Articoli di riviste sul tema "Plages au cinéma"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Plages au cinéma.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Plages au cinéma".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas". Outros Tempos: Pesquisa em Foco - História 13, n. 22 (28 dicembre 2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.
Testo completoAbstract (sommario):
O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do inácio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestágios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construádos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entreguerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais ”civilizada”.Palavras-chave: Cinema. Colonialismo. áfrica. VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesAbstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers”™ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters.Keywords: Cinema. Colonialism. Africa. Visibilidad e invisibilidad de LOS cineS en áfrica colonial: reviviendo las primeras escenasRésumé: Le cinéma connait son apogée dans les années 1950-1970 mais que savons-nous des modalités de sa diffusion á partir du début du XXá¨me siá¨cle ? Cet article évoque le succá¨s précoce du cinéma, arrivé dans les bagages de la conquête coloniale, á travers les traces laissées par les récits de voyageurs, la presse ou des souvenirs de spectateurs. Des entrepreneurs, africains ou européens, jouá¨rent un formidable rôle de passeurs de modernité pour assurer la circulation des images animées. Ils sont photographes, ingénieurs, commerçants. D”™abord évá¨nements éphémá¨res, se déroulant dans les cours des concessions ou les hôtels, les séances du cinématographe se fixent peu á peu. Tandis que le cinéma ambulant anime, sporadiquement, les places de village, des cinémas sont construits dans les grandes villes. Ce sont eux qui attirent le regard des administrateurs. Le modá¨le dominant de l”™entre-deux-guerres reste toutefois celui de vastes enclos, á ciel ouvert, protégés par un auvent á l”™arriá¨re. A la différentiation des lieux répond celle des publics : aux plus pauvres, majoritairement africains, sont assignées les places á l”™avant. L”™ambiance des séances et l”™expérience des spectateurs varient donc fortement selon l”™espace fréquenté. Les séances en plein air, oá¹ sont projetés surtout des westerns et des films d”™action, contrastent avec celles du centre-ville á l”™atmosphá¨re plus policée.Mots-clés: Cinéma. Colonialisme. Afrique.
2
Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia". Media International Australia 131, n. 1 (maggio 2009): 83–94. http://dx.doi.org/10.1177/1329878x0913100110.
Testo completoAbstract (sommario):
Cinema-going is a cultural experience shaped by logistics and mobility, as film distributors and exhibitors operate to enable films to be screened in places and at times when audiences can physically assemble to view them together. A historical understanding of the geography of cinema distribution, exhibition and attendance can therefore help us to understand what factors other than the choice of film title may have shaped the experience of the cinema audience. This article uses samples of trade commentary on small country cinemas in the late 1920s from the Australian trade journal Everyones, and suggests that historical GIS maps could help us to understand regional differences in the cinema-going experience, or track phenomena such as the diffusion of racial and social segregation in cinemas. Nevertheless, we need to remain mindful of the limits of maps to adequately explain the cultural experience of encountering these phenomena.
3
Pryt, Karina. "Mapping cinemas in the Russian-governed Warsaw". Studia Geohistorica, n. 10 (10 marzo 2023): 138–51. http://dx.doi.org/10.12775/sg.2022.08.
Testo completoAbstract (sommario):
Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema. Like in other places worldwide, this development was conditioned as much by the place’s particularities as by the time. Thus, the article illuminates the growth and scope of the local cinema market against the larger geopolitical context. Furthermore, using a sample for 1911, it maps the cinemas in QGIS, revealing spatial patterns and correlations.
4
Wei, Qi, e Nan Zhao. "Establishment of a Big Data Monitoring Platform for Cinema Opening in the Postepidemic Era from the Perspective of Public Health". Journal of Environmental and Public Health 2022 (9 agosto 2022): 1–9. http://dx.doi.org/10.1155/2022/6505990.
Testo completoAbstract (sommario):
The emergence of COVID-19 has had a huge impact on people’s lives around the world. With the vaccine and the effective policies of the government, the spread of the epidemic has been effectively contained. However, in the postepidemic era, public health and epidemic protection policies have forced the transformation of public places such as movie theaters. The cinema box office monitored by the traditional monitoring platform can no longer effectively reflect the opening of the transformed cinema. To make up for the shortcomings of the traditional monitoring platform, considering the large amount of data generated by the cinemas’ online and offline platforms and public place codes, this study establishes an intelligent monitoring platform based on big data technology to monitor the opening of cinemas. The established intelligent monitoring platform can fully extract the feature information contained in numerous data collected from cinemas and output quantitative indicators that characterize the opening of cinemas based on the feature information. The performance of the established intelligent monitoring platform is analyzed through a case study. The research results show that the average relative error between the cinema opening indicators predicted by the intelligent monitoring platform and the real results is within 2%, which indicates that the intelligent monitoring platform has good prediction accuracy. In addition, the statistical analysis results show that the linear correlation coefficient between the predicted and real results is 0.9802 > 0.95, which further indicates the feasibility of the established intelligent monitoring platform to monitor the opening of cinemas in the postepidemic era.
5
Quintana, Àngel. "Un cinema en trànsit per a un temps d'incertesa". Zeitschrift für Katalanistik 27 (1 luglio 2014): 11–26. http://dx.doi.org/10.46586/zfk.2014.11-26.
Testo completoAbstract (sommario):
Summary: The Catalan cinema has traditionally been confined within the limits of a linguistic ambiguity which has placed it between an industrial model accepting both Castilian Spanish and Catalan, and a model which considered that the Catalan cinema was one which solely utilized the Catalan language. Now that this debate seems finally to be over, a new debate arises which places the Catalan cinema between a model of author’s cinema, which has progressively gained cultural significance, and a commercial cinema which is trying to make its way through the American market. This debate is very much on the foreground after the Catalan cinema experienced a renaissance in quality and became much more present. Nonetheless, the cinema is located in a country which is undergoing a process of political transformation which has led it to a point where it wants to cut its ties with the administrative references of the Spanish state. This article aims to situate the Catalan cinema directly in the center of that debate, in a country, Catalonia, which is going through political and cultural transformation. [Keywords: Catalan cinema; cinema d’autor; industry; independence; avantgarde; documentary]
6
Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930". Journal of British Cinema and Television 10, n. 3 (luglio 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.
Testo completoAbstract (sommario):
Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.
7
Murray, Ros. "Revisiting Jeanne Dielman: Autour de Jeanne Dielman (2004), Woman Sitting After Killing (2001) and Akerman’s ‘cinéma de ressassement’". Moving Image Review & Art Journal (MIRAJ) 8, n. 1 (1 settembre 2019): 54–66. http://dx.doi.org/10.1386/miraj_00005_1.
Testo completoAbstract (sommario):
This article revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing, made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’, ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.
