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Статті в журналах з теми "Cinema"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 липня 2025

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1

Nazario, Luiz. "O outro cinema." Aletria: Revista de Estudos de Literatura 16, no. 2 (2007): 94–109. http://dx.doi.org/10.17851/2317-2096.16.2.94-109.

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Resumo: Um breve panorama da trajetória percorrida pelo desejo homossexual no cinema, de seu tímido despertar no cinema mudo alemão, passando pelo seu mascaramento em Hollywood e sua estilização no “cinema de arte” europeu, até a constituição de um assumido “cinema gay” nos oásis de liberdade do capitalismo avançado.Palavras-chave: cinema; alteridade; capitalismo avançado.Résumé: Un bref panorama de la trajectoire parcourue par le désir homosexuel au cinéma, de son timide réveil au cinéma muet allemand, en passant par son déguisement à Hollywood et sa estilisation au “cinéma d’art” européen, j

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2

Bellour, Raymond. "“Cinema, Alone”/Multiple “Cinemas”." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 116–43. http://dx.doi.org/10.33178/alpha.5.08.

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This lecture was presented as part of a series of twenty-five conferences on cinema and the arts held between 2001–2002 at the Collège d’Histoire de l’Art Cinématographique, Cinémathèque française. It was first published in French, as “Le Cinéma seul/Multiples ‘cinémas’”. Le Septième Art. Le cinéma parmi les arts. Ed. Jacques Aumont. Paris: Léo Scheer, 2003, 257–80. Print. Some elements of the essay have since been integrated in the introductory chapter of La Querelle des dispositifs. Cinéma – expositions, installations, coll. “Trafic”. Paris: P.O.L, 2012. Print.

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3

Naficy, Hamid. "Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema." Journal of Media Practice 11, no. 1 (2010): 11–20. http://dx.doi.org/10.1386/jmpr.11.1.11/1.

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4

Vinogradova, Līga. "CINEMA AUDIENCE HABITS IN TRANSITION: MORE NETFLIX, LESS CINEMA?" Culture Crossroads 27 (June 25, 2025): 29–45. https://doi.org/10.55877/cc.vol27.538.

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The author investigates the evolving habits of Latvian cinema audiences amid increasing digitalization and the growing prominence of streaming platforms. The research addresses key questions about whether streaming services are drawing audiences away from cinemas or complementing the traditional cinematic experience. It aims to examine the interaction between digital and in-person film consumption, with a particular focus on how audience habits have adapted to hybrid viewing models. Using a quantitative survey method, the author analysed data from 650 respondents, gathered through face-to-face

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5

Guimarães de Oliveira, Luciene. "Opacité et Intermédialité chez le cinéma de Marguerite Duras." Revista FAMECOS 30, no. 1 (2024): e45406. http://dx.doi.org/10.15448/1980-3729.2023.1.45406.

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Le cinéma de Marguerite Duras, notamment ses films des années 1970, s’oppose au cinéma grand public à travers plusieurs procédés, tel que celui de briser l’illusion réaliste et référentielle, ou le principe de transparence. Par exemple, l’apparition du matériel de tournage dans la mise en scène, ou la caméra, met en évidence l’opacité de son cinéma. Nous proposons donc d’interroger le cinéma durassien selon ses procédés dysnarratifs, ainsi que son rapport de nature intermédiale avec la littérature. Opacidade e intermedialidade no cinema de Marguerite Duras Resumo: O cinema de Marguerite Duras,

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6

GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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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 concess

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7

Hermawan, Vera, Dhini Ardianti, and Desi Oktaviani. "ANALISIS WACANA BERITA PEMKOT BANDUNG OPERASIKAN KEMBALI BIOSKOP PADA MEDIA ONLINE PIKIRANRAKYAT.COM EDISI 09 OKTOBER 2020." Paradigma POLISTAAT: Jurnal Ilmu Sosial dan Ilmu Politik 4, no. 1 (2021): 13–26. http://dx.doi.org/10.23969/paradigmapolistaat.v4i1.5127.

