discussion in tourism. Originality/value The area of dark tourism has been the focus of researchers for over a decade. However, the areas of selectivity in development, ideological impact on content and the issues related to visualization have not as yet been fully explored. This paper begins to explore issues related to visualization and evidence and how it related to these dark tourism sites.

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7

Kayır, Oğuz. "Reconfiguring Senegalese filmmakers as Griots: Identity, migration and authorship practice". International Journal of Francophone Studies 25, n.º 1 (1 de septiembre de 2022): 119–39. http://dx.doi.org/10.1386/ijfs_00047_1.

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This article aims to designate the notion of ‘Griot’ ‐ the oral transmitter of history in West African cultures to the eclectic filmmakers from the post-independence period of Francophone Senegal who utilized film as an instrument to reassemble their nation’s lost image and carve an independent national identity that seeks liberation from the remnants of French imperial rule. Figuratively performing as Griots in the postcolonial film corpus, directors Ousmane Sembéne, Djibril Diop Mambéty and Mati Diop fabricated an original filmic language that represents the cultural milieu of Senegal after the French colonialism. In these directorial endeavours, the incorporation of narration elements plays a pivotal role in simultaneously manufacturing the agencies of Senegalese people and accelerating the continuum of decolonization in the country’s visual domain. Including the historical framework of Senegal’s cinema and illustrating the analogy between Griots and these filmmakers, this research will take a closer look at the corresponding postcolonial narratives of Ousmane Sembéne’s La Noire de… (1966), Djibril Diop Mambéty’s Touki Bouki (1973) and Mati Diop’s Atlantics (2019) in an effort to unravel their tumultuous identity politics, critiques of (neo)colonialism and filmmakers’ role as national raconteurs.

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8

Csesznek, Codrina. "PHOTOVOICE AS A TOOL FOR INCREASING AWARENESS AND PARTICIPATION IN LOCAL-BASED ENVIRONMENTAL EDUCATION". SERIES VII - SOCIAL SCIENCES AND LAW 14(63), n.º 1 (26 de junio de 2021): 55–66. http://dx.doi.org/10.31926/but.ssl.2021.14.63.1.6.

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Photovoice is a participatory technique used in sociology for presenting research results in form of visual stories. It can be a valuable tool to increase awareness and participation of citizens in local-based processes related to environmental education. This paper highlights some advantages of using photovoice as a visual participatory technique in improving environmental education, exploring some evidences from recent literature and presenting a case study conducted in Brasov, Romania. The case study is an example of how photovoice can be successfully used in working with social science students, in order to improve their professional skills for promoting local-based environmental education initiatives.

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MACKINTOSH, JONATHAN D. "Bruce Lee: A visual poetics of postwar Japanese manliness". Modern Asian Studies 48, n.º 6 (23 de octubre de 2013): 1477–518. http://dx.doi.org/10.1017/s0026749x13000437.

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AbstractFist of Fury, starring Bruce Lee, debuted in Japan in 1974. Whilst its critical reception reflected its box-office success, a complex emotional reaction is nevertheless detectable towards the film's unsympathetic portrayal of the Japanese. This paper will explore this reaction and suggest that a post-colonial angst was piqued, one that betrayed fundamental shifts in current racial, erotic, cultural, moral, and historical understandings of Japanese manliness. At one level, the response to Lee is a hermeneutic cue into the manifold ways that this angst was constructed through contesting understandings of an emergent China and unresolved memories concerning failed imperial Japanese adventure. At another level, the phenomenon of Lee's Japanese reception points to longer-term shifts in the visual-cultural representation of masculinity: vulnerability as articulated in the cinema's ‘new man’, male nudity as ‘discovered’ in women's magazines, and most potently, modern Japanese manliness to challenge American neo-colonial hegemony. It is this panorama of masculinity that this paper seeks to open through an inter-disciplinary survey of a variety of media—film, pulp fiction, women's magazines, andhomoporn; a panorama into which Bruce Lee exploded on screen, alerting us to the images and contradictory aspirations that script a visual poetry of Japanese manliness.

