Статті в журналах з теми "Essay films"
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1
Johnson, Vida T., and Graham Petrie. "Review Essay : Andrei Tarkovskii's films." Journal of European Studies 20, no. 3 (September 1990): 265. http://dx.doi.org/10.1177/004724419002000304.
2
Thomas, Marisa. "Classic Media Review Essay." Queer Studies in Media & Popular Culture 4, no. 2 (June 1, 2019): 193–206. http://dx.doi.org/10.1386/qsmpc_00005_5.
3
Liu, Qi. "Unfair Utilization in Horrific Films: Objectifying Female Characters in Alfred Hitchcock’s The Birds." BCP Social Sciences & Humanities 20 (October 18, 2022): 109–15. http://dx.doi.org/10.54691/bcpssh.v20i.2170.
Анотація:
In this essay, it examines the film The Birds and analyzes the scenes necessary to advance the men’s desires in the film's presentation as a result of the director and screenwriter's unfair scripting and arrangement of female characters. These unequal arrangements were thought to satisfy the 1860s male moviegoer's desire for both power and beauty, and to have negative impacted the feminism that was gradually manifesting itself in Hollywood films. Proven by Laura Mulvey' s argument that the portrayal of women in Hollywood films has been maliciously distorted. While this essay will focus on Alfred Hitchcock's horror thrillers--The Birds.
4
Frahm, Laura A. "Architectures of Images, Avalanches of Memory: Dominik Graf’s Urban Essay Films." New German Critique 46, no. 3 (November 1, 2019): 181–205. http://dx.doi.org/10.1215/0094033x-7727483.
Анотація:
Abstract This article sheds light on Dominik Graf’s long-standing and often-overlooked engagement with the essay film since the mid-1990s. The article contends that his urban essays, his cinema and television essays, and his commemorative essays are driven by a reconstructive impetus that takes stock of the state of German cities, German media, and German society from the viewpoint of their “end.” In reading these three variations of his essay films as “architectures of images,” the article presents Graf and his collaborators as “collectors” and “combiners,” who not only (re)construct highly layered works out of archival materials that activate multiple public and personal histories at once but also elicit a larger reflection on the potential of moving images to capture these layered histories in their constant transformation.
5
Ciezadlo, Janina. "The Essay in Space and Time: A Conversation with Filmmaker Mark Cousins." Afterimage 46, no. 1 (March 1, 2019): 17–24. http://dx.doi.org/10.1525/aft.2019.461003.
Анотація:
Questions in an interview with United Kingdom filmmaker Mark Cousins concern the formal properties and development of nonfiction films taking the shape of essays, rather than documentaries. The relationship between Orson Welles’s films and his lifelong habit of drawing is the subject of Cousin’s latest essay film, The Eyes of Orson Welles. As the interview progresses, the subject shifts to relationships among the arts and the creative process.
6
Hunt, Mary Alice. "Selecting Films for Children-A Bibliographic Essay." Collection Management 7, no. 3-4 (December 1985): 255–62. http://dx.doi.org/10.1300/j105v07n03_26.
7
Margulies, Ivone. "Filmes de Plástico’s Plural Realism." Film Quarterly 74, no. 2 (2020): 39–46. http://dx.doi.org/10.1525/fq.2020.74.2.39.
Анотація:
Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production company from Contagem, Minas Gerais. Her article focuses on two feature films: Temporada (Long Way Home, dir. André Novais Oliveira, 2018), and No Coração do Mundo (In the Heart of the World, dir. Gabriel Martins and Maurilio Martins, 2019.) The essay defines two forms—the portrait and the vista—used to articulate the relationship between individual and a broader social world in the films’ realist aesthetic.
8
Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (August 18, 2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.
Анотація:
this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuated discrimination, and exclusion. This essay draws on Hannah Arendt’s The Origins of Totalitarianism, and Philip Rosen’s essay in Theorizing National Cinema to explore how Yalmiz Guney and Bahmani Ghobadi presented the national identity of the characters to mark the films with a sense of Kurdishness. This essay further explores the construction of national identity and personhood specifically in Guney’s Yol and Ghobadi’s Turtles Can Fly to show how stateless people can easily become a subject of dehumanization by different nation states.
9
Wilson, Emma. "4 Months, 3 Weeks and 2 Days: An ““Abortion Movie””??" Film Quarterly 61, no. 4 (2008): 18–23. http://dx.doi.org/10.1525/fq.2008.61.4.18.
Анотація:
Abstract This essay situates Cristian Mungiu's film, 4 Months, 3 Weeks and 2 Days in relation to a number of films which deal with abortion. However, the argument is made that this film's chief concern is for problems of intimacy and distress pertaining to the central friendship between two women.
10
Jones, Vanessa. "Walking alongside elders: A visual essay." Journal of Applied Arts & Health 14, no. 1 (March 1, 2023): 63–72. http://dx.doi.org/10.1386/jaah_00127_3.
