Articles de revues : « Futur au cinéma »

1

Coppola, Antoine. « Regain religieux dans le cinéma sud-coréen : vers une trans-religion du futur ? » Sociétés 144, n^o 2 (2019) : 95. http://dx.doi.org/10.3917/soc.144.0095.

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Colleyn, Jean-Paul. « Laurence Alfonsi, Le Cinéma du futur : les enjeux des nouvelles technologies de l’image ». L'Homme, n^o 180 (1 décembre 2006) : 209–11. http://dx.doi.org/10.4000/lhomme.2569.

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Delcourt, Jacques. « Alfonsi Laurence, Le cinéma du futur. Les enjeux des nouvelles technologies de l’image ». Recherches sociologiques et anthropologiques 39, n^o 2 (15 décembre 2008) : 122–23. http://dx.doi.org/10.4000/rsa.359.

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van der Helm, Ruud. « Laurence ALFONSI, Le cinéma du futur : les enjeux des nouvelles technologies de l’image ». Communication, Vol. 25/1 (15 novembre 2006) : 269–72. http://dx.doi.org/10.4000/communication.538.

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Lombard, Gaëlle. « Le territoire des ombres. Pour n’en jamais finir avec les hommes imaginaires du cinéma… ». Hors dossier 25, n^o 1 (5 mai 2015) : 157–75. http://dx.doi.org/10.7202/1030234ar.

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Le cinéma propose un reflet des choses qui le contraint à se conjuguer au passé même s’il nous invite à le vivre comme un présent. C’est ce qui en fait le lieu idoine de l’incarnation de la mémoire : depuis les débuts de leur histoire, les films proposent des modalités de représentation différentes du retour et de la persistance de ce qui a été dans ce qui est. Si la figure du spectre (cet être translucide, voire transparent, qui rappelle le vivant qu’il a habité) s’est imposée comme la plus à même de remplir cette fonction, et ce, sous diverses formes témoignant d’une réflexion du médium sur lui-même, ses attributs ont su dépasser le cadre du fantastique pour s’incarner dans des procédés cinématographiques (flash-back, anaphores musicales, surimpressions) qui traduisent certains mécanismes de la vie psychique et qui engagent à une lecture anthropologique du cinéma dans le sillage du livre d’Edgar Morin, Le cinéma ou L’homme imaginaire. De fait, si la possibilité de représenter la mémoire permet de réfléchir à sa spécificité, la réciproque est pareillement vraie, car rien ne nous éclaire plus sur l’homme, éveillé ou assoupi, présent, passé ou futur, que l’analyse de ses créations.

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Marsit, Abir. « La danse et l’écriture calligraphique : Une nouvelle chorégraphie de fiction ». Culture and Dialogue 9, n^o 1 (19 octobre 2021) : 63–78. http://dx.doi.org/10.1163/24683949-12340094.

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Résumé Des artistes ont changé leur rapport à l’art et ont collaboré à bouleverser le paysage culturel dans des domaines tels que la littérature, la musique, le cinéma ou l’art plastique. Comme en témoignent les œuvres de Yazid Kheloufi, Hosni Hertili, Hassan Massoudy et Alexia Traore, en s’attaquant aux interdits, leur liberté d’expression a laissé place à une force créatrice. Ils sont devenus maîtres de leur passé, de leur présent, de leur futur et même de leurs corps.

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Archibald, Samuel. « Cinéma et littérature au Québec : rencontres médiatiques, and : Le cinéma du futur. Les enjeux des nouvelles technologies de l’image, and : Sang et lumière. La communauté du sacré dans le cinéma québécois (review) ». University of Toronto Quarterly 78, n^o 1 (2009) : 567–73. http://dx.doi.org/10.1353/utq.0.0537.

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Ropars-Wuilleumier, Marie-Claire. « La « pensée du dehors » dans L’image-temps (Deleuze et Blanchot) ». Cinémas 16, n^o 2-3 (22 mars 2007) : 12–31. http://dx.doi.org/10.7202/014613ar.