8
Scheible, Jeff. "Expanded Cinema, Recycled Cinema". Feminist Media Histories 8, n. 2 (2022): 180–207. http://dx.doi.org/10.1525/fmh.2022.8.2.180.
Testo completoAbstract (sommario):
VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT’s 1980s television documentary on avant-garde film, The Armed Eye, and Varda’s final two documentaries, Faces Places (2017) and Varda by Agnès (2019).
9
Sokoloff, Naomi. "Cinema Studies/Jewish Studies, 2011–2013". AJS Review 38, n. 1 (aprile 2014): 143–60. http://dx.doi.org/10.1017/s0364009414000075.
Testo completoAbstract (sommario):
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”?
10
Brown, Richard. "The Missing Link: Film Renters in Manchester, 1910-1920". Film Studies 10, n. 1 (2007): 58–63. http://dx.doi.org/10.7227/fs.10.7.
Testo completoAbstract (sommario):
Although film renting began in Britain in London, the rapid spread of cinemas after 1910 meant that there was a demand for distribution closer to the sites of exhibition. As a long-established trading centre, Manchester was well placed to become the hub for Northern distribution, and local trade directories list distributors from 1912 onwards. These clustered at first near Victoria Station, but soon moved to Deansgate, as independent distributors began to outnumber branch offices of the major companies. The life-expectancy of these was short, and the First Worlds War affected their business, but they remain an important and under-researched aspect of the early British cinema business.
11
Gaustad, Terje. "How streaming services make cinema more important". Nordic Journal of Media Studies 1, n. 1 (1 giugno 2019): 67–84. http://dx.doi.org/10.2478/njms-2019-0005.
Testo completoAbstract (sommario):
AbstractThe technocultural disruption triggered by digitization has radically changed the way in which we consume films outside cinemas and transformed content providers’ business models. In Norway, between 2010 and 2016, DVD/Bluray and subscription-based streaming services switched places as major and minor platforms for home video consumption. Hence, home video consumption has migrated from a high-yielding platform at the head of the home video release cycle to a low-yielding platform at the tail end, where films also face tougher competition from drama series and international content tends to surpass local content. A case study of the earnings generated by local films released by a major distributor in this period suggests that home video revenues have diminished, making local films much more dependent on theatrical revenues and vulnerable to changes in cinema-going behaviour.
12
Ponzanesi, Sandra. "The Non-Places of Migrant Cinema in Europe". Third Text 26, n. 6 (novembre 2012): 675–90. http://dx.doi.org/10.1080/09528822.2012.734565.
Testo completo
13
Nabi, Hira. "Transient Spaces and Places: Inside an 80s Cinema Hall in Lahore". BioScope: South Asian Screen Studies 8, n. 2 (dicembre 2017): 268–79. http://dx.doi.org/10.1177/0974927617728138.
Testo completoAbstract (sommario):
The space of cinema in Pakistan is a tense, fraught, constantly shifting territory. It has often come under direct attack for being a corrupting Westernizing influence upon society. It has also been made vulnerable as part of a larger scheme of privatization of public and semi-public spaces, and increasing forms of capitalist globalization. I have been curious about the cinema theater as a site for reception of cinematic content as well as a negotiated space of classed, ethnic and gendered relations. In this extract from a conversational interview, I chat with a Lahori cinemagoer about his memories of cinemagoing in the 1980s. It was a chance to rediscover the city that I grew up in, but in a different time and through someone else’s memories. We talk about his navigation and knowledge of the city’s infrastructure, its possibilities and its limits, all the while locating cinema at the heart of his transgressions under Zia’s military dictatorship
14
Goodall, Mark. "Space Age Cinema: The Rise and Fall of Cinecenta". Journal of British Cinema and Television 19, n. 3 (luglio 2022): 360–83. http://dx.doi.org/10.3366/jbctv.2022.0630.
Testo completoAbstract (sommario):
This article explores the short history of the Cinecenta chain of cinemas that operated in the UK between 1968 and 1979. It was run by Leslie Elliot and developed out of the Compton Group headed by the producers and distributors Tony Tenser and Michael Klinger. The article contends that the negative reputation of Cinecenta (largely a result of the sad decline of the company) as a disreputable purveyor of sex films is inaccurate and that, at least at its inception, the philosophy of the Cinecenta brand was to innovate in relation to its programming ethos, the marketing and promotion of its product exhibited and the design of its cinemas. The article places Cinecenta in the context of film exhibition in the late 1960s and early 1970s – a time of bold innovation, despite declining theatrical ticket sales – and looks for the first time in detail at the films screened as part of Cinecenta’s early schedules. Also discussed is the way in which the Cinecenta project was an attempt at exporting more adventurous film programming to audiences outside central London. The article concludes by suggesting that the more visionary aspects of the Cinecenta project could be useful in rethinking about how we might engage with cinema in the twenty-first century.
15
Ma, Jean. "Sleeping in the Cinema". October, n. 176 (2021): 31–52. http://dx.doi.org/10.1162/octo_a_00425.
Testo completoAbstract (sommario):
Abstract In the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic reception with scattered, dispersive forms of attention that stray from aesthetic or disciplinary norms of absorption.
16
Gacek, James, e Steven Kohm. "The ‘Frozen’ Heart of the Continent: Place-Myths and Winnipeg in Canadian Crime Films". Canadian Graduate Journal of Sociology and Criminology 5, n. 1 (2 agosto 2016): 4–17. http://dx.doi.org/10.15353/cgjsc.v5i1.3738.
Testo completoAbstract (sommario):
Within Canadian national cinema, audiences view places that draw attention to the shared experience of being within these geopolitical, socio-spatial locations. This paper contends that crime films set in Winnipeg, a city situated in the centre of North America, reflect and contribute to the cultural identity of the city within the national imaginary. Place-myths have the potential to construct meanings about a particular place, indicating whether it is romantic or dangerous, progressive or “backward,” vibrant or decaying. While currently branded by local civic boosters as the ‘Heart of the Continent,’ (Kives, 2008) the construction of Winnipeg-as-place on film tells a different tale. By implementing a qualitative media analysis, we argue that place-myths manifest themselves within Canadian crime film narratives, and that a better understanding of place allows us to observe how Winnipeg becomes socially spatialized onscreen. As our paper suggests, one’s sense of space can only constellate when one’s experiences of being and acting within a place is taken into account. Winnipeg ultimately becomes represented on film as a place where crime is rampant and law enforcement is unable to combat the criminal behaviour within the city—in other words, where law and justice is ‘frozen.’ Dans le cinéma national canadien, les auditoires vont associer les lieux avec leur propre expérience de ces emplacements géopolitiques et de leur espace social. Cet article soutient que les films policiers qui se déroulent à Winnipeg, une ville située au centre de l’Amérique du Nord, reflètent et contribuent à forger l’identité culturelle de la ville au sein de l’imaginaire national. Les mythes liés aux endroits ont le potentiel de construire des significations autour d’un lieu spécifique, indiquant si cet espace est romantique ou dangereux, progressif ou « rétrograde », animé ou déserté. Même si des représentants de Winnipeg vont qualifier la ville de « cœur du continent » (Kives, 2008), sa construction imaginaire au cinéma raconte une autre histoire. Par la mise en œuvre d’une analyse qualitative des médias, nous soutenons que les mythes des lieux se manifestent dans les trames narratives des films policiers canadiens, et qu’une meilleure compréhension des lieux nous permet de constater comment l’espace social de Winnipeg a été présenté à l’écran. Comme notre article le suggère, notre perception de l’espace ne peut s’exprimer pleinement que si nous expérimentons concrètement et agissons dans celui-ci. Winnipeg devient finalement représenté au cinéma comme un endroit où le crime est à la hausse et les organismes d’application de la loi incapables de combattre les comportements criminels dans la ville – en d’autres mots, où la loi et la justice sont « immobiles ».