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The results show that, in the text dimension pikiranrakyat.com provides more explanation about the process of opening a cinema from various stages prepared by the government for cinema entrepreneurs, as well as describing the regulations that must be applied in the cinema, the news text is also equipped with comments and responses from authorities on the policy of opening cinemas in Bandung city to strengthen news information. In the dimension of social cognitions, pikiranrakyat.com constructs news from various perspectives, starting from the policy of opening cinemas, the government, and the

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8

Tessougue, Moussa dit Martin. "Loisirs Urbains: Essor et Déclin des Salles de Cinéma à Bamako au Mali de 1960 à 2022, Fréquentation en Baisse et Fermenture des Salles." European Scientific Journal, ESJ 19, no. 2 (2023): 115. http://dx.doi.org/10.19044/esj.2023.v19n2p115.

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Les liens entre le cinéma, le tourisme et l’urbanisation sont bien évidents. L’urbanisation africaine est antérieure à la colonisation européenne. Néanmoins, ce sont les activités commerciales, industrielles, administratives et récréatives de la colonisation européenne qui ont favorisé, l’expansion de plusieurs villes en Afrique. La colonisation a aussi équipé, les villes africaines en salles de cinéma, d’où la naissance des loisirs urbains en Afrique pour l’épanouissement des activités touristiques. En adoptant, une méthodologie incluant des recherches bibliographiques et des enquêtes par int

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9

Lévy, Denis, and Alain Badiou. "Badiou and Lévy on the Art of Cinema." Journal of Continental Philosophy 5, no. 2 (2024): 313–47. https://doi.org/10.5840/jcp20245260.

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The following two texts—“Alain Badiou on Cinema” and “The Art of Cinema”—transcribe a seminar delivered by Alain Badiou and Denis Lévy at the Université Paris 8 Vincennes à Saint-Denis on April 7, 2016, at the invitation of Suzanne Liandrat-Guigues (Professor of Cinema, Université Paris 8). The original French text is available at http://www.artcinema.org/IMG/pdf/-4.pdf. Lévy first provides a personal account of Badiou’s historical engagement with the art of cinema, outlining his central conceptual and critical contributions while focusing on work undertaken (often together) from the late-1970

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10

Dima, Vlad. "Waiting for (African) Cinema: Jean-Pierre Bekolo’s Quest." African Studies Review 62, no. 1 (2018): 49–66. http://dx.doi.org/10.1017/asr.2017.153.

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Abstract:Throughout his career, Cameroonian director Jean-Pierre Bekolo has been searching for cinema; not African cinema, just Cinema. In order to explain properly this claim, the essay will first consider Bekolo’s work within the context of the ever-ongoing conversation regarding the framing and aesthetics of African and Third Cinemas. Second, for a closer perspective on what will be termed “neurotic cinema,” the essay will key on Bekolo’s latest effort, Naked Reality (2016), a purposely unfinished work that echoes absurdist theater, mimics frantic contemporary thought, and proposes that cin

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11

Lieandra, Hansen, and Suwardana Winata. "BIOSKOP SEBAGAI WADAH SOSIAL DENGAN PENDEKATAN ARSITEKTUR KESEHARIAN DI KAWASAN SENEN, JAKARTA PUSAT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (2023): 1203–12. http://dx.doi.org/10.24912/stupa.v4i2.21815.

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Young and old have been enjoying watching movies in the cinema for a long time. Along with the development of the times, a lot has also happened to the cinema and always follows the times. Seeing the development of cinemas, there are step-by-step cinemas that can be enjoyed outdoors, drive-in cinemas that can be watched from the car, and there are exclusive seats in cinemas such as 3d theaters, love seats, premieres, and others. Not only a place to watch, but cinemas can also be used multifunctionally which we may have encountered, for example, concerts at the cinema, meet and greets at the ci

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12

Adilla, Annisa, Diryo Suparto, and Rizky Rahmanda Irawan. "An Investigation of Marketing Strategies for Cinema Media Advertising in Indonesia: Comparative Analysis between Conventional and Digital Ages." International Journal of Sustainable Development & Future Society 1, no. 2 (2023): 58–67. http://dx.doi.org/10.62157/ijsdfs.v1i2.36.