Анотація:
This visual essay has links with Miller’s El Duende one-canvas process painting by utilizing a different methodology and form with the use of four short films Into the Earth, Medicine Walk, Fireside Creatures and Whispers. The author screened these films in a range of settings to broaden conversation and dialogue about the Wild Elders therapy group’s working process. From these discussions she created this visual essay as a series of photographs and written text. It leads the viewer through key visual elements mapping the journey of individual and group transformation and growth. The essay concludes that by sharing the source material via animated filmmaking, the author has found new ways of extending the therapeutic reach of environmental arts therapy where visual landscapes of interconnection with Nature inspire creative acts of participation as well as personal and collective change. It offers the reader a process whereby they too can walk alongside elders.
11
Budylin, Sergey. "The Battle for Cheburashka: Films by Jove, Inc. v. Berov and Copyright in Soviet Animated Films." Review of Central and East European Law 39, no. 3-4 (November 18, 2014): 343–67. http://dx.doi.org/10.1163/15730352-00000023.
Анотація:
In this essay, I discuss in some detail an extraordinarily instructive US case from the early 2000s: the Soiuzmul’tfil’m controversy, formally known as Films by Jove, Inc. v. Berov. More precisely, this essay is about a series of related cases in the United States and Russia concerning the rights to Soviet animated films. In their decisions, the courts discuss—and, to some extent, resolve—a number of complex legal issues of Soviet, post-Soviet, and current Russian law, including those related to intellectual property, corporate law, and private international law.
12
Sinelnikova, Valentyna, and Maksym Berezhniuk. "Folk Music in Works of Contemporary Ukrainian Audiovisual Art (Dovbush, Mavka, Povodyr): Musical and Critical Essay." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (November 20, 2023): 177–87. http://dx.doi.org/10.31866/2616-7581.6.2.2023.291089.
Анотація:
The purpose of the research is to determine the role, place, and functions of folk music in contemporary Ukrainian audiovisual products, namely in the development of the film's sound drama; to analyze the peculiarities of using folk music in Ukrainian cinema on the example of the films Dovbush (2023), Povodyr (The Guide) (2014), and the animated film Mavka (2023). The research methodology is based on an audiovisual analysis of these film examples, which makes it possible to formulate the basic principles of folk music functioning in contemporary Ukrainian cinema. The scientific novelty of the research is primarily reflected in the study’s topic, namely, the folk music tradition (vocal, instrumental, solo, group) and its role in film works. For the first time, the place and functions of folklore pieces in contemporary Ukrainian films and the influence of traditional musical material on a film's dramatic and sound solution are analyzed. Conclusions. A folk music piece can serve as a leitmotif of the entire film, a sound and visual counterpoint, as well as a kind of commentary (sound and noise supplement) to the film. Musical pieces of folklore tradition can add the necessary emotional and psychological colour to the film's plot, connect the film's scenes into a single whole, move the dramatic action forward, develop the storyline, and enhance the drama of the events. Folk music in a film contributes to the development of its plot, emphasising and accentuating the feelings, experiences, and behaviour of the characters. The use of folk vocal and instrumental music in contemporary Ukrainian films plays not only the role of accompanying the storyline of the film but also acquires extraordinary meanings in terms of emotional impact on the viewer and affirmation of Ukrainian self-identification.
13
Margulies, Ivone. "Elemental Akerman: Inside and Outside No Home Movie." Film Quarterly 70, no. 1 (2016): 61–69. http://dx.doi.org/10.1525/fq.2016.70.1.61.
Анотація:
Margulies considers how Chantal Akerman embraces the directness of the home movie to redesign, through lighting, perspective, and framing, analogues for the intricate relationship of symbiosis and distance between herself and her mother. The essay attempts to understand the film's emotional immediacy alongside and in tension with the filmmaker's characteristic indirection. It looks therefore to the kitchen talks (a sort of primal script between mother and daughter) as well as to the mysterious desert shots that crisscross the film's main focus on the apartment's interiors as two key tropes in the filmmaker's oeuvre connoting, respectively, domesticity and nomadism. The essay discusses how delicately Akerman represents in the film both the absence and the presence of her mother, the thread traversing all of her films.
14
Sharma, Ishita. "Japan’s Perception of Women: The Case of Kurosawa’s Rashomon." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 104–7. http://dx.doi.org/10.22161/ijels.91.13.
Анотація:
This essay examines gender representation in Akira Kurosawa's film "Rashomon," specifically focusing on the film's portrayal of women within the socio-cultural context of 1950s Japan. "Rashomon" presents a narrative that reflects the entrenched patriarchal norms of the era, depicting women as submissive and victimized while men are shown as dominant figures. The essay argues that, despite the ostensibly masculine spirit of Kurosawa's films, the female characters in "Rashomon" offer a nuanced view that transcends simple categorization. The film's narrative structure, which offers multiple perspectives on a single incident but predominantly from male viewpoints, reinforces traditional gender norms, with the female character's autonomy and agency being notably disregarded. This representation aligns with the contemporary societal views which saw women as domestic and dependent. The essay critically explores the complexities of Masago's character, countering arguments that she is manipulative, instead suggesting that within the patriarchal constraints of her society, a woman's sexuality may be her only perceived power. The essay concludes that "Rashomon" serves as a powerful commentary on the gender inequalities of the time, reminding us of the continuous need for gender equality and the empowerment of women.