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10

Lievois, Katrien y Aline Remael. "Audio-describing visual filmic allusions". Perspectives 25, n.º 2 (29 de agosto de 2016): 323–39. http://dx.doi.org/10.1080/0907676x.2016.1213303.

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11

Stasch, Rupert. "The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture". Comparative Studies in Society and History 53, n.º 1 (enero de 2011): 75–112. http://dx.doi.org/10.1017/s0010417510000630.

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One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty television productions, made by media professionals from the United States, United Kingdom, France, Germany, Austria, Sweden, Finland, Japan, Australia, Switzerland, Italy, Croatia, Slovakia, the Czech Republic, Vietnam, and recently West Papua itself. Some representations have had mass global distribution through programming partnerships and satellite transmission agreements, and international editions of major magazines. Recently, several reality television programs have been produced about white travelers' stays in treehouses with Korowai or Kombai hosts. These include an episode ofTribebroadcast on BBC and Discovery in 2005, the six episodes ofLiving with the Kombai Tribeshown on Travel Channel and Discovery International in 2007, and an episode ofRendez-Vous En Terre Inconnuetelevised to much acclaim on France 2 in 2009. Treehouses were widely seen by Australian audiences in 2006 in theSixty Minutessegment “The Last Cannibals,” and during a subsequent media firestorm that surrounded a rival show's unsuccessful effort to film their anchor accompanying a supposedly endangered Korowai orphan boy to a safer life in town. In 2009, a BBC film crew filmed Korowai house construction for the forthcoming blockbuster seriesHuman Planet, and in 2010National Geographicbegan researching a possible second story on Korowai treehouses. In late June and early July 2010, photos of Korowai treehouses were published by newspapers in Indonesia, Singapore, Malaysia, Vietnam, Paraguay, Spain, Romania, Hungary, Turkey, Finland, Germany, France, the United Kingdom, and other countries, to illustrate stories reporting the Indonesian census bureau's announcement that it had counted Korowai thoroughly for the first time (e.g., Andrade 2010; most stories drew their content from Agence France-Presse). In August 2010, production began for a feature-length Indonesian film about physical and romantic travails of Javanese protagonists who sojourn with Korowai in their jungle home; no filming is being carried out in the Korowai area or with Korowai actors, but treehouses figure prominently in the film's early written and visual publicity.

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12

Park, Eun Joo y Mi Jeong Kim. "Visual Communication for Students’ Creative Thinking in the Design Studio: Translating Filmic Spaces into Spatial Design". Buildings 11, n.º 3 (2 de marzo de 2021): 91. http://dx.doi.org/10.3390/buildings11030091.

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Representing visual experiences is an essential part of architectural design education for creativity. The representation of creative ideas relates to the ability to communicate spatial design concepts. This study examined whether filmic spaces could function as visual communication to enhance students’ creative thinking in architecture. It explored how creativity can be supported throughout an architectural design studio with a conceptual tool that translates filmic spaces into spatial design. To investigate the ways to translate filmic space into spatial design tools for creative thinking, we conducted a design studio with first-year university students. Focusing on using various elements of film, including movement, frame, montage, light, and color, and scene changes to represent architectural languages, a curriculum was developed and implemented in a Visual Communication Design Studio for one semester, stimulating students to engage in expressing their ideas in three-dimensional spaces. The overall results suggested that the design education method that used the filmic space as a stimulating tool for creative thinking, emphasizing the role of visual communication, could enhance students’ creative thinking, leading to improved creative design processes.

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13

Casetti, F. "Filmic experience". Screen 50, n.º 1 (1 de marzo de 2009): 56–66. http://dx.doi.org/10.1093/screen/hjn075.

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14

Streitberger, Alexander y Hilde van Gelder. "Photo-filmic images in contemporary visual culture". Philosophy of Photography 1, n.º 1 (1 de marzo de 2010): 48–53. http://dx.doi.org/10.1386/pop.1.1.48/7.

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15

Kaes, Anton. "Urban Vision and Surveillance: Notes on a Moment in Karl Grune's Die Strasse". German Politics and Society 23, n.º 1 (1 de marzo de 2005): 80–87. http://dx.doi.org/10.3167/104503005780889219.

