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1
Markova, Lora, and Roger Shannon. "Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film." Arts 8, no. 1 (January 10, 2019): 11. http://dx.doi.org/10.3390/arts8010011.
Повний текст джерелаАнотація:
This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre.
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Chattopadhyay, Budhaditya. "The cinematic soundscape: conceptualising the use of sound in Indian films." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 2 (December 31, 2012): 65–78. http://dx.doi.org/10.7146/se.v2i2.6398.
Повний текст джерелаАнотація:
This article examines the trajectories of sound practice in Indian cinema and conceptualises the use of sound since the advent of talkies. By studying and analysing a number of sound- films from different technological phases of direct recording, magnetic recording and present- day digital recording, the article proposes three corresponding models that are developed on the basis of observations on the use of sound in Indian cinema. These models take their point of departure in specific phases of technological transitions and intend to highlight characteristics defining the sound aesthetics that emerges from these different phases of sound practice. The models furthermore seek to frame the aesthetics within theoretical frameworks of sound studies in general. The argument developed following the observations is that, through different phases of cinematic sound practice, Indian films have been primarily shifting the relationship between audio and visual from a merely vococentric contract to a creative realm of sound, in which audience engagement with the moving image is increasingly instigated by the spatial reordering of environmental sound or ambience. I term this arrangement of sound ‘The Cinematic Soundscape’, which is crafted by digital technologies such as ‘sync’ recording and multi-track sound design, emphasising a cognitive theoretical premise in cinematic sound studies.
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Cahill, James Leo. "Forgetting Lessons: Jean Painlevé’s Cinematic Gay Science." Journal of Visual Culture 11, no. 3 (December 2012): 258–87. http://dx.doi.org/10.1177/1470412912455616.
Повний текст джерелаАнотація:
The French scientific and documentary filmmaker and para-Surrealist Jean Painlevé (1902−1989) established his reputation as the author of over 200 films, as well as an accomplished film programmer and activist. During the 1930s he made a series of critically ambivalent remarks about the pedagogical vocation of documentary films, describing film’s primary function in the classroom as causing spectators to ‘forget’ or ‘unlearn’ their lessons and expressing the desire to contribute to the total abolition of secondary education. Reflecting upon the relationship between Painlevé’s often overlooked pedagogical interventions and his films (particularly the documentaries Sea Urchins, 1929, and The Seahorse, 1935), this article develops a reading of the scientific documentary’s ‘forgetting function’ as part of an elaboration of a cinematic ‘gay science’: a film practice and theory regarding the epistemological and pedagogical stakes of documentary through both critical negation and an ethos of committed, creative experimentation.
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Burch, Paul W. "Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis." Film-Philosophy 26, no. 2 (June 2022): 242–66. http://dx.doi.org/10.3366/film.2022.0197.
Повний текст джерелаАнотація:
I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t.
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Horbolis, Larysa, Olena Ishchenko, Anatoliy Novykov, Dmytro Marieiev, and Nataliya Hrychanyk. "The Cinemapoetics of the modern Ukrainian novel: Myroslav Dochynets’ creative works." Revista Amazonia Investiga 10, no. 48 (December 30, 2021): 209–17. http://dx.doi.org/10.34069/ai/2021.48.12.22.
Повний текст джерелаАнотація:
The article presents a review of the Ukrainian literary critics’ works on the relationship between literature and cinema, the relevance and effectiveness of the practice of involving cinematic resources in the literary works of Ukrainian writers of the 20th – early 21st centuries. On the material of the novels “Centenarian. Confession on the Pass of the Spirit”, “Svitovan. Studies under the Tent of the Skies”, “Well-Digger. Diary of the Richest Resident of Mukachevo Dominion”, “Highlander. Waters of Our Lord’s Riverbeds”, “Maftei. Book Written with a Dry Pen” by the contemporary Ukrainian writer M. Dochynets traces the problem of inter-artistic interaction of literature and cinema. The purpose of the research is to single out and analyze film frame, montage, shot, perspective, rhythm as integral elements of the cinematic poetics of M. Dochynets ’prose, which are used in the text to reveal the artistic, aesthetic, philosophical and creative principles of the writer. The study used general scientific (analysis, synthesis, comparison) and literary methods: the systematic approach, hermeneutic method, principles of narratology, intermedia approach. Appealing to the works of O. Chicherin, S. Eisenstein, Yu. Lotman, M. Romm, A. Tarkovsky, etc., the peculiarities of the use of film poetics in the writer’s novels are analyzed. It was found out that in prose by M. Dochynets montage, film frame, shot, rhythm, foreshortening perform intonation-expressive, plot-compositional and characterological functions.
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Pick, Anat, and Chris Dymond. "Permacinema." Philosophies 7, no. 6 (October 27, 2022): 122. http://dx.doi.org/10.3390/philosophies7060122.
Повний текст джерелаАнотація:
This article charts the contiguity of farming and film, blending permaculture and cinema to advance a modality of sustainable film theory and practice we call “permacinema.” As an alternative approach to looking and labour, permaculture exhibits a suite of cinematic concerns, and offers a model for cinematic creativity that is environmentally accountable and sensitive to multispecies entanglements. Through the peaceable gestures of cultivation and restraint, permacinema proposes an ecologically attentive philosophy of moving images in accordance with permaculture’s three ethics: care of earth, care of people, and fair share. We focus on work by Indigenous artists in which plants are encountered not only as raw material or as aesthetic resource but as ingenious agents and insightful teachers whose pedagogical and creative inputs are welcomed into the filmmaking process. By integrating Indigenous epistemologies and cosmologies we hope to situate permacinema in the wider project of cinema’s decolonization and rewilding.
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Goldson, Annie. "Journalism Plus? The resurgence of creative documentary." Pacific Journalism Review 21, no. 2 (October 31, 2015): 86. http://dx.doi.org/10.24135/pjr.v21i2.120.
Повний текст джерелаАнотація:
Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation.Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck
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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
Повний текст джерелаАнотація:
The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
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Sabatino, Anna Chiara. "Audiovisual Means to Therapeutic Ends. The Cinematic Dispositive within Medical Humanities." Cinéma & Cie. Film and Media Studies Journal 22, no. 39 (January 24, 2023): 53–68. http://dx.doi.org/10.54103/2036-461x/17748.
Повний текст джерелаАнотація:
Dominant narratives across Medical Humanities have been focused on the cultural construction of the notion of medicine as epistemic discourse and social practice, on the role of humanities in medical design of the disease as well as on the humanization of the clinical encounter in order to facilitate the anamnesis, the therapy and the care. Among the main declinations, a more complex point of view arises, suggesting the critical integration and exploitation of a variety of methodologies, previously used by art and humanities research, into a peculiar human-centered dispositive, both narrative and therapeutic, in which audiovisual practices and languages acquire new healing potential and activate bias for unprecedented processes of subjectivization for particular target of suffering human beings. Based on the aforementioned premises, the essay aims at investigating the therapeutic set as performative and methodological model, consistent with art-therapy and narrative-based medical approaches, applicable in specific pathological conditions and health-care contexts. Within such reflexive and operational framework including documentary studies and visual anthropology, self-representational and amateur theories, the therapeutic set becomes a media environment where the formative encounter, both technical and pragmatic, finally ethical, between the self and the world, the action and the awareness takes place. My purpose is to explore the theoretical pillars of the therapeutic set as transformative interplay between profaned cinematic dispositive and psychotherapy setting, dwelling on bodily involvement, audiovisual gestures and amateur self representation to which active participants, storytellers of their own illness and treatment, are called in the making of therapy and narrative. The paper finally intends to illustrate selected interdisciplinary case studies in order to discuss the healing potential of creative participatory processes and self-representations, occurring thanks to the relocation and amateurization of the contemporary cinematic experience.