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RésuméOn examinera ici ce qu’a de particulier la lecture faite par Gilles Deleuze de la notion du dehors et de l’impuissance de la pensée chez Blanchot, qu’il subvertit en quelque sorte — l’usage deleuzien de Blanchot n’étant guère blanchotien — en appuyant sa lecture sur celle de Michel Foucault, puis en faisant ici et là un détour par Henri Bergson et saint Augustin, dont il reprendra l’idée de la multiplicité des présents (présents du passé, du présent, du futur). On verra aussi, conséquemment, comment le rôle joué par l’« attracteur étrange » que représente Maurice Blanchot dans la pensée que développe Deleuze dansL’image-tempssert à colmater une ligne de fuite qui traverse tout le dispositif de l’image-temps et fait vaciller la possibilité d’inscrire l’image dans le temps. En opposant dehors et dedans, visible et non-visible, présent et devenir, on arrivera aux conclusions suivantes, à savoir que le cinéma ne rend pas le temps visible, mais qu’il rend au contraire perceptible le mouvement par lequel le temps échappe à l’image, que l’attrait du dehors fait du paradoxe du mouvement (visible et non visible, continu et continûment discontinu) le principe même de l’image cinématographique, et que l’image-temps, enfin, est traversée par le mouvement d’un devenir qui, en prenant le nom de « pensée du dehors », met en jeu la pensée elle-même. À l’aide d’un film de Jean-Luc Godard intituléÉloge de l’amour, dont le principe d’organisation peut être considéré comme une illustration de la conception deleuzienne du temps, on verra enfin comment la logique du devenir, qui rend tout présent impossible, détermine le rapport de toute image au temps, comment le dehors, suivant cette idée d’un temps en devenir et à la linéarité rompue, empêcherait le temps en même temps qu’il en annoncerait l’éventuel avènement.

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Smith, Kirsten. « Questions of identity and global visibility : French funding in Latin American and Maghrebi cinema ». Contemporary French Civilization 49, n^o 1 (avril 2024) : 41–66. http://dx.doi.org/10.3828/cfc.2024.3.

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This article examines the relationship between French film funding and the regional cinemas of the Southern Cone of Latin America (Cono Sur) and the Maghreb. Since the 1980s, France has steadily increased its support of filmmakers in francophone regions, expanding its funding of organizations and financial aids like Fonds Sud (now Aide aux cinémas du monde) and Fonds Image de la Francophonie in order to promote francophone filmmaking throughout the world. In the cases of the Southern Cone (Argentina, Chile, and Uruguay) and the Maghreb (Algeria, Morocco, and Tunisia), the opportunities provided by French funding and the interest in co-producing global cinema coincides with a rise in local productions within these regions. A French co-production status also promotes the global visibility of other national cinemas. Yet the discourse surrounding the types of narratives shown in French co-productions and the ways in which filmmakers are limited by funding stipulations highlights an ongoing issue that filmmakers from the Southern Cone and the Maghreb face when accepting France’s financial support. The combination of France’s global financing of films and the expanding interest in Southern Cone and North African cinema establishes a complex relationship around French funding institutions, francophone regions (as well as their relationships to the term “francophone”), and identity within an increasingly globalized film space. By examining the history and current state of these regions’ cinemas, as well as their relationships to France, this article analyzes the positive and negative effects of France’s history in financially shaping the national (and regional) cinemas of southern Latin America and the Maghreb, the current landscape of Southern Cone and North African filmmaking, and the possibilities for change in transnational filmmaking in the future.

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Heilig, Morton Leonard. « EL Cine del Futuro : The Cinema of the Future ». Presence : Teleoperators and Virtual Environments 1, n^o 3 (janvier 1992) : 279–94. http://dx.doi.org/10.1162/pres.1992.1.3.279.

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Akinsola, Ifeoluwa Theophilus. « Yorùbá Films in Time Perspective : Past, Present, and Future ». Yoruba Studies Review 5, n^o 1.2 (21 décembre 2021) : 1–14. http://dx.doi.org/10.32473/ysr.v5i1.2.130121.

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This essay (re)views the development of Yoruba films according to the Yoruba traditional worldview about time: a term used synonymously with life, season or period, for it is not linear but cyclical, just as life, it is not straight. Therefore, the present trend in the Yoruba film industry, whereby skilled film producers now have their films premiered at and release to only cinemas where they could be watched legally and piracy is prevented, is seen in this paper as a return to the origin of the development of the Yoruba films. The Yoruba films started in 1976 at the cinema (past), metamorphosed into video mode in the 1990s which is still in place (present) and gradually going back to the cinema and the stage mode (future from now), which was its origin because the Ogunde dramatic tradition: a stage medium, is agreed as Yoruba film precursor.

