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1
Wénin, André. "Les «sacrifices» d’Abraham et d’Anne. Regards croisés sur l’offrande du fils." Études théologiques et religieuses 76, no. 4 (2001): 513–27. http://dx.doi.org/10.3406/ether.2001.3662.
Повний текст джерелаАнотація:
Les commentateurs n’ont guère exploré le lien qui unit le récit de l’offrande de Samuel en 1 S 1/1-2/21 et la célèbre page de Gn 22/1-19 où Abraham offre son fils sur la montagne. Après avoir proposé une clé de lecture nouvelle pour le récit de l’Aqéda, André Wénin tente de montrer que de tels liens existent à divers niveaux. Autour de la situation des acteurs, des motifs narratifs mais aussi des enjeux anthropologiques et théologiques, un jeu d’échos se développe entre les deux récits et conduit à s’interroger sur la signification d’un tel rapprochement.
2
Jacobs, A. "De Ikoon van de Drieëenheid." Het Christelijk Oosten 39, no. 2 (November 18, 1987): 69–83. http://dx.doi.org/10.1163/29497663-03902002.
Повний текст джерелаАнотація:
L’icône de la Sainte Trinité A partir du 5e siècle on rencontre dans l’iconographie l'image des trois personnes qui rendant visite à Abraham sont assises à sa table. C'était la préfiguration de l'eucharistie, mais en même temps Ie symbole de la Trinité. Petit à petit cette image devient l'icône de la Trinité, les trois personnes étant prése ntées comme trois anges. Au 9e siècle la composition des trois figures prend la forme pyramidale. L'icône portera désormais Ie titre de „La Sainte Trinité”. C'est André Roublev qui a créé au 15e siècle l’image parfaite de cette icóne: ici plusieurs lignes du passé convergent et ferment une synthèse admirable. Bien sûr, les spécialistes qui ont étudié cette icóne en donnent une interprétation différente et divergente. Roublev place les trois personnes dans l'ordre suivant: Père, Fils et Saint Esprit, Ie Fils se trouvant au milieu. L'article expose les arguments en faveur de cette thèse.
3
Deveikienė, Vaiva, and Steponas Deveikis. "EDUARDO ANDRĖ LIETUVOJE KURTŲ PARKŲ ISTORINĖS IR MENINĖS RAIDOS TYRIMAI: NAUJAUSI FAKTAI, ATRADIMAI IR ĮŽVALGOS." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 3 (September 30, 2011): 184–99. http://dx.doi.org/10.3846/tpa.2011.20.
Повний текст джерелаАнотація:
At the end of 19th century, the financial powers of a famous Lithuanian family, the counts Tyszkiewicz, encouraged a major re-construction and development of their manors, and allowed creating (with the assistance of well-known European architects) unique landscape views in the towns of Lentvaris, Palanga, Traku Voke, and Uzutrakis. All of these architecture ensembles have the common heritage of great landscaped parks by a famous French landscape architect Edouard André (1840–1911) and his son René André (1867–1942). This article discusses all four parks, which are considered to be significant resources of recreation and culture tourism and important cultural and natural heritage. These residences of family Tysz- kiewicz were to be in places of natural beauty and landscape exceptional. Publications regarding parks in Lithuania created by E. and R. André are numerous. However, the authors of this overview examined these ensembles with the view of cultural and artistic development, and will discuss here the aspects and trends of the complex uses of these manors and parks. It is particularly interesting to consult the book of E. André General Treaty of the Composition of Parks and Gardens, published by Masson in 1879, in which E. André covered all aspects of the business, still receives attention from landscapers today as much as it outlines the new directions of the profession. Major works by landscaper intended to create natural and picturesque (pittoresque) effects, to used ripraps, flows of water, waterfalls, balustrades and areas of greenery as viewing points, to contrast the methods used. It is particularly interesting to consult the letters and logbooks of René André, and article about the Palanga Park at Revue horticole on 1906, which contain many allusions and remarks to different Lithuanian park’s construction works in 1898–1899. In 1898 young Belgian landscape architect Jules Buyssens (1872–1958) was called upon to direct the construction works in Palanga and other places. The reliable Boisard, responsible for the ripraps, rockworks in the different parks, accompanied him. Not all of the concepts of the creators have been successfully realized in these manors; some visions blurred in the events of the 20th century. But currently, the existing elements of these ensembles, the actualized projects, and research, collectively permit reconstruction of these ensembles, adapting them for today’s leisure and recreational purposes. Résumé Dans cet article nous présentons nos recherches faites sur les parcs en Lituanie, conçus par Edouard André (1840–1911) et son fils René André (1867–1942). En Lituanie nous en comptons quatre, tous dans les anciens domaines de la famille noble et riche de Tyszkewicz à Lentvaris, Palanga, Traku Voké et Uzutrakis. Ces parcs représentent le patrimoine de l’art des jardins de la fin de 19ème siècle à la composition mixte. Tous les quatre parcs sont bien adaptés aux conditions géographiques, climatiques, orthographiques des lieux. Un traité «L’art des jardins…» écrit par Édouard André et publié en 1879 chez éditeur parisien Masson, réédité par Laf- fitte à Marseille en 1986, servait du socle pour étudier et com- prendre des sources et les motivations du créateur des parcs. Le maître E. André a écrit : «il faut chercher l’effetpittoresque avant tout». Ce grand architecte paysagiste et botaniste avait bien conçu ses projets en empruntant des fonds du paysage, en proposant les vues sur la mer Baltique à Palanga, sur les lacs à Lentvaris et Uzutrakis, en créant et multipliant des scènes aquatiques et de rochers dans le milieu des parcs, en utilisant les plantations indigènes et apportées. Les parterres de broder- ies ou fleuristes autours des palais et chateaux sont encore visibles dans tous les parcs. Les spécialistes des parcs peuvent consulter une autre source sur la création du parc à Palanga – un article de René André dans la «Revue horticole» en 1906. Cet article, illustré d’une vue à vol d’oiseau en chromolithographie ainsi que les plans aquarellés des parcs de Lentvaris et de Palanga nous apportent encore des précisions. Les lettres, la correspondance retrouvée ainsi que des carnets de route de René André présentés par nos collègues français nous permettent de comprendre le circuit des voyages professionnels, de dater avec précision bon nombre de chantiers chez les comtes Tyszkiewicz en 1898–1899. Selon des avis de famille André et des lettres d’époque les parcs en Lituanie sont exécutés par les spécialistes de l’équipe d André : les rochers par Boisard et les plantations – par jeune paysagiste belge Jules Buyssens (1872–1958), le dernier, un collaborateur d’André a travaillé en Lituanie beaucoup plus. En donnant l’analyse de la création