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Every film has its moment. Be it an unforeseen glance, an unmotivated gesture, or a startling sequence unnecessary for narrative progression, such a "moment" reveals in a flash what's at stake—then and now. In the following, I analyze such a moment in Karl Grune's Die Strasse (The Street), a film that Siegfried Kracauer considered one of the defining documents of German modernity. Produced and shown in fall of 1923, the film inaugurated the so-called Strassenfilm genre, which combined the visual language of expressionist cinema (oblique angles, harsh lighting, heavy shadows, painted backdrops, distorted spaces, stylized gestures) with an urban setting. In its gritty exploration of sex, crime, morality, and madness, the street film became the prototype for American film noir of the 1940s. The Street has its "moment" in a brief sequence that discloses the film's underlying theoretical project—the nexus between urban modernity and the disciplining power of vision.

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16

Conley, Tom. "Deleuze and the Filmic Diagram". Deleuze Studies 5, n.º 2 (julio de 2011): 163–76. http://dx.doi.org/10.3366/dls.2011.0016.

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This article aims to consider how the ‘diagram’ or ‘little machine’ is integral to the dissociative, at once polyvocal and polymorphous writing that marks the work of Blanchot and that, in turn, informs the disjunctive – hence critical and productive – operation within the register of Deleuze's writings on cinema. I shall consider a number of Deleuze's ‘keywords’ or recurring formulas as diagrams, that is, as intermediate configurations at once visual and lexical, in order to show how, like rebuses or ideograms, they form collisions and ruptures of voice and graphic form, in order to bring forward the ‘outside’ of thought – what cannot be put into language yet is conveyed in language.

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Bort-Mir, Lorena, Marianna Bolognesi y Susan Ghaffaryan. "Cross-cultural interpretation of filmic metaphors: A think-aloud experiment". Intercultural Pragmatics 17, n.º 4 (25 de septiembre de 2020): 389–416. http://dx.doi.org/10.1515/ip-2020-4001.

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AbstractThe purpose of this study is to investigate how viewers who speak different languages interpret cinematographic metaphors in a filmic advertisement. The study is organized in three parts: First, we offer a theoretical model that predicts the offline mental mechanisms that occur while people interpret filmic metaphors, based on an existing model of visual metaphor processing. Second, we evaluate the model in a think-aloud retrospective task. A TV-commercial is projected individually to 30 Spanish, 30 American, and 30 Persian participants, who are then asked to verbalize their thoughts. The commercial was previously segmented, analyzed using FILMIP (Filmic Metaphor Identification Procedure), and marked for metaphoricity by two independent analysts. The collected data is then evaluated in two formal content analyses. In the first one, two independent coders classified all the clauses used by the 90 participants in relation to the steps outlined in the theoretical model. In the second analysis, those clauses in which the participants were constructing their metaphorical interpretation of the filmic advertisement were annotated for the type of metaphor they constructed. The general results show that: (1) some mental processes seem to be more prominent in some cultures and not in others, and (2) genre-related knowledge plays a crucial role in constructing filmic metaphors in certain cultures and not in others. With this study, we theoretically formalize and empirically test the types of operations reflected in the language that viewers use to describe how they interpret filmic metaphors, thus advancing the current theory and methods on filmic metaphor interpretation from cognitive, semiotic, and cross-cultural perspectives.

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Sandomirskaia, Irina, Elena Kolikova y Tatiana Alekseeva. "Eurasia as a filmic assemblage". Studies in Russian and Soviet Cinema 4, n.º 3 (diciembre de 2010): 321–44. http://dx.doi.org/10.1386/srsc.4.3.321_7.

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Alvarado, Rodrigo García, Gino Alvarez Castillo, Juan Carlos Parra Márquez y Sergio Navarro Mayorga. "Filmic Development of Architectural Animations". International Journal of Architectural Computing 3, n.º 3 (septiembre de 2005): 299–316. http://dx.doi.org/10.1260/147807705775377320.

