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1
Permatasari, Hani Indah, and Mulyadi Mulyadi. "The Influence of Interior Design on Consumer Decisions in Choosing a Cinema Building." Pendhapa 12, no. 1 (January 24, 2022): 33–40. http://dx.doi.org/10.33153/pendhapa.v12i1.3560.
Повний текст джерелаАнотація:
The global expansion of the film industry has an impact on the construction of cinema buildings, including in Indonesia. The construction of the cinema building must pay attention to the interior design, because the interior design will impact the comfort of visitors and create a desire to return at a later date. The purpose of this study was to determine if the interior design of a cinema influenced visitors' choice of a cinema building. According to the study results, the interior design of the cinema influences visitors' interest in choosing a cinema building, as well as what interior design factors influence them.
2
Jefferson Kline, T. "The Film Theories of Bazin and Epstein: Shadow Boxing in the Margins of the Real." Paragraph 36, no. 1 (March 2013): 68–85. http://dx.doi.org/10.3366/para.2013.0078.
Повний текст джерелаАнотація:
When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that ‘true realism’ constituted the ontology and the essence of cinema was remarkably out of step with the major philosophical movements of his time. Paradoxically, it was not Bazin but Jean Epstein who best explained and defined the modernity of cinema. A reading of Epstein's Le Cinéma du diable will allow us to appreciate just how paradoxical it was that it was Bazin and not Epstein who was ‘selected’ to present cinema to a France immersed in existential and post-existential thought.
3
Putra, Ramadhan Maulana, and Intan Primadini. "Covid-19 and Cinemas: The Importance of Creating the Engagement with Customers through Social Media." Ultimacomm: Jurnal Ilmu Komunikasi 13, no. 1 (June 30, 2021): 82–92. http://dx.doi.org/10.31937/ultimacomm.v13i1.1994.
Повний текст джерелаАнотація:
The Covid-19 pandemic has resulted in one of the largest cinema companies in Indonesia, Cinema XXI, to temporarily close their business. Despite the closing, Cinema XXI is still trying to build the engagement with their customers on social media by carrying out marketing activities through the Instagram @Cinema.21. Therefore, the aim of this study is to find out how Cinemas utilizing social media in creating customer engagement during Covid-19. This study is a quantitative research and data is obtained through survey using questionnaire. This research questionnaire was distributed to 400 respondents. Based on the result of this study, it is known that Read Dimension has the highest influence on Engagement. Furthermore, Social Media Marketing was found to significantly influence Customer Engagement.
Keywords: Covid-19, Cinema XXI, Social Media, Social Media Marketing, Customer Engagement.
4
Sheremeta, Bozhena, Nataliya Chukhray, and Oleh Karyy. "Marketing tools as the competitiveness enhancer of the Ukrainian film distribution market entities." Innovative Marketing 15, no. 4 (December 18, 2019): 88–101. http://dx.doi.org/10.21511/im.15(4).2019.08.
Повний текст джерелаАнотація:
The main goal of the article is to study the features of film marketing and distribution of film products in Ukraine and to determine what kind of marketing tools are appropriate to be used within a cinema network to ensure their competitiveness in the national film distribution market.This article determines the characteristics of the movie market services and their compliance with modern consumer requirements, outlining the directions for increasing the usefulness of cinema-related services to consumers and developing a set of marketing tools to ensure the competitiveness of the cinema market.The results of the assessment of the impact of competitive forces revealed that intra-industry competition has the strongest impact on private cinema networks, the consumers of film distribution services and potential competitors have the moderate influence, the suppliers and substitute services have a low level of influence. According to the results of the survey, it can be concluded that cinemas are worth reducing the cost of tickets (this can be done by introducing the promotions and discounts for regular customers), since the solvency of a larger population does not correspond to the level of ticket prices. Also expanding the range of products will allow the consumers to spend more time in the cinema, which will lead to an increase in the value of the average check. Cinemas are quite realistic to open their own pizzerias or bars to add value to their customers.
5
Rachamalla, Suresh. "Influence of Liberalisation & Globalisation on Indian Cinema - A study of Indian cinema and it’s diasporic consciousness." Journal of Advanced Research in Journalism & Mass Communication 05, no. 01 (February 27, 2018): 18–24. http://dx.doi.org/10.24321/2395.3810.201804.
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Manghani, Sunil. "The influence of cinema on painting." Journal of Contemporary Painting 1, no. 1 (April 1, 2015): 123–46. http://dx.doi.org/10.1386/jcp.1.1.123_1.
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Spence, Charles. "Scent and the Cinema." i-Perception 11, no. 6 (November 2020): 204166952096971. http://dx.doi.org/10.1177/2041669520969710.