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Zanatto, Rafael Morato. « O Festival de Cinema Científico e Educativo (1954) : Jean Painlevé, INCE, B. J. Duarte ». Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 10, n^o 2 (27 novembre 2021) : 47–73. http://dx.doi.org/10.22475/rebeca.v10n2.805.

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A realização do Festival de Cinema Científico Educativo como parte da programação do I Festival Internacional de Cinema do Brasil (1954) foi um evento importante para o desenvolvimento do cinema científico brasileiro em termos técnicos, artísticos e institucionais. Contando com a presença de Jean Painlevé e com o empréstimo de filmes da Associação Internacional de Cinema Científico, o festival movimentou o cenário científico e cultural brasileiro suscitando importantes discussões sobre a natureza desse cinema, seus objetivos, técnicas, critérios e temas. Exibindo lado a lado os cinemas europeu e brasileiro, o festival liga o Brasil ao fenômeno dos festivais que floresce após o fim da II Guerra mundial na Europa e dos quais o cinema científico é partícipe. Em linhas gerais, a significação local do festival foi imensa, tanto pelos programas que exibiu quanto pela reflexão que suscitou a propósito do passado, do presente e também do futuro do cinema científico no Brasil.

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Shirinova, Mekhrigiyo Shokirovna. « THE ROLE OF IN THE ROLE OF INTONATION IN CINEM TION IN CINEMA LANGUAGE ». Scientific Reports of Bukhara State University 4, n^o 4 (28 août 2020) : 139–43. http://dx.doi.org/10.52297/2181-1466/2020/4/4/8.

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Background. The article reveals the essence of the concept of intonation, reveals its composition, function and roles in the language of cinema. Intonation is an adornment of oral speech, it is argued that it is the most important element in revealing the character of the characters. This is proved with factual examples from the films Onam bilmasin (Let Mama Don't Know) and Katta Odam 2 (Big Man 2). It is substantiated that the study of the language of cinema in the linguistic aspect, especially, the study of the phonetic, lexical-semantic and grammatical aspects in the future can lead to an increase in the level of films, some recommendations are given to improve the language of cinema.

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Rosskam, Jules. « Making Trans Cinema : A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac, and Madsen Minax ». Somatechnics 8, n^o 1 (mars 2018) : 14–26. http://dx.doi.org/10.3366/soma.2018.0234.

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

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

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

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Spence, Charles. « Scent and the Cinema ». i-Perception 11, n^o 6 (novembre 2020) : 204166952096971. http://dx.doi.org/10.1177/2041669520969710.

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From the very earliest days of public cinema (moving pictures), there has been consideration about how odors and scents might influence the viewer’s experience. While initially this was primarily a concern with how to eliminate the malodor of the cinema-goers themselves, in more recent times, there have been a number of well-publicized attempts to add synchronized pleasant (and, on occasion, also unpleasant) scents to “enhance” the cinema experience. While early solutions such as AromaRama and Smell-O-Vision were beset by technical challenges, low-tech scratch and sniff ( Odorama) and, more recently, Edible Cinema-type solutions (where the audience get to consume flavourful, and often aromatic, morsels in time with the events on screen) have proved somewhat more successful. Nevertheless, there are a number of key psychological factors that will likely inhibit the uptake of scented cinema in the future, even should the technical and financial issues (associated with retrofitting cinemas, and providing the appropriate fragrances) one day be satisfactorily resolved. These include the phenomenon of “inattentional anosmia” as well as the “fundamental misattribution error,” whereby people (who are, by-and-large, visually-dominant) tend to attribute their enjoyment to the action seen on screen, rather than to smell, and hence are unlikely to pay a premium for the latter.

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Zhong, Ouyuan. « The Values in the Hollywood Cinema Market ». Highlights in Business, Economics and Management 22 (27 décembre 2023) : 41–46. http://dx.doi.org/10.54097/48wmag55.