17
Astorino, Claudia Maria. "Cinema and Tourism". Revista Turismo em Análise 30, n. 3 (20 dicembre 2019): 539–61. http://dx.doi.org/10.11606/issn.1984-4867.v30i3p539-561.
Testo completoAbstract (sommario):
It is not a recent phenomenon that films encourage viewers to visit the places where they are set. This movement is called film-induced tourism and it has been gaining more and more studies and supporters. The associations that can be established between cinema and tourism, however, go far beyond this type of tourism, and this essay intends to present one of these associations: the one that investigates how films can be tools for teaching and learning in a Bachelor’s Degree in Tourism Course. With this scope, an eclectic study corpus was carried out, from which 40 films were selected in order to stimulate the discussion about the tourism practice. To optimize this discussion, topics that cover tourism market segmentation, tourism elements, jobs in the tourism industry, film-induced tours and the relationship between tourists and residents were established. The analysis of the findings showed that the films discussed along this essay can be used in the scope of different subjects in the context of Tourism undergraduate courses, as tools to illustrate and debate various aspects of the tourism activity.
18
Dufournaud, Daniel. "Cinema of Senescence: Old Age, Slow Cinema, and Form". Poetics Today 44, n. 1-2 (1 giugno 2023): 205–30. http://dx.doi.org/10.1215/03335372-10342169.
Testo completoAbstract (sommario):
Abstract If speed is a cornerstone of contemporary life, then one of the most difficult hurdles to overcome in the fight against agism is the fact that senescence entails a slowing down of the human body and mind. The question this essay asks is whether this form of life can afford epistemological and moral benefits within a productivist culture of speed that stigmatizes slowness and inactivity. In order to pursue an answer to this question, the essay turns to what critics have begun to call “slow cinema” and examines two films about people suffering from senescence-related slowness: Yasujirō Ozu's Tokyo Story (1953) and Lee Chang-dong's Poetry (2010). The essay treats the slowness that can accompany age as an experiential form and places it on the same plane of formalist inquiry as slow cinema, an aesthetic form characterized by a decelerated pace, long takes, minimalist editing, and an emphasis on the temporality of quotidian life. The essay establishes its methodological approach by bringing Caroline Levine's formalism into conversation with Maurice Merleau-Ponty's phenomenology and André Bazin's writings on cinematic realism. Ultimately, the essay contends that Ozu's and Lee's films associate the value of slowing down our thinking and expanding our attention spans with the perceptual potentialities of age-related slowness within a culture of speed.
19
Morales, Laura Verónica Jiménez, Soumik Pal e Namrata Rele Sathe. "Hearts in other places: Cinema of the South Asian diaspora". Studies in South Asian Film & Media 12, n. 1 (1 febbraio 2021): 109–21. http://dx.doi.org/10.1386/safm_00044_7.
Testo completo
20
Tryfonova, H. V., e A. V. Grachova. "ITALIAN CINEMA AND THE HISTORICAL PROCESS: THE INTERRELATION OF PLANES". "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 3, n. 1 (2021): 181–86. http://dx.doi.org/10.32838/2710-4656/2021.1-3/31.
Testo completo
21
Acland, C. R. "Haunted places: Montreal's Rue Ste Catherine and its cinema spaces". Screen 44, n. 2 (1 giugno 2003): 133–53. http://dx.doi.org/10.1093/screen/44.2.133.
Testo completo
22
Idini, Marta. "Il cinema fuori dal cinema: Song 'e Napule dei fratelli Manetti". Lingue e culture dei media 7, n. 1-2 (30 gennaio 2024): 68–104. http://dx.doi.org/10.54103/2532-1803/22394.
Testo completoAbstract (sommario):
Il primo obiettivo che si pone il presente contributo è analizzare la lingua di Song ‘e Napule (Manetti Bros., 2013): quali siano le varietà o i codici in esso filmati, quali i ruoli che questi assumono al suo interno e nella costruzione dell’identità che il film narra a partire dal titolo stesso. Infine, come spesso accade, l’atto dell’indagine ha aperto un nuovo quesito e cercato in Song ‘e Napule i luoghi in cui il linguaggio filmico si appropria del fumetto come strumento registico e espressivo. The first objective of this paper is to analyze the language of Song 'e Napule (Manetti Bros., 2013): what are the varieties or codes filmed in it, what are the roles that they assume within it and in the construction of the identity that the film narrates starting from the title itself. As often happens, the act of investigation has opened a new question and sought in Song ‘e Napule the places where the filmic language appropriates comics as a directorial and expressive tool.
23
Rostotskaya, Lidia. "Soviet cinema of 1920—1930 years and new cinema of Latin America: features of influence". Latinskaia Amerika, n. 9 (2022): 98. http://dx.doi.org/10.31857/s0044748x0021678-4.
Testo completoAbstract (sommario):
The article discusses the features of creative models of two major trend in world cinema: Soviet cinema of 1920—1930 and new cinema of Latin America 1960—1970. At the same time, emphasis is placed on the methods developed in the field of art form by Soviet directors: theories of editing by S.M.Eisenstein and “Kinoglaz” by D.Vertov. The comparison of the program theses of the two schools of cinema, the analysis of their cinematic and theoretical works allows us to conclude that they are conceptually close in two key aspects — ideological and aesthetic.
24
Slanar, Claudia. "« This looks just like home ». À propos des non-lieux et espaces autres dans le cinéma autrichien contemporain". Austriaca 64, n. 1 (2007): 115–25. http://dx.doi.org/10.3406/austr.2007.4536.