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The development of cinema in Indonesia has experienced relatively rapid growth. From the 1950s to the 1970s, cinemas in Indonesia began to build cinemas in almost every corner of the city. Until now, the cinema has been one of the entertainment facilities of choice, which can play cinema media on the big screen and enjoy film production performances at home and abroad. The cinema industry in Indonesia has also entered the era of digitalization. The era of digitalization in the cinema industry includes the availability of film schedules and online ticket purchases via websites and applications.

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13

Jardim, Alex Fabiano Correia, and Adhemar Santos de Oliveira. "Um olhar histórico-filosófico do encontro do cinema com a educação e sua utilização nas salas de aulas." Educação e Filosofia 38 (July 19, 2024): 1–31. http://dx.doi.org/10.14393/revedfil.v38a2024-68790.

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Resumo: A proposta deste trabalho é problematizar a relação entre cinema e educação. Percebemos que o cinema é, geralmente, tratado apenas como plataforma ilustrativa nas aulas, ocupando papel secundário, inferior ao texto escrito ou à explicação oral. No entanto, a partir da perspectiva filosófica de Gilles Deleuze e Félix Guattari, entendemos que o encontro entre a filosofia e o cinema oferece ao aluno-espectador um novo campo de experimentação, visto que esse pode ser um potente instrumento de formação, não só cultural, mas também educacional, tanto quanto é a Literatura, a Filosofia e a So

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14

Chataignier, Gustavo. "Nouvelle Vague e Cinema Novo – paradigmas de cinema e suas relações." Panambí. Revista de Investigaciones Artísticas, no. 3 (January 9, 2017): 25. http://dx.doi.org/10.22370/panambi.2016.3.547.

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O artigo pretende explicitar um circuito de visibilidade que alçou o Cinema Novo brasileiro ao posto de cinema internacional de vanguarda. Para tanto, há que se compará-lo não só com a Nouvelle Vague francesa, mas, sobretudo, com o papel central desempenhado pela crítica especializada –notadamente os Cahiers du cinéma.

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15

Hartanto, Denny Antyo. "HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER." JURNAL PAKARENA 8, no. 1 (2023): 56. http://dx.doi.org/10.26858/p.v8i1.42032.

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This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema prod

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16

Souza, Gustavo Ramos de. "Barthes vai ao cinema." Em Tese 21, no. 2 (2016): 29. http://dx.doi.org/10.17851/1982-0739.21.2.29-44.

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Embora tenha dedicado muitos de seus textos ao teatro e escrito inúmeros ensaios sobre literatura, além de seu notório ensaio sobre fotografia, o interesse crítico e teórico de Roland Barthes pelo cinema é relativamente reduzido. Se, em entrevista à revista Cahiers du Cinéma, em 1963, Barthes afirmou ir ao cinema ao menos uma vez por semana, por outro lado, em “Ao sair do cinema” (1975), abre o ensaio dizendo que o seu prazer consiste em sair da sala de cinema. Tendo em vista a relação paradoxal de Barthes com o cinema, o objetivo deste artigo é buscar um ponto comum entre as ideias barthesian

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17

Brown, David Max. "Theatrical cinema in South Africa: The Parasite within, South Korea as a model for survival." Journal of African Cinemas 13, no. 1 (2021): 43–62. http://dx.doi.org/10.1386/jac_00043_1.

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The 2019 Oscar winner, Parasite attracted millions to South Korean cinemas even before its success in Hollywood. Nigerian cinema is also growing, with local movies topping the theatrical box office and new cinemas being built. Meanwhile, in South Africa, feature film production and cinema attendance are declining without significant transformation of access to the means of film production or to distribution and exhibition. Practical propositions, including the implementation of quotas and taxes, are presented as remedies for the survival of South African cinema, particularly in relation to con

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18

Almeida, Jane de. "Apontamentos sobre o Cinema Científico: Arlindo Machado." Significação: Revista de Cultura Audiovisual 49, no. 57 (2022): 41–60. http://dx.doi.org/10.11606/issn.2316-7114.sig.2022.189813.