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Golding, Dan. "The memory of perfection: Digital faces and nostalgic franchise cinema." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 28, 2021): 855–67. http://dx.doi.org/10.1177/13548565211029406.
Повний текст джерелаАнотація:
This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.
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Bowler, Alexia L. "‘Killing romance’ by ‘giving birth to love’: Hélène Cixous, Jane Campion and the language of In the Cut (2003)." Feminist Theory 20, no. 1 (October 23, 2018): 93–112. http://dx.doi.org/10.1177/1464700118804445.
Повний текст джерелаАнотація:
Jane Campion’s work regularly revolves around women’s often complex relationship with socio-cultural discourses and their articulation in language, whether in familial and institutional structures or in cultural and creative practice. In this sense, Campion’s filmmaking continues a feminist tradition of exploration regarding female subjectivity, identity and desire as it is represented in language (cinematic or otherwise). In the Cut (2003), adapted from Susanna Moore’s novel of the same name, again places language and the (dis)articulation of the female voice at its heart: the renewal of which is positioned within the film as crucial to women’s survival. In taking its cue from Hélène Cixous’s ‘The Laugh of the Medusa’ (1976) and later writings such as ‘Castration or Decapitation?' (1981) and ‘Coming to Writing' (1991), this article frames its discussion of Campion’s interrogation of ‘Woman’s’ attempts at the articulation of the self as an exemplar (in both theme and form) of Cixousian strategies. The article will argue that techniques such as a cinematic écriture feminine, and the appropriation and adaptation of the language of Hollywood genre film, form part of Campion’s feminist inquiry into the discourses and legacies of a phallogocentric patriarchal culture which traditionally delimit Woman as a ‘speaking’ subject. In this way, In the Cut exposes the tensions between what Cixous calls the ‘Absolute Woman’ of culture (the aphonic hysteric) and attempts towards agency, thus challenging phallogocentric representations of women. In using these strategies, Campion’s adaptation creates a polyphonic artefact which not only revises Moore’s novel but also re-visits (in order to reclaim) female articulation; re-writing phallogocentric claims to agency and subjectivity, imagining women's ‘survival’ through language. In this sense, then, adaptation itself can be thought of as a feminist act of subversion.
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Raengo, Alessandra, and Lauren McLeod Cramer. "“There Is No Form in the Middle”." liquid blackness 5, no. 2 (October 1, 2021): 121–51. http://dx.doi.org/10.1215/26923874-9272822.
Повний текст джерелаАнотація:
Abstract Across his vast body of multimedia art, Kevin Jerome Everson pursues sophisticated formal exercises that deploy representational devices with the aim of achieving “massive abstractions.” Focusing on the sculptural potential of film as a time-based medium, Everson crafts his films as sculptural objects. It is a process that works toward a point of critical density in which time's material effects on a space, a body, or the screen are rendered visible. In order to reach this point, Everson has developed a rigorous practice that includes casting his own solid rubber props, carefully choreographing films that repeat formal and bodily gestures, and making oblique references to cinematic history and its foundational relationship to factory labor. In this interview the liquid blackness editors speak with Everson about his “massive” creative project; its pursuit of layered self- referentiality; the work's sheer size (measured in labor hours, custom props molded, and film titles); his fine art training; artistry as the mastery of craft; the high art of Richard Pryor; his hesitant, delicate approach to blackness; and the possibility of a midwestern, or specifically Mansfield, Ohio, artistic sensibility.
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Linnichenko, S. I. "Intertextuality as a modern linguo-cognitive practice: new forms of linguistic expression in the German postmodern literature." Vestnik of Samara University. History, pedagogics, philology 27, no. 2 (August 6, 2021): 103–11. http://dx.doi.org/10.18287/2542-0445-2021-27-2-103-111.
Повний текст джерелаАнотація:
The phenomenon of intertextuality requires deep rethinking in the postmodern era, because determines the formation of a new type of creative thinking that allows going beyond the limits of a work of art. At the same time, it is extremely important to study German postmodernism, which has both common European features and its own specificity, due to cultural and historical characteristics. The prose and poetry of German postmodernism is a unique material for the study of a new intertextuality language. The first part of the article analyzes the problems of definition and typology of intertextuality based on the works of J. Kristeva, R. Bart, M.M. Bakhtin, U. Eco, etc. The author states that intertextuality should be understood as not only dialogue, but also multiplicity of perception, a kind of game between the author and the reader, as well as a special cognitive practice. The classifications of intertextuality are based on the principles of intertext relations and location, structure, text stylistics and authorship. The second part presents the results of the study of new intertextuality forms based on the novel by M.-U. Kling Kangaroo Manifesto and modern German lyrics of R. Dhl, G.K. Atrmann and E. Yandl. The author uses the methods of stylistic, contextual and cognitive analysis and concludes that in each individual work of art, intertextuality acquires new meanings, the emergence of which is due to the author's special vision; among them falsification of intertext, imitation of cinematic text, graphic representation of intertextual images, etc. Thus, postmodern literature and intertextuality open up new opportunities for research.
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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.
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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.
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Golovnev, I. A. "Ethnocultural Communities of the North as Shown in Ethnocinema “Coast of the Chukchi Sea” by Grigory Smirnitsky: Shooting History." Archaeology and Ethnography 18, no. 3 (2019): 35–44. http://dx.doi.org/10.25205/1818-7919-2019-18-3-35-44.
Повний текст джерелаАнотація:
Purpose. History of visual anthropology in Russia is full of big names, heroic expeditions and classic films. Based on research and pursuing artistic goals, production of ethnographic films was also part of a grand Soviet experiment on creating a unique national identity. Soviet authorities used popular “cultural films” as a means of bringing together the peoples of the new Soviet Union on the screen. This article deals with exploring the film-image of the culture of the Chukchi on the example of a classic documentary film shot by Grigory Smirnitsky, a pioneer of the Soviet visual anthropology. The film was a result of the Chukotka expedition conducted by the film group of the Soyuzkino factory under the leadership of A. Litvinov, one of pioneers and icons of the national ethnographic cinema. The film “Coast of the Chukchi Sea”, the main result of the film expedition which has survived up to our days, was created by an A. Litvinov’s assistant, a young director and scriptwriter G. Smirnitsky. Due to the specifics of silent movies, this film is a kind of a cinematic text as it consists of approximately the same number of frames and text captions alternating in the narrative. In this regard, an effective method for analyzing this film applied in this article is its decoding, a «translation» into a text format. Result. The resultant film-text allows us to identify and analyze, on the one hand, the features of the screen image of the Chukchi culture of the early twentieth century. On the other hand, we analyzed the basis of the specific creative method of the director-researcher. G. Smirnitsky’s creativity is a perfect example of how a film potential can be used as a form of research cognition. The method discovered by the director in the expedition helps to combine research and documentary elements into a film so that the film could convey not only some information about the events shown, but also their figurative and emotional context. Conclusion. Based on the analysis of visual, textual and archival materials, we come to the conclusion that this documentary film phenomenon is a valuable historical source. Studying Soviet ethnographic cinema, including the film “Coast of the Chukchi Sea”, enriches the source base of modern science with audiovisual ethnographic materials and equips scientists with proven scientific and creative methods that could be used in modern research practice.
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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.