Testo completoAbstract (sommario):
“This looks just like home.” About non-places and other spaces in recent Austrian fiction film Using Marc Augé’s theory about “places” and “non-places” as a starting point, the essay investigates various topographies explored in examples of latest Austrian cinema and focuses on their potential quality of imagining “other” spaces that allow a different reading of concepts such as identity, history and narration. Though the city, the railway station and the discotheque are recurring motives of filmic narratives, the frame of reference of their presentation has a wider scope : including a nearly documentary-like interest into the urban periphery, over-the-top surreal psycho-geographies full of clichés or the Foucauldian “heterotopia” that can only exist outside the various “real” places. The movies selected -covering a production-period of nine years — share a common topographic interest that follow Augé’s topology, while remaining rather rudimental in their attempt to rethink the utopian potential of the places they describe.
25
Prasetyo, Denny Agung, Jawas Dwijo Putro e Syaiful Muazir. "PERANCANGAN GEDUNG BIOSKOP DI KOTA SINTANG". JMARS: Jurnal Mosaik Arsitektur 9, n. 1 (22 febbraio 2021): 327. http://dx.doi.org/10.26418/jmars.v9i1.45084.
Testo completoAbstract (sommario):
One of the districts with the largest population, densest population activities, and supporting economy is Sintang District, West Kalimantan Province with a population of 413,369 people in 2018. The increase in the population of Sintang Regency every year results in a high level of work activity and affects the desire to go to entertainment, recreation and tourism places. Many places can be visited in Sintang Regency, one of which is the Bukit Kelam tour. In today's technological era, the cinema building is one of the solutions for entertainment venues, where the audience can devote all their attentions and feelings to the living picture being witnessed. Therefore, the design of the Cinema Building located in Sintang Regency is a solution to provide a forum for the community to enjoy film shows and provide a modern building concept that is inseparable from the cultural elements in Sintang Regency. The concept of layout outside and inside the building is needed as an attraction to the Cinema Building. The theater building has the appeal of a dynamic building with a rectangular shape that follows the concept of a projector with the use of wood colors to make it look more elegant. In the building, the designer added Dayak and Malay ornaments which were elements of the Cinema Building Design concept so that it was not separated from cultural elements.
26
Barton, Ruth. "Cultural baggage – Pirjo Hokkanen’s Matka". Short Film Studies 4, n. 1 (1 aprile 2014): 35–38. http://dx.doi.org/10.1386/sfs.4.1.35_1.
Testo completoAbstract (sommario):
Discussing the place of the short film within a national cinema, Martin McLoone asks whether this art form is uniquely placed to explore questions of the national. I ask the alternative question: how imperative is familiarity with a national cinema to an understanding of a short film such as Matka?
27
Parmeggiani, Francesca. "Kieślowski Re-read: On Reality, Realism and Cinema". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, n. 33 (25 marzo 2019): 61–71. http://dx.doi.org/10.14746/i.2018.33.06.
Testo completoAbstract (sommario):
By referencing Italian auteurs Ermanno Olmi and Federico Fellini, this paper offers a re-reading of Krzysztof Kieślowski’s reflections on cinema that places the practice of describing reality and uttering “a statement of fact” about people’s lives and the world as a long-lasting, structuring foundation of his episteme and workshop.
28
Waite, Clea T. "The Ice-Time project: Tessering the space-time of climate change". Virtual Creativity 13, n. 2 (1 ottobre 2023): 163–79. http://dx.doi.org/10.1386/vcr_00082_1.
Testo completoAbstract (sommario):
Fathoming global warming-induced climate change involves vast systems and time frames that are disconcerting for the mind. Can we assimilate data representing planetary scales of matter and time frames that progress over generations, far beyond the limits of our experience and physical perception? Ancient ice provides a four-dimensional perspective into Earth’s climatological timeline. The Ice-Time project is a series of immersive media artworks created in response to the precarious state of Earth’s ecosystem, engaging interdisciplinary science-art research methodologies and collaborations and heuristic experience with polar ice in Greenland. The series formally explores cinema in and as hyperspace, realized in diverse, immersive moving image forms, including a multichannel video installation with spatial sound, 360° cinema, ultra-high-resolution hyper-cinema and virtual reality (VR) to create embodied experiences of ice’s changing time frames. This article focuses on two works, the immersive cinema mediascape Ice-Time and the VR environment TesserIce. In Ice-Time, the beholder experiences the time frame of a different form of matter as a somatic experience. Ice-Time conveys hyper-realistic views of ice at all scales of space, from the microscopic to the planetary, combined within a three-dimensional space of original sound recordings of ice. The spectator’s body placed in a conflation of real with virtual space fosters a radical solicitude between the space-time of the human and the geological. TesserIce composes a true four-dimensional mediascape in VR that allows participants to propel themselves through the hyper-dimensions of Earth’s polar ice. The work uniquely places participants within a four-dimensional architecture. In each of these artworks, the stark imagery of ice serves as a distinct access point into the overwhelming complexity of global warming, creating an embodied, participatory and poetic experience of climate change’s time, scale, causes and effects, imbuing the spectator with a deep awareness of the environmental and the cultural implications of ice.
29
Castro-de-Paz, José-Luis. "Crossroads of Spanish Film History". Comunicar 15, n. 29 (1 ottobre 2007): 39–45. http://dx.doi.org/10.3916/c29-2007-05.
Testo completoAbstract (sommario):
The overall regrettable situation of Spanish cinema education in our universities, scattered throughout the most varied degrees, mistreated in the syllabuses and different programs, contrasts with a period of deep historiographical renovation. Several recent manuals and other serious works offer syntheses of a new intellectual path, one that approaches our cinema with methodological and analytical accuracy, leaving aside old prejudices regarding Spanish cinema and raising new interests in our students. La, en general, lamentable situación de la enseñanza del cine español en la universidad, desperdigada por las más variadas titulaciones, maltratada en los planes de estudio, considerada una materia de segunda categoría… contrasta, sin embargo, con un periodo de profunda renovación historiográfica de frutos ya bien solventes, incluidos manuales universitarios que ofrecen diversas síntesis de un nuevo trayecto que, dejando al margen tópicos de todo tipo, se aproxima a nuestro cinema con rigor analítico y metodológico, despertando un creciente interés por parte del alumnado.
30
Silveira, Vanilson Pereira, e Maria Luiza Cardinale Baptista. "Tourism and Cinema: Cinematographic Production and Tourist Attractivity In Garibaldi-RS, Brazil". Revista Rosa dos Ventos - Turismo e Hospitalidade 12, n. 4 (22 ottobre 2020): 982–96. http://dx.doi.org/10.18226/21789061.v12i4p982.