Повний текст джерелаАнотація:
From the very earliest days of public cinema (moving pictures), there has been consideration about how odors and scents might influence the viewer’s experience. While initially this was primarily a concern with how to eliminate the malodor of the cinema-goers themselves, in more recent times, there have been a number of well-publicized attempts to add synchronized pleasant (and, on occasion, also unpleasant) scents to “enhance” the cinema experience. While early solutions such as AromaRama and Smell-O-Vision were beset by technical challenges, low-tech scratch and sniff ( Odorama) and, more recently, Edible Cinema-type solutions (where the audience get to consume flavourful, and often aromatic, morsels in time with the events on screen) have proved somewhat more successful. Nevertheless, there are a number of key psychological factors that will likely inhibit the uptake of scented cinema in the future, even should the technical and financial issues (associated with retrofitting cinemas, and providing the appropriate fragrances) one day be satisfactorily resolved. These include the phenomenon of “inattentional anosmia” as well as the “fundamental misattribution error,” whereby people (who are, by-and-large, visually-dominant) tend to attribute their enjoyment to the action seen on screen, rather than to smell, and hence are unlikely to pay a premium for the latter.
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Rosskam, Jules. "Making Trans Cinema: A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac, and Madsen Minax." Somatechnics 8, no. 1 (March 2018): 14–26. http://dx.doi.org/10.3366/soma.2018.0234.
Повний текст джерелаАнотація:
In conversation with Jules Rosskam, trans filmmakers Felix Endara, Chase Joynt, Reina Gossett, Madsen Minax, and Jess Mac explore the contemporary state of trans cinema production, trans methodologies and social practices, the corporeality of cinema, and the relationship between theory and practice. Like somatechnics complicates the term ‘body modification,’ cinema broadens the ways in which we think and talk about films to include the world around the film – the technologies, power(s), relationships, disciplines, spaces, and techniques. The filmmakers discuss the various ways in which their embodied experiences influence and necessitate particular modes of production, reception, and theorization. There is a dynamic and organic movement between the past, present, and future, between dominant and experimental cinemas; one deeply rooted in the urgent intersectionality of trans.
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Wan, Xing, Nianxin Wang, and Ben Shaw-Ching Liu. "Impact of O2O platform multihoming and vertical integration on performance of local service firms – a quantile regression approach." Internet Research 30, no. 5 (May 7, 2020): 1583–610. http://dx.doi.org/10.1108/intr-03-2019-0087.
Повний текст джерелаАнотація:
PurposeThis study takes the cinema industry as the research context and investigates the impact of online to offline (O2O) platforms on cinemas' performance. Specifically, the purposes of this paper are threefold: first, to study the influence of platform multihoming on cinemas' performance; second, to examine the interaction impact of platform multihoming and vertical integration; third, to investigate how the influence of platform multihoming varies with cinemas' performance.Design/methodology/approachThis study collects data from 1918 cinemas in China, employs quantile regressions to estimate the model and test the proposed hypotheses and adopts an instrumental variable method to examine the robustness of our results.FindingsThe findings confirm the positive role of platform multihoming for cinemas' performance. However, when a cinema has low-degree platform multihoming, the cinema's vertical integration is positively associated with its performance; when a cinema has high-degree platform multihoming, the cinema's vertical integration is negatively associated with its performance. Furthermore, results from quantile regressions indicate that low-performance cinemas benefit more than high-performance cinemas from employing platform multihoming strategy.Research limitations/implicationsThis paper extends previous research by investigating the impact of platform multihoming on heterogeneous firms and the impact of interaction between platform multihoming and vertical integration. The findings imply that the impact of platform multihoming on firms' performance depends on firms' performance attributes and their vertical relationships.Practical implicationsPlatform multihoming can be a double-edged sword for local service firms. When multihoming platforms, a local service firm should think about the fit between platforms and its own attributes, and identify the potential conflict between platform relationships and traditional relationships of industrial organization.Originality/valueThere is a growing interest in understanding platforms' role in the digital economy. The impact of platform participation on local service firms' performance is not sufficiently investigated. Previous research rarely addressed the impact by incorporating local service firms' performance attributes and the existing relationships of industrial organization.
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Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.
Повний текст джерелаАнотація:
Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writers, and actors initiated the discussions of caste hierarchy in popular cinema. The political situations of Tamil Nadu have been a deep influence in molding these directors and their courageous ventures of popular cinema with Dalit subjects. Dravidian Ideology, Mandal politics, and the recent revival of Ambedkarite politics have been fuel for this. Still, fitting Dalit issues into the frames of the popular and commercial film have both pros as well as cons. Hence, this article analyses the relevance of the socio-political situations of Tamil Nadu in initiating mainstream Dalit cinemas. It also looks into the pros and cons of the popular narrative of Dalit subjects.
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Rusinova, Elena A., and Elizaveta M. Habchuk. "The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 92–105. http://dx.doi.org/10.17816/vgik10192-105.