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Some have misled Hollywood cinema with impressions due to some conception that it is limited to big budgets, stars, special effects, and extensive publicity campaigns. However, it encompasses more than investment diversification, production, and commercial propaganda feature. In other words, beyond the illustrative classic Hollywood pre-sold mechanism, monopoly, and overseas market, it supports values and serves as multicultural, sexual and race equality. This paper lists the phenomenon that contemporary Hollywood cinema is revenue-driven, resulting in many low-quality and quantity reproduction cinemas such as hybrid genre is typical of formulaic filmmaking, and they arranged all the cinematic elements narrative to meet the audience's expectations. Significantly, formulaic movies have become popular and widespread in the international market and may have an unpredictable impact on the future film industry. The author believes that films are the medium for representing historical periods and are for the generation's legacy, which should craft narratives that intricately blend values and ideology. In a nutshell, it is crucial to discover a solution for cinema's unpredictable future.

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Murad, Husain A., Husain A. Ebrahim et Ali A. Dashti. « Kuwait Cinema History and Future : ». المجلة العلمية لبحوث الإذاعة والتلفزيون 2022, n^o 23 (1 janvier 2022) : 1–13. http://dx.doi.org/10.21608/ejsrt.2022.243070.

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Kawakami, Ichiro. « 5. Future Prospects of Cinema ». Journal of The Institute of Image Information and Television Engineers 72, n^o 9 (2018) : 703–6. http://dx.doi.org/10.3169/itej.72.703.

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Diniz, Eduardo H. « O cinema e o futuro ». GV-executivo 7, n^o 4 (3 octobre 2008) : 70. http://dx.doi.org/10.12660/gvexec.v7n4.2008.34179.

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O futuro representado no cinema é a projeção dos desejos, medos e angústias do presente. Por essa razão, em vez de antecipar o que está por vir, revela nossas fantasias sobre a realidade

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Rouch, Jean. « The Cinema of the Future ? » Studies in Visual Communication 11, n^o 1 (janvier 1985) : 31–37. http://dx.doi.org/10.1111/j.2326-8492.1985.tb00015.x.

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Raisbeck, Alexa. « Extinguishing Spotlights : the Uncertain Future of Cinematic Heritage in London’s Leicester Square ». Apuntes. Revista de estudios sobre patrimonio cultural 31, n^o 1 (18 juin 2018) : 66–83. http://dx.doi.org/10.11144/javeriana.apc31-1.esuf.

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London movie theatres have been considered some of the finest palaces to house the moving image. Even the tiles adorning the Northern and Piccadilly lines at Leicester Square tube station depict the iconic film perforations along its platforms. As the focal point of movie marketing, the fetishisation of stars and directors in the numerous film premieres hosted along the red carpets in the square have been recorded and disseminated worldwide via print and broadcast for decades. Today, the huge hoardings (now digitized) still attempt to entice those milling past to venture inside for the latest Hollywood blockbusters. However, as cinema attendance has waned the square has had to respond to the changes in public demand for a wider choice and different kinds of experience. Many of the former cinemas have now been multiplexed; their singular former grandeur stripped in favour of modernist simplicity and choice. Now in a much more worrying trend, parts of the square (including the Odeon West End) are in the process of being fully demolished. Audience demands for variety and spectacle plus industry developments in digital technologies and new trends in experiences such as giant screen formats, 3D films, and more immersive sound have fuelled the need for change to keep up with demand and profit. Using Leicester Square as a case study, this paper will explore the need of cinema holding companies to evolve in an increasing multi-platform era of choice. The question is at what cost to preservation and heritage is this current strategy having on our national and collective cinematic history?

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Lus Arana, Luis Miguel. « NUEVA YORK, AL OTRO LADO DEL ESPEJO. EL CINE Y LA CIUDAD FUTURA COMO TEXTO ». Proyecto, Progreso, Arquitectura, n^o 14 (2016) : 40–53. http://dx.doi.org/10.12795/ppa.2016.i14.03.

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Elmustafa Elsheikh Hayaty, Abubaker Elsiddig Ahmed, Chenji Yin, Zakir Ullah, Safia Yahya Hamed Ahmed et Tian He. « Sudanese Cinema : Past, Present and Future ». Art and Design Review 09, n^o 03 (2021) : 268–83. http://dx.doi.org/10.4236/adr.2021.93022.