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Arlindo Machado realizou filmes e escreveu artigos sobre um tipo de cinema pouco debatido pelo campo comunicacional chamado “cinema científico”. Esse artigo discute suas ideias sobre o tema, articulando conceitos e a historiografia sobre as origens do cinema por meio de seus escritos sobre os pré-cinemas e os pós-cinemas. O diálogo com suas obras sugere questões a respeito da invisibilidade do cinema científico, das máquinas pré-cinemáticas e suas relações com a ciência, além de casos brasileiros de filmes científicos. A partir dos elementos abordados, especula-se a possibilidade de composição

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19

Kosinova, Marina Ivanovna. "Soviet cinema as a state budget’s contributor. Distribution in the 1930s." Journal of Flm Arts and Film Studies 6, no. 1 (2014): 8–22. http://dx.doi.org/10.17816/vgik618-22.

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The idea of replacing revenues from alcohol sale with income from cinema attendance was put forward by L. Trotsky in Soviet Russia in the early 1920s. At the stage of transition from silent cinema to the sound one this idea received a significant number of supporters. Anyhow attendance statistics proved a considerable gap between alcohol profitability and yield, calculated on theatre booking. In order to heal the situation quite a number of new cinemas had to be built. Since the state did not have adequate resources at its disposal, it was decided to refurbish the churches into cinema theatres

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20

Aditama, Muhammad Reza. "BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998." Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, no. 1 (2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.

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This article aims to answer the following 3 questions: 1) How is the development of cinema in Palu City?; 2) How is the influence of cinema on the people of Palu City?; and 3) Why does the presence of cinema produce a new cultural identity in the people of Palu City? The problems in this article are solved using historical methodologies and anthropological approaches. The results of this study indicate that: 1) In the period between 1951-1990 the development of cinema was only in the form of an increase in number, then in 1991 there was one cinema that was different from previous cinemas so th

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21

Andrzej Dębski, Andrzej Dębski. "Kina na Dolnym Śląsku: rekonesans historyczny." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (2019): 129–45. http://dx.doi.org/10.14746/i.2019.35.07.

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The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Je

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22

Karinkurayil, Mohamed Shafeeq. "The Islamic Subject of Home Cinema of Kerala." BioScope: South Asian Screen Studies 10, no. 1 (2019): 30–51. http://dx.doi.org/10.1177/0974927619855451.

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Migration to the Arabian Gulf as the experience of the state of Kerala has mostly been elided in mainstream Malayalam cinema. The digital revolution towards the end of the last century has spurred a local film practice in northern Kerala, usually called ‘Home Cinema’/‘home video’/‘home film’ and so on. Home Cinema of Kerala is locally produced low-quality CD/DVD video productions which are full-length feature films distributed through video shops, stationeries, bookstores and so on. Home Cinema, synonymous in its beginning with the films of Salam Kodiyathur, began as an attempt to oppose what

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23

Snehal, S. Warekar. "Representation Of The Queer Culture In Indian Cinema." International Journal of Advance and Applied Research 10, no. 3 (2023): 576 to 580. https://doi.org/10.5281/zenodo.7757341.

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<em>The present research paper is an overview of cinemas made about and on queer culture. It has been observed that Bollywood has stereotyped the queer culture. Hardly the Indian cinemas have featured queer culture in some of the movies. Mostly the queer culture has been shown in a poor light, therefore, the term Bollywood is not considered while analysing Indian Cinema as it includes the different industries present in India. It will throw light on the ideas in the cinema traditions in India about the love between women and the love between men. </em> <em>It is an attempt to understand that p

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24

Martin, Florence. "Cinéma-monde: de-orbiting Maghrebi cinema." Contemporary French Civilization 41, no. 3-4 (2016): 461–75. http://dx.doi.org/10.3828/cfc.2016.31.

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Jefferson Kline, T. "The Film Theories of Bazin and Epstein: Shadow Boxing in the Margins of the Real." Paragraph 36, no. 1 (2013): 68–85. http://dx.doi.org/10.3366/para.2013.0078.