15
Monterrubio Ibáñez, Lourdes. "The Audiovisual Thinking Process in Contemporary Essay Films." Comparative Cinema 10, no. 18 (July 20, 2022): 6–10. http://dx.doi.org/10.31009/cc.2022.v10.i18.01.
16
Sandoval Gutiérrez, J. L. "Essay on blindness or the blindness of an essay. Films, serials, fiction, and medicine." Archivos de la Sociedad Española de Oftalmología (English Edition) 92, no. 11 (November 2017): e69. http://dx.doi.org/10.1016/j.oftale.2017.04.001.
17
Lamberti, Claudia. "La cittŕ degli espressionisti: scenografie cinematografiche." STORIA URBANA, no. 122 (September 2009): 47–67. http://dx.doi.org/10.3280/su2009-122003.
Анотація:
- The essay compares the images of the city defined by the Expressionist movement and the city images in the films of the time. Expressionist architects discovered that film-set design gave them a chance to experiment with their artistic skills. At the same time, film studios could not shoot outdoors easily and so were forced to rely on constructed sets. All this worked out as an incentive for architectural invention. Sets became an apt proving ground for the new expressiveness of the architects as well as a way to experiment with the use of space without limits and constraints. This essay examines the cases of 6 films whose elements are specifically and directly attributable to the Expressionist culture. Here the case of the city encompasses both set design and the urban atmosphere in films linked with the avant-garde movements. The essay also provides a filmography of the most important films with urban settings shot by German artists in the 1920s and 1930s.
18
Jordan, Randolph. "Composing perception: Hildegard Westerkamp meets Gus Van Sant (a video essay)." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 240–44. http://dx.doi.org/10.33178/alpha.27.19.
Анотація:
This video essay explores the relationship between the soundscape compositions of Hildegard Westerkamp, the films of Gus Van Sant, and the writing of Danijela Kulezic-Wilson. The piece presents Westerkamp’s composition “Doors of Perception” in its entirety with accompanying sequences from the Van Sant films that have used her work as part of their sound design, along with other of his films that do not. The sequences from Elephant and Last Days are positioned according to the timing of the excerpts used in the films, only now it is the films that are integrated into the soundscape composition rather than the other way around. For the rest of the composition, I speculate on what it might have been like to hear “Doors of Perception” in other films by Van Sant, excerpting a few sequences from across his filmography loosely synchronised around a few key points that suggest correlation between sound and image in similar ways to how Van Sant mapped the composition into Elephant and Last Days. These thematic connections support Danijela Kulezic-Wilson’s arguments about the new perceptual engagements opened up under Van Sant’s influence by soundwalking and music concrète within his filmmaking practice.
19
Sandu, Vladlena O. "Existential problematics in the films of Pedro Costa." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 128–38. http://dx.doi.org/10.17816/vgik112128-138.
Анотація:
Films of the Portuguese director Pedro Costa seldom steal the limelight of cinema scholarship. The specific marginality of his works, the complex semi-documentary structure of his films and, at first glance, the social nature of his subjects complicate the analysis of his films. This essay undertakes a detailed investigation of his films' structures and problematics in the context of intellectual development in 21st-century European cinema. Four films by Costa Bones (Ossos, 1997), In Vandas Room (No Quarto da Vanda, 2000), Colossal Youth (Juventude em Marcha, 2006) and Horse Money (Cavalo Dinheiro, 2014) are regarded as elements of a single artistic system that transforms, becomes more complex and absorbs more and more cultural codes.
The essay defines the motifs representative of the four films, visual metaphors that refer to sacred texts and the gradual transformation of the directors aesthetics. It is motivated by the necessity to carry out a complex research of all components of Costas films from the existential perspective: in the authors opinion, such perspective gives the opportunity to define specific features of the directors aesthetics. The systemic interdisciplinary approach is determined by the necessity to expose the aesthetic and anthropological problems explored in Costa's films and to define their philosophical basis, using a combined historical, cultural, semiotic, anthropological and hermeneutical approach. The essay concludes that the core of Pedro Costas art relates to existential philosophy and anthropology and that his main concern is spirituality, a theme realized most adequately via cinema.
20
Kumar, Rebecca. "“You're in the Middle of the World”." liquid blackness 8, no. 1 (April 1, 2024): 44–65. http://dx.doi.org/10.1215/26923874-11005952.