Повний текст джерелаАнотація:
For a long time, Japanese cinema has been developing separately, mastering the specifics of the new art, which came from the West, and at the same time trying to solve within its framework the problem of "national identity". However, since the 1950s, Japanese cinema has become widely known abroad and is gaining recognition in the West. The present day no one doubts the huge contribution of Japanese filmmakers to the history of world cinema. Nevertheless, the study of Japanese cinema in Russian cinema theory still remains the prerogative of a few professionals who know the Japanese language and are closely acquainted with the Japanese mentality, culture and art, which exert a great influence on the artistic features of Japanese screen art. But in order to even more imbued with the originality of the approach to creating an artistic image in Japanese cinema, it is necessary to draw attention to one of the most important components of its structure, namely, the sound aspect, insufficiently studied in film theory. The novelty of the article is that it analyzes and classifies the sound features of some Japanese movies created in the second half of the 20th - beginning of the 21st centuries, in which the influence of traditional culture manifests itself quite clearly, but at the same time the presence of elements of the Western musical tradition is also noticeable, which reflects to a certain extent the process of transculturalism in cinema that is actual nowadays.
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Tuan, Lydia. "The Mondo Film’s Influence on Contemporary Italian Cinema." Film International 17, no. 2 (June 1, 2019): 88–96. http://dx.doi.org/10.1386/fiin.17.2.88_1.
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Voskolovich, Nina Aleksandrovna, and Evgeny Nikolaevich Zhiltsov. "Culture-Bound Items in the Formation of the Cinema Audiences." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 134–50. http://dx.doi.org/10.17816/vgik92134-150.
Повний текст джерелаАнотація:
The article is devoted to the influence of economic, social, communicative and marketing factors on the audience and gives a cross-cultural analysis of consuming entertainment services including cinema attendance. Dwelling on the development of such film market segments as on-line cinemas, paid movie streaming, downloading films, games, music, etc.. which broaden the consumers choice and demonstrate the power of theatrical distribution competitors, the authors justify the use of marketing techniques (social network promotion, branding and co-branding programs, etc.) for enhancing the audiences commitment and loyalty.
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Mutka, Maria. "“To Begin on Again”: A Study of Early Cinema’s Unique Influence on Modernist Literature." Film Matters 12, no. 1 (March 1, 2021): 66–81. http://dx.doi.org/10.1386/fm_00131_1.
Повний текст джерелаАнотація:
This article examines the intersectionality of modernist literature and the advent of cinema, particularly in the context of the incomparable tragedies of the First World War in the 1910s, 1920s, and 1930s. Avant-garde writers like James Joyce, Virginia Woolf, Gertrude Stein, and T. S. Eliot utilized cinema-inspired techniques in some of their most famous literary works, including Ulysses and “The Waste Land.” These techniques are especially salient in light of how much both the First World War and cinema altered societal notions of time, space, and motion.
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Sharolapova, Nina, Volodymyr Danyliuk, and Oleksii Krasnenko. "Innovative Way of Cinema Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 233–43. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248696.
Повний текст джерелаАнотація:
The purpose of the research is to identify the characteristics of modern cinema, to analyze the factors of cinema language formation and to reveal new possibilities for displaying reality in screen art. The research methodology consists in the application of the following methods: theoretical is a review of the history of the screen arts development, analysis of art direction works and modern screen artworks (films, TV series, web series), generalization of modern technologies influence on the perception of the world and human socialization. Scientific novelty. For the first, time new possibilities of displaying reality on the screen, which change the artistic development of culture, are analyzed, a new approach to the perception of modern technologies, their influence on consciousness and development trends in screen art is implemented. Conclusions. The development of screen arts and factors of the formation of the cinema language has been analyzed. With the help of the analysis of art direction's works and works of screen art, the characteristics of modern cinema have been identified and new opportunities have been revealed. The influence of modern technologies on the perception of the world and human socialization has been generalized.
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Marrone, Gaetana. "Once upon a time in Latin America: An interview with Lorenzo Codelli." Journal of Italian Cinema & Media Studies 10, no. 2 (March 1, 2022): 181–85. http://dx.doi.org/10.1386/jicms_00120_7.
Повний текст джерелаАнотація:
In this interview, which was conducted during the COVID-19 pandemic in early March 2021, Lorenzo Codelli reflects on Latin American cinema and its underlying aesthetics, as well as on the global influence of Italian cinema, in particular neorealism, on filmmakers such as Ruy Guerra, Fernando Solanas and Alfonso Cuarón, among others. In recent years, the Latin American film industry has produced commercially successful films, such as Cuarón’s Roma (2018), but few movies receive international distribution in particular if directed by women. For example, Melina Léon’s Cancion sin nombre (Song Without a Name) (2019), which premiered at Cannes’ Directors’ Fornight and has won many awards, is a case in point. Of special interest is Codelli’s point of view on the status of contemporary national cinemas and the impact of popular television series on its very survival.