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When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that ‘true realism’ constituted the ontology and the essence of cinema was remarkably out of step with the major philosophical movements of his time. Paradoxically, it was not Bazin but

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26

Bowles, Kate. "Limit of Maps? Locality and Cinema-Going in Australia." Media International Australia 131, no. 1 (2009): 83–94. http://dx.doi.org/10.1177/1329878x0913100110.

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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,

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KOCAER, Rabia. "20.Yüzyıl Başları, Beyoğlu Sinema Mekânları Belleği İzinde Yürüyüş Rotası." International Journal of Social Sciences 9, no. 38 (2025): 429–51. https://doi.org/10.52096/usbd.9.38.19.

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Istanbul, the capital of the Byzantine, Roman and Ottoman Empires, still has its traces in civil, religious, educational and commercial structures with its multi-layered and multi-cultural identity. The Greeks, Armenians, Jews and Turks living in the city have also had their reflections in the city’s culture, art and architecture. Beyoğlu is the most important place in Istanbul with its location, historical past and cultural interaction. The district is distinguished by its embassies, hotels, passages, religious buildings, theaters and cinemas. It was the most important district for a period o

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Kuntoh, Sarah. "Is the African Cinema Definition ‘Real’ or ‘Idealistic’." International Journal of Current Research in the Humanities 26, no. 1 (2023): 25–38. http://dx.doi.org/10.4314/ijcrh.v26i1.2.

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To a large extent, the world seems to have seen more films from the West than from anywhere else. In sub-Saharan Africa for example, it was not until the early 1960s that the Africans had the opportunity to stand behind the lens to tell their own story. Unlike the cinema of the West, ‘African cinema’ was borne more out of the resistance to its representation by the West. From Ousmane Sembene’s time till now, other filmmakers from Anglophone as well as Lusophone countries have made different films on different subjects about nation and culture. But in many scholarly writings, for several years,

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29

Cunha, Paulo. "Global silences on African cinemas: Dialectic of omission in western canons." Journal of African Cinemas 15, no. 2 (2023): 223–36. http://dx.doi.org/10.1386/jac_00102_1.

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This article examines the absence of African cinemas in three key fronts of western-led global film canons: cinema history, film criticism and the industry. It reflects on the mechanisms and processes that, invariably, have been creating and replicating in mass form the so-called global film culture that reveals itself in a more or less evident, hegemonic way. It also argues that as world cinemas advance on these three fronts, African cinemas have not made much headway to impact global directions in cinema canons significantly.

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Subhani, Armin, and Ahmad Subhan Nurabrori. "PERAN BIOSKOP SEBAGAI LITERASI WISATA DAN SPASIAL: PENGALAMAN DAN PEMAHAMAN MAHASISWA MELALUI SINEMA." SeBaSa 8, no. 1 (2025): 287–310. https://doi.org/10.29408/sbs.v8i1.29839.

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The role of cinema as an entertainment medium is widely known, but it is not fully understood how the experience of watching films in cinema can affect tourist and spatial literacy in individuals. For this reason, this research aims to describe how cinema contributes to encouraging tourist and spatial literacy for students. Data were collected through questionnaires and direct observation of the experience of watching films in cinemas. Respondents involved 32 students who had viewing experience. The frequency of viewing is quite high, 1-2 times/month, indicating that cinema is still considered

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Zanatto, Rafael Morato. "O Festival de Cinema Científico e Educativo (1954): Jean Painlevé, INCE, B. J. Duarte." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 10, no. 2 (2021): 47–73. http://dx.doi.org/10.22475/rebeca.v10n2.805.