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Evans, Owen, et Graeme Harper. « The future of studying European cinema ». Studies in European Cinema 10, n^o 2 (1 septembre 2013) : 85–88. http://dx.doi.org/10.1386/seci.10.2-3.85_2.

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Schroeder Rodríguez, Paul A. « Community-based Cinema by First Nations Communities in Abya Yala in the XX Century ». El ojo que piensa. Revista de cine iberoamericano, n^o 26 (30 juin 2023) : 9–25. http://dx.doi.org/10.32870/elojoquepiensa/v0i26.400.

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This essay offers a brief history of community-based filmmaking by first nations communities in Abya Yala during the 20th century, a cinema made by, about, and for the communities that produce it. As context, I first review indianist and indigenist representations of First Nations communities in the Europeanized cinemas of the Americas. I then trace the evolution of community-based filmmaking by First Nations communities in Abya Yala, from a first period in 16mm and Super-8 formats between the 1960s and the 1980s, to a second period in analog video in the 1990s. A future article will consider a third digital period in the 21st century.

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Garcia, Wilton. « Embatimentos poéticos no filme "Praia do futuro" ». Revista FAMECOS 25, n^o 3 (23 août 2018) : 30183. http://dx.doi.org/10.15448/1980-3729.2018.3.30183.

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Este texto expõe uma leitura crítica – em formato de ensaio – sobre o filme Praia do futuro (Karim Aïnouz, 2014), ao relacionar cinema e diversidade cultural/sexual no Brasil atualmente. Não se trata de uma análise fílmica, mas sim ter a referida película como exemplificação nesse contexto. Para desenvolver esta leitura, o percurso metodológico divide-se em observação, descrição e discussão sobre a referida película. Da comunicação às práticas socioculturais, as categorias discursivas experiência, imagem, performance e subjetividade, de modo estratégico, enunciam os estudos contemporâneos. Disso, deriva uma pergunta: como propor uma política do afeto no cinema contemporâneo que acompanhe a diversidade cultural/sexual no país e no mundo? A partir de uma política do afeto, os resultados incorporam um movimento entre corpo, gênero, identidade sexual nessa discussão a respeito do homoerotismo no cinema brasileiro atual.

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Bona, Rafael Jose. « Consumo, quadrinhos e cinema : a transposição do filme De volta para o futuro para as narrativas gráficas da Turma da Mônica ». Lumina 11, n^o 3 (30 décembre 2017) : 117–33. http://dx.doi.org/10.34019/1981-4070.2017.v11.21309.

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O presente trabalho analisa as transposições de narrativas do cinema para as histórias em quadrinhos, de forma intertextual parodiada, da Turma da Mônica, de Mauricio de Sousa. Os objetos de estudo foram as ediçõesDe volta para a historinha (Revista Cebolinha, de 1991) e Coelhada para o futuro (Clássicos do cinema - Turma da Mônica, de 2013) que parodiam o filme sobre viagens no tempo, De volta para o futuro (Back to the future, 1985), do diretor Robert Zemeckis. A pesquisa é classificada como descritiva, com abordagem qualitativa. As análises das obras em quadrinhos são feitas a partir das seguintes dimensões: as referências diretas ao filme, a autorreferência, a referência a outras obras reconhecíveis dentro ou fora do contexto de viagens no tempo e questões transculturais. Os resultados apontam para práticas intertextuais entre o cinema e as histórias em quadrinhos, considerando estas como incentivos ao consumo midiático de narrativas gráficas da Turma da Mônica.

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Silva, Eduardo Duarte Gomes da. « Flânerie pelas cidades do futuro ». MATRIZes 17, n^o 2 (31 août 2023) : 101–18. http://dx.doi.org/10.11606/issn.1982-8160.v17i2p101-118.

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Este artigo toma a ideia de flânerie, de Walter Benjamin, como uma ferramenta metodológica pensada para percorrer cidades futurísticas imaginárias em quatro filmes de ficção científica. O flâneur, portanto, é um operador cognitivo que me leva a construir uma outra forma de apreciar os filmes, criando meu próprio tempo de observação e apreendendo da ficção as ideias de futuro que hoje criam as paisagens urbanas futuristas. Este artigo resulta da pesquisa “Futuros Humanos: A percepção imaginária dos ambientes urbanos e paisagens do futuro no cinema contemporâneo”, que investiga as projeções do imaginário social sobre o futuro dos ambientes urbanos no cinema de ficção científica, considerando seus reflexos na sociedade atual.