Повний текст джерелаАнотація:
Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
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Baranova, Jūratė. "NIETZSCHE IR WITTGENSTEINAS: KINEMATOGRAFINĖS PARAŠTĖS." Religija ir kultūra 11 (January 1, 2012): 58–78. http://dx.doi.org/10.15388/relig.2012.0.842.
Повний текст джерелаАнотація:
Kodėl ir kaip Friedrichas Nietzsche ir Ludwigas Wittgensteinas inspiravo Stanley Cavello ir Gilles’io Deleuze’o kino filosofijos tapsmą? Kuo artimos ir kuo skiriasi šios dvi kino filosofijos kryptys? Kuo skiriasi paties kinematografo sukurti Nietzsche’s ir Wittgensteino įvaizdžiai? Kodėl kinematografas išskirtinai domisi šiomis dviem filosofinėmis figūromis? Kadangi tarp pirmųjų dviejų klausimų ir paskutinių nėra aiškaus loginio ar priežastinio susietumo, tyrimą vadinsime kinematografinėmis paraštėmis.Pagrindiniai žodžiai: kino filosofija, Nietzsche, Wittgensteinas, Stanley Cavellas, Gilles’is Deleuze’as, Liliana Cavani, Derekas Jarmanas.NIETZSCHE AND WITTGENSTEIN: CINEMATIC MARGINSJūratė BaranovaSummaryThe article consists of two logically independent parts. The first one deals with the influence of Wittgenstein and Nietzsche on the philosophy of cinema of Stanley Cavell and Gilles Deleuze, presupposing that the first one was more influenced by the former and the other one by the latter. The article also expresses some attempts to compare the two philosophies of cinema. The author discerns one common aspect: in opposition to the analytical and phenomenological trend, they both do not question the nature of cinematic experience and the intentionalism / nonintentionalism dilemma. On the other hand, they expose two different attitudes towards the meeting of thought and emotion in cinema practice. A detailed analysis of the integration of Nietszchean ideas in Deleuze’s philosophy of cinema reveals several possibilities for philosophy and cinema to meet. Firstly, the interpreter is able to use philosophical concepts for the experimental explanation of cinema; secondly, one can see cinema and philosophy as one problemic tisssue; thirdly, it is possible to consider (reasonably or not) some philosophical insights as an intention of the cinema director. The other part of the article is devoted to the image of Nietszche and Wittgesntein in the art of cinema, created by Liliana Cavani and Derek Jarman. The analysis shows that not all movies about philosophers have something to do with philosophy itself. The author discusses the four movies created by Cavani (The Night Porter (1974), Beyond Good and Evil (1977), The Berlin Affair (1983), Francesco (1989)), and concludes that one cannot discern any philosophical aspect in the movie Beyond Good and Evil on Nietzsche’s biography. On the other hand, it doesnot mean that biographical movies have nothing to do with philosophy. Derek Jarman’s movie Wittgesntein (1993) demonstrates the possibility of a creative integration of philosophical thinking into the tissue of the experimental cinema.Keywords: philosophy of cinema, Nietzsche, Wittgenstein, Stanley Cavell, Gilles Deleuze, Liliana Cavani, Derek Jarman.
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Golubkov, Sergei A. "Formation of skills of working with cultural codes in classes in philological disciplines." Vestnik of Samara University. History, pedagogics, philology 27, no. 3 (November 26, 2021): 65–71. http://dx.doi.org/10.18287/2542-0445-2021-27-3-65-71.
Повний текст джерелаАнотація:
The article deals with the formation of skills of working with cultural codes in the process of teaching literary disciplines in bachelor's, master's and postgraduate studies. The author proceeds from the modern understanding of the cultural code as an integral concept, which includes a large number of interrelated elements (mythological archetypes, ideologems, intertextuality phenomena, behavioral stereotypes). The interest in this problem is relevant. The totality of cultural codes is the symbolic capital of nations, social groups, and generations. From a scientific point of view, the use of the concept of a unique writer's code is very productive. A great artist of the word passes on a certain creative code as a baton to subsequent writer's generations a unique system of artistic signs (quotes, characters, keywords, plot schemes, genre models, narrative techniques, etc.), recognized by both readers and writers-followers. There are such personal cultural codes as Gogol's, Leskovsky's, Chekhov's, and Dostoevsky's code. The cultural code is usually implemented in a literary text in both explicit and implicit forms. These are satirical and humorous works, associative lyrical prose, alternative historical and quasi-documentary texts, and fantastic literature. The very presence of hidden semantics and complex intertextual references sets the reader the task of adequate creative decoding of the work. Literary works created with the use of cinematic code (editing effects, freeze-frame, detail enlargement, visual dynamics) are also difficult to decipher. The article deals with the choice of literary disciplines that have large resources for the purposeful study of cultural codes. The assessment of the means of identifying the cultural code in a literary text is given. Attention is paid to developing an accurate understanding and targeted use of the system of concepts that each discipline has. This is due to the difficult metamorphoses in our era of the philological thesaurus due to the development of the sometimes contradictory conceptual apparatus of relatively autonomous foreign-language literary scientific systems. In the process of deepening the knowledge of such a conceptual apparatus, undesirable eclecticism should be avoided. The main result of such work is seen by the author of the article in the gradual acquisition of all the knowledge, skills and abilities that allow students to find the optimal balance between the practice of scrupulous concrete analysis of a particular literary text and a holistic vision of the cultural era and the literary process as a large-scale dynamic system.
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Naumović, Slobodan. "The Survivor's Suite: The Life of the International Festival of Ethnological Film in Belgrade through Interesting Times." Issues in Ethnology and Anthropology 16, no. 4 (December 14, 2021): 1013–42. http://dx.doi.org/10.21301/eap.v16i4.2.
Повний текст джерелаАнотація:
This paper is an attempt, based on many years of following the International Festival of Ethnological Film, organized by the Ethnographic Museum in Belgrade, to provide insight into the way in which it has so far fulfilled its purpose, while at the same time experiencing tumultuous, occasionally even tragic events and processes. The main question concerns the way in which “interesting times” have left their mark on and shaped the world of human experience of people who have lived through them, thus also film production and festival practice. The phrase “interesting times” is used in the sense in which it was used by the historian Eric Hobsbawm, who used it as a label for “the most extraordinary and terrible century in human history”. Two elements are of prime importance in the paper – the assumption that “interesting times” can exist simultaneously with, and can cause or heighten emotional and creative tension, and also the fact that the limited possibilities that the resulting states of mind and initiatives can be fulfilled through the usual channels, such as political ones, can lead to attempts to satisfy them through art or cultural forms. Film production and festival activities can, under certain circumstances, offer alternative channels for expressing moods and content that arise or are enhanced during “interesting times”. On the one hand, the framework for analysis will provide reflections on the nature and the possible social roles of film festivals, including festivals of documentary and ethnographic films. Essentially, it will be necessary to consider the questions of the types of experiences provided by the Festival to its participants and attendees, the cinematic experiences it offers, and the specific aims and ideologies advocated as part of it. On the other hand, relying on valuable testimony in the form of the Festival Catalogue, words and images which testify to the achievements of the Festival will be identified. At the very beginning, in the turbulent times when political orders were overthrown, along with legal and ethical frameworks, it seemed that the Festival had managed to be conceptually ahead of its time. It was a dream come true and a model for many, a place where “miracles” happened. After a number of years, its long history temporarily weakened the Festival's creative potential. The times became somewhat less interesting, slightly dull even, and the Festival followed suit. And yet through all the changes, the Festival has not ceased to be a place where people meet and learn; a place where images inspire thoughts, and thoughts seek visual means of expression; a place where, by meeting Others, we learn something about ourselves as well, but also a place where by seeking to find a way to represent ourselves, we enrich Others.
