Готові списки джерел за темами / Filmworld

Добірка наукової літератури з теми "Filmworld"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Filmworld"

1

de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.

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Анотація:
In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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2

Rush, Fred. "Sotto voce: Inscription as Voiceover in Malick’s Days of Heaven." Film and Philosophy 24 (2020): 84–97. http://dx.doi.org/10.5840/filmphil2020246.

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Анотація:
Terrence Malick’s widespread use of voiceover is generally noted, as is its nonstandard bearing. Malick’s use of voiceover is non-standard in virtue of its loose narrative fit. That too is often marked. Much less discussed is the philosophical basis for Malick’s voiceover, more specifically its ontological function in bounding the filmworld with intentionality. This paper addresses such ontological questions. It first develops a general schema for voiceover and Malick’s use of it in several of his films. Malick’s discovery of the potential for oblique forms of voiceover in Truffaut is treated. The discussion then focuses on the film Days of Heaven (1978) and, in particular, on an undiscussed and easy to miss visual riddle in one of the key scenes, involving the marriage of two of the principal characters. The riddle concerns an inscription in what for most viewers will be indecipherable symbols written on a backdrop formed by the side of a wagon. It turns out that the inscription is in Blackfoot syllabary and translates the opening of the Te Deum prayer. The paper argues that the inscription is best understood as a cousin to voiceover and, in particular, to Malick’s conception of voiceover. The inscription has, accordingly, an ontological and critical function in conjunction with the scene it accompanies. The paper concludes with remarks concerning The New World (2005), a Malick film that includes several prayers in voiceover and more comprehensively and resolutely represents the linguistic presence and expressiveness of Native Americans.
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3

Scarlett, J. A. "Filmwork Generation." Circuit World 11, no. 3 (February 1985): 21–31. http://dx.doi.org/10.1108/eb045999.

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4

Walker, Michael. "Using Screenplays to Integrate Filmwork in the ESL Classroom." JALT PIE SIG: Mask and Gavel 10, no. 1 (February 7, 2022): 112–34. http://dx.doi.org/10.37546/jaltsig.pie10.1-5.

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Анотація:
Although the use of film in both ESL and EFL classrooms is widespread, the screenplay on which most films are based is almost non-existent as a language learning resource. However, its structured framework provides the opportunity to teach skills-based activities that are contextually clear, particularly when accompanied by the movie. The primary challenge in adopting screenplay work into a curriculum, especially for educators not familiar with the format, is in ensuring specific language-based learning objectives are being met, whilst also encouraging creative freedom amongst the students. To that end, this paper begins with an introduction of what a screenplay is before examining how utilizing a script can transform the traditionally passive activity of watching a movie, into a series of justifiable language tasks. The familiarity with the language used from these comprehension activities then becomes the foundation for an assessable filmmaking task where students write their own screenplay and subsequently shoot it. The final part of this paper provides instructions on how to implement the movie-making segment and marking criteria for grading.
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5

Lewis, Wililam S. "Harry Smith's Filmwork and the Possibility of a Universal Symbology." American Journal of Semiotics 17, no. 3 (2001): 217–32. http://dx.doi.org/10.5840/ajs200117339.

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6

Sutton, Carrie. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 203–10. http://dx.doi.org/10.33178/alpha.19.18.

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Carrie Sutton is a freelance directors’ representative working with independent creatives as well as music video directors signed to Biscuit Filmworks, Blindeye Films, Good Co., Kode Media, Rankin and The Graft. In her role as Music Video Commissioner, she has commissioned videos for Blur, Tina Turner, Pet Shop Boys, Snow Patrol and Robbie Williams amongst many others, with artists picking up 3 Brit Awards for Best Video, an MTV Award and a D&AD Yellow Pencil Nomination. In 2018, she was awarded the ‘Outstanding Achievement’ award at the UK Music Video Awards in recognition of her career as a Creative Commissioner, Directors’ Rep., Executive Producer and Producer
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7

Garbelotti, Raquel De Oliveira Pedro. "VIDEO-INSTALAÇÃO, CINEMA DE EXPOSIÇÃO, CINEMA DE ARTISTA, OUTRO CINEMA, EFEITO-CINEMA: NOMENCLATURAS E NORMAS DE REPRESENTAÇÃO. A REFLEXIVIDADE NA OBRA EM PERSPECTIVA (DOCUMENTAL)." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 47. http://dx.doi.org/10.18542/arteriais.v5i9.9808.

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Анотація:
ResumoEste texto reflete sobre a categoria cinema de exposição e suas outras acepções. Desenvolve uma crítica sobre esta forma fílmica (inversão da questão espacial sobre a temporal) e apresenta uma reflexão sobre a forma instalativa; um dispositivo em que em diversas instâncias implica na perda de reflexividade fílmica. Apresenta estudos de caso em que as obras fílmicas mesmo que instalativas, permanecem críticas e políticas por um pensamento estratégico. Estratégia esta que tratarei aqui como obra em perspectiva (documental).AbstractThis article reflects upon the category exhibition cinema and its other understandings. Developing a critique over this specific film form (inverting the spatial aspect over the time-based aspect) and presenting a discussion concerning the installative form; a device, which in different instances implies the loss of filmic reflexivity. Presenting case studies in which the filmworks, even as installative pieces, remain politicized and critical through strategic thinking. Strategy which here is presented as work in perspective (documentary).
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8

Papaioannou, P. Julie. "Roy T. Anderson, director. Akwantu: The Journey. 2012. 87 minutes. English with English subtitles. United States. Art 4 Reel Filmworks, LLC. $23.99." African Studies Review 58, no. 1 (March 16, 2015): 283–84. http://dx.doi.org/10.1017/asr.2015.28.