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Zonn, Igor S. « Oil Thinking of World Cinema ». Post-Soviet Issues 6, n^o 2 (8 août 2019) : 108–28. http://dx.doi.org/10.24975/2313-8920-2019-6-2-108-128.

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

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Sokoloff, Naomi. « Cinema Studies/Jewish Studies, 2011–2013 ». AJS Review 38, n^o 1 (avril 2014) : 143–60. http://dx.doi.org/10.1017/s0364009414000075.

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In an era of massive university budget cuts and pervasive malaise regarding the future of the humanities, cinema and media studies continue to be a growth industry. Many academic fields have been paying increasing attention to film, in terms of both curriculum development and research. Jewish studies is no exception. Since 2011, a boom in publications has included a range of new books that deal with Jews on screen, Jewish themes in cinema, and the construction of Jewish identity through film. To assess what these recent titles contribute to Jewish cinema studies, though, requires assessing the parameters of the field—and that is no easy task. The definition of what belongs is as elastic as the boundaries of Jewish identity and as perplexing as the perennial question, who is a Jew? Consequently, the field is wildly expansive, potentially encompassing the many geographical locales where films on Jewish topics have been produced as well as the multiple languages and cinematic traditions within which such films have emerged. At issue are not just numerous national cinemas, but also transnational productions and international histories. Yiddish film, for instance, was produced in Poland, the Soviet Union, the US, Argentina, and other places as well. Compounding the challenge of assessing the field of Jewish film is the fact that Jewish studies overlaps with Holocaust studies, itself a vast enterprise that has grown dramatically over the past two decades. A simple WorldCat search, restricted to scholarly books from respectable academic presses, turns up dozens of titles on cinema and the Holocaust published since the year 2000. Not surprisingly, the long-standing debates on “what is Jewish literature?” have morphed into controversy over “what is Jewish cinema”?

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CERESA, Marco. « SHANGHAIED INTO THE FUTURE : THE ASIANIZATION OF THE FUTURE METROPOLIS IN POST-BLADE RUNNER CINEMA ». JOURNAL OF ARCHITECTURE AND URBANISM 41, n^o 2 (8 juin 2017) : 129–44. http://dx.doi.org/10.3846/20297955.2017.1327951.

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The cliched 1930–1950 Western cinematic images of Shanghai as a fascinating den of iniquity, and, in contrast, as a beacon of modernity, were merged in Fritz Lang’s Metropolis. As a result, a new standard emerged in science fiction films for the representation of future urban conglomerates: the Asianized metropolis. The standard set by this film, of a dark dystopian city, populated by creatures of all races and genetic codes, will be adopted in most of the representations of future cities in non-Asian cinema. This article traces the representation of Shanghai in Western cinema from its earliest days (1932– Shanghai Express) through Blade Runner (1982) to the present (2013– Her). Shanghai, already in the early 1930s, sported extremely daring examples of modern architecture and, at the same time, in non-Asian cinema, was represented as a city of sin and depravity. This dualistic representation became the standard image of the future Asianized city, where its debauchery was often complemented by modernity; therefore, it is all the more seedy. Moreover, it is Asianized, the “Yellow Peril” incarnated in a new, much more subtle, much more dangerous way. As such, it is deserving of destruction, like Sodom and Gomorrah.

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Jouhaud, Christian. « Les images du futur dans le cinema du passe ». Le Mouvement social, n^o 135 (avril 1986) : 111. http://dx.doi.org/10.2307/3778727.

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Muhammad Yaqoub, Zhang Jingwu, Zhang Xuyao et Raheela Firdous. « Future of Video Streaming Platforms and Mainstream Cinema : A Case Study of Fujian Province, China ». Journal of Peace, Development & ; Communication V06, n^o 02 (31 mai 2022) : 1–21. http://dx.doi.org/10.36968/jpdc-v06-i02-01.