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Bueno, Claudio Celis. "From Spectacle to Deterritorialisation: Deleuze, Debord and the Politics of Found Footage Cinema." Deleuze and Guattari Studies 13, no. 1 (February 2019): 54–78. http://dx.doi.org/10.3366/dlgs.2019.0341.
Повний текст джерелаАнотація:
The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices.
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Juszkiewicz, Piotr. "Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u." Artium Quaestiones, no. 26 (September 19, 2018): 149–69. http://dx.doi.org/10.14746/aq.2015.26.7.
Повний текст джерелаАнотація:
Artists’ studios turned into museums are always specific representations of thepast – spatial images reflecting some idea of art and the artist, as well as his or herworks, and even the position of the spectator imagined as a visitor, admirer, insider,outsider or pilgrim.When a studio is shown through a film, its status of representation comes to theforeground very distinctly just because of the properties of the medium. A filmic representationof the studio is a result of combining images into a sequence, while individualimages attract the spectator’s attention to particular places, areas or aspectsof the space of creation, thus making him or her follow a certain trajectory of meaning.What is more, such a sequence does not have to be limited to the studio’s interiorsince the cinematic montage allows the director to expand it freely by adding somehistoricizing or contextualizing frames. Finally, film allows one to meet the artist inhis or her space through an interview, representation of the creative process or anactor-impersonator.In the first I discuss briefly three issues: the general idea of the present paperand its historical and theoretical contexts.First, my objective is to provide information on my research on Polish documentaryfilm on art in 1948–1989, which was financially supported by the Ministry ofScience and Higher Education. I was doing this research with help of a small team ofyoung scholars – phd students and a younger collegue from Institute of Art History atAdam Mickiewicz University in Poznań. In this article I will not address generalproblems related to the filmic representation of artists’ studios, but discuss severalindividual cases.Second, the historical context is connected with the hopes of totalitarian statesto use mass culture, and particularly film, to manipulate the masses. Even though inparticular decades of the 20th century, and in different countries, those hopes wereput into practice in different ways, their ideological and practical implementation hada common basis. That basis can perhaps be best described by Walter Benjamin’s ideathat a modern wish to regenerate the world requires the destruction of the auratic artand influencing the masses with some other kind of artistic creation that could organizethem according to a fixed political purpose. Benjamin believed that the most usefulin that respect would be film, which in his opinion was both technical and massoriented.The masses could receive film with little effort so that it would imperceptiblyform their mental and imaginative habits, and therefore also a political bias.My point is that the filmic representations of artists’ studios must be approachedin the general context of the role assigned to film in the communist Poland, eventhough one should also remember that artists had various attitudes and censors keptchanging their criteria of appropriateness. Still, the research focused on the representationof the artist, his or her studio, and the ideas of art will reveal an officially acceptedpicture to be transmitted into the public space. One the other hand, oneshould remember that within precisely defined political limits Polish documentary(and other) filmmakers could ignore commercial aspects and refer to the acknowledgedhigh position of art, experimenting in different ways with a relationship betweenfilm and the visual arts.Third, my theoretical context is related to the status of the documentary or, thatof reality represented in documentary films. In my view, shared also by a number ofscholars, documentaries have an element of creation and their reality is alwaysprocessed in one way or another. My examples will include studio as office, nature,space of imagination, village hut or cottage, and engine room.
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Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.
Повний текст джерелаАнотація:
In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and spiritually, a contemporary artist has to be prepared to mirror this and progress their own style in respect to these considerations. Therefore, in this article we draw attention to the key characteristics in educating the modern actor. The objective of the study is to answer some of the topical questions relating to students mastering of acting; an attempt was made, focusing on the most important components of the profession, such as the authenticity of playing, improvisation, inspiration, actor’s personality, to concretize the features of the creative image of the contemporary stage master and his theatrical teacher. The methodological basis of the study includes the works of M. Knebel, K. Stanislavsky, M. Chekhov, and a number of other outstanding practitioners and theorists in the performing arts space. It also references studies, articles and publications of modern theatre teachers: P. Bruck, A. Vasilyev, E. Grotovsky, N. Zvereva, D. Livneva, P. Pavi. The results of the research. The Ukrainian theatrical art has always been emotional, lyrical, and sincere. Such his features exist as if out of time. So it was in the era of Schepkin, Solenik, Rybakov, Kropivnitskyi and Staritskyi. These qualities also are characteristic of today’s performing style. Therefore, drama teachers primarily pass on knowledge of traditional psychological theater. However, not forgetting the values of traditional learning, they also master other teaching methods, introducing students in theory and practice to the modern theatrical process, thus adopting the global theatrical language. Compulsory and integral parts of modern theatrical education are various techniques of stage speech and vocal, psycho-technique, methods of control over mental processes. The article also examines the practical skills gained during drama and stage speech lesson and their importance emphasizes, as well as the role such fundamentals features of scenic art as trueness, persuasion of playing, improvisation and inspiration, also an actor’s individuality. It is necessary to conscious that authenticity, trueness of actor’s playing has a great power over the audience. Working on the authenticity of acting, a pedagogue should understand what a student thinks about, how he responds and what he feels while staying in a role of one or another character. The basis of live theatrical playing is also improvisation. The student must distinguish the improvisation onto a scripted line from the poorly rehearsed acting. For professional theatre, it is inappropriate to use the latter type of improvisation, because it can lead an actor away from the role and the stage director’s decisions and deteriorate the spectacle. Therefore, rehearsals should always precede improvisation. Another component typical for creative professions is inspiration. This is the emotional actor’s resource, which is characterized by a highly productive state and an intensity of emotions. Inspiration does not come on demand; it manifests through the love of one’s job, through some bright idea or sometimes it occurs spontaneously and cannot be studied and replicated at will. In addition, while studying, each of students should try to uncover his uniqueness, his individuality and learn to listen to self-own inner voice; he should look for his own interpretation of a particular role. Based on the above, we can draw some conclusions. A student studying acting today should aim to equally master the knowledge of classical acting techniques and understand all the intricacies of modern avan-garde and postmodernist theatre trends, the diversity of which places special demands on the education of a modern actor. A modern artist must skilfully apply in practice the knowledge gained in the learning process . He should freely navigate in various methods of acting, in drama as the primary basis of the performance. He should have an idea about inspiration, improvisation, acting individuality and authenticity of playing, about stage space and time. It would be an error for a contemporary artist to confine himself to the sphere of his profession exclusively, he should understand the connected nature of arts and the relationship between the theatre and other art disciplines. Various techniques of stage speech and vocal, emotive approaches and methods of controlling the inner world are compulsory and an integral part of modern theatrical education. The deeper a student learns the specificity and laws of these arts, the more interesting and professional his performance becomes. In turn, the modern theatre pedagogue while training students should upbringing such features as self-confidence of a student; a sense of responsibility and autonomy; aim for discovery of a student’s individual abilities; development of his taste and a sense of proportion; the ability to analyze and being equipped to distinguishing high art from vulgar and fake.
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
Повний текст джерелаАнотація:
A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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Pronin, Alexander A. "Documentary Footage in the TV Film Portrait: Methods and Techniques of Mastering." Journal of Flm Arts and Film Studies 8, no. 2 (June 15, 2016): 133–43. http://dx.doi.org/10.17816/vgik82133-143.