Анотація:
Abstract Despite Barry Jenkins's pronounced and intentional allusions to the work of Hong Kong auteur Wong Kar Wai, film scholars have generally made little of the pervasive Asian elements in Moonlight (2016). This essay, however, offers a sustained study of the film's aesthetic and political engagement with Wong's cinema. It highlights how the distinct Asian femininity, or ornamentalism, of Days of Being Wild (1990) and In the Mood for Love (2001) are translated into Moonlight and reinforce the film's key themes on Black queerness, especially its ontological implications for Black (non)being and its material implications for Black embodiment. Furthermore, this essay claims that by borrowing from films in which Wong visually explores postcolonial loss—especially Happy Together (1997), about a pair of queer male Hong Kong migrants who work and live in Buenos Aires—Jenkins emphasizes the historic and global magnitude of queer Black diasporic dislocation and humanlessness. Ultimately, this essay outlines how the convergence of Black and Asian forms in Moonlight disrupts white, liberal, humanist scripts on racial, gendered, and sexual formation.
21
De Almeida, Rafael, and Ana Paula De Aquino Caixeta. "The soundscape in the essay film Heart of a Dog." Intexto, no. 47 (August 6, 2019): 75–88. http://dx.doi.org/10.19132/1807-8583201947.75-88.
Анотація:
We aim to investigate the ways of using the soundscape in the essay film Heart of a Dog (Laurie Anderson, 2015). Methodologically we rely on the procedure of the film-based analysis focused on the soundtrack. Our research problem is dedicated to questioning how the soundscape participates in the elaboration of a reflection in development, intended by the essay films. From such discussions about our film corpus, we consider that in the essay films there is a reflexive sound-landscape, which both supports and potentiates the voice-over in its role of concretizing the ongoing thought, as well as discarding it to create new and more complex layers of meaning.
22
Hong, Jing. "The Effect of Abstractness on the Popularity of Films and Theatre Among Generation-Z." BCP Social Sciences & Humanities 17 (May 5, 2022): 104–10. http://dx.doi.org/10.54691/bcpssh.v17i.632.
Анотація:
This essay begins at looking at three common factors previous researches have mentioned including capital market, medium and cultural capitals and then evaluates their limitations on affecting the popularity of films and theatre. Then the essay discusses the element of abstractness in films and theatres and identifies it as the main factor by analysing its effect on popularity in terms of psychology and contemporary education system. The writer also does a survey about the preferences and habits of watching films and theatres to provide data for analysing, which targets on 212 young people aged 14 to 25.
23
Miyao, Daisuke. "Japonisme and the Birth of Cinema." Journal of Japonisme 1, no. 1 (January 4, 2016): 66–92. http://dx.doi.org/10.1163/24054992-00011p05.
Анотація:
In this essay, I examine the connection between Japonisme and the films of the Lumière brothers. Lumière films have been considered to be “actuality films” or documentary. By focusing on Japonisme that is observed in these films, I locate them in a broader field of media interactions among such cultural products as painting and photography. One of my focuses is on the conflict and negotiation between the camera eye and the physicality of the human eyes and hands that can be witnessed in Lumière films. Moreover, considering the questions posed in Marxist, subaltern, and postcolonial theory about the relationship between center and periphery in formations of modernity, this essay attempts to reveal the process of conflict and negotiation encountered by France and Japan during the period of emerging cinema as a new global visual medium.
24
Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema." boundary 2 48, no. 3 (August 1, 2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.
Анотація:
Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by crisis, women are cast as disposable raw material, as it were, “primed for suffering.” At the same time, it argues, these films bring to light and embody experiences that are seldom revealed, enacting an ethical gesture of potential solidarity with those devastated by multiple forms of crisis.
25
Kelsey, Penelope. "World(build)ing in Mohawk- and Seneca-Language Films." English Language Notes 58, no. 1 (April 1, 2020): 214–25. http://dx.doi.org/10.1215/00138282-8237531.
Анотація:
Abstract This essay brings Zayin Cabot’s concept of “ecologies of participation” into conversation with contemporary Mohawk- and Seneca-language films and language revitalization movements. For Indigenous peoples, these participatory events are often interactive storying of worlds, whether told in film, social media, or oral tradition. As a particularly salient example, the essay considers Mohawk director Karahkwenhawi Zoe Hopkins’s adaptation of Star Wars: A New Hope in Star Wars Tsyorì:wat IV—Yonhská:neks (2013) in a comparative analysis with both the Navajo-language Star Wars: Episode IV and the Seneca-language films Kohgeh and Tših to highlight critical choices Karahkwenhawi makes in translation, both linguistic and visual, vis-à-vis settler colonial consumer culture. The essay concludes that her adaptation foregrounds supposed “advances” of Western technocratic capitalism; highlights the constructed, fallible, and ephemeral nature of these technologies; and potentiates other technologies and ecologies based in Mohawk ontologies.
26
Waldrep, Shelton. "The Golden Ages of Porn: the 1970s (Translation into Russian)." Corpus Mundi 2, no. 2 (July 16, 2021): 57–82. http://dx.doi.org/10.46539/cmj.v2i2.44.