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This paper proposes a general method to make animated presentations of architectural designs, based on cinematographic techniques. Particularly, it reviews theoretical documenttion about filmmaking as well as several productions that exhibit remarkable locations. The proposed method first comprises of a planning stage, with the narrative and graphic formulation of the presentation. Next is an elaboration or adjustment stage for the digital modelling of the design, and finally, there is an animation production and editing stage. Likewise, the research sets up a computer implementation of some activities and characteristics, and experiments in the programming of camera movements for architectural animations. In general, this work suggests focusing on the communication of the qualitative features of the design, instead of the elaboration of the digital model, and on emphasizing the visual diversity, graphic style and narrative construction of the presentation.

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20

Krauss, Rosalind E. "Montage October: Dialectic of the Shot". October 162 (diciembre de 2017): 133–44. http://dx.doi.org/10.1162/octo_a_00313.

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In “Montage October,” which appeared in Artforum in January 1973, Rosalind Krauss argues that Sergei Eisenstein's 1928 film was not only a celebration of a Marxist victory but also a demonstration of Marxist dialectical reasoning through montage. Krauss contends that rather than passively reconstructing the chain of circumstances that culminated in the storming of the Winter Palace in 1917, Eisenstein hoped to draw a filmic equivalence between the leap of revolutionary consciousness, which opens up access to the future by transcending the real, and the leap of visual consciousness, which goes beyond the normal bounds of filmic space.

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Brotto, Denis. "Segni e sintomi. Immagini di città tra movimento e permanenza". Rivista di estetica 85 (2024): 9–22. https://doi.org/10.4000/12tq7.

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For more than a century, the relationship between cinema and the city has constituted an aspect of profound fascination for film and visual studies. Constantly renewing itself, this connection represents the interaction of a complex network of technological forms, ergonomic configurations, evolutionary perspectives, human and material aggregations, all redefined within the canons of filmic language. The cities of the future, before moving from the design phase to the productive phase, have often been modulated and experienced within filmic spaces, sometimes glimpsing subsequent mutations. Through the study of video installations such as Prisma (2022) by Vhils and Hypnosis Display (2014) by Clipson and Harris, films such as Code inconnu (2000) by Haneke, Code 46 (2003) by Winterbottom, Anon (2018) by Niccol, and recent works by Refik Anadol, I will try to outline a possible visual interpretation regarding the present and future urban image.

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Ropars‐Wuilleumier, Marie‐Claire. "Narration and signification: A filmic example". Quarterly Review of Film and Video 11, n.º 4 (diciembre de 1989): 7–20. http://dx.doi.org/10.1080/10509209009361323.

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23

Anderegg, Michael y Hitchcock. "Hitchcock's "The Paradine Case" and Filmic Unpleasure". Cinema Journal 26, n.º 4 (1987): 49. http://dx.doi.org/10.2307/1225189.

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Reese, Carrie. "Toward a Feminist Montage: Reading for the Cut in Ana Mendieta's Sweating Blood". JCMS: Journal of Cinema and Media Studies 63, n.º 2 (enero de 2024): 58–75. http://dx.doi.org/10.1353/cj.2024.a919191.

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abstract: This article develops an alternate concept of the filmic cut with influences from both montage theory and feminist film history. Deriving this alternate concept of the cut from Ana Mendieta's moving image work, I examine Sweating Blood (1973) as it couples the cut with an aesthetic violence, producing a version of the cut that contributes to a feminist discourse on filmic manipulation, intermedia, and montage. This theory of the cut is informed not only by Mendieta but also by those who have inspired alternate ways of thinking about "the cut," including Yoko Ono, Maggie Nelson, Sergei Eisenstein, and Luis Buñuel.

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25

Coëgnarts, Maarten. "Meaning Potential of Motion Vectors in Cinema". Cinéma & Cie. Film and Media Studies Journal 22, n.º 38 (27 de junio de 2022): 19–35. http://dx.doi.org/10.54103/2036-461x/16785.