d’E.André, de la rétrospective du développement nous présentons la vision ainsi que les suggestions sur les parcs des anciens domaines à Lentvaris, Palanga, Trakų Vokė et Užutrakis. Le développement de la ville de Vilnius ainsi que la ville de Palanga impose pour les parcs son habitude, son mouvement des visiteurs. Dans ce bijou des jardins, comme dans tous les anciens parcs et jardins, nous trouverons le patrimoine scientifique, artistique, éducatif ainsi qu’écologique et récréatif. La qualité de la vision de grand professionnel fait que certains lieux destinés au moment de leur création à une clientele privée, exigeante et fortunée, ont pu être réappropriés depuis lors par le grand public et se sont adaptés à leur nouvelle fonction avec souplesse. Le parc botanique de Palanga en est un vivant témoin en Lituanie. Il faut suivre dans les autres parcs. La situation naturelle et géographique dans les trois parcs à côté de Vilnius est extrêmement privilégiée et les rend susceptibles de devenir des vecteurs de tourisme de qualité. Santrauka Lietuvoje turime keturis tarptautinės reikšmės kraštovaizdžio architektūros paveldo objektus žymaus prancūzų kraštovaizdžio architekto Eduardo Andrė (1840–1911) su sūnumi Renė Andrė (1867–1942) XIX a. pab. kurtus parkus grafų Tiškevičių dvaruose Lentvaryje, Palangoje, Trakų Vokėje ir Užutrakyje. Visi jie, nežiūrint skirtingo likimo ir skirtingos priežiūros, išsaugojo žymaus parkų kūrėjo raiškos dvasią, kompozicijos principus, meninius akcentus ir netgi detales. Tai nuostabus kultūros paveldas ir ekonominis (kultūrinio turizmo, rekreacijos) bei edukacinis išteklius. Šio paveldo pažinimas nuolat auga, plečiasi, atskleidžia naujų klodų ir įžvalgų. 2011 m., minėdami garsaus parkų kūrėjo Eduardo Andrė (1840–1911) šimtąsias mirties metines, turime puikią progą ir pareigą apibendrinti naujausius tyrinėjimus, pirmiausia remdamiesi archyvinės (ikonografinės, autentiškų tekstų, užrašų) medžiagos ir natūros tyrimais bei publikacijomis. Turime galimybę panagrinėti XIX a. pabaigos laiškus ir užrašus, eskizus ir parkų planus, sudarytus parkų kūrėjų ranka. Naujausiais tyrimais ir ankstesnių inventorizacijų medžiagos analize paremta studija turėtų būti svarbi parkotyros ir parkotvarkos metodologijai ir padėti formuluoti rekomendacijas šio kraštovaizdžio architektūros paveldo apsaugos ir gaivinimo projektams.
4
Podkrižnik, Mimi. "Les visages ambigues d'André Breton." Acta Neophilologica 36, no. 1-2 (December 1, 2003): 137–42. http://dx.doi.org/10.4312/an.36.1-2.137-142.
Повний текст джерелаАнотація:
L'article porte sur une machinerie d'images du célebre pilier du mouvement surréaliste français André Breton. Cette figure extraordinaire, mais aussi contradictoire, a d'un côté changé la vie et la vision de tous ceux qui l'ont connue, et n'a en meme temps cessé de changer aussi sa propre façon d'etre. Une personnalité hors du commun, qui écrit des livres et des lettres, qui parle a haute voix, qui s'engage politiquement, qui s'exile, qui est cible de ses adversaires, reste souvent dogmatique en public, mais parle beaucoup plus librement en privé. Pere fouettard qui a ses interdits, ses tabous, qui crie familles je vous hais et ne peut supporter la métamorphose de ses disciples, se métamorphose en un pere et (plus tard) fils aimable. Celui qui veut appartenir a la famille des grands indésirables, trouve sa place parmi les plus grands désirables du 20e siecle.
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Collin, Marc. "André Ouimet, Journal de prison d’un fils de la Liberté, 1837-1838, Montréal, Éditions Typo, 2006, 155 p." Recherches sociographiques 48, no. 2 (2007): 119. http://dx.doi.org/10.7202/016421ar.
Повний текст джерела
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Oki, Oki cahyo nugroho, and Ridwan Yudha Pratama Ridwan. "Gemblak stereotype film “kucumbu tubuh indahku” by Garin Nugroho." COMMICAST 3, no. 3 (November 7, 2022): 266–75. http://dx.doi.org/10.12928/commicast.v3i2.5734.
Повний текст джерелаАнотація:
Film is one of the electronic media that has a huge appeal among the public. Films also play an active role in conveying messages or information, but with very neat packaging. Make the message or information more interesting and entertain the audience. Based on this, many films always contain events or phenomena, one of which is the film "A Memories of My Body". Where this film tells the story of LGBT people and is associated with ancient culture, namely the Lengger and Gemblak dances, this paper aims to find out the analysis of William Gamson and Andre Modigliani's framing of the Gemblak stereotype in the film "A Memories of My Body," which was made by Garin Nugroho and released on April 18, 2019. The theory used is framing analysis from William Gamson and André Modigliani. The methodology used in this research is descriptive qualitative. The data analysis technique uses the Umberto Eco concept by determining the framing device (metaphor, exemplar, catchphrase, depiction, visual image). ) and tools of reasoning (roots, principle of appeal, consequences).The results show that in the film "A Memoir of My Body" by Garin Nugroho there is a depiction of Gemblak as a sexual deviation and feminism, which can lead to public opinion.
7
Vanderschelden, Isabelle. "André Téchiné: The Subtle Exploration of Identities: Bill Marshall (2007) André Téchiné." Film-Philosophy 11, no. 3 (October 2007): 247–53. http://dx.doi.org/10.3366/film.2007.0040.
Повний текст джерела
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Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion." Artium Quaestiones 31, no. 1 (December 20, 2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.
Повний текст джерелаАнотація:
Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.
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Fort, Jeff. "André Bazin's Eternal Returns: An Ontological Revision." Film-Philosophy 25, no. 1 (February 2021): 42–61. http://dx.doi.org/10.3366/film.2021.0156.
Повний текст джерелаАнотація:
The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell.
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Amad, Paula. "Film as the “Skin of History”." Representations 130, no. 1 (2015): 84–118. http://dx.doi.org/10.1525/rep.2015.130.4.84.
Повний текст джерелаАнотація:
Why did the notoriously antimontage film theorist André Bazin champion Nicole Védrès’s Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of “total war” and “total History,” and why were archival films seen by others to raise urgent questions of historical philosophy? This essay explores the intensified historical consciousness that developed around archival films and the representability of death after the Second World War. Reinserting documentary as the missing key to Bazin’s so-called realist film theory, I argue that Bazin found in Paris 1900 a new archive-inflected and essayistic model of film’s historicity whose full potential continues to be realized in the explosion of archival filmmaking today.