Повний текст джерелаАнотація:
The article explores the mechanisms of using historical documentary footage in creating biographical TV shows. The author analyses the methods of incorporating alien texts into a new cinematic text and proves the relevance of TV biographies as a unique discourse practice of memory reproduction.
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Mahyudi, Johan, Djoko Saryono, Wahyudi Siswanto, and Yuni Pratiwi. "Construction of Visual Features of Indonesian Digital Poetry." International Journal of Linguistics, Literature and Culture 3, no. 5 (September 3, 2017): 1. http://dx.doi.org/10.21744/ijllc.v3i5.526.
Повний текст джерелаАнотація:
In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.
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Grunditz Brennan, Kersti, and Annika Boholm. "The Blod Method: Case Study of an Artistic Research Project in Film." International Journal of Film and Media Arts 7, no. 1 (October 3, 2022): 48–74. http://dx.doi.org/10.24140/ijfma.v7.n1.03.
Повний текст джерелаАнотація:
The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation- building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline.
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Bruveris, Klara. "THE “CREATIVE TREATMENT OF ACTUALITY”: POETICS AND VERISIMILITUDE IN LAILA PAKALNIŅA’S FILMS." Culture Crossroads 10 (November 10, 2022): 85–90. http://dx.doi.org/10.55877/cc.vol10.144.
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Laila Pakalniņa is a contemporary Latvian filmmaker who works across both documentary and fiction film. Her films are often regarded as avant-garde, experi- menting with genre conventions, challenging her audiences to reconsider their understanding of narrative and the cinematic form. Her work also pushes the boundaries between what constitutes fiction film and what constitutes documen- tary. This arguably occurs because of her engagement with the tropes of poetic documentary cinema, of which there is a strong tradition in Latvia due to the famous Riga School of Poetic documentary established in the 1960s. This paper examines her documentary film Čau, Rasma (“Hi, Rasma”, 2014) as a continu- ation of the poetic documentary tropes developed by John Grierson, and argues that verisimilitude can be found in her documentaries through an application of Grierson’s philosophical work. The paper aims to contribute to a broader discus- sion of poetic documentary practices in the current era, and how this documentary approach has developed from its modernist beginnings.
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MacDonald, Michael, and João Lima. "Devemos apelidá-los de estudos cine-culturais? O cine-mundificar da música popular e dos estudos juvenis." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 10–34. http://dx.doi.org/10.21747/21843805/tav5n1a1.
Повний текст джерелаАнотація:
This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not been accepted by academia. It has been anthropology that has done the most to develop cinematic research through ethnographic film. New developments in the digital cinema ecosystem have been little explored so far. The digital cinema ecosystem, emerging since 2009, consists of relatively cheap digital cameras and smartphones, free professional-grade digital platforms, a worldwide network of film festivals and the transformation of most art-house cinemas into digital screenings. This means that digital cinema made on a laptop can be shown anywhere. We are at the best possible moment for academic filmmaking, but then why do academics do so little of it?
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Meihuizen, Nicholas. "Contemporization and Characterization in Christopher Logue's Homer." Translation and Literature 28, no. 2-3 (November 2019): 217–47. http://dx.doi.org/10.3366/tal.2019.0386.
Повний текст джерелаАнотація:
In comparing extracts from Christopher Logue's War Music with other modern English versions of the Iliad, this article considers his use of contemporary details including elements from popular culture and present-day technology, and contemporary techniques such as cinematic slow motion. The comparisons reveal a poetry in which Homer is reinscribed into modern consciousness: larger-than-life goddesses and heroes become possible, and practices such as animal sacrifice are made meaningful. Even in his creative manipulations, Logue's characters are consistent, and the narrative coherent. Close attention is paid to the effects of metre, allusion, textual play, expansions, condensations, and omissions.
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Crocker, Stephen. "Citizen Kant: Flatness and Depth in the Image of Thought." Deleuze Studies 1, no. 2 (December 2007): 126–43. http://dx.doi.org/10.3366/e1750224108000044.
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In the final pages of his Cinema books, Deleuze explains that his aim is not to understand films, but to extract from them concepts that the cinema has itself given rise to ‘which are themselves related to other concepts corresponding to other practices’ ( Deleuze 1989 : 272). Cinema does not resemble concepts, it creates them. The Cinema books are not a guide to reading films. Instead, we are invited to see how concepts such as ‘image’, ‘plane’ or ‘orelations of thought’ correspond to and interfere in creative ways with other practices outside the cinema. So, a cinematic concept such as ‘image of thought’ can help us think in new ways about developments in widely differing fields, such as the history of painting and philosophy.
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Steel, Roderick. "Video-Island." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 76–91. http://dx.doi.org/10.32920/ifmj.v2i1.1533.
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This practice-based research focuses on the film Ínsula (Insular in English) to explore ways of conducting, intertwining, and assembling performing bodies with audio-visual performance, through the creation of original dispositifs. It expands relations between different types of performance with cinematographic methodology and unique approaches to editing, to suggest a new term, “cine-performance,” centered on the action and modification of the performing body by the cinematographic apparatus. Performance is an embodied intervention in the world, an instrument for assembling / disassembling territories and languages, a visual and sound composition of the cinematic apparatus. Cine-performance is an expressive potential of the multiple compositions between bodily and audio-visual performance. Through it, live performance is embodied in image through audio-visual capture and the camera eye’s and the editing process’s reconfiguration of the human body. Performances can be reassembled on a single screen, or through multiple arrangements on a variety of screens. I therefore propose the construction of cinematic montage in spatial and temporal layers, which combines poetic potentialities between bodily and audio-visual performances. Cine-performance uses the language of cinema to expose and investigate the relationship between performance and its specific context (site, environment, historicity) in order to materialize in sound and image the most ephemeral and immaterial aspects of any action involving the body. And this relationship depends on a performing body that assembles and conceives of a cinematic enunciation within the performance itself, which activates and calls upon cinematic genres to transduce performance into an audio-visual work.
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MUREȘAN, Răzvan. "”Theatre should be free, like air or love”. Joan Littlewood and the imperative of collective creation." Theatrical Colloquia 12, no. 2 (December 1, 2022): 37–52. http://dx.doi.org/10.35218/tco.2022.12.2.05.
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This paper aims to investigate the theatrical practices that define the work of one of the most influential voices in 20th century theatre. The practices and methods developed by Joan Littlewood over four decades of work outline a highly personal, inventive and dynamic aesthetic in which the emphasis is on creating cohesion within the team. The team is seen as a ”composite mind”, an ensemble that through rigorous physical and vocal training, complex theme documentation and improvisation, comes to function organically and is able to explore more freely and intensely. The use of a wide variety of means and formulas - music hall, commedia dell'arte, clowning, mime, but also elaborate lighting, cinematic projections, sound effects - and the involvement of the audience in the scenic approach are also defining elements of the theatre promoted by Joan Littlewood.
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Willis, Holly. "Images Big and Soft: The Digital Archive Rendered Cinematic." Frames Cinema Journal 19 (February 18, 2022): 185–209. http://dx.doi.org/10.15664/fcj.v19i0.2379.