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This paper examines the meaning potential of directed forces or vectors in cinema. The first part draws on the pioneering work of Rudolf Arnheim to highlight the prominent role of vectors in the visual structuring of meaning in paintings. In the second part, we move on to explore the semantic significance of motion vectors in cinema. To this aim we first define and diagram the filmic space in which vectors may articulate themselves visually. Having firmly grounded this spatial framework in film theory, we adopt the terminology of Herbert Zettl to further distinguish between three types of motion vectors: primary motion vectors (elicited by motion of visual objects), secondary motion vectors (elicited by camera movement) and tertiary motion vectors (elicited by editing). We conclude this paper by applying the proposed conceptual tools of this paper to three filmic case-studies in which the relation between narrative meaning and motion vectors is further discussed and illustrated.

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Stańko, Paweł. "Cowboy and Samurai Values and Their Exponents in the Western "A Fistful of Dollars" (1964) and Its Predecessor the Samurai Movie "Yojimbo" (1961): Proposal of a Methodological Framework for Axiological Analyses of Multimodal Filmic Texts". Anglica Wratislaviensia 57 (4 de octubre de 2019): 149–65. http://dx.doi.org/10.19195/0301-7966.57.12.

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This paper focuses on the issue of valuations and values in the chosen movies linked by the relationship of remaking. Its goal is to show that the complexity of multimodal texts, to which filmic texts and therefore remakes belong, makes it necessary to examine the axiological level of film texts too. In this way we hope to prove that the amply justified and evidenced axiological aspects of language cf. Krzeszowski, Angels, Aspekty, Equivalence; Puzynina, “Językoznawstwo”, Język are also a property of primarily visual film texts. Consequently, the very aspects of the relationship of remaking itself that the two films share, i.e. the fact that the film A Fistful of Dollars 1964 is a remake of Yojimbo 1961, is not examined in this paper. Instead, we restricted our attempt to showing how axiological charges and values are expressed in the process of remaking. The basis of the analysis is the compositional level and the compositional-narrative structure of filmic texts, a choice which correlates with the approach to multimodality of filmic texts described in Post Film. The sample axiological analysis presented in the fourth section of this paper relies on the approaches of Krzeszowski Angels, Meaning, Puzynina “Językoznawstwo”, Język and Post Film. With the instruments selected from these works we underline the differences and similarities between values and axiological charges present in both films as well as their importance and impact on the overall meaning of filmic segments.

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Duru, Asli. "A Walk Down the Shore| Sahilde 1 Gezinti". cultural geographies 27, n.º 1 (16 de noviembre de 2019): 157–61. http://dx.doi.org/10.1177/1474474019884926.

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‘A Walk Down the Shore’ is a 20-minute video produced as part of the ‘Visualising memories of violence and wellbeing in Istanbul’ project. It is based on the audio-visual material produced by residents living in redevelopment neighbourhoods in the Anatolian part of Istanbul. It is a standalone research output and, at the same time, presents the core platform of processing the visual-, textual- and movement-based (walking) material generated during fieldwork in Istanbul in 2017. Watching the video, you will be looking at an ambulant filmic ethnography of how violence appears in Istanbul presented in eight spots – theme units, pieces of video – that connect participants’ encounters with things, human and other bodies, machines, animals and others in the built environment. The filmic ethnography is potentially a read-and-write product since it theorises itself as one of the many possible thematic and aesthetic iterations and its form remains open to edit, rearrangement, and remix. Presenting a soft narrative, its digital form enables fresh possibilities for it to be re-shuffled and re-told.

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BARON, CYNTHIA. "Acting Choices/Filmic Choices: Rethinking Montage and Performance". Journal of Film and Video 59, n.º 2 (1 de julio de 2007): 32–40. http://dx.doi.org/10.2307/20688557.

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Copeland, Huey. "On Black Affective Forms: A Conversation with Garrett Bradley". October, n.º 178 (2021): 100–120. http://dx.doi.org/10.1162/octo_a_00441.

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Abstract In this conversation—recorded in 2019 for the artist's first solo museum exhibition—New Orleans–based Garrett Bradley discusses her filmic work as well as its relationship to institutional archives and personal communities with art historian Huey Copeland. What emerges is a critical account of Bradley's evolving Black feminist practice—its inspirations, antecedents, and analogues—which puts pressure on filmic conventions to move toward an “affective resymbolization” of America's racial imaginaries and the means through which they might be contested, shared, and visualized for audiences on all sides of the color line.