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Wang, Fang-Hsing, Jen-Chi Chao, Han-Wen Liu, and Tsung-Kuei Kang. "Physical Properties of ZnO Thin Films Codoped with Titanium and Hydrogen Prepared by RF Magnetron Sputtering with Different Substrate Temperatures." Journal of Nanomaterials 2015 (2015): 1–11. http://dx.doi.org/10.1155/2015/936482.
Повний текст джерелаАнотація:
Transparent conducting titanium-doped zinc oxide (TZO) thin films were prepared on glass substrates by RF magnetron sputtering using 1.5 wt% TiO2-doped ZnO as the target. Electrical, structural, and optical properties of films were investigated as a function of H2/(Ar + H2) flow ratios (RH) and substrate temperatures (TS). The optimalRHvalue for achieving high conducting TZO:H thin film decreased from 10% to 1% whenTSincreased from RT to 300°C. The lowest resistivity of9.2×10-4 Ω-cm was obtained asTS=100°C andRH=7.5%. X-ray diffraction patterns showed that all of TZO:H films had a hexagonal wurtzite structure with a preferred orientation in the (002) direction. Atomic force microscopy analysis revealed that the film surface roughness increased with increasingRH. The average visible transmittance decreased with increasingRHfor the RT-deposited film, while it had not considerably changed with differentRHfor the 300°C-deposited films. The optical bandgap increased asRHincreased, which is consistent with the Burstein-Moss effect. The figure of merits indicated thatTS=100°C andRH=7.5% were optimal conditions for TZO thin films as transparent conducting electrode applications.
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Boardman, Frank. "Realism about Film and Realism in Films." Film and Philosophy 24 (2020): 43–62. http://dx.doi.org/10.5840/filmphil2020244.
Повний текст джерелаАнотація:
Realism has a significant place in the history of film theory. The claim that film is essentially a realistic art form has been employed to justify the art-status of films as well as the distinctness of film as a form. André Bazin and others once used realist ontologies of film to try to establish realist teleologies and universal critical standards. I briefly sketch this history before considering the prospects for various versions of realism: Bazin’s, as well as Kendall Walton’s and Gregory Currie’s less ambitious but more plausible accounts. I argue that these theories, though they are the best cases we have for realism, are not adequate ontologies of film. However, while prior realist philosophers and critics were wrong to think that realism can provide a critical standard for all films, realism is nonetheless a praiseworthy filmic achievement - one that the opponent of ontological realism should not dismiss.
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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (September 13, 2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
Повний текст джерелаАнотація:
This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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Gaycken, Oliver. "‘Beauty of Chance’: Film ist." Journal of Visual Culture 11, no. 3 (December 2012): 307–27. http://dx.doi.org/10.1177/1470412912455618.
Повний текст джерелаАнотація:
A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciation of the science film. Taken together, these approaches suggest an alternative strand of documentary history that is located at the intersection of scientific and avant-garde filmmaking practices.
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Adashevskaya, Zlatoslava Alexandrovna. "The Origins of Surrealism. Absolutizing the Unconscious." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 296–305. http://dx.doi.org/10.17816/vgik42-3296-305.
Повний текст джерелаАнотація:
The article analyses three films that marked cinema’s mastering of the leading artistic trend at the turn of the 20-ies-30-ies ,that of Surrealism. Comparing films «Un Chien andalou»(1929) and «L'Age d’Or»(1930) by Salvador Dali and Luis Bunuel with the film «Le sang dun poète» by Jean Cocteau (1931) the author follows the transformations the main postulates of Andre Breton, the founder of Surrealism, underwent.
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Solomon, William. "Slapstick Modernism: Charley Bowers and Industrial Modernity." Modernist Cultures 2, no. 2 (October 2006): 170–88. http://dx.doi.org/10.3366/e2041102209000264.
Повний текст джерелаАнотація:
William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages “generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unsettling bursts of joy”.
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Turvey, Malcolm. "Vertov, the View from Nowhere, and the Expanding Circle." October 148 (May 2014): 79–102. http://dx.doi.org/10.1162/octo_a_00176.
Повний текст джерелаАнотація:
Classical film theorists are commonly divided into two opposing camps. In one are placed those, such as Rudolf Arnheim and V. I. Pudovkin, who “put their faith in the image,” to borrow André Bazin's phrase, arguing that “the most aesthetically significant feature of the film medium is its capacity to manipulate reality, that is, to rearrange and thereby reconstitute the profilmic event (the event that transpires in front of the camera).” In the other belong realists, like Bazin and Siegfried Kracauer, who “put their faith in reality,” believing that “the truly cinematic film stays as close to recording as possible, eschewing the interpretation, recreation, or reconstitution of reality.” One of the many unusual things about the films and writings of Dziga Vertov is that they appear to straddle both camps at once.
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Zakrevskaya, Anna Andreyevna. "Magic Realism of André Delvaux." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 134–43. http://dx.doi.org/10.17816/vgik52134-143.
Повний текст джерелаАнотація:
The article explores the artistic merit of the underestimated Belgian director’s major films which combine magic irrational elements with visible real life attributes. Employing imaginary space and cinematic time in the films which could be classified as “magic realism”, helps reveal a specific truth: the shift of the angle enables one to see the hidden depth and the mystery, to create a complex picture of the world.
19
Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.
Повний текст джерелаАнотація:
A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.
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Hangouët, Jean-François. "Two Cinemas: Sierra de Teruel by André Malraux and Birds in Peru by Romain Gary." Literatūra 64, no. 4 (October 29, 2022): 49–69. http://dx.doi.org/10.15388/litera.2022.64.4.3.
Повний текст джерелаАнотація:
This communication reviews some of the aesthetical and circumstantial characteristics of André Malraux’s only film, Sierra de Teruel (1939), also known as Espoir (Hope, 1945), and of Romain Gary’s first film, Les oiseaux vont mourir au Pérou (Birds in Peru, 1968). As regards Espoir, our observations are based on the 1939 and 1945 versions of the film, now of easy access, and on the abundant and reliable academic literature published about it. Birds in Peru, conversely, is a far lesser-known and lesser-documented work. Screenings of Gary’s film are all too rare indeed nowadays and, but for a few highly specialized references, its appraisal still consists in a short set of irrelevant legends, continually retold by biographers and academics alike despite their blatant discrepancies with historical evidence, with the film itself, and with Gary’s literary works in general. Ours are first-hand observations: in our possession is a release print, which we had digitized and can thus view at will. In addition, we have explored a variety of source materials in cinematographic archives and historical newspapers.Valued either as one of Malraux’s works or as an example of antifascist propaganda, it is lucky that Sierra de Teruel can still be viewed today, despite the political censorship that prevented its release in September 1939 and despite the destruction of all prints but two by the German occupant in France during WWII. Equally fortunate are the facts that moralistic considerations failed to stop the release of Birds in 1968 and that prints of it aren’t all lost. Gary scholars will find food for thought in it, as well as semioticians, Gary’s film being just as allegorical as his contemporary novel The Dance of Genghis Cohn. More generally still, both works, no naïve executions, bring evidence that talented writers can change media effectively. Far from being literal adaptations, their two films narrate free and inspired versions of stories already told in the written form. Their filming style is creative, their technique masterly. Their ease with the cinematographic medium allows them to reemploy and expand devices known to make their personal literary signature. Such as the striking juxtaposition of action and scenery used by Malraux to convey his metaphysics of disjunction between man and nature. Such as the subtle art of immigrating lexical components from other tongues and languages, idiosyncratic to Gary’s novel writing. Even elements of their respective forms of humanism show through their films.