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Lorenzo-Lledó, Alejandro, Asunción Lledó, Gonzalo Lorenzo, and Alba Gilabert-Cerdá. "Outside Training of Spanish University Students of Education for the Didactic Application of Cinema: Formal, Non-Formal, and Informal Perspectives." Education Sciences 12, no. 1 (January 8, 2022): 38. http://dx.doi.org/10.3390/educsci12010038.
Повний текст джерелаАнотація:
Nowadays, audiovisual media play a central role in access to information and in personal relationships. Among the audiovisual media is cinema, which due to its heterogeneous nature, can fulfill diverse educational functions. The objective of this study was to learn about the training that future teachers in Spain receive outside of their teaching degree for the didactic use of cinema. In addition, we sought to understand the influence of training on perceptions regarding the educational potential of cinema and the predisposition to its use. Using a quantitative approach, information was collected from 4659 students from 58 Spanish universities. The questionnaire used covered perceptions about the potencialities of cinema as a didactic resource in pre-school and primary classrooms (PECID). The results showed that 95.1% of the students had not received training. In addition, we found a significant influence of training on their perceptions of the educational possibilities of cinema. Furthermore, we found an influence on their predisposition to use training in their future teaching practice. Overall, it is necessary to implement training actions to fill the gaps detected in favor of a quality education with active learning and linked to society.
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Muchsin Saggaff Shihab, Dipa Mulia,. "Strategy to Maintain the Cinema Industry in the Middle of Development of Internet Technology." Jurnal Manajemen 24, no. 1 (March 2, 2020): 124. http://dx.doi.org/10.24912/jm.v24i1.634.
Повний текст джерелаАнотація:
Internet technology has been utilized in many sectors of business including in the film industry. People are using internet technology to replace the newspaper and television and also creating a new platform (computer, cellular phone and other types of gadget) to watch a film, it threats the cinema industry. This research aims to formulate the strategy of cinema industry to survive in the middle of internet technology. The motive of cinema-goers to watch the film becomes the main issue in this research. The influence of information, personnel film, word of mouth and cinema-quality to cinema-goers are evaluated. Hundred and twenty-eight cinema-goers involved as respondents. Structure Equation Modelling (SEM) is used to analyze the data. The research revealed that the cinema-goers had a specific expectation of the cinema industry that cannot be replaced by internet technology.
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Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (May 15, 2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.
Повний текст джерелаАнотація:
Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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Vital, Feofania Yu. "Emotional Influence on the Viewer in Contemporary American Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 91–104. http://dx.doi.org/10.17816/vgik8191-104.
Повний текст джерелаАнотація:
The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.
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Sim, Gerald. "Historicizing Singapore cinema: questions of colonial influence and spatiality." Inter-Asia Cultural Studies 12, no. 3 (September 2011): 358–70. http://dx.doi.org/10.1080/14649373.2011.578792.
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Sola-Real, Raquel, and Claudia Medina-Herrera. "The Influence of Cinema and Television on Tourism Promotion." Latente. Revista de Historia y Estética audiovisual, no. 16 (2018): 9–36. http://dx.doi.org/10.25145/j.latente.2018.16.001.
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Arshita Singh, Dr Neeraj Khattri,. "Role of Bollywood Cinema in Shaping Youngerstersfor Social Awareness." Psychology and Education Journal 58, no. 2 (February 10, 2021): 6243–47. http://dx.doi.org/10.17762/pae.v58i2.3145.
Повний текст джерелаАнотація:
The potential of cinema from thebeginning is used in such a way which benefits the society.The role of Cinema on society has been recognized from the very beginning of Cinema itself. It has been seen that children who cannot get good education but can easily acquire bad habits- buy two anna tickets and watch cinema daily. The society needs to be made aware of the influence of Cinema on the social and moral turnout of the viewers. An attempt has been made to evaluate the social implications of Cinema which is the powerful medium of information, education and entertainment results in the process of opinion building in various social groups. Community is very much influenced by the cinema and they inhale psychological, cultural, sociological changes along with the drastic changes in lifestyle. In recent times cinema often started to show some sensitive issues related to menstruation, women harassment, drug consumption, sexualviolence, etc. Before these movies no one wants to talk about these things they consider it as taboo for society, people never want to talk about erectile dysfunction sanitation, menstrual hygiene etc but some director and actors raise these issue and motivate people to stand for themselves. Movies like Shubh Mangal JaydaSavdhaan,Toilet ek prem Katha, Phullu and soon address such issues and give courage to talk about that.Through this research paper the attempt was made to analyze the effect of cinema on people and how people accept them. This research also tries to show that movies are not just for entertainment purpose or for commercial success but it also tries to raise social issues and stigma.
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Labidi, Imed Ben. "Hollywood’s Bad Muslims: Misrepresentations and the Channeling of Racial Violence." Journal of Religion and Popular Culture 33, no. 3 (November 1, 2021): 126–37. http://dx.doi.org/10.3138/jrpc.2020-0068.