Анотація:
This essay focuses on the brief moment in early seventies filmmaking when the porn industry made narrative-based films such as Deep Throat (1972) and Behind the Green Door (1972). This attempt to fuse porn with mainstream culture has come back into vogue in the present, when we see a new legitimization of porn. One might say that recent representations of sex on the screen have attempted to go back to the early seventies to restart a trajectory that was never able to complete itself. The essay begins with a consideration of the origins of porn films in nineteenth-century European art before moving on to the discussion of the seventies porn films and the complex way in which European art cinema influenced mainstream porn. Related to this topic are how cultural differences within countries influence the approach to sex that is expressed on the screen. In the US, the seventies full-length porn films legitimized certain sexual acts for their audiences and centered some of the pleasure on the screen on female desire as a way to expand the audience for porn. The essay concludes with a coda on the gay male cinematic equivalents of straight seventies porn films.
27
Ergenekon, Begümşen. "Using Films for Writing Reaction-Response Essay: A Class-Room Action Research on Turkish ESP Learners." International Journal of Languages, Literature and Linguistics 2, no. 2 (June 2016): 73–78. http://dx.doi.org/10.18178/ijlll.2016.2.2.70.
28
Lowenstein, Adam. "Living Dead: Fearful Attractions of Film." Representations 110, no. 1 (2010): 105–28. http://dx.doi.org/10.1525/rep.2010.110.1.105.
Анотація:
This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historical trauma through issues of deferral, belatedness, and retranscription.
29
Schäfer, Sandra. "Whose Gaze? Stories Told between Kabul, Herat and Berlin." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 61–77. http://dx.doi.org/10.1177/0974927620935255.
Анотація:
This visual essay focuses on contemporary women’s cinema in Afghanistan, which started in 2001, when, for the first time, women made films in Afghanistan. They narrate stories from their perspectives, and choose different filmic means, characters and genres to tell their stories. With a selection of film stills and photographs, this visual essay introduces the work of these women filmmakers. The images are accompanied by text that describes the contents and the making of their films. Text includes quotations from filmmakers reflecting on their practice. The directors whose work I present are, among others, Roya Sadat, Saba Sahar, Diana Saqeb and Aiqela Rezaie. As some of the filmmakers also work as actresses, I draw an arc into the changeful history of Afghan cinema and the role women played as actresses in these films. The essay highlights the period between 2002 and 2009, when I worked in Kabul making my film Passing the Rainbow and co-organising the film festival SPLICE IN on Gender and Society.
30
Kong, Xinyu. "Differences Between Two Shakespearean Adaptations: An Analysis of Two Film Adaptations of The Tempest from the Perspective of Gender." Communications in Humanities Research 26, no. 1 (January 3, 2024): 256–66. http://dx.doi.org/10.54254/2753-7064/26/20232080.
Анотація:
In recent years, some social phenomenon (e.g. changes in clothing of male and female) reveals that the gender identity is gradually changing. This essay mainly focuses on analyzing gender differences in the two adaptations of Shakespeares tragicomedy The Tempest. The two selected films are The Tempest directed by George Schaefer in 1960 and directed by Julie Taymor in 2010. This essay is attempting to find out in what way do the male and female characters change in the film in 2010 compared with the film in 1960. Although, Shakespeares work had already been adapted and researched by a considerable number of playwrights, directors and scholars, as the last work of Shakespeare, The Tempest has many uniqueness. This essay will analyze the two films from the perspective of film technology and text, pointing out the differences between the male and female characters in the two films, so as to reflect on the transformations of gender concepts and the trend of female social status.
31
Figlerowicz, Marta. "Timing and Vulnerability in Three Hitchcock Films." Film Quarterly 65, no. 3 (2012): 49–58. http://dx.doi.org/10.1525/fq.2012.65.3.49.
Анотація:
This essay studies three Hitchcock films to argue that their character construction—especially their construction of characters' vulnerability—is structured around patterns of timing or mistiming. It also asks more broadly what this formal choice can tell us about these films' treatment of ethics.
32
Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (October 1, 2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.
Анотація:
Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way we write our histories, and what this might say about our representation of personal, cultural and national identities. Ultimately, this essay is guided by the following question: what might a feminist historiography of horror cinema look like?
33
Yoo, Jisu Klaire. "A Study on the Identity of Essay Films, Analyzing." CONTENTS PLUS 13, no. 5 (October 30, 2015): 103–19. http://dx.doi.org/10.14728/kcp.2015.13.05.103.
34
Mumford, Cara. "Dancing the Waterways in Leanne Simpson’s she sang them home." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (January 20, 2022): 29–41. http://dx.doi.org/10.7202/1085310ar.
Анотація:
Inspired by essay films meditating on time, travel and ceremony and informed by cinematic cartography, my short dance film, sing them home (2020), travels the specific bodies of water that form the route that Atlantic Salmon once journeyed as they migrated to Michi Saagiig Nishnaabeg territory. Rooted in Nishnaabewin and Indigenous food sovereignty, toward a vision of the collective continuance of Michi Saagiig aki miijim, the film uses movement to activate sites in and on the shores of these lakes and rivers in the present while remembering the past and future of this waterway and her kin. This photo essay documents the film's journey and invites you to consider the making of this dance film as a prayer for the salmon to return.