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Marcus, Laura. "“In the Key of Loss”." Journal of World Literature 6, no. 3 (September 13, 2021): 365–80. http://dx.doi.org/10.1163/24056480-00603006.
Повний текст джерелаАнотація:
Abstract This article addresses a particular example of the intersection of literature and cinema in the film Call Me By Your Name, made by Luca Guadagnino and based on the novel of the same title by André Aciman, and the themes of nostalgia and loss in the work of both. The film results from the encounter, in its production and in a large number of retrospective discussions, between the cosmopolitan writer André Aciman and the Italian director Luca Guadagnino who, while attentive to global issues such as the trans-Mediterranean migration which features in the film, is very much grounded in his home region of northern Italy. The (rather differently figured) Jewish and homosexual identities of the two protagonists in the novel and the film are also addressed.
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Peña, Lauren. "Revolutionary ruralities: Spaces of surveillance and exclusion in Carlos Lechuga’s Santa y Andrés (2016)." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 427–42. http://dx.doi.org/10.1386/slac_00031_1.
Повний текст джерелаАнотація:
The abundance of rural and provincial settings as spaces belonging to or determined by revolutionary time are recurrent elements in Cuban cinema prior to 1989. Many documentaries and films from the late 1960–80s focused on ‘scaping’revolutionary accomplishments and struggles in the construction of a socialist society. At that time, the depiction of provincial and rural towns of Cuba were aligned with and echoed the Revolution’s political and social agenda of collective work, struggle and revolutionary virtue. This article explores rural space, surveillance and exclusions through Carlos Lechuga’s film Santa y Andrés (2016). The film portrays the punishment and surveillance of a blacklisted homosexual writer in a small town in the eastern part of the island during 1983. This article, first, examines how Santa y Andrés questions the premise that Cuba’s rural and provincial space is a homogeneous revolutionary one, and, second, proposes that the film’s choice of location refashions the rural-provincial space in Cuban cinema as a space of dissidence, exclusionary practices and pervasive surveillance.
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Dall'Asta, Monica. "Looking for Myriam." Feminist Media Histories 2, no. 3 (2016): 29–53. http://dx.doi.org/10.1525/fmh.2016.2.3.29.
Повний текст джерелаАнотація:
Despite the recent multiplication of studies in found footage cinema, the fog surrounding the figure of Myriam Borsoutsky remains thick. This article elaborates the rare extant information about her work to retrace an important chapter in the history of found footage cinema in France, in which women have played a major role. In an attempt to delineate a specifically female genealogy in the history of French compilation film, Myriam's work is studied alongside that of Nicole Vedrès, and situated in the cultural context of a net of relationships that includes other women, for instance Denise Tual and Yannick Bellon, as well as such masters of French cinema as Pierre Braunberger, Sacha Guitry, Henri Langlois, Alain Resnais, André Bazin, Chris Marker, Jean-Luc Godard, and Michel Leiris. A detailed analysis of two major works in this genealogy, Paris 1900 (dir. Nicole Vedrès, 1947) and Bullfight (dir. Myriam and Pierre Braunberger, 1951), draws upon Vedrès's own writings and André Bazin's critical notes on the films. The last section addresses the meaning of the neologism neomontage, coined by Bazin in his review of Bullfight to describe Myriam's “diabolical” editing abilities.
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Grosoli, Marco. "André Bazin: Film as Social Documentary." New Readings 11 (January 1, 2011): 1. http://dx.doi.org/10.18573/newreadings.73.
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Vacche. "Miraculous Mathematics: André Bazin's Film Theory." Discourse 38, no. 2 (2016): 117. http://dx.doi.org/10.13110/discourse.38.2.0117.
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Cerecina, Ivan. "“The very palpitation of life!”: “The Leaves Are Stirring” in Context." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 3 (December 1, 2022): 69–85. http://dx.doi.org/10.1215/02705346-10013618.
Повний текст джерелаАнотація:
Abstract This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay “The Leaves Are Stirring.” It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal postwar moment, including the writing of André Bazin, André Malraux, Roger Leenhardt, and Alexandre Astruc. It draws out the points of contact between Vedrès's text and these better-known studies of film aesthetics, placing the piece in the context of contemporary aesthetic discourse and arguing for its singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history.
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Morgan, Daniel. "Bazin's Modernism." Paragraph 36, no. 1 (March 2013): 10–30. http://dx.doi.org/10.3366/para.2013.0075.
Повний текст джерелаАнотація:
One of the basic assumptions about André Bazin's theory of cinema has been that his idea of realism stands in direct opposition to modernism. In this article, I further develop a revised account of Bazin's realism that I have offered elsewhere, which rethinks the basic assumptions of ontology and realism in his work. This brings Bazin into a surprising affinity with tenets of high (reflexive) modernism. From this position, a re-examination of his engagement with the films of Orson Welles not only shows Bazin to be wrestling with those issues in his criticism but also provides a way to rethink a number of positions in film theory that have historically been associated with a stringently reflexive modernism.
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Gama, Morgana. "Teoria de Cineastas: A busca por perspectivas globais." Aniki: Revista Portuguesa da Imagem em Movimento 11, no. 2 (July 18, 2024): 221–27. http://dx.doi.org/10.14591/aniki.v11n2.1078.
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Fehimović, Dunja. "Ethics, hospitality and aesthetics in Fresa y chocolate/Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 409–25. http://dx.doi.org/10.1386/slac_00030_1.
Повний текст джерелаАнотація:
This article draws on Levinas’ ‘first ethics’ and Derrida’s account of hospitality in order to examine how Fresa y chocolate/ Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)make perceptible (drawing on the etymology of aesthetics as ‘aistheta’, perceptible things) the problem of the encounter with the Other. As films, they inevitably thematize and reduce both the Other’s infinite alterity and our own infinite responsibility. However, whereas Santa y Andrés makes the viewer experience the uncertainty produced by the subject’s encounter with difference, developing an aesthetics that bears a trace of this ‘first ethics’, Fresa y chocolate reduces alterity in favour of resolution. Examining the characters’ interactions in light of Derrida’s ‘hostipitality’, it becomes clear that, whereas Alea’s work encourages us to forget the power imbalances that neuter Diego’s authority as host, Lechuga’s film gestures towards a pervasive sovereignty that determines the exercise of hospitality as ethical response. Thus, by acknowledging the uncomfortable proximity of hospitality, hostility and discipline, and by allowing the viewer to access a trace of the unsettling encounter with infinite otherness, Santa y Andrés encourages a more ethical engagement with difference than its predecessor.