Testo completoAbstract (sommario):
This paper aims to discuss the relationship between cinema and tourism, taking as its analysis the municipality of Garibaldi, located in Rio Grande do Sul, Brazil. Theoretically, it’s a transdisciplinary approach Tourism – Communication with a literature review to approach the theme and to identify locations contained in audiovisual productions. It’s possible to point movies as a resource to promote and disseminate tourist destinations. The cinematographic productions that take place in Garibaldi represent a differential strategy to reaffirm the region's vocation to tourism and cinematography. The Garibaldi Film Commission and the cinematography route ‘Garibaldi a cinematography city’ are strategic to capture productions and to diversify the local tourism. In addition, the places used as sceneries can be directed to promote historical and cultural attractions in the region.
31
Sosnitsky, D. A. "Peter the Great in Modern Russian Cinema". Russia: society, politics, history, n. 3(3) (11 agosto 2022): 90–101. http://dx.doi.org/10.56654/ropi-2022-3(3)-90-101.
Testo completoAbstract (sommario):
Within the framework of this study, the author analyzes the features of the construction of the image of Peter I in the Russian historical cinema of the post-Soviet period. As a source, feature films and TV series dedicated both directly to Peter the Great himself and his era are considered. The article draws conclusions about the most popular historical heroes in cinema, directly related to the first Russian emperor, and gives characteristics of the bright film incarnations of the reformer tsar. Thus, the analysis of post-Soviet Russian historical cinema allows us to conclude that in recent decades, plots related to the personal life of the tsar (the conflict with Tsarevich Alexei and the relationship with Catherine I) have been in demand. The author also traces the connections between modern Russian and Soviet cinema and highlights common places in the interpretation of the image of Peter I. The characteristic features of the cinematic image of Peter I, set in the films of the first half of the XX century, namely, impulsiveness, determination, complete dedication, migrated to modern cinema and continue to be exploited when creating new films.
32
Rigaux-Pirastru, Brigitte. "La narration oublieuse La fuite sans l’expulsion dans le cinéma germanophone". Intercâmbio: Revue d’Études Françaises=French Studies Journal, n. 16 (2024): 26–42. http://dx.doi.org/10.21747/0873-366x/int16a2.
Testo completoAbstract (sommario):
From 1945 to 1950 more than 12 million people considered to be German were forcibly displaced in Germany in its new restricted borders. The story of this migration, described as flight and expulsion, is highly complex. The analysis of its "forgetful narrative" in German-language cinema shows that the latter has played a major role in carving out two places of memory for the flight, the Treckand the shipwreck of the Wilhelm Gustloff, in the collective memory. It has also helped to build the myth of successful integration while neglecting to portray the events linked to expulsion, because of competing memories with that of the Shoah.
33
Allen, Robert C. "Reimagining the History of the Experience of Cinema in a Post-Movie-Going Age". Media International Australia 139, n. 1 (maggio 2011): 80–87. http://dx.doi.org/10.1177/1329878x1113900111.
Testo completoAbstract (sommario):
As theatrical movie-going is supplanted by other modes of engaging with cinema, it becomes more apparent that one of the most striking features of the experience of cinema for a century was its sociality. Prior to the 1980s, the experience of cinema around the world involved groups of people converging upon particular places to experience together something understood to be cinema. As it emerged as a cultural industry, cinema depended upon the regular repetition of this social practice under the sign of cinema. This article explores the application of digital technologies in representing the history of the experience of cinema in one American state (North Carolina) across the first three decades of commercial cinema. Going to the Show ( www.docsouth.unc.edu/gtts ) uses data from city directories, newspapers, photographs, architectural drawings, newspaper ads and articles to recover that which is representable about the experience of movie-going in an online archive. This material is itself represented as a layer on more than 1000 digitally stitched and georeferenced map pages for 45 towns and cities in the state. What emerges is a ‘view’ of movie-going as part of the experience of urban life at a time when towns and cities in North Carolina – and across the United States – were taking on their modern character and institutions. It also affords a unique perspective on the role of race as the determinative social factor in the experience of movie-going for all North Carolinians and, by extension, millions of other Americans.
34
Shakya, Aditya, Bhakta Bahadur KC e Rasmita Shrestha. "Compliance Status of Smoke-Free Public Places Law in Nepal". Advances in Public Health 2024 (21 maggio 2024): 1–6. http://dx.doi.org/10.1155/2024/9184499.
Testo completoAbstract (sommario):
Background. The tobacco epidemic is one of the biggest public health threats the world has ever faced, killing around 8 million people a year. The tobacco control program has been one of the priority programs in Nepal but still satisfactory results have not been achieved yet. The main objective of this study was to assess the tobacco smoke-free law compliance in public places of the provincial headquarters of Nepal. Materials and Methods. A cross-sectional observational study was conducted in 2019 in 560 public places of seven provincial headquarters of Nepal. Convinent samples were collected from at least three different clusters (wards) of each city. Indoor and outdoor locations of public places were observed. Observation tool was adopted from the Guide for Conducting Compliance Studies (John Hopkins School of Public Health). Data were entered in Epi Datav3.1, and analysis was done using IBM SPSS 26. Results. This study showed less use of no-tobacco signage which was 32% in the indoor areas and 13% in the outdoor areas in public places but they were placed in visible areas. Tobacco use in public places is still prevalent and it was higher (40%) in outdoor of public places. Three-fourths (76%) of public places was observed for buying and selling tobacco products within their 100 m premises. Tourist hotels, public toilets, and bus stops/ticket counters had low tobacco law compliance both in indoor and outdoor areas. Though public vehicles and cinema halls had high tobacco law compliance in indoor areas, law compliance in outdoor areas was low. Province-wise comparison showed that there was a similar pattern of tobacco law compliance in the indoor areas but outdoor law compliance was low in Madesh, Bagmati, and Karnali province. Conclusion. It is evident that while progress has been made in certain aspects of tobacco law compliance, there remains a compelling need for comprehensive and targeted interventions to ensure adherence to laws in public places across the country.
35
Shih, Shu-Mei. "World Studies and Relational Comparison". PMLA/Publications of the Modern Language Association of America 130, n. 2 (marzo 2015): 430–38. http://dx.doi.org/10.1632/pmla.2015.130.2.430.
Testo completoAbstract (sommario):
A new kind of world studies is emerging. This is a world studies 2.0, since some forms of world studies, such as world literature, world music, and world cinema, have existed for some years in the humanities. These categories have been more narrowly defined and refer to literature, music, and cinema from places other than the West—that is, “the rest,” as seen from the West. In this vein, world literature has sometimes been euphemistically called “literature of the world at large,” conjuring a chase, if only halfhearted, after a world that somehow slipped away: at large.
36
Front, Sonia. "Frozen Time in Gustav Deutsch’s "Shirley: Visions of Reality"". Anglica Wratislaviensia 57 (4 ottobre 2019): 37–48. http://dx.doi.org/10.19195/0301-7966.57.3.