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In his recent immersive media art project titled Machine Hallucinations, artist Refik Anadol collected over 100 million images of New York City from social media and, using machine learning, created a 30-minute immersive experimental cinema experience that visualized the database. On his website, Anadol explains that computation allows “a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques.” With this project, Anadol demonstrates a tendency shared by a group of contemporary media artists who work at the intersection of cinema and the digital archive and who use machine learning and generative adversarial networks to render specific somatic experiences in relation to thousands of images. This essay discusses this shared focus by examining projects by three artists who use computational processes to assemble, manipulate, and then exhibit an archive of images as a part of their practice and output, translating the archival into the cinematic. The projects are significant in their evocation of what has been named by Ingrid Hoelzl the “soft-image” or “post-image,” shifting from the single image as a solid, stable representation within a collection of similarly single images, to that of the distributed, in-process experiential image. Further, each example approaches the creation of the collection with varied intentions; and each presents the material in disparate modalities that, while deeply connected to the cinematic, produce very different sensory experiences. Together, the examples offer a perspective on the archive in our current moment’s transition from representation to computation.
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Kerr, David. "'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 225–40. http://dx.doi.org/10.1386/jac_00018_1.
Повний текст джерелаАнотація:
Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
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Xiao, Hui Faye. "‘Why am I still imprisoned in your eyes?’: Re-visioning ‘leftover women’ and the female gaze in Send Me to the Clouds." Asian Cinema 32, no. 2 (October 1, 2021): 169–86. http://dx.doi.org/10.1386/ac_00040_1.
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This article studies how a recent Chinese women’s film Send Me to the Clouds (2019) explores different ways of looking as innovative cinematic strategies of constructing and empowering the precarious female subject against a postsocialist patriarchal ideology that dominates gendered narratives and audio-visual codes of the mainstream Chinese cinema. The film is centred upon a 30-year-old ‘leftover woman’ Sheng Nan’s distressful life experiences and her anger at the prevailing sexism and ageism. Rather than being tamed or domesticated, throughout the film the angry and restless woman is shown to be constantly on the motion, making every effort to experiment with alternative looking relations that seek to destroy the voyeuristic pleasure and disciplinary power of the privileged male gaze, as well as to explore possibilities of creating a self-reflective and critical female gaze. A contextualized critical study of the female authorship and agency on and behind the screen will shed new light on how contemporary Chinese women filmmakers take on ‘concrete and various negotiations’ with the structure of domination and its representational system via ‘their socially and politically conditioned cinematic practice or performance’.
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Sasala, An. "Panic! Humanity's Cis-Heteronormative Fear of the Transgender Android." Somatechnics 8, no. 1 (March 2018): 64–78. http://dx.doi.org/10.3366/soma.2018.0237.
Повний текст джерелаАнотація:
Androids occupy a position of fascination within US pop culture and science fiction television, yet they rarely acknowledge their own experiences of gender. Reading Wendy the entertainment android from Syfy Channel's Dark Matter (2015–2017) as trans*, this article analyzes the material, cultural, and imagined bodies of the android through an intersectional lens of gender, sex, and race. At times, the article slips between different versions of the transgender android, wading through their cinematic representation, theoretical conceptualization, socio-cultural construction, and material reality, striving always to relate these overlapping categories to the android's trans* and technological body. First, the article delves into gender, race, and David Huebert's ‘species panic’, arguing that the triply othered transgender android would inspire a triple panic with direct ramifications for trans* bodies, especially trans women of color. The article then addresses the role of the multilayered cinematic, scientific, raced, cis-heteronormative gaze in the biopolitical ordering of life. Using Susan Stryker's theorization of passing and micha cárdenas's practice of the shift, the article then views sexual encounters as creating both the potential for and then panic of transgender otherness. This potential and potentially real panic then directly impacts the bodies of trans women of color and transgender androids through a reliance on sex work narratives and the commodification of sex.
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Beltran, Myra, Angela Conquet, Christo Dougherty, Athena Mazarakis, and Roselle Pineda. "New Research." TURBA 1, no. 2 (September 1, 2022): 39–79. http://dx.doi.org/10.3167/turba.2022.010205.
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The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreography and the Moving Image, proposed the term filmic performance as a “comprehensive term incorporating all aspects of cinematic production, so that the choreographic quality of the dancefilm can be considered in relation to both the profilmic and filmic elements” (2011: viii). The profilmic here refers to that aspect of the initiative that coincides with the live event, the writing on the dancing body. The filmic elements are those that considered how the responsibility for this was assigned to both artist and video mentors and editors. A third level of performance discussed here is that at which these works were rolled out online, and in particular on social media platforms. The performative aspect of this eff ort will be fleshed out and will touch on the curator’s responsibility as they navigate the terrain of social media.The Gates of Discomfort: Making Contemporary Dance PresentThis article critically examines the state of dance-specific curatorial practices and, more specifically, the underlying politics of choosing what bodies are seen on stage. I argue that dance presenters directly perpetuate Eurocentric bodily imaginaries by anchoring their curatorial choices in flawed interpretations of the “contemporary.” By favoring the conceptual over the representational, and by dismissing referentiality and signification, dance presenters relegate differences of technique, temporality, and bodily situatedness to the realm of tradition, thus actively contributing to deterritorializing the corporealities of contemporary dance and to excluding a whole range of embodied subjectivities from the stage. This article invites presenters to consider self-reflexively unchecked programming behaviors and their curatorial praxes more broadly.A Rural Dance Festival in the Palm of Your Hand: My Body My Space Translated onto WhatsApp during COVID-19In 2021, aft er a year’s hiatus due to the COVID-19 pandemic, the annual My Body My Space Public Arts Festival in South Africa, was relaunched in a radically different online form. Under the lockdown conditions of 2021, the festival was presented exclusively through the WhatsApp messaging application, running on a “behavioral chat platform” originally developed for public health text messaging. The experience of launching the festival into this new medium led to several unexpected insights, notably the specific affordances and limitations of the chosen online platform, an expanded understanding of the “interactivity” possible with online communications, and the digital empowerment that the process offered to practitioners who were mentored through the process of online translation. At a theoretical level, the experience of My Body My Space as an online festival also challenges the dichotomy between the relative status of performance and documentation in live arts.Merging Asynchronous Sounds into Synchronous Voices: Reimagining Gatherings through the Process of Making the Adow ne Domaget 2020 KKK Radio Program-Festival in the Time of Physical DistancingWhen COVID-19 was officially declared a pandemic by the World Health Organization, the world as we know it came to a halt—and along with it, many communities, especially among the remote Indigenous peoples, were isolated. This article outlines my process of creative collaboration with the Dumagat Indigenous peoples’ community in Dingalan, Aurora in making and presenting the Adow ne Domaget 2020 KKK (Kuwento, Kultura at Kalusugan sa Katutubong Komunidad) radio program-festival during the COVID-19 lockdown in the Philippines. Highlighting the method of saluhan—a Filipino term meaning “to catch each other,” “to share,” and “to gather”—in collaborative making, I will provide insights on the role of an immersive and fluid curatorial practice in reimagining places, moments, and acts of gathering and collective action, in bringing out the stories and the voice of the community, in the time of lockdown, distance, and forced isolation.
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Medina, Nicolás, and Miklós Kiss. "The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016)." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 1–19. http://dx.doi.org/10.2478/ausfm-2021-0011.
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Abstract This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to examine how sound is used in the filmic exploration of the boundaries between the human and the alien (the unknown). More particularly, we are interested in the role that human voice-like and human vocal sounds can play in this divide, as we believe manipulations with such audible qualities contribute greatly to the emotional dimension of cinematic stories of otherworldly encounters. For that purpose, we concentrate on Denis Villeneuve’s Arrival (2016) and its soundtrack composed by Jóhann Jóhannsson, who resorts to different singing practices and vocal techniques to accompany a story charting the territories between the human and the alien.