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The pandemic has dramatically changed the current film-viewing landscape from cinema to streaming services. Video streaming platforms (VSPs) are hailed as the future of the Chinese Film & Entertainment industry. The COVID protocols, such as biometric surveillance and quarantine-driven isolation after a coronavirus scare, forced the cinema-goers to stay safe at home and enjoy the films, web series, and shows on mini-screen. In the time of streaming services, the cinema theatre is grappling with doing business. This study explores post-pandemic prospects, explaining why movie-lovers access and prefer to video streaming services and how these digital platforms are replacing big screens. The study reveals that most respondents use the VSPs on their smartphones and laptops to watch films. These platforms suspicion the cinema-goers to visit the cinema to watch the films even though they do not think that the future is only on video streaming platforms. Easy to access, various genres, cheaper, and user-friendly factors make VSPs popular among the audience. Keywords: China; Mainstream cinema; Pandemic; Viewership; Mini screen

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Beaulieu, Julie. « Ce qui reste du théâtre dans le film : le « cas » Marguerite Duras ». Études littéraires 45, n^o 3 (22 juillet 2015) : 65–79. http://dx.doi.org/10.7202/1032445ar.

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Examiner les aspects formels du théâtre durassien facilite la compréhension du système filmique non conventionnel de Marguerite Duras, car bien avant de se livrer à la pratique du cinéma, l’écrivaine s’est consacrée à la littérature, puis au théâtre. Dans le texte dramatiqueLa Musica(créé en 1965), des éléments cinématographiques attirent d’emblée l’attention. De fait, sa mise en scène préfigure celle d’un cinéma à venir, appuyé sur une rupture entre la bande sonore et les images — une mise en scène cinématographique dont seuls les personnages principaux, une femme et un homme ordinaires, seront présents sur scène, dans un décor minimaliste qui annonce la future « disparition » des personnages aux yeux du spectateur. Quelques meubles et des décorations placés ici et là serviront d’assise aux voix, celles-là mêmes qui donneront naissance au cinéma durassien — un cinéma de la littérature, tel que le suggérait Dominique Noguez, un cinéma de la parole. Notre article propose donc une réflexion sur le rapport singulier qu’entretiennent le texte dramatique et le cinéma dans le contexte de l’adaptation filmique, et plus spécifiquement de la réécriture, qui se situe au carrefour des pratiques, des genres et des discours.

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

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

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Saljooghi, A. « Close Up : Iranian Cinema Past, Present, Future ». Screen 44, n^o 1 (1 mars 2003) : 115–18. http://dx.doi.org/10.1093/screen/44.1.115.

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Herold, Anna. « The Future of Digital Cinema in Europe ». Convergence : The International Journal of Research into New Media Technologies 9, n^o 4 (décembre 2003) : 99–118. http://dx.doi.org/10.1177/135485650300900408.

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Holmlund, Chris, et Andrew Nestingen. « Journal of Scandinavian Cinema turns ten : About the past and for the future ». Journal of Scandinavian Cinema 10, n^o 3 (1 septembre 2020) : 225–34. http://dx.doi.org/10.1386/jsca_00025_1.

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Chris Holmlund and Andrew Nestingen have long been involved with the Journal of Scandinavian Cinema (JSCA) – Chris since 2013, Andy since the journal’s inception in 2010. This article reviews trends in the journal’s first decade and identifies areas where more scholarship would be welcome. JSCA has built a reputation for excellence and is the authoritative publication on cinema and media of the Nordic region. Special Issues, articles on the representation of sexuality and discussions of national cinema constitute valuable contributions. There have been many excellent articles on male auteurs, and several articles on popular cinema. Women auteurs remain underrepresented; more research on television and media and additional studies of race and ethnicity in all media are needed. The authors encourage JSCA and its contributors to continue to build alliances with film studies organizations in Europe, North America, South America and Asia.

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Ballas, Anthony James. « The Orientation of Future Cinema : Technology, Aesthetics, Spectacle ». CINEJ Cinema Journal 6, n^o 2 (25 avril 2018) : 222–27. http://dx.doi.org/10.5195/cinej.2017.194.

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Hamblin, Sarah. « Air Conditioner, or Revolutionary Cinema without a Future ». October, n^o 184 (2023) : 87–114. http://dx.doi.org/10.1162/octo_a_00486.