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30

Prince, Stephen. "The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era". Film Quarterly 57, n.º 3 (1 de enero de 2004): 24–33. http://dx.doi.org/10.1525/fq.2004.57.3.24.

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Abstract The tools of digital filmmaking are transforming all aspects of cinema, including production, postproduction, and exhibition. In the process, they are altering the visual characteristics of the moving image and changing the viewer's perceptual understanding of the nature of cinema, leading to the emergence, for the first time in the medium's history, of filmic artifacts.

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31

He, Qiliang y Lily Xiangxiang Jiang. "The Aural/Visual Synchrony: Opera Film, Close-up, and Cinematic Literacy in Mao-era China (1949–1966)". CHINOPERL: Journal of Chinese Oral and Performing Literature 43, n.º 1 (julio de 2024): 1–22. http://dx.doi.org/10.1353/cop.2024.a932318.

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Abstract: In the first two decades of the People’s Republic of China (PRC; 1949–present), the filmmakers were caught in a dilemma between a fast-growing film industry and Chinese moviegoers’ pervasive lack of cinematic literacy, that is, a proper understanding of cinematic techniques, such as the use of shots in films. To make motion pictures a mass culture by enhancing cinematic literacy among Chinese viewers, filmmakers produced over one hundred opera films—a filmic genre that resorts to cinematic techniques to represent Chinese theater on the silver screen. Considering Chinese audiences’ familiarity with China’s operatic arts, such as singing and music, filmmakers in post1949 China deftly synchronized close-up shots with operatic music/singing in opera films to highlight characters’ heightened emotions and thereby popularize a filmic mode of narration and presentation. This paper argues that close and close-up shots provided an avenue for a transition from stage to screen as a chief means of entertainment and a widely accepted mode of representation in the early years of the PRC.

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32

Ra'ad, Basem L. "Subliminal Filmic Reflections of Ancient Eastern Mediterranean Civilizations". Quarterly Review of Film and Video 22, n.º 4 (octubre de 2005): 371–77. http://dx.doi.org/10.1080/10509200590475904.

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33

Sandrussi, Annie. "Dasein and the Question of the Heterogenous Film Viewer: A Commentary on Loht’s Heideggerian Phenomenology of Film". Film-Philosophy 28, n.º 1 (febrero de 2024): 62–78. http://dx.doi.org/10.3366/film.2024.0255.

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In response to Shawn Loht’s 2017 project delineating a Heideggerian phenomenology of film, Phenomenology of Film: A Heideggerian Account of the Film Experience, I examine how productive Loht’s Dasein-centric account of the film viewer might be for considering diverse film-viewer experiences. Starting from Loht’s premise that the film–viewer relation is the constitutive ground of filmic disclosure, I raise two concerns regarding Heidegger’s account of Dasein that might obscure an account of the diversity of film viewers and associated heterogeneity of filmic disclosure: Dasein’s lack of concreteness with respect to lived experience, and Heidegger’s neglect of embodiment and bodily difference. I firstly argue that Dasein’s lack of concreteness is productive for theorising the diversity of film viewers by discussing the concept of Dasein through formal indication, a Heideggerian notion that Loht draws upon in order to account for filmic disclosure. I then examine a key objection, that Heidegger’s neglect of embodiment limits the productivity of a Dasein-centric account of film viewers for theorising diversity. I refer to Katharina Lindner’s interpretation of Heidegger’s notion of being-in-the-world in a queer phenomenology of film, set out in “Questions of Embodied Difference: Film and Queer Phenomenology” (2012), to suggest a pathway for how Dasein’s being-in-the-world might offer an account of film viewing that takes into consideration the embodiment of diverse viewers.

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34

Have, Iben. "Vibrations and resonance in Avondale Dogs". Short Film Studies 9, n.º 1 (1 de enero de 2019): 51–55. http://dx.doi.org/10.1386/sfs.9.1.51_1.

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This article discusses Avondale Dogs as a three-dimensional body of resonance. Through an analysis of the soundtrack, the article illustrates how images and sounds resonate with the subjective experience of the boy and an emotional remembrance of a lost but filmic very-present childhood.