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Щеглова, Людмила, Lyudmila Shcheglova, Наталья Саенко, and Natalya Saenko. "Teaching resources of art cinema in the context of teaching the Humanities in the contemporary universities." Universities for Tourism and Service Association Bulletin 10, no. 4 (December 19, 2016): 39–48. http://dx.doi.org/10.12737/23575.
Повний текст джерелаАнотація:
The article settles the task of the research and testing of new effective forms of development of humanitarian knowledge. Such cinema technologies are the film seminar, interactive lectures, video seminars, prepared discus- sion on the film, etc. Authors analyze humanitarian and moral sphere of man and society through analysis of cultural and moral determinants, reflected in the works of cinema. The relevance of the article is determined with the obvious crisis of the institutional forms which still develop the fundamental cultural and philosophical education, and which leads to the obsolescence of the translation forms of generalized knowledge. The authors believe that the intensification of the modernization process of the forms of humanitarian knowledge development will contribute to more efficient formation of common cultural and professional competences of future specialists. Outdated knowledge paradigm is supplanted by a system of methods of students’ creative abilities activation. In the broad context of culture visualization the perception of the thematic blocks of the various Humanities disciplines through active viewing and interpretation of movie passes effectively. Film seminar provides an opportunity to convey educational material in the form of an artistic image; to see the diversity of social and cultural explication of the ideas and values of modernity. The Central concept of the article is built around the creation of new forms of presentation of the lecture material and practical training, which must be problematic and must have the search character to develop the students’ mental activity, to form their cultural competence. The aim of the article is to study and disclosure of the volume meaning and the functional versatility of the cinematic image in the context of the development of the content of the Humanities in higher education. Scientific novelty of the article is opened in the integrative nature of the study. Simultaneously the authors consider, classify, and formulate in the form of methodical recommen- dations: 1) the variety of interpretive practices in the process of understanding the film text; 2) the ability of the cinematic image to accumulate and transmit knowledge about culture, society and man; 3) specific procedures for mastering humanitarian knowledge in the context of global imaging culture.
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Riera-Retamero, Marina, and Ana Belén Estrada-Gorrín. "La Barraca Transfronteriza. Prácticas cinematográficas y política del escapar en la frontera española-marroquí." Arte y Políticas de Identidad 23 (December 30, 2020): 247–62. http://dx.doi.org/10.6018/reapi.461761.
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¿Qué formas de agencia política puede ofrecer la ficción cinematográfica a las luchas por la libertad de movimiento actuales? El objetivo de este artículo es esbozar ángulos concretos de una propuesta teórica construida en torno a los procesos experimentados a través del colectivo audiovisual La Barraca Transfronteriza, en una búsqueda de aportar a estos procesos tanto una visión compleja como una reflexión metodológica. A partir de un conjunto de procesos experimentales de creación audiovisual proponemos una búsqueda de referentes metodológicos e históricos que sinteticen los aprendizajes de estas prácticas extrapolándolos más allá de las vivencias y el contexto en el que emergieron. No se trata sin embargo de manufacturar recetas de creación, sino más bien de afrontar cuestiones éticas en entornos de creación colaborativa donde se parte de lo irrepetible e inatrapable de la plena conciencia de los sujetos que intervienen en la creación, atendiendo a los propios procesos como espacios de apertura, a los modos de relación desde una perspectiva política, a los contextos y a las representaciones que se ponen en juego. Which forms of political agency can cinematic fiction offer to the contemporary struggles for mobility rights? The purpose of this article is to shape specific angles for a theoretical proposal built during the trajectory of the audiovisual collective La Barraca Transfronteriza, in order to provide these processes with both a complex vision and a methodological reflection. In this paper we propose an inquiry of both methodological and historical references to synthesize the knowledge that emerges from specific political and cinematic practices by extrapolating them beyond the experiences and context in which they emerged. This paper does not aim however to manufacture recipes for creation, but rather approaching ethical issues in collaborative creation environments where the starting point is the unrepeatable and unattainable full awareness of the subjects involved in creation, by paying attention to the processes themselves as spaces of openness, to the modes of relationship from a political perspective, to the contexts and representations involved.
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Vorontsova, Yu V. "Transcultural transformation in cinema." Vestnik Universiteta, no. 10 (December 1, 2021): 55–58. http://dx.doi.org/10.26425/1816-4277-2021-10-55-58.
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The article presents a study of transcultural transformation in cinema, considering the filmmaker as a transnational figure. This is the gradual creation of a cinematic map based on affinitive transnationalism, which integrates forms of expression that are now considered archetypal. Members of the “imagined” cultural community construct a mosaic of shared references that transcend national boundaries. Based on this concept, a study of the organisational practices of filmmaker Carlos Saura has been conducted. This concept was the basis for a study of the organisational practices of director Carlos Saura, who in his last phase of his career focused on making films that offer samples of music, dance and unusual storytelling (based on the principle of “photography”) associated to the Iberian and Latin American space. This creates a special definition of the musical and artistic genres, combining traces of a documentary style influencing the authenticity of the representations depicted, with a strong aesthetic impulse emphasising the organisational and artistic nature of these representations. This model of transnationalism takes the form of reflection of trans-Iberian dimensions.
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Stasiowski, Maciej. "Built as Rain. Film Analysis of Unbuildable Architectural Speculations – a Case Study of „Instant City” (dir. Peter Cook and Ron Herron, 1968) and „The Zero Theorem” (dir. Terry Gilliam, 2013)." Kwartalnik Filmowy, no. 109 (May 25, 2020): 159–76. http://dx.doi.org/10.36744/kf.279.
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The introduction of time-based media into the design stage opened up a new understanding of architectural and represented space as a dematerialized, dynamic, and user-dependent concept. Unbuildable architectural projects always relied on specific techniques and media. Their radical nature usually channelled innovative artistic currents and visualization tools, like collage and pop art aesthetics in the works of Archigram. Cinema is yet another ground for such deliberations. With Instant City (Archigram’s Peter Cook and Ron Herron) and The Zero Theorem (Terry Gilliam) the problem of dematerialization is being channelled by architectural/spatial proposals that involve a range of literary tropes, cultural texts, and filmic intertexts, in order to create a rich embroidery of references that forward a new look upon architectural production as a practice of creating protocols for dynamic and all the more elusive imagery. This article’s central objective lies in the task of reframing a discussion on iconicity, media facades, and mutative building skins, so as to include modes of cinematic portrayal that are not just contents of architectural “messages”, but also their “media”.
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Flisfeder, Matthew, and Anthony Ballas. "Is it Possible to Represent the Sexual Relation in Cinema?" Language and Psychoanalysis 11, no. 1 (May 15, 2022): 4–15. http://dx.doi.org/10.7565/landp.v11i1.6455.
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This article offers a reflection on the Lacanian theory of the representation of the sexual relation in film. It draws on the Lacanian logic of sexuation and its interpretation by Joan Copjec and Slavoj Žižek, analyzing what the author calls the cinematic non-relation, taking as an example Alfonso Cuarón’s film Y tu mamá también (2011). The article begins by returning to the work of Laura Mulvey, who was one of the first theorists to use psychoanalysis as a political weapon to challenge the phallocentric portrayal of women in Hollywood cinema. The author argues that Mulvey was correct in her conclusions, however not with regard to the production of a “ male gaze”, but rather with regard to the cinematographic construction of male desire, which is a constitutive element of patriarchal society. The author argues that it is not by creating an “alternative” cinema, but rather developing critical theory, itself, as a political weapon that we are able to challenge the dominant ideology. It is the practice of theory that politicizes cinema and the spectator, rather than the reverse.
