Letteratura scientifica selezionata sul tema "Motion pictures - Aesthetics"
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Articoli di riviste sul tema "Motion pictures - Aesthetics"
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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective". Journal of Flm Arts and Film Studies 7, n. 1 (15 marzo 2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.
Testo completoAbstract (sommario):
The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.
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Khorob, S. I. "THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)". PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, n. 2(54) (22 gennaio 2019): 288–97. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-288-297.
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The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.
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ADAMS, BRETT, CHITRA DORAI e SVETHA VENKATESH. "FINDING THE BEAT: AN ANALYSIS OF THE RHYTHMIC ELEMENTS OF MOTION PICTURES". International Journal of Image and Graphics 02, n. 02 (aprile 2002): 215–45. http://dx.doi.org/10.1142/s0219467802000573.
Testo completoAbstract (sommario):
This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.
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Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand". Journal of Southeast Asian Studies 52, n. 4 (dicembre 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.
Testo completoAbstract (sommario):
Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies". Religion and the Arts 20, n. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
Testo completoAbstract (sommario):
The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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Wu, Hui. "Shakespeare in Chinese Cinema". Multicultural Shakespeare: Translation, Appropriation and Performance 10, n. 25 (31 dicembre 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
Testo completoAbstract (sommario):
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Hasan, Haris. "The Depiction Of Rape Scenes In Popular Hindi Cinema : A Critical Examination Of Representation Of Gender In Media". Journal of Women Empowerment and Studies, n. 12 (27 ottobre 2021): 42–46. http://dx.doi.org/10.55529/jwes.12.42.46.
Testo completoAbstract (sommario):
The portrayal of female gender in performing arts has been a product of constant societal change. From the days when Female parts were acted upon by male counterparts to the advent of motion pictures and the role of women in making the medium their own , the journey has been long. This can be also studied under the context of anthropology, gender issues, and women emancipation. The female characters have been always fixed into the narrative by the virtue of a certain appeal they exhibit. From Laura Mulvey’s male gaze theory in cinema to the aesthetics of violence in cinema , both have been depicted in experimental ways in films. The portrayal of rape scenes dishonoring the basic existential being of any women have been shot in a number of ways to make a case in point in the film narrative. The shooting of such sequences and the psychological impact of this on the female casts is a critical study within cinema studies. Much to the women empowerment and vocal voices there has been a critical debate on how to film the female body and more so traumatic sequences such as the depiction of rape in the narrative.
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Braiko, Oleksandr. "Cinematographic coloring of open space in Volodymyr Drozd’s short prose from 1960s". Слово і Час, n. 3 (26 maggio 2020): 28–47. http://dx.doi.org/10.33608/0236-1477.2020.03.28-47.
Testo completoAbstract (sommario):
The paper considers the style manner of V. Drozd’s prose from his early writing period with a focus on cinematographic aesthetics of color and possibilities of the screen design of plein air as the most free spatial environment for visual development of the image. The writer’s literary means have their analogues in the well-known contemporary films (“October”, “Poem about Sea”, “Red Desert”).
The dynamic plein air compositions have certain screen potential. The images of open-space are related to freedom in dynamic and successive change of a scene, and alternation of verbal pictures. They are rather close to the specifc cinematographic representation of action, as their color markers may be associated with an imaginary film. The first V. Drozd’s attempts of designing the color and light of plein air are marked with an accent on the hues of the represented objects, the dynamism of objects in the imaginary shots, and expressive motion, increased with spectral indicators. A growth of the writer’s mastery is related to development of successive color ‘melody’, based on nuances of the visual impressions, and harmonized with internal action progress. Plastic imaginal markers with limited color range also remind the technique of cinematographic rush, adding emotional and psychological mood connotations to the narration and stimulating positive (nostalgic, elegiac) associations. Although they may seem random, the light and color signals acquire cinematographic expressiveness due to integration into the plot and its internal action, and to the dynamics of the character’s point of view. Abandoning a picturesque fixed nature, the author acquires possibility to decode wider associative meanings with color and light markers, search for deeper semantics of visual image complexes, and construct deterministic relations of a character and environment. Even minimal visual signals contribute to the color structure of a verbal shot. Such terseness and obscurity of objects in the prospect of a narrative camera, and a rapid change of plein air sections are similar to the features of cinematographic aesthetics and poetics.
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Menshikov, Leonid A. "DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n. 39 (2020): 79–92. http://dx.doi.org/10.17223/22220836/39/8.
Testo completoAbstract (sommario):
Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.
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김지은. "Aesthetic Extension of Motion Picture via Digital Multi-channel Sound". journal of the moving image technology associon of korea 1, n. 19 (dicembre 2013): 5–22. http://dx.doi.org/10.34269/mitak.2013.1.19.001.
Testo completoTesi sul tema "Motion pictures - Aesthetics"
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Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /". [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.
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Cossar, Harper. "Snakes and funerals aesthetics and American widescreen films /". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03162007-175907/.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Georgia State University, 2006.Title from file title page. Greg M. Smith, committee chair; Matthew Bernstein, Kathy Fuller-Seeley, Jack Boozer, Angelo Restivo, committee members. Electronic text (349 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed June 4, 2007. Includes bibliographical references (p. 342-348).