Повний текст джерелаАнотація:
The cinemas of Arab and Muslim societies encompass a substantial number of film genres produced locally or in the diaspora. Arab and Muslim filmmakers experiment with different cinematic narratives, styles, and hybrid forms: auteur, documentary, diasporic, migrant, Third Cinema, and transnational productions. Their richness, diverse thematic foci, creative stylistic characteristics, and ability to reach global audiences recently motivated film scholars and other academics in Europe and the United States to consider designating a category called “Muslim Cinema” and defining its contours. The influence of these rich cinemas in contesting Hollywood’s demonization of Muslims, the conflation of Arabs, Muslims, and Islam, and the proliferation of anti-Muslim racism in Western discourse, however, remains very limited. Therefore, this article argues that the idea of such a category, if one were to be created, should explore venues to address Hollywood’s evolving forms of racializing Muslims and their relationship with the current institutionalization of anti-Muslim racism in the United States. Through a brief survey of Hollywood’s contemporary productions about Muslims, this article analyzes the impact of moving images on representation, particularly the fossilized characterization of Muslims as evil, and identifies three areas in American cinema and political discourse that could belong to this category: the first is Hollywood’s uninterrupted flow of making essentializing and essentialized narratives that conflate Arabs, Muslims, and Islam, and normalizes violence against them; the second deals with the transition from Islamophobia to anti-Muslim racism and explains its sanctioning by the US government; the third addresses the morphing of Islam into a race.
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Granger, Serge. "‘Other Diplomacy’ in Paradiplomacy: Quebec’s Cinema and China." Hague Journal of Diplomacy 11, no. 4 (September 27, 2016): 383–403. http://dx.doi.org/10.1163/1871191x-12341348.
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China has had an important impact on the political mobilization of other forms of diplomacy in the Canadian province of Quebec. Quebec’s missionaries and Maoists have used cinema for propaganda purposes aimed at forging political opinions towards China. Quebec’s modest non-state actor (nsa) — the Quebec cinema lobby — has developed expertise and links with other institutions or actors — both non-state and state — and has had an impact on international relations. Quebec’s cinema is an important lobby participating in a coalition of nsas that triggered and monitors the unesco Convention on the Protection and Promotion of the Diversity of Cultural Expressions. This article examines how Quebec’s cinema lobby has evolved, whether it has tried to influence Canadian government policies towards China and, more broadly, asks what the experience of Quebec filmmakers as non-state diplomatic actors suggests about the ways in which ‘other diplomacy’ can influence international relations.
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Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.
Повний текст джерелаАнотація:
Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
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Ryzhkova, Natalia Viktorovna. "HISTORICAL AND ARCHITECTURAL FEATURES OF THE CITY CINEMAS UDMURT REPUBLIC OF THE EARLY TWENTIETH CENTURY IN THE CENTRAL STATE ARCHIVE OF THE KIROV REGION (CHACO KIROV)." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 138–60. http://dx.doi.org/10.35634/2224-9443-2020-14-1-138-160.
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The article deals with historical and architectural features of the city's cinemas that have appeared in the Vyatka Governorate in the territory of the modern cities of the Udmurt Republic in the early twentieth century. On the basis identified in the research work of the author of the documents of the Central State archive of the Kirov Oblast (Kirov), investigated the problems of the structure and construction of cinema buildings, characterized the role of local authorities in the formation and development of cultural institutions in cities. The author finds out the influence of cinema buildings on the folding of the architectural appearance of the cities of Udmurtia, analyzes their location and related problems of formation of urban space. In the Fund of the Vyatka provincial Board (Construction Department) found documents testifying to their reliable architectural appearance, the features of their historical development, design, stages of construction and reconstruction. A valuable component is the confirmation of the authorship of some buildings.
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Berger Soraruff, Amelie. "A Pharmacology of Cinema." Cultural Politics 17, no. 2 (July 1, 2021): 212–27. http://dx.doi.org/10.1215/17432197-8947907.
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Abstract French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, depending on how it is acted on. As the article concludes, Stiegler's pharmacology of cinema invites us to take part in our cinematic cultural becoming through the revival of the figure of the amateur. But it does so at the risk of cultural snobbery. While Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.
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Benis, Rita. "The origins of screenwriting practice and discourse in Portugal." Journal of Screenwriting 11, no. 1 (March 1, 2020): 27–44. http://dx.doi.org/10.1386/josc_00011_1.
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Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.
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Geraldi Yuda Pradipta, Yohanes. "Dampak Brand Image dan Customer Experience terhadap Customer Satisfaction (Studi Pada Penonton Bioskop XXI di Surabaya)." Jurnal Ilmu Manajemen 8, no. 3 (July 19, 2020): 1050. http://dx.doi.org/10.26740/jim.v8n3.p1050-1059.