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35

van Vuren, Mitchell. "The intrusive ‘echoing’ of past violence into the present". Short Film Studies 11, n.º 1 (1 de enero de 2021): 85–88. http://dx.doi.org/10.1386/sfs_00036_1.

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The short film Echo shows, through multiple filmic aspects, how violence can resonate from past to present without an instance of glorification. I analyse how the film engages with the indirect representation of violence and how it redirects past violent atrocities back to its perpetrators.

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36

Wyver, John. "The Filmic Fugue of Ken Russell's Pop Goes the Easel". Journal of British Cinema and Television 12, n.º 4 (octubre de 2015): 438–51. http://dx.doi.org/10.3366/jbctv.2015.0279.

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First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice and that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid and late 1950s. It is further proposed that Pop Goes the Easel is especially noteworthy for its finely tuned balancing of tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemic openness.

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37

Eldin, Nawal Mohamed Salah. "VISUAL EFFECTS CINEMATOGRAPHY THE CINEMATOGRAPHER’S FILMIC TECHNIQUE FROM TRADITIONAL TO DIGITAL ERA". Turkish Online Journal of Design, Art and Communication 2, n.º 2 (1 de abril de 2012): 115–22. http://dx.doi.org/10.7456/10202100/016.

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38

Mishra, Vijay. "Filmic narrative: Text and transformation in Bombay cinema∗". Continuum 2, n.º 1 (enero de 1988): 9–43. http://dx.doi.org/10.1080/10304318809359349.

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39

Ferro, Marc. "Does A Filmic Writing of History Exist?" Film & History: An Interdisciplinary Journal of Film and Television Studies 17, n.º 4 (diciembre de 1987): 81–89. http://dx.doi.org/10.1353/flm.1987.a402706.

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Leal, João y Rikke Munck Petersen. "Processes". Sophia Journal 8, n.º 1 (31 de diciembre de 2023): 15–17. http://dx.doi.org/10.24840/2183-8976_2023-0008_0001_4.

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There is a big gap between the abstraction of an idea and its concrete implementation. This gap is filled with processes that imply the taking of actions to help achieve a tangible result, and there is a myriad of ways these actions can follow through. Photographic and filmic methodologies shape work through the processes of doing informed by gestures in the photographic and filmic operations on site and in the later editing phase1 by which an understanding is changed into a story, an idea in a final visual and/or sequential form. The need for good ideas due to the growing challenges presented by climate changes, imposes serious thinking around actual ways of doing relevant contributions to help ‘heal a broken world’. Photographic and filmic work processes can support that purpose embedding specific site experience methodologies open to the passage of time and the changes it encompasses associated with the landscape we have inherited. Exploring a place or a landscape and working with what is found through movement: walking, driving, flying, the editing of footage, the study of photographs, films, or selected material, reveal changes to specific landscapes and possible readings, interpretations, and understandings of those changes. Such actions and processes have a long tradition in artistic practices transecting land art, landscape architecture and environmental studies.2 (...)

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41

Ziyazova, Irina. "Typographical devices in subtitling (a case study of English and Russian subtitles)". Anuari de Filologia Lleng�es i Literatures Modernes - LLM, n.º 6 (12 de enero de 2017): 27–35. http://dx.doi.org/10.1344/aflm2016.6.3.

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The paper examines the role of typographical devices in subtitling practices. As subtitling is significantly determined by its temporal and spatial constraints, the verbal part of a subtitle may be rather condensed and incomplete for perception, which requires additional means to modify meaning-making processes and add up information. The research gives a systematic account of typographical devices and their functions in a subtitled filmic text. The common graphical devices featured are typefaces, colour, punctuation marks, and numeric signs. The performed analysis showed that typographical devices do not only assist in dealing with technical considerations, but they may also serve as means of intersemiotic cohesion linking subtitles with visual or acoustic-or both-components of a film and enabling their functional cooperation. The drawn conclusions allow to state that graphical devices in subtitling possess such functions as they contribute to intersemiotic texture of a subtitled filmic text; help to manoeuvre in spatial and temporal circumstances; enhance reading and comprehending.