35
Bono, Francesco. "In the Steps of Operetta: Austrian Cinema’s Relation to History." European Journal of Multidisciplinary Studies 4, no. 1 (March 30, 2019): 80. http://dx.doi.org/10.26417/ejms-2019.v4i1-531.
Анотація:
This essay intends to investigate some aspects of the multifaceted relationship between the Viennese operetta and Austrian film in the period from the 1930s to the 1950s. In particular, the essay will try to trace the influence of the operetta on the way in which Austrian films depicted the country’s history. Focusing on some of the most popular Austrian films of the period, including Willi Forst’s Operette (1940), Wiener Blut (1942) and Wiener Mädeln (1944-49), as well as Ernst Marischka’s trilogy from the late 1950s about the Austrian empress “Sissi”, the essay will critically discuss Austrian cinema’s penchant for the past, investigating the affinity of the Austrian (musical) film to the Viennese operetta, which served as its ideological and aesthetic model. In its affection for the past, Austrian cinema followed in the steps of the Viennese operetta. In contrast with the Hollywood musical genre or German musical films like Die Drei von der Tankstelle (1930) or Hallo Janine (1939), to mention just two of the most famous ones from the pre-war era, history was a key component of the Austrian Musikfilm. In Austria, the musical film overlapped with the historical genre, and it strongly influenced the country’s memory of its past. By investigating the connection between the Viennese operetta and Austrian cinema, this essay aims to provide a better understanding of Austrian films in the cultural, political and historical context in which they saw the light of day.
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Peirse, Alison. "The language of rage." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (January 31, 2024): 91–93. http://dx.doi.org/10.5209/tekn.90544.
Анотація:
This video essay uses multiple horror films in different languages from around the world to explore not only what rage looks like on screen, but also why, as women, we might feel the need to rage (Please view this video essay with subtitles enabled and wear headphones).
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Ko, Chisu Teresa. "Antipodal Connections." Film Quarterly 74, no. 4 (2021): 19–30. http://dx.doi.org/10.1525/fq.2021.74.4.19.
Анотація:
Argentines often use the term “antipodes” to describe East Asia as Argentina’s geographical and cultural opposite. Within this antipodal imaginary, Asia and its people often figure in stereotypical, mythical, or unfamiliar terms. Recently, however, there has been a surge of Argentine documentary films about Koreans and Korean immigration to Argentina. Why are so many Argentine documentaries turning to these subjects and why now? This essay focuses on two films—La chica del sur (José Luis García, 2012) and Una canción coreana (Yael Tujsanider and Gustavo Tarrío, 2014)—to understand this new interest. It analyzes the films within the layered contexts from which they emerge: a post-crisis Argentina after the economic meltdown of 2001, the surge of documentary filmmaking as a response to this crisis, and the subjective/reflexive turn of documentary films. The essay argues that the films’ initial approach to their Orientalized subjects enables an exercise of reflexivity which, ultimately, moves filmmakers and audiences beyond reflexivity toward affective, antipodal connections.
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Bezenkova, Maria V. "The canons of capturing reality in the documentary cinema of the 1960s." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 30–41. http://dx.doi.org/10.17816/vgik11330-41.
Анотація:
The essay deals with the problems of new expressive means that appeared in Soviet documentaries in the late 1950s 1960s. It analyzes the main expressive means of capturing the new screen reality on examples of Castles in the Sand (dir. Yakov Bronstein and Algimantas Vidugiris), Katyusha (dir. Viktor Lisakovich), Marinas Life (dir. Leonid Kvinikhidze), Look at the Face (dir. Pavel Kogan), and Nikolai Amosov (dir. Taimuraz Zoloev). Its main interests are plastic solutions, the frame structure, the designation of the object of shooting and the author's presence in the interframe space or inside the frame; changes in the attitudes of the author and the protagonists, the authors attention to personality, and the expressiveness of human presence in the film.
The essay discusses the existential and philosophical components of the documentary films of that period, as well as changes in the aesthetic and ideological pictures of the world, which influenced the principle of capturing reality and the concept of authenticity. Documentaries of the Thaw are viewed via the formation of new canons of capturing screen reality, including new capturing techniques (hidden camera, habitual camera, method of provocation), principles of intraframe editing and new space-time frame characteristics. The principles of intraframe editing, new spatial and temporal characteristics of the frame are presented in the progressive analysis of assembly phrases and the compositional structure of the frame of films. The author examines the principles of the formation of the protagonists' characters, the positioning of a person within the frame and the general stylistic paradigm of documentary genres. Taking as examples film portraits, film essays and polemical films, the essay explores novel means of forming spectator paradigms in the documentaries of the Thaw within the context of the authors attitude towards the selected material and the protagonist.
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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
Анотація:
The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
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Sekar, Sureshkumar P. "Disney screencerts: A video essay." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 37–40. http://dx.doi.org/10.33178/alpha.27.04.