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Platek, Slawomir. "Ida and the Cold War as (neo)modern movies." Culturology Ideas, no. 21 (1'2022) (2021): 51–68. http://dx.doi.org/10.37627/2311-9489-21-2022-1.51-68.
Повний текст джерелаАнотація:
The subject of the article is the analysis of the latest films by Paweł Pawlikowski in terms of their affiliation to trends in contemporary cinematography. Ida and Cold War are sometimes described as the artistic heritage of the Polish Film School. The article focuses on the hypothesis that these films can, however, be attributed to the current of European neo-modernist cinema. Such a conclusion is based on the study of the author's creative path, the perception of Pawlikowski's work abroad and, above all, on the aesthetics of the films discussed in the article. The theoretical basis for these conclusions are the works by Andre Bazin on the visual side and on the content of the films (ambiguity of the world presented in the films). The article concerns the concept of ‘realism’ in the theory of the French critic. The second basis for conclusions is the work by Rafał Syska on the film trend known as neo-modernism. Paweł Pawlikowski's works meet many of Syska's postulates and seem to represent a poorly described trend present in Polish cinematography. It is a look at Ida and the Cold War that has not been included in Polish film research so far. Pawlikowski's works are in many ways similar to some Polish productions from the 1960s. Such films are classified by Justyna Żelasko as modernist cinema, against the tradition that they are usually associated with the Polish Film School. The composition of the film frames was also analyzed in reference to the nostalgic fashion called ‘lomography’.
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Sellier, Geneviève. "André Bazin, Film Critic for Le Parisien libéré (1944–1958): An Enlightened Defender of French Cinema." Paragraph 36, no. 1 (March 2013): 118–32. http://dx.doi.org/10.3366/para.2013.0081.
Повний текст джерелаАнотація:
This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day (plot summary and evaluation of actors' performances) to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war France. Four, Bazin remains blind to the misogynistic dimension of post-war French cinema, with its tendency to culpabilize women for the national disgrace of the Occupation. Ultimately, Bazin's newspaper reviewing represents a more socially aware vision of cinema than that promoted by more specialized cinema journals, yet his criticism remains caught within the gender ideology of his time.
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Lyly C. Aprianty Hutauruk, Marlina Agkris Tambunan, Monalisa Frince Sianturi, and Martua Reynhat Sitanggang Gusar. "Analisis Gaya Bahasa dan Nilai Pendidikan Karakter Film Jagat Raya Karya Andri Sofyansyah." Sintaks: Jurnal Bahasa & Sastra Indonesia 1, no. 1 (January 31, 2021): 43–45. http://dx.doi.org/10.57251/sin.v1i1.718.
Повний текст джерелаАнотація:
This study aims to describe the most dominant language style and character education values used in Andri Sofyansyah’s film universe. This type of research uses a qualitative descriptive method, namely, describes the language style and character education values used. Dominant in the film universe. The data collection method in this study is the listening method, using the basic data collection technique used is the tapping technique. The results of the analysis of the characteristics of language style and the value of character education in Andri Sofyansyah’s universe film (1) find the dominant language style in Andri’s universe film Sofyansyah (2) looking for the dominant character education values in Andri Sofyansya’s universe film universe.
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Grosoli, Marco. "Motion/Performance Capture and The Afterlife of The Index. A Reconsideration of André Bazin’s “Myth of Total Cinema”." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 153–73. http://dx.doi.org/10.7202/1027446ar.
Повний текст джерелаАнотація:
The history of film technology is not a progressive and linear march towards the future : it is rather a discontinuous, irregular process where the past returns more often than not. Motion capture and performance capture technologies are particularly indicative examples of this dynamic, as their digital nature is far from opposed to the indexical bias of photography that (according to a widespread doxa) the digital is supposed to gradually supplant. On the contrary, they integrate the index in their own functioning. Moreover, some of the films making use of these devices (for instance Robert Zemeckis’s A Christmas Carol) seem to allegorize this very paradox. André Bazin has often been believed to advocate for a teleological view of history (and of the history of film technology) just because of his idealism. In fact, a close re-reading his writings, particularly of his “Myth of Total Cinema”, shows that his idealism works as an “antidote” against teleological presuppositions.
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Rohma, Naafi Nur. "ESTETIKA FORMALIS FILM POHON PENGHUJAN SUTRADARA ANDRA FEMBRIARTO." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 41. http://dx.doi.org/10.24821/rekam.v13i1.1579.
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Penelitian berjudul Estetika Formalis Film Pohon Penghujan Sutradara Andra Fembriarto menggunakan metode penelitian kualitatif, pendekatan estetika formalis Sergei Eisenstein dan teori estetika formalis Sergei Eisenstein. Adapun tujuan dari penelitian adalah untuk mengetahui estetika formalis dari film Pohon Penghujan sehingga dapat diketahui makna dibalik film Pohon Penghujan. Permasalahan yang muncul dalam penelitian adalah estetika formalis dalam film Pohon Penghujan Sutradara Andra Fembriarto. Analisis yang dilakukan adalah analisis interpretasi pendekatan estetika formalis Sergei Eisenstein, yaitu mise-en-scene, sinematografi, montase dan suara. Hasil yang didapatkan dalam penelitian adalah terpilihnya empat adegan berdasarkan tingkat dramatik film dan makna dibalik keempat adegan tersebut.The research of Formalist Aesthetics of Rainy Tree Film directed by Andra Fembriarto uses method of qualitative research, formalist aesthetics approach and Sergei Eisenstein formalist aesthetics theory. The aim of this research is the truth of formalist aesthetics Pohon Penghujan film so that it can be seen artistic message of Pohon Penghujan film. The main problems that arise in this research is formalist aesthetics of Rainy Tree Film directed by Andra Fembriarto. Analysis for this research is Sergei Eisenstein formalist aesthetics approach: mise-en-scene, cinematography, montage dan sound. The results of this research is artistic message of Pohon Penghujan film as formalist aesthetics.
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Zarza, Zaira. "‘I want to watch movies’: Film activism and Cuban screens." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 383–95. http://dx.doi.org/10.1386/slac_00028_1.
