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Articoli di riviste sul tema "Spirituality in motion pictures"

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Autore: Grafiati
Pubblicato: 27 luglio 2024
Ultima modifica: 29 luglio 2024

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1

Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)". Ad Americam 22 (28 marzo 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.

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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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2

Jarenski, Shelly. "Playing Dead: Eadweard Muybridge’s Residential Photo Albums and Spiritualist Aesthetics". Nineteenth Century Studies 35 (novembre 2023): 54–74. http://dx.doi.org/10.5325/ninecentstud.35.0054.

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Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album’s production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism.
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3

Young, Linda. "Motion Pictures". SMPTE Journal 105, n. 4 (aprile 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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4

Masson, Alan J. "Motion Pictures". SMPTE Journal 108, n. 2 (febbraio 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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Masson, Alan J. "Motion Pictures". SMPTE Journal 107, n. 1 (gennaio 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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6

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau e Sacha Zilberfarb. "Motion pictures". Vacarme 15, n. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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Burns, Edward J. "Motion Pictures". SMPTE Journal 97, n. 4 (aprile 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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Young, Linda. "Motion Pictures". SMPTE Journal 106, n. 1 (gennaio 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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9

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 104, n. 4 (aprile 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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Ricotta, Frank J. "Motion Pictures". SMPTE Journal 103, n. 4 (aprile 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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11

Antonoff, Michael. "Motion Pictures". Scientific American 296, n. 5 (maggio 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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12

Mitchison, Tim J. "Motion pictures". Nature 357, n. 6373 (maggio 1992): 32. http://dx.doi.org/10.1038/357032a0.

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13

Gomery, Douglas. "Motion Pictures". Communication Booknotes 16, n. 5 (maggio 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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14

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n. 1 (gennaio 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n. 9-10 (settembre 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n. 7-8 (luglio 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n. 9-10 (settembre 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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Gomery, Douglas. "Motion Pictures". Communication Booknotes 19, n. 5 (settembre 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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19

Block, Eleanor, James K. Bracken, Eleanor S. Block e Bruce A. Austin. "Motion Pictures". Communication Booknotes Quarterly 29, n. 1 (gennaio 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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Levine, Niall, John A. Lent e Bruce Austin. "Motion pictures". Communication Booknotes Quarterly 29, n. 2 (marzo 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca e Gary R. Edgerton. "Motion pictures". Communication Booknotes Quarterly 29, n. 4 (settembre 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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Austin, Bruce A., Niall Levine e Chris Sterling. "Motion pictures". Communication Booknotes Quarterly 30, n. 4 (settembre 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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23

Blasko, Edward J. "Motion Pictures". SMPTE Journal 95, n. 4 (aprile 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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24

Iosifian, S. A., e V. A. Petrovskii. "Motion Pictures". Russian Education & Society 37, n. 10 (ottobre 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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25

Baptista, John L. "Motion Pictures". SMPTE Journal 101, n. 4 (aprile 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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Baptista, John L. "Motion Pictures". SMPTE Journal 102, n. 4 (aprile 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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27

Baptista, John L. "Motion Pictures". SMPTE Journal 100, n. 4 (aprile 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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28

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures". Film & History: An Interdisciplinary Journal of Film and Television Studies 39, n. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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29

Cho, Minhaeng. "Molecular motion pictures". Nature 444, n. 7118 (novembre 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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30

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s". Hopkins Review 7, n. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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31

Nimis, Erika. "“Motion pictures” in Nigeria". Visual Anthropology 14, n. 3 (settembre 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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32

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures". American Journal of Health-System Pharmacy 45, n. 1 (1 gennaio 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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33

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, n. 1 (27 novembre 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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34

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show". Études littéraires africaines, n. 30 (17 novembre 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.
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35

Porée, Marc. "Poets' lives in motion (pictures)". Études anglaises 66, n. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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36

Ba Tu Truong, S. Venkatesh e C. Dorai. "Scene extraction in motion pictures". IEEE Transactions on Circuits and Systems for Video Technology 13, n. 1 (gennaio 2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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37

Baecker, Dirk. "The Reality of Motion Pictures". MLN 111, n. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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38

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception". Discourse 35, n. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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39

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures". Henry James Review 25, n. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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40

Blackstone, Erwin A., e Gary W. Bowman. "Vertical Integration in Motion Pictures". Journal of Communication 49, n. 1 (1 marzo 1999): 123–39. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02785.x.

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41

Nebeker, F. "Motion pictures [Scanning Our Past]". Proceedings of the IEEE 101, n. 4 (aprile 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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42

Wartenberg, T. E. "The Philosophy of Motion Pictures". British Journal of Aesthetics 49, n. 1 (1 gennaio 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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43

Gazley, Aaron, Gemma Clark e Ashish Sinha. "Understanding preferences for motion pictures". Journal of Business Research 64, n. 8 (agosto 2011): 854–61. http://dx.doi.org/10.1016/j.jbusres.2010.09.012.

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44

"Avatar and Nature Spirituality". International Dialogue 4, n. 1 (novembre 2014). http://dx.doi.org/10.32873/uno.dc.id.4.1.1091.

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“To put it mildly, the world is a mess.” Madeleine Albright, former U.S. Secretary of State, 27 July 2014 James Cameron’s Avatar (2009) was the first film to combine stereoscopic imagining and motion-capture animation for a flawless 3-D presentation. It was nominated for nine Academy Awards, including Best Director and Best Picture, and won three, for Cinematography, Art Direction, and Visual Effects. It was also the first box-office hit to gross more than $2 billion, and it remains the highest-grossing film to date. It made cinematic history. But it was more than an aesthetic triumph. Avatar is also a cultural critique and an intellectual provocation. It’s a science-fiction about Earthlings fighting with extraterrestrials—tall, blue humanoids called the Na’vi—on a forest world called Pandora. The conflict is the old battle of good against evil, but with a twist: in Avatar, it is the aliens that are good. The human hero, the soldier Jake Sully (played by Sam Worthington), deserts his unit and switches sides to fight with the Na’vi against his own colony and ultimately against his own civilization.
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45

"Motion Pictures". SMPTE Journal 94, n. 4 (aprile 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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46

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 1 (marzo 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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47

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 2 (giugno 2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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48

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 4 (dicembre 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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49

"MOTION PICTURES". Communication Booknotes Quarterly 32, n. 1 (marzo 2001): 27–31. http://dx.doi.org/10.1207/s15326896cbq3201_05.

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"MOTION PICTURES". Communication Booknotes Quarterly 32, n. 2 (giugno 2001): 98–106. http://dx.doi.org/10.1207/s15326896cbq3202_05.

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