Анотація:
In this video essay, I establish, discuss, and illustrate different types of Disney screencerts—events where the performance of music on stage is accompanied by the projection of the associated audiovisual on screen. Focusing on the audience experience, I use concepts from intermedial and multimodal studies to illustrate the experiential difference in each of the different forms of Disney screencerts—Film-with-Live-Orchestra Concert; Film-with-Live-Theatre-and-Orchestra Concert; Excerpt/Montage-with-Live-Orchestra Concert; and Shorts-with-Live-Orchestra concert. In the 100th anniversary of Disney, the event that truly celebrated the innovative spirit of Disney was not the one literary titled “Disney 100: The Concert” but the one titled “Encanto at the Hollywood Bowl”, which is a Film-with-Live-Theatre-and-Orchestra concert—a super-hybrid screencert form in which only Disney films have been presented so far.
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Bono, Francesco. "Friend or Foe? Representations of WWI in Italian Fascist Cinema." European Journal of Interdisciplinary Studies 6, no. 1 (January 1, 2020): 6. http://dx.doi.org/10.26417/ejis.v6i1.p6-12.
Анотація:
The present essay investigates the representation of the First World War in Italian fascist cinema by analyzing some of the major films about the war made during the Fascist regime and, notably, Marco Elter’s Le scarpe al sole (1935), Giovacchino Forzano’s 13 uomini e un cannone (1936) and Oreste Biancoli’s Piccolo alpino (1940). The films will be examined from an original and specific angle, devoting special attention to their portrayal of the Austrian enemy. Little consideration has been paid so far in scholarly research to this aspect. The essay will specifically address the question, investigating the changing representation of WWI and, particularly, the metamorphosis of Austria from foe to friend in Italian cinema in the course of the twenty years of Fascist regime. In doing so, the essay will place the above films against the background of the Fascist regime’s foreign policy, with special regard to the Italian-Austrian politics of friendship during the 1930s, followed at the end of the decade by Italy’s alliance with Nazi-Germany and the birth of the Rome-Berlin axis.
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Saljoughi, Sara. "A Cinema of Refusal." Feminist Media Histories 3, no. 1 (January 1, 2017): 81–102. http://dx.doi.org/10.1525/fmh.2017.3.1.81.
Анотація:
Marva Nabili's The Sealed Soil (1977) is one of the few feature films made by a woman in Iran prior to the 1979 Iranian Revolution. This article argues that the film inaugurated the “distanced look” that most scholars attribute to Iranian art cinema made after 1979. Through a reading of the film's thematic and formal articulations of refusal, the essay claims that this work can open new readings of the relationship between aesthetics and politics in Iranian cinema.
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HIOKI, Susumu. "An essay." JOURNAL OF THE JAPAN WELDING SOCIETY 79, no. 4 (2010): 284–86. http://dx.doi.org/10.2207/jjws.79.284.
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Bordwell, David. "Intensified Continuity Visual Style in Contemporary American Film." Film Quarterly 55, no. 3 (2002): 16–28. http://dx.doi.org/10.1525/fq.2002.55.3.16.
Анотація:
Do today's movies, filled with dazzling spectacle and often less-than-dazzling plotting and characterization,constitute a break with Hollywood's past? This essay argues that recent films rely upon many principles of traditional"continuity filming," but that there are nonetheless some important changes. In particular, certain techniques,such as fast cutting and free-ranging camera movement, have become more forceful and flamboyant. These techniques have blended into an approach to visual storytelling which we can call "intensified continuity." By analyzing films and reflecting upon comments gleaned from filmmaking professionals, the essay suggests where the new style comes from and how it affects viewers.
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Zvegintseva, Irina A. "The story of one crime: in life, in literature and in cinema." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 128–37. http://dx.doi.org/10.17816/vgik113128-137.
Анотація:
Today, the name of the New Zealand filmmaker Peter Jackson is known throughout the world. His films The Lord of the Rings and The Hobbit received many awards, were a major commercial success and conquered millions of viewers' hearts, including the admirers of J. R. R. Tolkien, who followed the screen adventures of their favorite literary characters with bated breath. However, connoisseurs of cinema had closely followed the work of Jackson for many years before the films' release, for his early films above all, Heavenly Creatures, based on a monstrous real crime impressed by the complexity of chosen topics and the outstanding directorial skills.
This essay analyzes Heavenly Creatures, exploring the reality of a terrible murder in a sleepy, little New Zealand town the murder which was largely disclosed through explicit entries in the diary of one of the criminals; and which became the basis for the film's plot. In no way justifying the criminals, Jackson, however, makes it clear that the incident was also the fault of the adults who did not see and did not want to see the difficult situation of their daughters. To ban, to punish such educational measures largely anticipated the tragic ending: harmless fantasies turned into a tragedy. The action of the film could take place in any town, and not only in New Zealand. The film's warning - don't be indifferent to your children was understood by all viewers, regardless of their country.
The essay looks at how the film was made by an artist who knew how to combine and make this combination credible art house and commercial cinema, surrealism (and other aesthetics of shock) and hard realism.