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A realização do Festival de Cinema Científico Educativo como parte da programação do I Festival Internacional de Cinema do Brasil (1954) foi um evento importante para o desenvolvimento do cinema científico brasileiro em termos técnicos, artísticos e institucionais. Contando com a presença de Jean Painlevé e com o empréstimo de filmes da Associação Internacional de Cinema Científico, o festival movimentou o cenário científico e cultural brasileiro suscitando importantes discussões sobre a natureza desse cinema, seus objetivos, técnicas, critérios e temas. Exibindo lado a lado os cinemas europeu

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Ferraz, Talitha Gomes. "Os lugares dos cinemas no subúrbio carioca da Leopoldina: falências, usos e destinos // The place of the cinemas in the Leopoldina suburb of Rio de Janeiro: collapses, uses and destinies." Contemporânea Revista de Comunicação e Cultura 13, no. 1 (2015): 193. http://dx.doi.org/10.9771/contemporanea.v13i1.13140.

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Este artigo examina a transformação do acesso à sala de cinema, quando este equipamento coletivo, antes vigoroso em ruas e praças do espaço urbano da cidade do Rio de Janeiro, perde seu fôlego no final do século XX, cedendo lugar para os cinemas de shopping entre as práticas de lazer dos indivíduos. Nosso foco de análise é o caso dos extintos “cinemas de estação”, que existiram em frente a cada estação de trem dos bairros da Zona da Leopoldina, subúrbio ferroviário carioca, e as atuais condições da exibição cinematográfica nesta região. Com base em dados etnográficos e numa literatura sobre o

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Boguszewicz, Maria. "Nowe (eko)Kino Galisyjskie." Intercultural Relations 8, no. 1(15) (2024): 42–61. http://dx.doi.org/10.12797/rm.01.2024.15.03.

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NEW GALICIAN (ECO)CINEMA: LANDSCAPE AND IDENTITYThe term “New Galician Cinema,” coined in 2010, remains prevalent in academic and everyday discourse. However, a growing number of voices question its applicability to recent works by Galician directors. This article aims to assess the established criteria for defining New Galician Cinema, reevaluating them in light of selected directors under this label. Additionally, it proposes a fresh perspective on the term. By referencing other “small cinemas” on the Iberian Peninsula, I highlight the distinctiveness of Galician cinema, particularly its inn

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Косинова, Марина, Marina Kosinova, Артур Аракелян, and Artur Arakelyan. "Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry." Servis Plus 9, no. 4 (2015): 17–26. http://dx.doi.org/10.12737/14569.

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In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “tha

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Duan, Ran, Siyi Kuang, and Rui Tang. "Investigation and Research on the Light Environment of Cinema Projection Hall." Journal of New Media and Economics 1, no. 2 (2024): 40–47. http://dx.doi.org/10.62517/jnme.202410208.

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In order to study the current situation and problems of cinema projection halls, through the survey questionnaire and practical measurement, it is concluded that: (1) there are many types of cinemas, and the light environment of cinema projection halls lacks relevant national norms and regulations; (2) Most of the screening halls are mainly direct lighting and warm light to meet the functional lighting, and only emergency lighting is reserved during the viewing process; (3) The brightness and brightness contrast of the cinema affect the visual comfort of the audience. In the light environment

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Agustin, Nurmalia, Deby Ayu Ismawati, and Mustasyifa Fauziah. "Membuka Pintu Hiburan di Era Kolonial: Sejarah Perkembangan Bioskop di Batavia, 1900-1942." Warisan: Journal of History and Cultural Heritage 4, no. 1 (2023): 27–37. http://dx.doi.org/10.34007/warisan.v4i1.1816.

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This research aims to discuss the history of cinema in Batavia from entertainment before the existence of cinemas, the background of the beginning of cinemas to Chinese involvement in the cinema industry. Of course, in the past, watching in theaters already existed during the Dutch colonial period. Movie theaters have existed in Batavia since 1900. The culture of watching this movie began to enter in the early 20th century where the indigenous people at that time called the moving image "Ideop Picture". The method used in this research is the historical method in which there are heuristics, in

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Čivrná, Tereza. "The Evolution of Cinemas in Prague from the Second Half of the Twentieth Century: A Contemporary Perspective." Stavební obzor - Civil Engineering Journal 33, no. 1 (2024): 1–19. http://dx.doi.org/10.14311/cej.2024.01.0001.