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9

Pudov, Aleksey G. "Mythological Conceptualization in A.O. Balabanov’s Films and Interpretation of “The River”." Observatory of Culture 17, no. 3 (August 6, 2020): 262–77. http://dx.doi.org/10.25281/2072-3156-2020-17-3-262-277.

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Анотація:
This paper attempts to uncover the semantic message of “The River”, an unreleased film that was supposed to be a new program product in the filmwork of Aleksei Oktyabrinovich Balabanov. At the beginning of the article, the author reveals the director’s method of conceptualizing his films that appeal to the mythological conceptualization of the narrative structure in addition to the plot and genre of the film. The latter is clarified in the process of comparing the films with the structure of a fairy tale, which has also already been noted by some researchers of Balabanov’s movies. The novelty of the article is connected with a philosophical analysis of the indicated conceptualization of “The River” film-project (2002) and an attempt to identify aesthetic effects and symbolic meanings encoded in the film production.The author believes that the close attention of “The River” project’s director to the cultures of traditional society, and especially the culture of northerners — the Tofalars (Tofa), the Yakuts (Sakha), is due to the proximity of the traditional cultures of the North and the Arctic to the mythological method of conception in culture. In this sense, “The River” project was, in all likelihood, to become the director’s experiment in building an archaic topos with a crystalline mythological concept of the abundance of the natural over the cultural and the corresponding mentality and psychology of the actions of the “old era”. The main thing in this cinematic experiment was to take the culture “off the table” and analyze the natural spontaneity in human nature, with the subsequent “splitting” of mythological consciousness, breaking the epic circle of tradition with a symbolic outcome, through the concept of “boat” and “river”, to a universal human principle, metaphysical topos of thought. The prophetic gift of the director, embodied in a number of his films, is interpreted on the example of “The River” and reflects the message for the path of self-development of the cultures of Russian peoples.
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10

Charles, Amy. "Book Review of Naturally Obsessed Naturally Obsessed by Richard Rifkind and Carole Rifkind Videodisc published by the ParnassusWorks Foundation , New York, NY , 2009 ; available from Parnassus Filmworks at http://www.naturallyobsessed.com/ (accessed Feb 2010)." Journal of Chemical Education 87, no. 4 (April 2010): 373. http://dx.doi.org/10.1021/ed800143s.

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Дисертації з теми "Filmworld"

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LU, KANG-CHUN, and 魯鋼駿. "Wan Jen's Filmwork as an Epitome of Our Society : A Case of “Super Trilogy”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/16881180260505446387.

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Анотація:
碩士
玄奘大學
大眾傳播研究所
100
Wan Jen rise in the New Taiwan Cinema, in 1982, Wan Jen director film ‘The Taste of Apple’, occurrence of “cut apple event”, lay his position of the taiwanese cinema. But he is more much neglected one of the directors, His film is concerned about Taiwan's people, and stories, record of the Taiwan society, and the common people's life scene. Until now, his has nine films, and two TV dramas, the “Super Citizen”, “Super Citizen Ko” and “Connection by Fate”, the three films merger called “Super Trilogy”, are Wan Jen wrote and directed, the use of different story and the mechanism of narrative explore different issues. This study intends to analyze Wan Jen “Super Trilogy”, The methodology employed in this study is based on film analysis, Analysis of the awareness of the movie's theme and the film form and style, and the topic of discussion presented in the film? The study found that the narrative of the “Super Trilogy” is different, but is gradual progress and continue. The central theme of the film is “City showing” and “common people's life scene” and “political activities” and “National Identity”, explore the social problems of social changes in Taiwan.
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Книги з теми "Filmworld"

1

McKee, Robert. Filmworks. London: British Broadcasting Corporation and Broadcasting Support Services, 1993.

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2

1947-, Geleynse Wyn, Art Gallery of Windsor, and Art Gallery of Hamilton, eds. Wyn Geleynse, four filmworks. Windsor, Ont: Art Gallery of Windsor, 1990.

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3

Sarah Dobai: Photographs & filmworks. Cambridge: Kettle's Yard, 2006.

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4

Gallery, Spacex, ed. Jayne Parker: Filmworks 79-00. Exeter: Spacex Gallery, 2000.

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5

Teitelbaum, Matthew. Wyn Geleynse: Filmwork and apparatus. London, Ont., Canada: London Regional Art Gallery, 1985.

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6

Arnold, Grant. Wyn Geleynse Four Filmworks: [exhibition catalogue]. Windsor: Art Gallery of Windsor, 1990.

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7

Arnold, Grant. Wyn Geleynse Four Filmworks: [exhibition catalogue]. Windsor: Art Gallery of Windsor, 1990.

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8

Farace, Joe. Using PhotoWorks Plus: How to use every feature : Seattle FilmWorks' powerful digital imaging software--organize, enhance, and create exciting, fun images. Seattle, Wash: Seattle FilmWorks, 1996.

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9

The Seattle Filmworks Photography School (Home Study Course). Passage Publishing, 1987.

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10

Gazowsky, Richard. Prophetic Whisper. Deepercalling Media, 1998.

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Частини книг з теми "Filmworld"

1

Reeck, Laura. "Imams and Audience in Kaouther Ben Hania’s Niche Filmwork." In Artistic (Self)-Representations of Islam and Muslims, 25–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81234-8_2.

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2

Roo, Ludo de. "Chapter 3 Elemental Imagination and Film Experience: Climate Change and the Cinematic Ethics of Immersive Filmworlds." In Emotions, Ethics, and Cinematic Experience, 58–79. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781800731462-006.

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