Testo completoAbstract (sommario):
Gustav Deutsch’s film Shirley: Visions of Reality 2013 is a slow cinema film which employs Edward Hopper’s paintings and reproduces their aesthetics. Both Hopper’s art and slow cinema can be characterized by silence, passivity, and the theme of alienation. The mood of alienation and loneliness, accompanied by the visual motifs and the tension between light and shadow taken from Hopper’s paintings, create an image of suspended time in the film. This is also enacted by the techniques characteristic of slow cinema that the film uses, particularly the long take. The poetics of slow cinema is employed to present the protagonist in in-between spaces, times and states that are located beyond the productive precinct of capitalism. The painterly stillness evoked in the film reflects the continuous present of the character’s existence and her subjective experience of time away from the culture of acceleration. Her interior time is juxtaposed with other time vectors: the historical time of 1930s–1960s America, historical decontextualization and the temporality of non-places. The distinct time vectors contribute to the sense of timelessness that the film ultimately generates.
37
Portugal e Gomes, Francisco Manuel, e Maria Raquel Paulo Rato Alves. "Arquitetura popular, lugares e paisagens no universo cinematográfico de António Reis e Margarida Cordeiro". Simbiótica 9, n. 3 (26 dicembre 2022): 40–73. http://dx.doi.org/10.47456/simbitica.v9i3.39802.
Testo completoAbstract (sommario):
Resumo Este artigo coloca-se nos domínios das Artes e Humanidades, cruzando matérias das áreas científicas da Arquitetura e do Cinema sendo uma reflexão em torno dos contributos e colaborações de arquitetos das Belas-Artes do Porto na distinção de espaços habitados, lugares e paisagens do universo cinematográfico de António Reis e Margarida Cordeiro. Na primeira parte aprofunda as ligações de António Reis com alunos e professores da Escola de Belas-Artes do Porto que terão estimulado o interesse cinematográfico pela região transmontana, e na segunda parte analisa e interpreta, a partir de dois olhares simultâneos e convergentes, os mesmos objetos cinematográficos: “Trás-os-Montes”, 1976 e “Ana”, 1982. Palaras-chave: António Reis e Margarida Cordeiro; Arquitetura e Cinema; Novo Cinema; Belas-Artes do Porto; Região de Trás-os-Montes; Espaços habitados; Paisagem. Abstract This article is placed in the fields of Arts and Humanities, crossing subjects from the scientific areas of Architecture and Cinema, being a reflection on the contributions and collaboratios of architects from the School of Fine Arts of Oporto in distinguishing inhabited spaces, places and landscapes of the cinematographic universe by António Reis & Margarida Cordeiro. In the first part, deepens the connections between António Reis with students and teachers of the School of Fine Arts of Oporto, who will have stimulated the cinematographic interest in the region of Trás-os-Montes, and in the second part analyzes and interprets, from two simultaneous and converging perspectives, the same cinematographic objects: “Trás-os-Montes”, 1976 and “Ana”, 1982. Keywords: António Reis and Margarida Cordeiro; Architecture and Cinema; New Cinema; Fine Arts of Oporto; Trás-os-Montes Region; Inhabited spaces; Landscape. Resumen Este artículo se encuentra en los campos de las Artes y las Humanidades, cruzando temas de las áreas científicas de la Arquitectura y el Cine, siendo una reflexión sobre las contribuciones e colaboraciones de los arquitectos de las Bellas Artes de Oporto en la distinción de espacios habitados, lugares y paisajes del universo cinematográfico de António Reis y Margarida Cordeiro. En la primera parte profundiza las conexiones entre António Reis y los alumnos y profesores de las Belas Artes de Oporto, que habrán estimulado el interés cinematográfico en la región transmontana, y en la segunda parte analiza e interpreta, desde dos perspectivas simultáneas y convergentes, los mismos objetos cinematográficos: “Trás-os-Montes”, 1976 y “Ana”, 1982. Palabras clave: António Reis y Margarida Cordeiro; Arquitectura y Cine; Nuevo Cine; Bellas Artes de Oporto; Región de Trás-os-Montes; Espacios habitados; Paisaje.
38
Thissen, Judith. "Multifunctional Halls and the Place of Cinema in the European Countryside, 1920-1970". Cinémas 27, n. 2-3 (11 maggio 2018): 91–111. http://dx.doi.org/10.7202/1045369ar.
Testo completoAbstract (sommario):
Beginning and ending with the question “what is a cinema?” and with a reconsideration of the notion of cinema’s second birth, this article examines the economic and socio-cultural dynamics of film exhibition and film-going in small-town and rural Western Europe, in particular in the Netherlands, Germany and France. Emphasis is placed on the history of itinerant film exhibition in multifunctional venues in the period after the era of the fairground shows—an important aspect of European film culture which has long been overlooked by cinema historians. Insights from these particular experiences of the cinema can help us to reconceptualize the place of cinema in both rural and urban contexts. A crucial aspect of film-going in multifunctional venues is the fact that it was located in spaces that were used for a wide range of commercial and community activities. The author thus advocates a new cinema historiography that breaks away from the fixation on the medium’s singularity to include its relation with the surrounding socio-cultural contexts in which cinema happened.
39
Vera, Ustyugova. "Cinema, Tolstoy, and the Black Hundreds." TECHNOLOGOS, n. 1 (2023): 54–69. http://dx.doi.org/10.15593/perm.kipf/2023.1.04.
Testo completoAbstract (sommario):
The article analyzes the history of the distribution of the cinematographic chronicle of Leo Tolstoy's farewell in 1910 in various cities of the Russian Empire. Film censorship in late imperial Russia proceeded from the circulars of the Holy Synod and was guided by the considerations of local authorities. Many films which were censored in Moscow (where the major film studios were concentrated) were blocked by local governors and police authorities. Both feature and documentary films of foreign and domestic origin were banned. Locations of cinemas, duration of screenings, and permissions to show movies during the Lent were controlled by the church. The funeral of the excommunicated writer was not held according to the Orthodox rite, filming was carried out by several film companies (Pate, A. Khanzhonkov, A. Drankov) and in a number of cities the screening of newsreels was prohibited. At the same time, in most places of the Russian Empire, cinematic screenings of Leo Tolstoy's funeral were held, causing a great public response. The article reveals why censorship in different places of the Russian Empire depended on the orders of local administrations, how the authorities in the provinces dealt with the demonstration of newsreels of the farewell to the writer, what was the reaction of the 'plebeian' society, what kind of film initiatives were available from the Black Hundred organizations, and a special case of demonstrating the Tolstoy-related program in Perm is also considered. The analysis of the film press, provincial newspapers and documents of the Perm archives leads to the conclusion that the films about Leo Tolstoy, which were sensational for film studios, distributors and exhibitors, allowed for release by the Police Department of the Ministry of Internal Affairs, have caused alarm and resistance from local authorities. At the same time, the Tolstoy Days were an important event not only for the capital, but also for provincial, district towns, for various social and textual communities. The Days in memory of the writer, organized by cinematic theaters, were an indicator of civic solidarity in the Russian society in the late imperial period.