Повний текст джерелаАнотація:
The pressures from such high activity will cause tension, fatigue, fatigue, and stress. Currently, the cinema industry has a promising market, shown by people who have high enthusiasm to watch in the cinema. The impact of brand image and consumer experience on cinema consumer satisfaction is an interesting topic to study. This research was intended to investigate and analyze the influence of brand image and customer experience with the satisfaction of cinema viewers in XXI Surabaya. The purposive sampling method was used through the judgmental sampling method for 50 samples. The hypothesis is tested through multiple linear regression analysis. The results of the first tested hypothesis were found that the brand image variable positively and significantly affected the satisfaction of XXI cinema viewers. The results of the second hypothesis test show that the customer experience variable has a positive and significant effect on customer satisfaction watching at the XXI cinema.
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RAZLOGOV, KIRILL E., and EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.
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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.
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Gerow, Aaron. "Kawabata and cinema: the ambivalence of knowledge, medium, and influence." Japan Forum 30, no. 1 (January 2, 2018): 26–41. http://dx.doi.org/10.1080/09555803.2017.1307254.
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Ayupov, Bahodir. "THE NEW WAVE AND ITS INFLUENCE UPON ART UZBEK CINEMA." JOURNAL OF LOOK TO THE PAST 16, no. 2 (August 30, 2019): 4–8. http://dx.doi.org/10.26739/2181-9599-2019-16-01.
Повний текст джерелаАнотація:
At the end of the ÕÕ age 50-60 y.y. new direction arose in cinematograph of Franceunder name "New wave", which has played the greater role in development in histories of movie. The Cardinal principles of this direction became the refusal of traditional methods i.e. refusing from enormous creative groups, as well as from high-priced technician,stage managers have begun to shoot the films in compact group
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Sarkisyan, S. K. "The Musical Phenomenon in the Films of Sergey Parajanov." Critique and Semiotics 37, no. 2 (2019): 64–77. http://dx.doi.org/10.25205/2307-1737-2019-2-64-77.
Повний текст джерелаАнотація:
Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.
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Prosolova, E. V. "ANTI-AMERICAN PROPAGANDA IN THE SOVIET FEATURE CINEMA AT THE FIRST STAGE OF THE COLD WAR (1946–1953)." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 2 (2021): 130–41. http://dx.doi.org/10.37279/2413-1741-2021-7-2-130-141.
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This article examines the history of the ideological struggle in the Soviet cinema in the period from 1946 to 1953. A particular attention is paid to the study of the era of «malokartinye» as a stage in the history of Soviet cinema, which influenced the further formation of the organization and control system over the release of film propaganda products. It analyze post-war cinema as a phenomenon that contains several interrelated elements and due to this is one of the most effective means of influence on the population in order to form the image of the enemy. The main tasks of creating anti-American film propaganda in 1946–1953 are determined in accordance with the foreign policy situation and the goals facing the Soviet leadership in this period. The conducted research allows the author to draw the conclusion on the formation at the indicated stage of a structured film narrative containing the image of the «American enemy».
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Aswin, Ullya Rahmi, and Danny Hidayat. "Analisis Pengaruh Citra Merek, Persepsi Harga, Sikap Merek, Lokasi dan Word of Mouth Terhadap Niat Menonton di Cinema XXI Kota Padang." AMAR (Andalas Management Review) 3, no. 1 (May 24, 2019): 115–32. http://dx.doi.org/10.25077/amar.3.1.115-132.2019.
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This study aims to analyze the influence of Brand Image, Price Perception, Brand Attitudes, Location and Word of Mouth to Purchase Intention at Cinema XXI Padang City. The sample of this research is the first time viewers in Cinema XXI in Padang City as many as 208 respondents. The research data processing is done by using SEM (Structural Equation Modeling) method, with the type of Structural Equation Modeling (SEM) used by Smart Pls. The results showed that Brand Image, Price Perception, Brand Attitudes, Location and Word of Mouth positively influence the Purchase Intention
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Glotova, Anastasia O. "Modern Russian Cinema: Generational «Reverse»." Social’naya politika i sociologiya 20, no. 1 (March 29, 2021): 82–89. http://dx.doi.org/10.17922/2071-3665-2021-20-1-82-89.
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In modern Russian society, there is a rapid transformation of various forms of cultural expression, including in the cinema. Modern Russian cinema is perceived by generations of «fathers and children» in different ways: there is a so-called generational «reverse». The article is based on the results of a qualitative study conducted using focus group discussions with students of grades 9–11 of secondary educational schools in Moscow and their parents. The interpretation of empirical data allowed the author of the article, based on the study of the cinematic preferences of adolescents and their parents, to show the differences and similarities in the views of generations; to identify key trends that affect the perception of the film; to analyze the influence of media channels on the choice of the film to be viewed by these two target audiences.
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Glotova, A. O. "Does Cinema and Movie Characters Influence the Formation of Public Opinion?" Contemporary problems of social work 6, no. 3 (September 28, 2020): 70–78. http://dx.doi.org/10.17922/2412-5466-2020-6-3-70-78.