Повний текст джерелаАнотація:
The notion of independent cinema has generated conversations and controversies around the world as scholars have attempted to demarcate what kinds of productions fit – or do not – into the category. In the absence of major private film companies, independent cinema in Cuba includes those films made without or with minimal support from the state-run Cuban Film Institute (ICAIC). Since its foundation in 1959, ICAIC has been the main and only programmer of all films screened in theatres across the country. This article offers a brief account of the relationship between Cuban independent cinema and mainstream institutions in the last few years. As a starting point, I will consider the decision to exclude the film Santa y Andrés/Santa & Andres (Lechuga 2016) from the programme of the 38th Havana Film Festival and the debates that ensued. I will also discuss the recent cultural policies – a decree that recognizes the legal rights of independent film and audio-visual producers and the introduction of 3G data plans for citizens – that hope to spawn new forms of filmmaking in Cuba and the role of social media as a collective platform for cultural conversations in the public sphere.
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Łyszczarz, Barbara. "Dialog filmu ze sztukami klasycznymi. Analiza porównawcza powieści „Tamte dni, tamte noce” oraz jej ekranizacji." Rocznik Przemyski. Literatura i Język 59, no. 2 (27) (2023): 33–61. http://dx.doi.org/10.4467/24497363rplj.23.003.18955.
Повний текст джерелаАнотація:
A dialogue between film and classical arts. A comparative analysis of the novel Call Me By Your Name and its film adaptation The aim of this paper is to present various links between films and other arts. As a starting point the author has chosen presenting the theoretical base of the division of classical arts, their languages, materials and characters. Film is the youngest among the arts. Further, the text focuses on the problem of adaptation, in particular film adaptation. The ground thus laid allows to discuss the main topic of the paper: comparison of Call Me By Your Name the book by André Aciman and its film version of the same title directed by Luca Guadagnino. Comparative analysis is applied here to: literary and film narration, the autotelic nature of both works, the merging of literary and cinema worlds – with reference to both the novel and the film. A lot of space is devoted to the director’s attempts to enhance the aesthetic and erudite values of the work; the context for those aspects in the film are philosophy, painting and music. Besides the interdisciplinary character the paper also evokes the history of idea and the question of translation, though the latter in vestigial form, more to accentuate the problem than to make an attempt to deepen the explication.
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Koutsourakis, Angelos. "The Politics of Humour in Kafkaesque Cinema: A World-Systems Approach." Film-Philosophy 24, no. 3 (October 2020): 259–83. http://dx.doi.org/10.3366/film.2020.0145.
Повний текст джерелаАнотація:
Kafka's work has exercised immense influence on cinema and his reflections on diminished human agency in modernity and the dominance of oppressive institutions that perpetuate individual or social alienation and political repression have been the subject of debates by philosophers such as Theodor Adorno, Walter Benjamin, Gilles Deleuze, Félix Guattari, and Alexander Kluge. Informed by a world-systems approach and taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of the future, and André Bazin's suggestion that literary concepts, characters and styles can exceed “novels from which they emanate”, I understand the Kafkaesque as an elastic term that can refer to diverse films that might share thematic preoccupations, but also aesthetic and formal differences. In this article, I explore the politics of humour in Kafkaesque cinema with reference to the following films: The Overcoat ( Шинель, 1926, Gregor Koznitzev and Leo Trauberg), The Shop on Main Street ( Obchod na korze, 1965, Ján Kadár), and Death of a Bureaucrat ( La muerte de un burócrata, 1966, Tomás Gutiérrez Alea). I draw attention to the dialectics of humour and the connection between the Kafkaesque and slapstick so as to show how humour is deployed as a means of political critique.
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Cerny, Teresa A., James E. Faust, Desmond R. Layne, and Nihal C. Rajapakse. "Influence of Photoselective Films and Growing Season on Stem Growth and Flowering of Six Plant Species." Journal of the American Society for Horticultural Science 128, no. 4 (July 2003): 486–91. http://dx.doi.org/10.21273/jashs.128.4.0486.
Повний текст джерелаАнотація:
Growth chambers constructed of photoselective plastic films were used to investigate light quality effects on flowering and stem elongation of six flowering plant species under strongly inductive and weakly inductive photoperiods. Three films were used: a clear control film, a far red (FR) light absorbing (AFR) film and a red (R) light absorbing (AR) film. The AFR and AR films intercepted FR (700 to 800 nm) and R (600 to 700 nm) wavelengths with maximum interception at 730 and 690 nm, respectively. The phytochrome photoequilibrium estimates of transmitted light for the control, AFR, and AR films were 0.71, 0.77, and 0.67. The broad band R:FR ratios were 1.05, 1.51, and 0.77, respectively. The photosynthetic photon flux was adjusted with neutral density filters to provide similar light transmission among chambers. Zinnia elegans Jacq., Dendranthema×grandiflorum Kitam. (chrysanthemum), Cosmos bipinnatus Cav., and Petunia×hybrida Vilm.-Andr. plants grown under the AFR film were shorter than control plants. The AFR film had no effect on height of Antirrhinum majus L. (snapdragon) or Rosa×hybrida (miniature rose). Anthesis of zinnia, chrysanthemum, cosmos (short-day plants), and miniature rose (day-neutral plant) was not influenced by the AFR films. Anthesis of petunia and snapdragon (long-day plants) was delayed up to 13 days by AFR films under weakly inductive photoperiods. In petunia, initiation and development of floral structures were not affected by the AFR films during strongly inductive photoperiods. However, during weakly inductive photoperiods, initiation of the floral primordia was significantly delayed and overall development of the floral meristem was slower than control plants indicating that the AFR films could increase the production time if long-day plants were produced off-season. Daylength extension with electric light sources could overcome this delay in anthesis yet achieve the benefit of AFR films for height reduction without the use of chemical growth regulators.
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Gómez, Felipe. "*Caníbales por Cali van: Andrés Caicedo y el gótico tropical." Íkala, Revista de Lenguaje y Cultura 12, no. 1 (November 3, 2007): 121–42. http://dx.doi.org/10.17533/udea.ikala.2715.
Повний текст джерелаАнотація:
Cannibalism and vampirism are recurring motifs in the films and fiction made by the Colombian interdisciplinary collective known as Grupo de Cali (the Cali Group). They are also fundamental for their aesthetic of the “Tropical Gothic”. Through this aesthetic, the Grupo effects a transcultural reappropriation and recreation of Gothic film and literature by incorporating the local parameters of youth in Cali during the 1960s and 1970s. In this article, I focus on representations of female cannibals found in fiction short stories by Andrés Caicedo, one of the founders of the Group, and I examine them using contemporary cultural theory and criticism related to the figures of Caliban and the cannibal in Latin America.
Received: 10-04-07 / Accepted: 20-06-07
How to reference this article:
Gómez, F. (2007). Caníbales por Cali van: Andrés Caicedo y el gótico tropical. Íkala, 12(1), pp. 121-141.