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Udden, James. "Hou Hsiao-hsien and the aesthetics of historical experience". access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.
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明奇英 e Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.
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Williams, Tami Michelle. "Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Rassos, Effie School of Media Film & Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian". Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.
Testo completoAbstract (sommario):
This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /". online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.
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Yang, Julianne Qiuling Ma, e 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
Testo completoAbstract (sommario):
Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic". Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.
Testo completoAbstract (sommario):
The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic". English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.
Testo completoAbstract (sommario):
PhDThe influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
Libri sul tema "Motion pictures - Aesthetics"
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Aesthetics and film. London: Continuum, 2008.
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J, Aumont, a cura di. Aesthetics of film. Austin: University of Texas Press, 1992.
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Sight, sound, motion: Applied media aesthetics. 5a ed. Belmont, CA: Thomson/Wadsworth, 2008.
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Furniss, Maureen. Art in motion: Animation aesthetics. Eastleigh, UK: John Libbey, 2007.
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Furniss, Maureen. Art in motion: Animation aesthetics. Eastleigh, UK: John Libbey, 2007.
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Art in motion: Animation aesthetics. London: John Libbey, 1998.
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Sight, sound, motion: Applied media aesthetics. 2a ed. Belmont, Calif: Wadsworth Pub. Co., 1990.
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Sight, sound, motion: Applied media aesthetics. 4a ed. Belmont, CA: Thompson/Wadsworth, 2005.
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The unmaking of fascist aesthetics. Minneapolis: University of Minnesota Press, 2001.
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Sight, sound, motion: Applied media aesthetics. 6a ed. Boston, MA: Wadsworth Cengage Learning, 2011.
Cerca il testo completoCapitoli di libri sul tema "Motion pictures - Aesthetics"
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Klevan, Andrew. "Aesthetic Criticism". In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 409–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_18.
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"Vision in Motion: Defining the Dimension of Movement in Television Pictures". In Television Aesthetics, 52–70. Routledge, 2013. http://dx.doi.org/10.4324/9780203811030-10.
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Erish, Andrew A. "Conclusion". In Vitagraph, 219–20. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0008.
Testo completoAbstract (sommario):
The Conclusion summarizes of a fundamental key to Vitagraph's success. Smith and Blackton's decision to embrace the vaudeville aesthetic of providing a variety of family-friendly entertainment proved so profitable that it laid the foundation upon which the rest of the American motion picture industry was to follow for well over half a century. It is posited that Vitagraph produced a greater variety of subjects than most other companies because of the inherent differences of its founding partners, Blackton being a humanist and Smith a Christian. It is an approach that American producers have chosen not follow for several decades as motion picture attendance declines. Not only does a comprehensive history of Vitagraph correct fundamental inaccuracies to the canon, it can also serve as a blueprint for a more inclusive and profitable future.
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Mathias, Nikita. "The Sublime in Disaster Cinema". In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch07.
Testo completoAbstract (sommario):
The film analytical chapter moves along the lines of different key moments of the sublime: the Sublime as somatic excess, subjectivity, transcendence, modality, presentability, the geological sublime, the sublime and the ridiculous, as well as sublime hyperobjects and the ecological sublime. The primary analytical tool applied are Edmund Burke and Immanuel Kant’s theoretical models of the sublime. The application of these eighteenth-century theorems for the analysis of twentieth and twenty-first-century motion pictures is solely justified through their shared historical foundation. This historical account takes into view the broader cultural horizon of the sublime, encompassing aesthetic thought, art historical iconographies, media technologies, aesthetic receptive conventions and strategies, scientific, economic, and cultural discourses, as well as general concepts of man’s relation to nature’s forces.
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O’brien, Charles. "Dubbing in the early 1930s: An improbable policy". In The Translation of Films, 1900-1950, 177–90. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0010.
Testo completoAbstract (sommario):
This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.
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Sundmark, Björn. "Uppståndna igen ifrån de döda: Kristna motiv i nyare skandinavisk barnlitteratur". In Oppvekst og livstolkning, 95–119. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.107.ch4.
Testo completoAbstract (sommario):
The chapter discusses representations of Christian practices, religious experiences and biblical motifs in recent Scandinavian children’s and young adult literature. It is claimed that after an almost one hundred-year hiatus, during which overt Christian symbols, stories and experiences have been absent from mainstream children’s publishing, we are now witnessing a return of such religious expressions in fictional and aesthetic form. The books under scrutiny are from Denmark, Sweden and Norway, and include critically acclaimed picture books as well as young adult fiction and crossover literature. It is argued that it is once again possible to bring up Christian motifs and stories in our post-secular societies, not because of increased faith in the general population, but because religious issues to a greater degree have become part of contemporary non-confessional discourse.
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Erish, Andrew A. "1909–1913". In Vitagraph, 58–110. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.
Testo completoAbstract (sommario):
Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".