40
Andrew, Dudley. "National Turbulence and the Turbos of the World Cinema System". Studies in World Cinema 1, n. 1 (29 aprile 2021): 60–86. http://dx.doi.org/10.1163/26659891-0000b0003.
Testo completoAbstract (sommario):
Abstract From the outset cinema was metropolitan. Producers needed access to financing, pools of talent, specialized equipment, and laboratories that one could only find in urban centers. In certain cinema-cities (Berlin, Paris, Buenos Aires, Mumbai, Taipei, etc.) reside ambitious writers, producers, and filmmakers who were driven to outdo, or modify, or simply copy what they saw, employing their own culture’s raw material. Thus, the Jameson-Moretti law applies: local content, pertinent to each nation, was poured into forms that were adopted, with strategic alterations, from Hollywood. Where are today’s hotspots? Where does cinema seem crucial and talked about? Let’s abandon the map (where necessarily one region stands front and center), and instead let’s spin the globe. As it whirls, our eye intermittently catches glimpses of the shapes of the most sizeable nations. Today China and Nigeria stand out prominently alongside India and Russia. So dense are they with film activity that the globe is distended and wobbles out of true. Only sixty years ago China and Nigeria were places that had no place in World Cinema; they gained recognition only when a few promising art films found their way to the European festivals that served as image exchange centers. Today that promise has been fulfilled beyond, indeed against, expectations. Recapitulating Hollywood in its heyday Nollywood and China (Beijing/Shanghai/Qingdao) have become thoroughly corporate and market-savvy, turning out standardized and predictable products. If fresh images are to renew World Cinema, it will hardly be from the urban image-centers. On our globalized globe, novelty should be sought on the periphery of these former peripheral nations. And indeed, exciting new work has been bubbling beyond the dense cultural centers of these nations. Independent art films and documentaries have emerged from dark corners of both places thanks to the network of festivals around the globe, but increasingly and paradoxically thanks to the rival medium of the internet, with its networks of informal distribution and what used to be called “word of mouth.”
41
Doxandabaratz, Beñat. "On shifting sands: Exploring the role of the third space in new Basque cinema’s Pikadero and Oreina". International Journal of Iberian Studies 37, n. 1 (1 marzo 2024): 7–25. http://dx.doi.org/10.1386/ijis_00119_1.
Testo completoAbstract (sommario):
Cinema is a powerful tool for depicting and critically addressing the dual nature of identity (composed of both individual and social traits). This article analyses two underrated titles of the post-2005 wave of Basque-language cinema: Pikadero (Sharrock 2015) and Oreina (The Deer) (Almandoz 2018). In both films, certain liminal third spaces – the ‘non-places’ coined by Augé and the ‘in-between’ spaces formulated by Bhabha – seem to interact with the misfit characters, who live between rootedness and lack of belonging within a new social context created by the influx of migrants and the economic crisis in the Basque Country. The article argues that these on-screen third spaces (mainly the railway station and the peripheral marshlands in Pikadero and The Deer, respectively) become a kind of resilient deuteragonist in their own right, i.e. witnesses or accomplices to the protagonists’ wanderings and their shallow and fleeting relationships. There is, however, a difference between the non-places featured in Pikadero, which mainly evoke solitude and similarity, and those in-between spaces present in The Deer. The latter appear as metaphorical hybrid places that can harbour otherness and foster collective solidarity, thus playing a role in shaping the new centrality of Basque identity.
42
Rascaroli, Laura. "On film and territory: Treading ground with Sacro GRA". Journal of Italian Cinema & Media Studies 10, n. 3 (1 giugno 2022): 475–91. http://dx.doi.org/10.1386/jicms_00140_1.
Testo completoAbstract (sommario):
In this article, I change the lens through which we normally look at space in film, transcending at once the national/transnational cinema dichotomy and hierarchical geographical scalings and generic categories that are sometimes unfit to account for a film’s production of space. I propose that the geopolitical notion of ‘territory’ can focus our attention on the critical situatedness of a certain type of cinema while also facilitating formal and industrial types of film analysis. The notion of territory, intended as a geographical space shaped by humans and a geographical expression of power, can be mobilized to analyse films that reveal and critique the social actualization of the material potentialities of specific places. Gianfranco Rosi’s cinema is a case in point. Set along Rome’s ring road, Rosi’s Sacro GRA (‘Holy GRA’) (2013) sits uncomfortably in both the city symphony or road movie genres and calls for different categories of analysis.
43
Escher, Anton, Marie Karner e Helena Rapp. "Cinematic cruising: Reel imagination and real experience for pleasure on the high seas". Tourism and Hospitality Research 21, n. 3 (29 aprile 2021): 374–85. http://dx.doi.org/10.1177/14673584211011711.
Testo completoAbstract (sommario):
The experiences of cruise ship passengers are influenced by cinematic representations and intensified and (re)produced by cruise operators. This paper conceptualises cinematic cruising as a phenomenon of reel and real spaces between imagination and experience for pleasure on the high seas. To date, the influence of cinematic representations on the experience of cruise passengers has not yet been studied in detail. To address this, our argument builds on the comparability of cinemas and cruise ships. They share similar characteristics as modern and postmodern places, as heterotopias, and as places of dreams. Both are places of illusion, places of compensation, and places where one can escape from everyday life; they take moviegoers and passengers to their places of desire. The following analysis illustrates the impact that films, television series and docu-series have on passengers’ imaginations who physically experience film-like situations on cruise ships. When compared to cinemas, the perception there is not limited to just audiovisual factors. Building on this, cinematic cruising might fulfil the dreams, desires, and longings of passengers, at least on the level of imagination.
44
Kudaibergenova, A. A. "Commemoration of Mustafa Shokai’s personality: monuments, cinema". BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 130, n. 1 (2020): 107–18. http://dx.doi.org/10.32523/2616-7255-2020-130-1-107-118.
Testo completoAbstract (sommario):
This article analyzes the commemorative practices of Mustafa Shokai, a prominent representative of Kazakh intelligentsia of the twentieth century in the modern cultural space of Kazakhstan. Two categories of memory practices that are most accessible to the General public are considered: monuments and cinematography using appropriate methodological tools. The author of the article pays special attention to the reasons, motivations and actors of the memory practices of Mustafa Shokai – most often the actors are his «countrymen», and all the monuments are located in the Kyzylorda region – in the homeland of Shokai. The article was prepared in the framework of the project «Places of memory» in modern culture of Kazakhstan: processes of commemoration in public spaces».