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Lonergan, Meg D. "Theatricality in the Horror Film: A Brief Study on the Dark Pleasures of Screen Artifice, André Loiselle (2020)." Horror Studies 11, no. 2 (October 1, 2020): 282–84. http://dx.doi.org/10.1386/host_00024_5.
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Ilias, Ilias F., and Nihal Rajapakse. "The Effects of End-of-the-day Red and Far-red Light on Growth and Flowering of Petunia ×hybrida `Countdown Burgundy' Grown under Photoselective Films." HortScience 40, no. 1 (February 2005): 131–33. http://dx.doi.org/10.21273/hortsci.40.1.131.
Повний текст джерелаАнотація:
The objective of this research was to investigate if brief exposure to end-of-the-day (EOD) red (R) or far red (FR) light can overcome the flowering delay of petunia (Petunia ×hybrida Vilm.-Andr. `Countdown Burgundy') grown under FR deficient greenhouse environments with no adverse effects on stem elongation. Plants were grown under clear, FR, and R light absorbing greenhouse films (control, AFR, and AR films, respectively) and exposed to R or FR light at the end of the photoperiod for 15 minutes. At flowering, main stem of plants grown under the AR film was about 17% longer and that of AFR film grown plants (without EOD treatment) was about 50% shorter than control plants. EOD-R light reduced stem elongation of control plants but had no effect on AFR or AR film-grown plants. EOD-FR light increased stem elongation in plants grown under AR and AFR films but the percentage increase was greater under AFR film (7%, 19%, and 64% increase in control, AR, and AFR films, respectively). However, plants that received EOD-FR light under AFR film were 25% shorter than control plants that received no EOD light. AFR film delayed flowering by 11 days but AR film had no effect. Fifteen-minute exposure to EOD-R or -FR light had no effect on flowering under control and AFR film. Although the exposure to brief EOD-FR partially increased stem elongation, it was not sufficient to accelerate flowering. Treatments to enhance flowering can cause stem elongation. Therefore, care should be taken to avoid improper crop timing, especially with long-day plants.
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Fehimović, Dunja, and Ruth Goldberg. "Santa y Andrés: A dossier." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 377–82. http://dx.doi.org/10.1386/slac_00027_2.
Повний текст джерелаАнотація:
Carlos Lechuga’s film Santa y Andrés (2016) has enjoyed worldwide acclaim as an intimate, dramatic portrayal of the unlikely friendship that develops in rural Cuba between Andrés, a gay dissident writer, and Santa, the militant citizen who has been sent to surveil him. Declared to be extreme and/or inaccurate in its historical depictions, the film was censored in Cuba and was the subject of intense controversy and public polemics surrounding its release in 2016. Debates about the film’s subject matter and its censorship extend ongoing disagreement over the role of art within the Cuban Revolution, and the changing nature of the Cuban film industry itself. This dossier brings together new scholarship on Santa y Andrés and is linked to an online archive of some of the original essays that have been written about the film by Cuban critics and filmmakers since 2016. The aim of this project is to create a starting point for researchers who wish to investigate Santa y Andrés, evaluating the film both for its contentious initial reception, and in terms of its enduring contribution to the history of Cuban cinema.
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Canet, Fernando. "The New Realistic Trend in Contemporary World Cinema: Ramin Bahrani’s Chop Shop as a Case Study." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 153–67. http://dx.doi.org/10.2478/ausfm-2014-0021.
Повний текст джерелаАнотація:
Abstract In the last two decades there has been an international resurgence of realistic films, i.e., films directed by filmmakers who believe in the ontological power of reality and, at the same time, in the capacity of the medium’s expressive scope for building a story without undermining the viewer’s impression of reality. On the one hand, this new movement is a rehabilitation of the cinematic Realism that throughout the history of film has touted cinema as an open window to the real world, a view particularly exemplified by Italian Neo-Realism. On the other hand, this new trend has given new life to the Realist film theories championed mainly by André Bazin and Siegfried Kracauer. Bazin defines the Realist style as “all narratives means tending to bring an added measure of reality to the screen” (1971, 27). In the article titled Neo-Neo Realism (2009), A. O. Scott discusses a number of filmmakers whom he categorizes within the new Realist trend in contemporary American independent cinema. Among these is Ramin Bahrani, director of the film Chop Shop (2007). Bahrani is a USborn filmmaker of Iranian origin, based in New York. Abbas Kiarostami is one of his main points of reference. Kiarostami, as Scott notes, “refined the old Neorealist spirit through the 1990s and into the next decade.” Bahrani himself acknowledges this influence with his desire to make “an Iranianstyle movie here in New York.”
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Brašiškis, Lukas. "APIE NEREPREZENTACINIO KINO GALIMYBĘ. NUO ANDRÉ BAZINO IKI GILLES’IO DELEUZE’O." Religija ir kultūra 11 (January 1, 2012): 07–15. http://dx.doi.org/10.15388/relig.2012.0.838.
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Remiantis prancūzų kino kritiko ir teoretiko André Bazino pateiktomis ontologinėmis kino teorijos tezėmis bei Gilles’io Deleuze’o knygos Kinas 1: Vaizdinys-judėjimas ketvirtajame skyriuje išplėtotais Henri Bergsono filosofijos argumentais, straipsnyje svarstomos žmogiškajai percepcijai būdingų redukcinių tendencijų nedubliuojančio kino galimybės. Klasikinio kino realizmo samprata yra palyginama su nereprezentacinio kino idėja, akcentuojant Bazino aprašomą iš dalies žmogišką, iš dalies technologinę kino prigimtį, kaip sąlygą galimybei priartėti prie Bergsono aprašytos acentriškos realybės. Vietoje straipsnio išvadų Bazino pasiūlytos kino neantropocentriškumo potencijos apmąstymas yra aktualizuojamas šiandieninėje filosofijoje pastebimo spekuliatyviojo posūkio fone.Pagrindiniai žodžiai: nereprezentacinis kinas, realizmas, pasakojimas, montažas, acentriška realybė, spekuliatyvusis posūkis.ON THE POSSIBILITY OF NON-REPRESENTIONAL CINEMA. FROM ANDRÉ BAZIN TO GILLES DELEUZELukas BrašiškisSummaryReferring to the ontological arguments shown in the theory of the French film critic and theorist André Bazin and the arguments elaborated by Gilles Deleuze in the fourth chapter of his book Cinema 1: Movement-Image, the possibility of the cinema that does not duplicate the reductive tendencies of the intentional human consciousness is discussed in this article. The classical understanding of the notion of cinematic realism is compared with the idea of non-representational cinema, accentuating the partially technological and partially subjective nature of film, which was described by Bazin, and its way to put the film viewer closer to the perception of the Bergsonian acentric reality. Instead of giving a clear conclusion, the Bazinian idea of the non-anthropocentric cinema is actualized in the light of the speculative turn in today’s philosophy.Keywords: nonrepresentational cinema, realism, narrative, montage, acentric reality, speculative turn.