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Baer, Nicholas. "The Rumors Are True." Qui Parle 33, no. 1 (June 1, 2024): 63–78. http://dx.doi.org/10.1215/10418385-11125484.
Анотація:
Abstract This essay examines the role of rumors in F. W. Murnau’s films as well as in later writings about his life and career. While Murnau perpetuates long-standing figurations of gossip as a frivolous or even malicious activity, he also grants unverified information a truth value. Where Heidegger claimed that Gerede (idle talk) is based on “groundlessness” and “indifferent intelligibility,” this essay shows that rumors in Murnau’s films are often well-founded and also essential to a nuanced understanding of his work. Bringing together film analyses, archival materials, and philosophical texts, the essay sheds light on an underexamined aspect of Murnau’s oeuvre and addresses broader questions about the status of speculative, uncertain, or contested knowledge. A study of Gerede does not entail a concealment of authentic discourse but illuminates Murnau’s philosophy of rumors as part of a dialectic of destabilized knowledge.
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Ingham, Mike, and Kenny K. K. Ng. "Introduction: Hong Kong independent documentaries and their visibility." Asian Cinema 33, no. 2 (October 1, 2022): 117–30. http://dx.doi.org/10.1386/ac_00050_2.
Анотація:
In their general introduction to the present Special Issue the authors trace the origins of and motivation behind much of the independent documentary filmmaking produced in the city during a period of great sociopolitical turbulence, leading up to the tight censorship protocols put in place after the mainland government’s promulgation of the repressive National Security Law in 2020. With reference to the individual essays that comprise this volume, they chart the sudden and unprecedented rise of documentary filmmaking in Hong Kong following many decades of public indifference to the genre. Limited public and underground screenings that took place before absolute censorship measures were implemented in 2021 showed huge box-office demand for these topical films, reflecting images of ordinary Hong Kong people and their struggle for political representation. This opening essay introduces a range of essays and one interview, mostly in relation to specific films, dealing with the now-contentious coupling of documentary films or television broadcasts and democracy. As the essays indicate, some directors and producers of these observational and participatory documentaries are still active overseas and many of the films discussed can now only be screened outside Hong Kong. Nevertheless, they bear witness to a spirit of resilience and resistance as well as a deep-seated desire for a genuine democracy based on universal suffrage constantly reneged on by the city’s various rulers, from the colonial era until now.
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Lippit, Akira Mizuta. "The Death of an Animal." Film Quarterly 56, no. 1 (2002): 9–22. http://dx.doi.org/10.1525/fq.2002.56.1.9.
Анотація:
This essay looks at the representation of animal death in cinema, beginning with some of the earliest recorded killings of animals, such as Thomas Edison's Electrocuting an Elephant (1903), to contemporary feature films and documentaries that depict scenes of violence toward animals. At stake in this essay is a challenge to the philosophical axiom that animals cannot die: that because animals lack language, they are incapable of knowing death, and thus of experiencing it as such. In cinema, the paradox takes on an added complexity, which arises from the nature of visual representation and photographic media. If animals do not die, then why do so many animals appear to die in films? Why do so many (important) films feature the slaughter of animals? What is the relationship between animal death and film?
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Cieplak, Piotr. "(Extra)ordinary images: photography, memory and creative documentary – Rwanda and Argentina." Journal of the British Academy 12 (May 22, 2024): 0. http://dx.doi.org/10.5871/jba/012.a06.
Анотація:
This essay is a reflection on two creative documentary films produced as outputs of projects supported by the British Academy: The Faces We Lost (2017) and (Dis)Appear (2023). Both films focus on the commemorative and memorial functions of domestic and ID photographs – The Faces We Lost in relation to the 1994 genocide against the Tutsi in Rwanda and (Dis)Appear in relation to the civic-military dictatorship in Argentina (1976–1983). The essay outlines the importance of domestic and ID photographs in each context and discusses some of the conceptual, formal and creative decisions behind the two documentaries. But it also attempts to contribute to the conversation about creative documentary filmmaking, and creative practice research more generally, as a form of academic enquiry. Lastly, it asks questions about the opportunities and limitations of making films within the academic rather than commercial environment, especially films made in and about the Global South.
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Venkatesh, Vinodh. "Argentina in Crisis: Superheroes in Zenitram (2010) and Kryptonita (2015)." Galactica Media: Journal of Media Studies 2, no. 3 (October 19, 2020): 295–309. http://dx.doi.org/10.46539/gmd.v2i3.89.
Анотація:
While the study of superheroes has become a comprehensive field in itself, a focus on global superheroes has only recently begun to take shape. Vinodh Venkatesh’s Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series (2020) furthers a comprehensive examination of the superhero in Latin American moving images from the late 1950s to the present day, covering contexts from Mexico to Chile. Missing from this study, however, is an examination of Argentine superheroes. The present essay fills this gap by addressing two films, Zenitram (2010) and Kryptonita (2015), that portray and critique Argentina and its relationship with neoliberalism in the 20th and 21st centuries. Both films move beyond the parameters of genre cinema by engaging salient issues extant in the cultural horizon of the country.