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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.
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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.
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J. Alex, Gigy, and Babitha Justin. "Slamming the Door: Reinventing Kitchen Narratives in Contemporary Indian Movies." Southeast Asian Review of English 59, no. 2 (January 2, 2023): 7–19. http://dx.doi.org/10.22452/sare.vol59no2.3.
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Abstract In the last ten years, Indian cinema has envisaged culinary spaces as patriarchal structures embedded with the hegemonic practices of the family. Subsequently, Indian cinematic spaces have wielded the kitchens of the Indian subcontinent to interrogate the issues related to gender, identity, culture, and the nation through its visual spaces. The culinary is politicized; the domestic space that has depicted hegemonic masculinity and intersectionality for centuries has been analyzed, exposed, and reimagined in movies like Stanley Ka Dabba (Hindi, 2011), The Lunchbox (Hindi, 2013), Kaaka Muttai (Tamil, 2014), Aamis (Assamese, 2019), and The Great Indian Kitchen (Malayalam, 2021). These movies constantly interrogate and challenge the gender roles and performances prevalent in Indian kitchens. The act of cooking, an agent of a woman's creative expression, has long been understood as an act where food preparations become rituals and performances, and kitchen spaces become a prison house for women. These movies question the power relations which overlay the culinary preparation and consumption in kitchen spaces and thereby mimic the manifestation of gender politics and power play. With the increasing patrilocal families, especially in India, cooking is no more an art or a technique but a bonded labour. This paper investigates the practical ways in which the movies lay bare the issues related to the manifestation of gender identity and the representation of the hegemonic other by reimagining, reinventing and redefining culinary spaces.
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Weitzenkorn, Rachel. "Boundaries of reasoning in cases: The visual psychoanalysis of René Spitz." History of the Human Sciences 33, no. 3-4 (September 1, 2020): 66–84. http://dx.doi.org/10.1177/0952695120908491.
Повний текст джерелаАнотація:
This article argues that the foundational separation between psychoanalysis and experimental psychology was challenged in important ways by psychoanalytic infant researchers. Through a close examination of American psychoanalyst René Spitz (1887–1974), it extends John Forrester’s conception of reasoning in cases outside classic psychoanalytic practices. Specifically, the article interrogates the foundations of reasoning in cases—the individual, language, and the doctor–patient relationship—to show how these are reimagined in relation to the structures of American developmental psychology. The article argues that the staunch separation of experimental psychology and psychoanalysis, reiterated by philosophers and historians of psychology, is flimsy at best—and, conversely, that the maintenance of these boundaries enabled the production of a cinematic case study. Spitz created films that used little language and took place outside the consulting room with institutionalized infants. Yet key aspects of the psychoanalytic case, as put forth by John Forrester, were depicted visually. These visual displays of transference, failure, and interpersonal emotions highlight the foundations of what Forrester means by reasoning in cases. The article concludes that Spitz failed at creating classic psychoanalytic evidence, but in so doing stretched the epistemology of the case.
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Knuuttila, Sirkka. "L’effet de réel revisited: Barthes and the affective image." Sign Systems Studies 36, no. 1 (December 31, 2008): 113–36. http://dx.doi.org/10.12697/sss.2008.36.1.07.
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This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found in cinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself.
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Pieldner, Judit. "Remediating Past Images. The Temporality of “Found Footage” in Gábor Bódy’s American Torso." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 59–78. http://dx.doi.org/10.2478/ausfm-2014-0026.
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Abstract Along Laura U. Marks’s thoughts on the “disappearing image” as embodied experience, the article proposes to bring into discussion particular modes of occurrence of “past images,” whether in form of the use of archival/found footage or of creating visual archaisms in the spirit of archival recordings, within the practice of the Hungarian experimental film making of the 1970s and 1980s, more speciflcally, in Gábor Bódy’s films. The return to archival/found footage as well as the production of visual archaisms reveal an attempt of remediation (Bolter and Grusin) that goes beyond the cultural responsibility of preservation: it confronts the film medium with its materiality, historicity, and temporality, and creates productive tensions between the private and the historical, between the pre-cinematic and the texture of motion pictures, between the documentary value of the image and its rhetorical dimension. The paper argues that the authenticity of the moving image in Gábor Bódy’s American Torso (Amerikai anzix, 1975) is achieved through a special combination of the immediacy and the hypermediacy of experience. Bódy’s interest in “past images” goes beyond the intention of experimentation with the medium; it is aimed at a profound, reconsidered archaeology of the image and a distinct sensing of the cinema.
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Helke, Susanna. "Encountering the invisible." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 209–14. http://dx.doi.org/10.33178/alpha.17.15.
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This paper discusses the potential of art-practice-led and research-in-the-arts methodologies, introducing the idea of the theory–praxis–poetics triangle as a process of catalysing new methods, expressions and approaches in filmmaking, especially in the context of documentary cinema. It elaborates upon these approaches in the context of my own filmmaking practice and in relation to the conventions stemming from the tradition of social documentary. What are the methods of making visible the invisible complexities of present-day societal reality, as poverty, exclusion and societal tensions may not be as visually dramatic as they were when the ethos of “social documentary” was defined? How can the invisible and often-abstract core of phenomena such as the neoliberal paradigm shift in post–welfare-state contexts be made visible? Documentary film as a discourse of sobriety mostly relies on the serious and solemn, but can absurdism and parody more accurately capture the core of paradigmatic political phenomena like the current one? The acute global crises create a need for re-evaluating the potential of documentary film practice as a reflexive and critical endeavour beyond the emotion economy of the hegemonic film industries. As the arts function beyond the pre-existing order of commonsensical reality, the pressing question is: how can reality-material–based art construct a transformational ethical address, one which does not rely on individualistically driven social subjectivity but rather creates experiential spaces for agonistic collisions of differences, the paradoxical, dialectical cinematic approaches that can be claimed to be more complex than a mere “emotive” address? In this dangerously polarized era, it is crucial to distinguish between such fluid concepts as the sentimental, emotional or compassionate, in order to rehabilitate the poetics of documentary art in creating a reflexive political address.
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Vincze, Terez. "Showing the Complexity of the Simple – The Art-puzzle of Hong Sang-soo." Panoptikum, no. 22 (December 17, 2019): 173–88. http://dx.doi.org/10.26881/pan.2019.22.07.
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Renowned South Korean film director, Hong Sang-soo, has shown deep interest in complex (or some might say: confusing) storytelling throughout his entire career. Since modernist art cinema has an affinity with unconventional narrative structures, it is not surprising that an auteur like Hong is attracted to complexity. What is interesting here is that Hong’s (often black and white) films are a kind of analogue answer to the challenges of digital culture, a modernist art cinema version of puzzle films and database narratives. The article analyses the very Hongian strategy of producing auteurist puzzle films by creating confusion on a perceptive and narrative level.
Firstly, the article summarises how Hong’s unique film making practice not only provides significant (economic, artistic) independence and freedom to the author, but at the same time proves to be a structure that delivers high complexity at a low production cost. Secondly, the article analyses the puzzling techniques used by Hong that work on a perceptual level, and often turn his films into high level memory tests; and how these structures play a part in the “perceptual reeducation” of viewers while also serving as commentaries on cinematic representation. And finally, the article concludes with an analysis of the narrative techniques used by Hong to tell extremely simple stories about the eternal topic of “men want women” in a complex, confusing and compelling way.