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The article approaches the situation of Prague cinemas in the second half of the 20th century from the end of the Second World War to the Velvet Revolution within the socio-historical background from the point of view of an architect and a cinephile. The entire text is arranged chronologically in four paragraphs reflecting the contemporary political and social situation. It approximates the post-war period full of ideological ideals, when the construction of a dense network of cinemas became a key element of national renewal, not only in large cities but also in the regions. The following deca

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Keller, Sarah. "“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema." rythmer, no. 16 (April 11, 2011): 129–43. http://dx.doi.org/10.7202/1001959ar.

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This essay examines the connection between modern poetry and cinema through their mutual emphasis on rhythm. It argues that rhythm provides both an alternative mode for structuring non-narrative cinemas as well as an explanatory device for how filmmakers in the modernist milieu believe the cinema works.

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Atmaja, Muhamad Ridho Alvia, Edi Susanto, and Yustian Servanda. "Multi Attribute Utility Theory (MAUT) Method in Determining Cinemas with the Best Facilities in Balikpapan City." Journal of Artificial Intelligence and Engineering Applications (JAIEA) 4, no. 3 (2025): 1957–62. https://doi.org/10.59934/jaiea.v4i3.1055.

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Cinema is one of the entertainment destinations that are often visited. In Balikpapan city, there are five cinemas that can be chosen by people as a source of entertainment or just to enjoy the weekend. However, each person can only watch in one of the available cinemas. The number of cinemas makes people confused in choosing a place to watch, everyone certainly chooses a cinema with the best facilities, in determining the cinema with the best facilities people need to consider several criteria such as ticket prices, number of films, availability of audience seats, and supporting facilities (o

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Safitri, Karina Khairunnisa, Putri Sonya, and Nico Wattimena. "Public Relations Strategy in Improving Cinema Company Reputation (Case Study Cinema21)." COMMENTATE: Journal of Communication Management 2, no. 2 (2021): 185. http://dx.doi.org/10.37535/103002220217.

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Human beings needs to fulfill their life, entertainment is one of them. In this era of digitalization there are various form of enrtainment, one of them is cinema. CINEMA 21's is the largest and vast growing group of cinemas in Indonesia with many branches nationwide. CINEMA 21 public relations always try to improve their reputation by providing best facilities to its customers. The purpose of this research, is to analyze CINEMA 21's public relations activities to improve their reputation. The research method used is qualitative descriptive with primary data collection conducted through in-dep

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Esteves, Leonardo Gomes. "Sobre o “cinema violento” e seus manifestos esquecidos." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 10, no. 1 (2021): 292–314. http://dx.doi.org/10.22475/rebeca.v10n1.729.

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Este artigo investiga a origem e o significado do “cinema violento”, proposto nas páginas da revista Opus international em junho de 1968. Sob o impacto do Maio de 68, o periódico faz uma espécie de dossiê sobre a violência, pensando em sua abrangência sobre diversas modalidades artísticas. No cinema, destacam-se os “Quatre manifestes pour un cinéma violent” e o engajamento do principal teórico por trás da publicação, Alain Jouffroy. Como conclusão, são apontados dois possíveis desdobramentos do “cinema violento”.

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Volkov, E. V., and M. V. Sapronov. "Wartime Leningrad Cinemas: During and After the Blockade." Modern History of Russia 12, no. 3 (2022): 581–95. http://dx.doi.org/10.21638/11701/spbu24.2022.303.

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This article considers cinemas in Leningrad during the Great Patriotic War was a social space, which, using concept of the French sociologist Henri Lefebvre, can be considered as having three levels. First, there is a “representation of space”, that implies these aspects: how cinemas were represented and embodied in material forms (architectural appearance and interior decoration), and how the work of this institution was planned. The second level is “spatial practices”: the functioning of the cinema in real conditions through the activities of its employees, which could differ from orders fro

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Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.

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Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema

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White, Jerry. "Remembrance and the fate of a commercial Canadian cinema." Short Film Studies 10, no. 1 (2020): 79–81. http://dx.doi.org/10.1386/sfs.10.1.79_1.