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42

Met, Philippe. "The filmic ghost in the literary machine". Contemporary French and Francophone Studies 9, n.º 3 (septiembre de 2005): 245–55. http://dx.doi.org/10.1080/17409290500169048.

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Rutherford, Amanda y Sarah Baker. "Game of Thrones as a Gothic Horror in Quality Television". Acta Universitatis Sapientiae, Film and Media Studies 20, n.º 1 (1 de noviembre de 2021): 111–28. http://dx.doi.org/10.2478/ausfm-2021-0017.

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Abstract Quality television at its heart is designed to reward sustained viewing and involvement on the part of the audience. It has distinctive visual styles, serial characters and storylines and a filmic quality, all of which is evident in Game of Thrones (2011–2019). This article discusses how the scale and cinematic production values of quality television, adds value to the Game of Thrones series through the enhancement and articulation of the Gothic horror.

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44

Fresno-Calleja, Paloma. "‘Food for thought’: filmic recipes for New Zealand's multiculturalism". Continuum 27, n.º 6 (14 de mayo de 2013): 850–61. http://dx.doi.org/10.1080/10304312.2013.794191.

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45

Bharat, Meenakshi. "Going global: Filmic appropriation of Jane Austen in India". South Asian Popular Culture 18, n.º 2 (3 de mayo de 2020): 109–21. http://dx.doi.org/10.1080/14746689.2020.1774839.

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46

Lee, Soo-Jin. "A study of Contemporary Visual Culture: Individualization, SNS, Streaming and Post-filmic movie". Semiotic Inquiry 59 (30 de junio de 2019): 181–205. http://dx.doi.org/10.24825/si.59.7.

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47

Shell, Hanna Rose. "Cinehistory and Experiments on Film". Journal of Visual Culture 11, n.º 3 (diciembre de 2012): 288–306. http://dx.doi.org/10.1177/1470412912455617.

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This article considers what time-based audio-visual media can bring to historical scholarship in science and visual culture studies. The author argues that the history and critical analysis of cinematography and other time-based optical research methods used in the social, life and physical sciences, are productively accomplished through a simultaneously theory- and practice-bound model of multimedia history. She introduces the concept and term cinehistory through analysis of her own film and video installation work, focusing specifically on her Experiments on Film project (2004–2011), a series of multisensory, filmic histories of physiologist and inventor Étienne-Jules Marey’s development of underwater chronophotography in the 1890s.

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48

Metzger, Sean. "Filmic Revisions of Vietnam and the MIAs (Male Indochinese Asexuals)". Quarterly Review of Film and Video 19, n.º 2 (enero de 2002): 107–21. http://dx.doi.org/10.1080/10509200214837.

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Mata-Núñez, Almudena. "RECURSOS FOTOGRÁFICOS EN EL CINE DE WES ANDERSON. EL CASO DE ‘THE FRENCH DISPATCH’". INDEX COMUNICACION 13, n.º 01 (15 de enero de 2023): 197–221. http://dx.doi.org/10.33732/ixc/13/01recurs.

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The connections between photography and film are located at an interdisciplinary intersection of the artistic languages of both media, simultaneously opposed and complementary. In this paper, we approach photography as a filmic resource tied to the detention of time and the creation of individual and collective memories in cinematic discourse. Specifically, we aim to examine the link between photography and cinema in Wes Anderson's work, taking his latest film, The French Dispatch (2021), as a case of study. Based on previous work by other authors, a model of analysis chart applicable to any film has been developed, which has allowed us to distinguish the photographic resources used by Anderson in the feature film examined. From the latter, it stands out the consideration of photography as the constitutive essence of the film through the detention of the filmic elements of the mise-en-scène. The analysis shows that the use of photography is a frequent narrative resource in Wes Anderson's films as part of the mise-enabyme and self-consciousness of representation, while at the same time presenting semiotic implications in relation to memory and time.

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50

Murillo, Mayté. "Imaginarios de la violencia en el cine mexicano contemporáneo. El caso de Miss Bala, de Gerardo Naranjo." Catedral Tomada. Revista de crítica literaria latinoamericana 5, n.º 9 (5 de enero de 2018): 185–219. http://dx.doi.org/10.5195/ct/2017.261.

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The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.

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