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Brown, William. "Non-Cinema: Digital, Ethics, Multitude." Film-Philosophy 20, no. 1 (February 2016): 104–30. http://dx.doi.org/10.3366/film.2016.0006.
Повний текст джерелаАнотація:
In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light.
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González Rodríguez, Miguel. "Imágenes de la Zona Gris del cine documental de Postdictadura en el Cono Sur: Traiciones, memorias del horror y militancias en La Flaca Alejandra de Carmen Castillo y Montoneros: una historia de Andrés Di Tella. / Images of the Grey Zone in film ..." Revista Liminales. Escritos sobre Psicología y Sociedad 5, no. 10 (November 1, 2016): 131–54. http://dx.doi.org/10.54255/lim.vol5.num10.294.
Повний текст джерелаАнотація:
A partir del concepto de Zona Gris de Giorgio Agamben, se analiza las traiciones, memorias y militancias en dos películas documentales realizadas en tiempos posdictatoriales en Chile y Argentina. Extendiendo un cruce entre ambas, la figura de la traición de La Flaca Alejandra, en el film de Carmen Castillo, y de Ana en Montoneros, una historia; de Andrés Di Tella, nos permiten observar las representaciones de la memoria militante cuyas narraciones del horror, por efecto de la violencia dictatorial, las fracturas identitarias entran en escena por causa de la violación a los Derechos Humanos. Este cruce permite observar las diferencias históricas de ambos países y las formas de representación de la memoria en el cine documental en un nuevo contexto de democracia posdictatorial.
From the concept Zona Gris of Giorgio Agamben, it´s analized the betrayals, memories and militancy in two documentary films made in posdictatorial times in Chile and Argentina. Exending a cross between them, the figure of La Flaca Alejandra, in the film of Carmen Castillo, and of Ana in Montoneros, una historia; of Andrés Di Tella, allow us to observe the representations of the militant memory whose narrations of horror, by effect od dictatorial violence, the fractures identity come on the scene for caused the violation of Human Rights. This acrossing allows us to observe the historical differences of both countries and the forms of representations of memory in the documentary film in a new context of posdictatorial democracy.
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González Rodríguez, Miguel. "Imágenes de la Zona Gris del cine documental de Postdictadura en el Cono Sur: Traiciones, memorias del horror y militancias en La Flaca Alejandra de Carmen Castillo y Montoneros: una historia de Andrés Di Tella. / Images of the Grey Zone in film ..." Revista Liminales. Escritos sobre Psicología y Sociedad 5, no. 10 (November 1, 2016): 131–54. http://dx.doi.org/10.54255/lim.vol5.num10.294.
Повний текст джерелаАнотація:
A partir del concepto de Zona Gris de Giorgio Agamben, se analiza las traiciones, memorias y militancias en dos películas documentales realizadas en tiempos posdictatoriales en Chile y Argentina. Extendiendo un cruce entre ambas, la figura de la traición de La Flaca Alejandra, en el film de Carmen Castillo, y de Ana en Montoneros, una historia; de Andrés Di Tella, nos permiten observar las representaciones de la memoria militante cuyas narraciones del horror, por efecto de la violencia dictatorial, las fracturas identitarias entran en escena por causa de la violación a los Derechos Humanos. Este cruce permite observar las diferencias históricas de ambos países y las formas de representación de la memoria en el cine documental en un nuevo contexto de democracia posdictatorial.
From the concept Zona Gris of Giorgio Agamben, it´s analized the betrayals, memories and militancy in two documentary films made in posdictatorial times in Chile and Argentina. Exending a cross between them, the figure of La Flaca Alejandra, in the film of Carmen Castillo, and of Ana in Montoneros, una historia; of Andrés Di Tella, allow us to observe the representations of the militant memory whose narrations of horror, by effect od dictatorial violence, the fractures identity come on the scene for caused the violation of Human Rights. This acrossing allows us to observe the historical differences of both countries and the forms of representations of memory in the documentary film in a new context of posdictatorial democracy.
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Cerny-Koenig, T. A., J. E. Faust, and N. C. Rajapakse. "Role of Gibberellin A4 and Gibberellin Biosynthesis Inhibitors on Flowering and Stem Elongation in Petunia under Modified Light Environments." HortScience 40, no. 1 (February 2005): 134–37. http://dx.doi.org/10.21273/hortsci.40.1.134.
Повний текст джерелаАнотація:
In our previous experiments, greenhouse films that selectively remove far-red (FR) light from the growing environment reduced the stem elongation but delayed anthesis of long day plants. In the present research we investigated if the application of gibberellin A4 and gibberellin (GA) biosynthesis inhibitors could overcome the delay in anthesis of petunia (Petunia ×hybrida Vilm.-Andr.), a quantitative long-day plant, under a FR light deficient environment. The GA biosynthesis inhibitors prohexadione-Ca and exo-C-16,17-dihydro GA5 (GA5) were used because of their ability to prevent catabolism of active GAs. Anthesis and stem elongation were investigated under control, red (R; 600 to 700 nm) and FR (700 to 800 nm) light-absorbing (AR and AFR) films. The R:FR ratios of control, AR, and AFR films were 1.03, 0.71, and 1.51, respectively. Air temperatures among treatment chambers were not different. AR film did not affect anthesis or stem elongation, but AFR film reduced stem elongation and delayed anthesis by 12 days. Exogenous application of GA5 had no effect on stem elongation, shoot dry weight or days to anthesis at any concentration (0 to 100 mg·L-1) tested under control, AR, or AFR films. Anthesis was delayed with increasing concentration (0 to 200 mg·L-1) of prohexadione-Ca under all treatments. Prohexadione-Ca at 200 mg·L-1 delayed anthesis by 11 and 7 days under the control and AFR film, respectively, suggesting an interaction between light quality and prohexadione-Ca treatment. Exogenous GA4 accelerated anthesis under both films but the promotion was greater under the AFR films. However, GA4 treatment increased stem elongation and the increase in stem elongation was greater under the AFR film. Addition of GA5 to GA4 had no added effect on flowering and failed to reduce stem elongation. Therefore, GA or GA inhibitors are not suitable for flower promotion under AFR films.
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Friday, Jonathan. "André Bazin's Ontology of Photographic and Film Imagery." Journal of Aesthetics and Art Criticism 63, no. 4 (September 2005): 339–50. http://dx.doi.org/10.1111/j.0021-8529.2005.00216.x.
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Panday, Aruna. "The Film Tool: An Interview with André Singer." American Anthropologist 118, no. 2 (April 28, 2016): 381–85. http://dx.doi.org/10.1111/aman.12533.
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