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in modern society, the problem of the influence of cinema on the viewer and its value-semantic sphere is of great importance. It is worth noting that this area of influence on a person, despite the relevance due to the popularity of this type of product, is poorly studied from the point of view of sociology. During the work, the cultural identification of society through cinematographic art was analyzed, as well as the relationship between the viewer and the movie character. Theoretical approaches to studying the influence of cinema on a person of both foreign and domestic scientists are considered. The analysis allows concluding that the impressions that the viewer receives while watching the film can reach the level of real life impressions and is transferred to the experience of his daily life. Consequently, the products of cinematographic art not only affect the person, but also constitutional various aspects of his everyday reality.
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Mukherjee, Debashree. "The Aesthetic and Material Force of Landscape in Cinema." Representations 157, no. 1 (2022): 115–41. http://dx.doi.org/10.1525/rep.2022.157.6.115.
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This essay explores the aesthetic and material force of landscape in cinema, an entity that has long been considered an index of localized climates. I adopt a transmedial and triangulated approach to cinematic landscape as filmed image, as circulating imaginary, and as the physical ground of film production. I argue that cinema reveals, in the scene of production, a mutual exertion of spatial influence and the co-production of aesthetic-material meaning by multiple human and nonhuman actants. The polyphonous relationship of landscape and cinema allows me to complicate climate and Anthropocene abstractions with situated histories of desire, dispossession, circulation, and collaboration.
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Belvaux, Bertrand, and Séverine Marteaux. "Web User Opinions as an Information Source. What Impact on Cinema Attendances?" Recherche et Applications en Marketing (English Edition) 22, no. 3 (September 2007): 65–81. http://dx.doi.org/10.1177/205157070702200305.
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Digital communication technologies such as the Internet intensify and accelerate the phenomenon of information diffusion by social exchange. The aim of this paper is to assess whether product introduction strategies should be modified in the light of this phenomenon. We conducted an empirical analysis on the movie market to compare the ability of web user opinions with classic indicators such as the mass media and critics to predict box-office takings. The results show that all three variables influence movie attendances. Promotion of a movie has no influence on web user opinions, but critics are influenced negatively for low-budget movies and positively for large-budget movies. Critic and web user advice merges only for large-budget movies.
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Cabrera, María Dolores. "The Aesthetics And The Influence Of German Cinema in The Fantastic Cinema and Mexican Horror Of The 1930's." Brumal. Revista de investigación sobre lo Fantástico 7, no. 1 (June 16, 2019): 183. http://dx.doi.org/10.5565/rev/brumal.530.
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Volkov, E. V., and M. V. Sapronov. "Soviet City Cinema: Approaches to Historical Research." Вестник Пермского университета. История, no. 3(54) (2021): 114–26. http://dx.doi.org/10.17072/2219-3111-2021-3-114-126.
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The article is devoted to the methodology of studying the Soviet era city cinema as a social space. It presents a historiographic review of research in this direction, which shows that the city cinema, as the central link in the practice of “going to the cinema”, was an important independent element of everyday life, and its social space was historically changeable and shaped by several stakeholders (government, administration of the cinema network, and viewers). For a full-fledged historical analysis of a cinema, additional specific sources are required. As the main concept for studying the cinema, the authors propose to use the theory of the philosopher and sociologist Henri Lefebvre, formulated in his book "The production of space" (1974). According to the French thinker, space in a broad sense can be physical (material component), mental (rational principle) and social (social practices and relationships). As a result of their social activity, people influence all types of spaces, with the process of production of space, physical, mental, and social, taking place within society. If we apply Lefebvre's theory to study the cinema as a cultural phenomenon, it should be investigated at three levels: “representation of space” (material forms), “spatial practices” (management and functioning), “space of representation” (experience and interpretation of “going to the cinema"). For each level of studying the cinema as a social space, different types of historical sources are utilized, the characteristics of which are presented in the article. In this context, along with other sources, attention is paid to sources of personal origin (ego-documents).
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Childs, Jeffrey. "Apocalypse Now, Vietnam, and the Rhetoric of Influence." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (March 28, 2014): 11–24. http://dx.doi.org/10.14195/2182-8830_1-2_1.