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Abstract Remembrance highlights the possibilities of a modest commercial cinema that prioritizes craftsmanship and focus. This has special importance in Canadian and Quebec cinema, and Remembrance's afterlife as the three-season Canadian TV show X-Company raises important questions about the flourishing of small national cinemas in a globalized age.

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Higgins, MaryEllen. "The Winds of African Cinema." African Studies Review 58, no. 3 (2015): 77–92. http://dx.doi.org/10.1017/asr.2015.76.

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Abstract:This article argues for a departure from theories of new cinema “waves” and proposes the notion of cinema “winds” as a more compelling conceptual framework for studies of African film movements. Building on the work of Ngũgĩ wa Thiong’o, Manthia Diawara, Ken Harrow, and Nwachukwu Frank Ukadike, in addition to commentaries by various African film directors, this article looks at various dimensions of global visibility and the elusive movements of African cinemas. It also explores how African directors challenge habits of seeing and interpreting world cinema.

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Agustinus Sijabat, Yehezkiel Zona, and Donant Alananto Iskandar. "Analisis Perbandingan Harga Dan Kualitas Pelayanan Terhadap Kepuasan Konsumen Pada Cinema XXI Dan CGV." STREAMING 3, no. 1 (2024): 100–108. http://dx.doi.org/10.53008/streaming.v3i1.3558.

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The purpose of this study aims to investigate and compare prices and service quality on customer satisfaction of XXI Cinemas and CGV Cinemas in the DKI Jakarta province. This study uses a quantitative approach with a survey method by collecting data using a questionnaire distributed to consumers of XXI Cinemas and CGV Cinemas in the DKI Jakarta province. The research sample consisted of 60 respondents to Cinema XXI and 60 respondents to Cinema CGV. The results of this study indicate that the better the service quality, the more satisfied consumers will be. The results of this study can be a re

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Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.

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his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?

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Косинова, Марина, and Marina Kosinova. "Distributing and returning mechanism of Soviet cinema in the period of «stagnation»." Servis Plus 10, no. 2 (2016): 64–73. http://dx.doi.org/10.12737/19460.

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The article discusses the process of film distribution in Soviet cinema in the 1970s. This complex, multi-path way of the film to the viewer that begins with scenarios of application, and finishes with the replication of film prints. This article describes the mechanism of film award, the system of payment of fees (“production fees”) of the Soviet filmmakers, depending on the category and the payment process “potirazhnye” («printing fees»). The author analyzes the work of «GUKK»- General Directorate of cinema spreading and the distribution, the specifics of its work in the “stagnation”, consid

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Косинова, Марина, and Marina Kosinova. "Technical base of soviet cinema in the period of “stagnation”." Servis Plus 10, no. 1 (2016): 70–80. http://dx.doi.org/10.12737/17485.

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The article is devoted to such technical aspects of Soviet cinema as cinema spreading, film, movie taking and film equipment. We consider the activities of NIKFI [National Research film and photo institute] in the 1970s. One of the major problems in cinema spreading is a deep-rooted lag of the cinema network from the audience needs. There was not only few cinemas, but also there was less technical equipment which often left much to be desired. In addition, large one-hall cinemas, which always prevailed in the USSR, significantly narrowed the choice of repertoire. In the late 1970’s – early 198

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Portanova, Eduardo. "Michel Marie e a poesia do olhar." Revista FAMECOS 14, no. 33 (2008): 7. http://dx.doi.org/10.15448/1980-3729.2007.33.3428.

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Professor da Universidade Sorbonne (III) e autor de livros já incorporados à cultura cinematográfica no âmbito acadêmico, como “Dicionário teórico e crítico de cinema” e “A estética do filme”, ambos em coautoria com Jacques Aumont, Michel Marie pode ser considerado, hoje, um dos principais teóricos franceses e mundiais da história do cinema. Acaba, ainda, de lançar, junto com Laurent Jullier, “Lires les images de cinéma”, pela Larousse, no qual apresenta as ferramentas da análise fílmica, considerando as escalas do plano, da seqüência e do filme, e reflexões sobre o Cinema Mudo, a Idade de Our

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