45
Loiselle, André. "La «Traduction» du Théâtre au Cinéma: Quelques Exemples du Répertoire Canadien". Theatre Research in Canada 24, n. 1 (gennaio 2003): 21–38. http://dx.doi.org/10.3138/tric.24.1.21.
Testo completoAbstract (sommario):
Generally, film adaptations of drama do not follow the principles o f translation. There are too many differences between the original and the film version for the term “translation” to be applicable. However, there are a few cases where it can be said that a film actually translates a play. This article examines a number of adaptations of Canadian plays, in the light of various translation theories as well as narratological approaches, to draw a conceptual line between adaptation and translation. As is demonstrated, while Lilies, Les muses orphelines and Il était une fois dans l’Est cannot be read as translations of plays by Michel Marc Bouchard and Michel Tremblay, Tectonic Plates and Gapi can productively be studied as translations of original works by Théâtre Repère and Antonine Maillet. In the process, the author hopes to establish the basic charateristics of filmic translation.
46
Afifulloh, M., e Nurvita Wijayanti. "Body Size on Cinema: A Critical Discourse Analysis on Contemporary Indonesian Cinema". Studies in Media and Communication 11, n. 1 (23 dicembre 2022): 25. http://dx.doi.org/10.11114/smc.v11i1.5790.
Testo completoAbstract (sommario):
This article discusses how a fat body in a film is used as a metaphor for a deviant, dangerous, and irresponsible personality through the various narratives occupied by the characters in the film. This research is qualitative research with the main data source is Imperfect film released in 2020. The approach used is a combination of film studies and Sara Mills' critical discourse analysis. The results of the study show that although Imperfect promotes gender equality in society, the narrative that is built still position fat bodies and black skin as non-ideal, especially for woman. Furthermore, Imperfect film positions fat women as a subculture group that struggles as well as agents of change. In conclusion, this study provides an understanding of how the cinematic discourse on size and weight in the context of the structure of the wider community is related to gender issues and films as popular media still have not placed a positive side on weight and skin color, especially in Indonesian society.
47
Dunatov, Dario, Marija Lončar e Zorana Šiljug Vučica. "Problems and Perspectives of Croatian Cinema". Medijska istraživanja 25, n. 1 (12 luglio 2019): 107–24. http://dx.doi.org/10.22572/mi.25.1.5.
Testo completoAbstract (sommario):
Contemporary social trends such as globalization and technological develop- ment affect national cinema as well as world cinema in general. Discussions about national cinema should therefore be placed within the context of the nation-state itself and transnationally. The continuity of fi lm industry in Croatia exists from the very beginnings of the fi lm, but it as a product of the cinema that is closely related to social, political and economic circumstances which had multiple implications on its development. The aim of the paper was to examine the features of Croatian national cinema as well as the aspects of its affi rmation and reception, which ultimately enabled understanding of the developmental and integrative factors of Croatian cinema. Insight into the developmental and integrative factors of Croatian cinema presents a wider picture of the problems and perspectives of Croatian national cinema today. The qualitative approach was used in the research and semistructured interviews were conducted with interviewees closely related to film and film production. The analysis shows diffi culties in developing a specifi c style and achieving greater international visibility. An important moment was the establishment of Croatian Audiovisual Centre which devised a plan for Croatian national cinema and brought fi nancial independence. This consequently led to the rise of investments and quality of fi lms and even to international festival visibility of Croatian cinema. At the beginning of the 21st century Croatian fi lm industry developed infrastructure, provided support for young fi lmmakers and created the preconditions for quality and innovative fi lm titles.
48
Gajewska, Grażyna. "Ludzie i rzeczy: poza binaryzmem. O książce Magdaleny Zdrodowskiej Telefon, kino i cyborgi. Wzajemne relacje niesłyszenia i techniki". Wielogłos, n. 2 (52) (2022): 113–34. http://dx.doi.org/10.4467/2084395xwi.22.007.15880.
Testo completoAbstract (sommario):
People and Things: Beyond Binarism The article discusses Magdalena Zdrodowska’s book Telefon, kino i cyborgi. Wzajemne relacje niesłyszenia i techniki (Phone, cinema and cyborgs. Interrelations of deafness and technique). Using the posthuman concepts of subjectivity and disability, the author places Zdrodowska’s research within the perspectives of the antropology of things and the critical posthumanism.
49
Munro, Robert. "Performing the National? Scottish Cinema in the Time of Indyref". Journal of British Cinema and Television 17, n. 4 (ottobre 2020): 425–48. http://dx.doi.org/10.3366/jbctv.2020.0541.
Testo completoAbstract (sommario):
This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of national identity were engaged with thematically by films produced in this period. It argues that Scottish cinema in this period ‘performs the national’, in that a number of films flag their national status and engage with discourses of national identity at a distance, unburdened by any serious demand for national representativeness, as might be the case with a ‘national cinema’. From a corpus of texts in the period which offer the possibility of being read through discourses of the nation, two genre films, White Settlers and Sunshine on Leith, are analysed in detail for their differing narrative takes on Scottish–English relations in the contemporary moment. The article concludes by surmising that while film criticism in Scottish cinema has historically been overly determined by an ideologically driven pursuit of national representativeness, perhaps the welcome emphasis which has been placed in contemporary criticism on broadening the scope of Scottish cinema studies beyond the national has implied a false dichotomy between the two, whereas it is more likely that we can locate Scottish cinema somewhere in between.
50
Boonsri, Sasawat, e Wikanda Promkhuntong. "Historiography of Cinephiles in Thailand". Plaridel 16, n. 2 (2019): 143–60. http://dx.doi.org/10.52518/2020.16.2-06bonsri.
Testo completoAbstract (sommario):
Amongst film audiences in Thailand, there is a group that follows the new releases enthusiastically. They watch many films in the course of a week and do not only focus on films in the cinema but also search for places to watch alternative movies. Forming in the 1970s, these people are now known as “Thai Cinephiles”. They started off as regular audiences at screening events before becoming film critics, programmers and curators. This practice significantly expands the awareness of alternative cinema in Bangkok and other parts of Thailand. This paper traces the activities of Thai cinephiles from the late of 1970s when they first met each other at cultural institutions that screened alternative cinema, to the 1990s when conversations evolved around video shops and film festivals at shopping malls. The age of digital also saw Thai cinephiles took into writing, promoting and creating diverse content across various platforms from blogs, message boards to Facebook. Their practice/activism across different generations shared through interviews reveals the principle of sharing the good stuff they found and building new generation of directors and audiences. This historiography provides an alternative history on Thai film culture that bridges existing writings on the Thai new waves and limited research in the Thai language on audience motivations and cinema going.