Повний текст джерелаАнотація:
Readings of Francis Ford Coppola's Apocalypse Now (1979) often confront the difficulty of having to privilege either its aesthetic context (considering, for instance, its relation to Conrad's Heart of Darkness [1899] or to the history of cinema) or its value as a representation of the Vietnam War. In this paper, I will argue that viewing the film as a meditation on the nature and rhetoric of influence allows us to bridge this gap and provides us with valuable insights into both the film's aesthetic precursors and the circumstances of its historical setting.ResumoAs leituras do filme Apocalypse Now (1979) de Francis Ford Coppola são muitas vezes marcadas pelo imperativo de escolher entre uma abordagem ao seu contexto estético (referindo, por exemplo, a relação do filme com a obra Heart of Darkness [1899], de Conrad, ou com a história do cinema) e uma análise do seu valor enquanto representação da Guerra do Vietname. Neste ensaio, irei defender que uma aproximação ao filme enquanto meditação sobre a natureza e a retórica da influência permite preencher esta lacuna e realçar aspectos fundamentais quer acerca dos precursores estéticos da obra, quer sobre as circunstâncias específicas do seu contexto histórico. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_1
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Hutchings, Peter. "Putting the Brit into Eurohorror: Exclusions and Exchanges in the History of European Horror Cinema." Film Studies 15, no. 1 (2016): 54–65. http://dx.doi.org/10.7227/fs.0001.
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British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, Eurohorror. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative per- sonnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the Eurohorror category reveals limitations in that category, particularly its idealisation of continental European horror production.
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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.
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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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Escobar, Armando. "“Jacob y el otro”: a la luz del cine (Apolo)." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 253–73. http://dx.doi.org/10.5195/ct/2017.256.
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The relationship between Uruguayan writer Juan Carlos Onetti and the cinema is extensive and. When we analyze one of the many adaptations of his work, we have to consider that it is a relationship of double influence, since our author has also take from the cinema to develop one of the most extensive and essential works of Latin American literature. For this reason, it is increasingly common to find interpretations that propose a cinematic reading of Onetti's work. As part of a similar exercise, we propose to read the story "Jacob and the Other" (1961) in the light of his adaptation to the cinema made by Álvaro Brechner in Un mal día para pescar (2009). In doing so, Onetti's tale obtains new interpretations that can be reached by analyzing it with the eyes of the cinema.
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Tsukernikov, Ilya, and Alexandr Fadeev. "RESULTS OF A SERIES OF ACOUSTIC MEASUREMENTS OF NOISE PENETRATING THROUGH THE PARTITION BETWEEN TWO CINEMAS." Akustika 32 (March 1, 2019): 195–200. http://dx.doi.org/10.36336/akustika201932195.
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The number of cinemas has increased over the past 10 - 15 years in Russia. The main part of new cinemas is multiplex cinemas in the shopping and entertainment malls. It is mean that in multiplex two cinemas may show the movies at the same time. The problem of airborne sound isolating by a partition/slab between two multiplex cinemas halls is considered. The analysis of the regulatory and technical documents (the International Standard, and the national documents of the Russian Federation, as well as the corporative standards of international cameramen) is done. The levels of penetrating noise through a partition between two cinemas halls are measured for two cinemas. The discrepancy between the estimated sound insulation parameters and the requirements of the current regulatory documents are shown. A series of field measurements of acoustic parameters is carried out. The discrepancy of the airborne sound insulation parameters by partition is shown. The case of one-number estimation of airborne of sound isolation in the law frequency range is considered. The influence of acoustic finishing on the levels of penetrating noise from one cinema hall to another is estimated.
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Lewicki, Arkadiusz. "Transgender/transvestitism/cross-dressing in Polish cinema." Dziennikarstwo i Media 11 (January 24, 2020): 49–56. http://dx.doi.org/10.19195/2082-8322.11.5.
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The first Polish film taking up the problem of cross-dressing was a comedy from 1934, titled Is Lucyna a Girl? Czy Lucyna to dziewczyna? by Juliusz Gardan. In the history of Polish cinema there were a few more films about transgender/transvestism. The paper describes these films and indicates what type of socio-moral influence changes the way of showing this type of characters and themes.
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White, Jerry. "Pasolini in/and Catalonia: Translation, Minority Languages, and Internationalism." Comparative Literature 74, no. 1 (March 1, 2022): 99–118. http://dx.doi.org/10.1215/00104124-9434537.
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Abstract This article posits that Pier Paolo Pasolini’s long engagement with Catalonia offers important insights into his practice as a poet, filmmaker, and thinker about language, as well as explaining the nature of his influence on other European cinemas. The first part of the article focusses on the special issue “Fiore di poeti catalani” of Quaderno romanzo alongside Pasolini’s poetry in and advocacy for the Friulan language. The second part of the article focusses on Joaquín (Joaquim) Jordà’s translation of Pasolini, published as Cine de poesía contra cine de prosa, alongside the emergence of the Barcelona school of filmmakers, of which Jordà was a part. Overall, the article argues that although there was clearly an Italian influence on Catalan cinema of the 1960s and 1970s, throughout the long course of his career there was a distinctly Catalan quality to Pasolini’s thought.
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Elkan, Olga B., and Violetta A. Putra. "THE INFLUENCE OF PSYCHOANALYSIS ON THE CINEMA OF THE TWENTIETH CENTURY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 34 (June 2019): 100–109. http://dx.doi.org/10.17223/22220836/34/9.
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