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Abstract This essay is an effort to imagine new modes of revolutionary cinema in the age of the Capitalocene. Starting from the premise that the environmental volatility of this new epoch forces us to fundamentally reconsider the basic tenets of the revolutionary imagination, the essay asks what radical transformation looks like when we abandon earlier modes of resistance and visions of the future that are wedded to anthropocentric fantasies of humanity's sovereignty over nature and the promises of petromodernity. To begin answering this question, the text takes up the lo-fi Angolan Africanfuturist film Air Conditioner (Fradique 2020). Set in Luanda, Uganda, where air-conditioning units across the city suddenly begin failing and falling from windows, the film dramatizes the problems of technological collapse combined with a rapidly warming climate. Resigning the legacies of colonialism and the nation's protracted conflict between communist and capitalist forces to the decaying infrastructural backdrop of the film, Air Conditioner is instead concerned with the new modes of solidarity and ideas of futurity that emerge from within these conditions of catastrophe. The film's incidental references to socialism, combined with its meandering narrative and languid pace, render it quite different in form and tone from the revolutionary anti-colonial cinemas of independence. Thus, against earlier images of revolution as a sudden rupture that harnesses the twin powers of industrialization and human agency, Air Conditioner roots itself in slowness, imagining revolution as a process of withdrawal based on the wearing out of life.

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Conley, Tom. « Du cinéma à la carte ». Cinémas 10, n^o 2-3 (26 octobre 2007) : 65–84. http://dx.doi.org/10.7202/024816ar.

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RÉSUMÉ Dès qu'elle se voit à l'intérieur d'un film, la carte géographique, qui réfère donc au monde réel, trouble l'espace imaginaire de la diégèse tout autant que celui dans lequel une subjectivation spectatorielle a lieu. Une carte géographique, dans un film, fait signe vers un rapport de parties au(x) « Tout(s) » qui serait au fond de l'illusion réaliste que le film cherche à faire valoir. L'hypothèse est que la carte indique ce que Christian Jacob nomme la « bilocation du spectateur ». L'analyse porte sur l'espace parcellaire, tel que le travaille Gilles Deleuze au début de l'image-mouvement et sur le cinéma de Jean-Luc Godard, notamment une séquence tirée de Pierrot le fou, que l'on met en parallèle avec ses avatars passés (la fin de L'Enfer est à lui [R. Walsh]) et futurs (une séquence de La Haine [M. Kassovitz]).

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Bailey, John. « The Future of the Cinema : Evolution or Revolution ? » SMPTE Journal 108, n^o 9 (septembre 1999) : 628–31. http://dx.doi.org/10.5594/j17590.

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Gribakina, Tatyana E. « Conservative Images of the Future in Russian Cinema ». Almanac “Essays on Conservatism” 64 (30 juin 2021) : 376–82. http://dx.doi.org/10.24030/24092517-2021-0-2-376-382.

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This article is devoted to the study of conservative images of the future in Russian cinema. By examining the film plots and analyzing the visual series, the author attempts to identify the most common elements of the images of the future – conservative elements that ensure their recognition.

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Norindr, Panivong. « The Future of Lao Cinema : The New Wave ». Visual Anthropology 31, n^o 1-2 (15 mars 2018) : 14–33. http://dx.doi.org/10.1080/08949468.2018.1428011.

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Ruby, Jay. « The future of anthropological cinema—A modest polemic ». Visual Sociology 1, n^o 2 (septembre 1986) : 9–13. http://dx.doi.org/10.1080/14725868608583578.

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Caldwell, John Thornton. « Welcome to the Viral Future of Cinema (Television) ». Cinema Journal 45, n^o 1 (2005) : 90–97. http://dx.doi.org/10.1353/cj.2006.0001.

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Goldsmith, Ben. « Review : Future Cinema : The Cinematic Imaginary after Film ». Media International Australia 111, n^o 1 (mai 2004) : 171–72. http://dx.doi.org/10.1177/1329878x0411100124.

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Clowes, Mark. « Laser Projectors and the Future of Digital Cinema ». SMPTE Motion Imaging Journal 124, n^o 6 (septembre 2015) : 37–41. http://dx.doi.org/10.5594/j18591.

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Davis, Marc. « Garage cinema and the future of media technology ». Communications of the ACM 40, n^o 2 (février 1997) : 42–48. http://dx.doi.org/10.1145/253671.253697.

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