Статті в журналах: "Motion pictures - Aesthetics"

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Jarenski, Shelly. "Playing Dead: Eadweard Muybridge’s Residential Photo Albums and Spiritualist Aesthetics." Nineteenth Century Studies 35 (November 2023): 54–74. http://dx.doi.org/10.5325/ninecentstud.35.0054.

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Abstract Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge’s career and within spiritualism. Along with preserving images of the Johnsons’ domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album’s production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism.

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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.

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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.

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Khorob, S. I. "THE CREATION OF A CINEMA WORLD AS A FICTIONAL PROCESS (ON THE MATERIAL OF FILMS OF UKRAINIAN “POETIC CINEMA”)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 288–97. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-288-297.

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The article considers some aspects of a creative process over the film. On the example of motion pictures of the representatives of the Ukrainian “poetic cinema”, as well as of the creative work of their producers the attempt is made to single out peculiarities of psychology of creative work, its phases and stages. It is proved that such movies as “Tini zabutykh predkiv”, “Propala hramota”, “Vechir na Ivana Kupala”, “Kaminnyi khrest”, “Vavylon XX” and their creators substantially renewed the aesthetics of the cinematographic art of Ukraine.

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ADAMS, BRETT, CHITRA DORAI, and SVETHA VENKATESH. "FINDING THE BEAT: AN ANALYSIS OF THE RHYTHMIC ELEMENTS OF MOTION PICTURES." International Journal of Image and Graphics 02, no. 02 (April 2002): 215–45. http://dx.doi.org/10.1142/s0219467802000573.

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This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.

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Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region." Journal of Contemporary Iraq & the Arab World 18, no. 1 (March 1, 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.

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Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (December 2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.

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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.

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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

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Hasan, Haris. "The Depiction Of Rape Scenes In Popular Hindi Cinema : A Critical Examination Of Representation Of Gender In Media." Journal of Women Empowerment and Studies, no. 12 (October 27, 2021): 42–46. http://dx.doi.org/10.55529/jwes.12.42.46.

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The portrayal of female gender in performing arts has been a product of constant societal change. From the days when Female parts were acted upon by male counterparts to the advent of motion pictures and the role of women in making the medium their own , the journey has been long. This can be also studied under the context of anthropology, gender issues, and women emancipation. The female characters have been always fixed into the narrative by the virtue of a certain appeal they exhibit. From Laura Mulvey’s male gaze theory in cinema to the aesthetics of violence in cinema , both have been depicted in experimental ways in films. The portrayal of rape scenes dishonoring the basic existential being of any women have been shot in a number of ways to make a case in point in the film narrative. The shooting of such sequences and the psychological impact of this on the female casts is a critical study within cinema studies. Much to the women empowerment and vocal voices there has been a critical debate on how to film the female body and more so traumatic sequences such as the depiction of rape in the narrative.

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Braiko, Oleksandr. "Cinematographic coloring of open space in Volodymyr Drozd’s short prose from 1960s." Слово і Час, no. 3 (May 26, 2020): 28–47. http://dx.doi.org/10.33608/0236-1477.2020.03.28-47.

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The paper considers the style manner of V. Drozd’s prose from his early writing period with a focus on cinematographic aesthetics of color and possibilities of the screen design of plein air as the most free spatial environment for visual development of the image. The writer’s literary means have their analogues in the well-known contemporary films (“October”, “Poem about Sea”, “Red Desert”). The dynamic plein air compositions have certain screen potential. The images of open-space are related to freedom in dynamic and successive change of a scene, and alternation of verbal pictures. They are rather close to the specifc cinematographic representation of action, as their color markers may be associated with an imaginary film. The first V. Drozd’s attempts of designing the color and light of plein air are marked with an accent on the hues of the represented objects, the dynamism of objects in the imaginary shots, and expressive motion, increased with spectral indicators. A growth of the writer’s mastery is related to development of successive color ‘melody’, based on nuances of the visual impressions, and harmonized with internal action progress. Plastic imaginal markers with limited color range also remind the technique of cinematographic rush, adding emotional and psychological mood connotations to the narration and stimulating positive (nostalgic, elegiac) associations. Although they may seem random, the light and color signals acquire cinematographic expressiveness due to integration into the plot and its internal action, and to the dynamics of the character’s point of view. Abandoning a picturesque fixed nature, the author acquires possibility to decode wider associative meanings with color and light markers, search for deeper semantics of visual image complexes, and construct deterministic relations of a character and environment. Even minimal visual signals contribute to the color structure of a verbal shot. Such terseness and obscurity of objects in the prospect of a narrative camera, and a rapid change of plein air sections are similar to the features of cinematographic aesthetics and poetics.

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Menshikov, Leonid A. "DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 79–92. http://dx.doi.org/10.17223/22220836/39/8.

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Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.

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Isha Mittal. "Use of Women’s Beauty and Makeup in Battle: Unveiling Stereotypes and Strength." Creative Saplings 2, no. 09 (December 26, 2023): 35–45. http://dx.doi.org/10.56062/gtrs.2023.2.09.462.

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Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to higher education and the workforce. On the other side, beauty has the ability to oppose patriarchy and, in a larger sense, be a tool for engaging in the struggle against oppression and lending support to diverse freedom movements. When faced with these obstacles, women stand out as heroes because they actively destroy patriarchal repressive institutions. Numerous narratives, motion pictures, and stage plays—both fiction and non-fiction—emphasize the extraordinary resilience of women and demonstrate how they employ cosmetics and beauty not just as a means of self-expression but also as instruments of adaptation in feminist movements and combat zones. These tales capture the essence of Goddess Durga, who stands for fortitude and tenacity. This paper analyses both perspectives of beauty, citing various texts, movies, novels, and other media as sources for its arguments. Let us continue the teachings of history, mythology, and film by traversing the complexity of beauty, strength, and resistance. Let us raise the voices of those who question conventions, celebrate diversity, and collaborate to create a society where every individual, regardless of gender, may thrive and contribute to the prosperity of a genuinely inclusive and just world.

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Al Mousawi, Aqeel Al Mousawi. "Employing (Artificial Intelligence) Techniques in the Aesthetic Construction of Cinematic Tricks in the Cinematic Film." Journal Port Science Research 7, issue (May 29, 2024): 57–66. http://dx.doi.org/10.36371/port.2024.special.8.

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Cinema is a unique art based on innovation and scientific inventions in addition to the talent and genius of directors, and directors such as Edison, the inventor of the motion picture, the Le Maire brothers, the pioneers of the cinema projector, the Frenchman of genius imagination and visual creativity, Georges Mila and Gervath, the creator of magazines. Editing, photography, directing and innovations such as motion pictures, sound entry to the cinema, color film tape, wide lenses, 3D imaging, films that used scientific techniques, such as the Star Wars series of director Lucas, the Jurassic Park series of Spielberg films, and computer technologies developed by James Cameron are all They are considered as basic pillars of a world full of excitement and suspense called cinema, and cinema is still to this day making rapid and interesting transitions in the world of entertainment because it attracts the latest scientific innovations in the field of motion picture, and among the modern and important innovations, the use of artificial intelligence techniques in the manufacture of cinematic trick scenes Whether by making movie scenes backgrounds, digital characters, or controlling lighting and a camera, to be either a must Let's talk about movie workers or a key element to help movie workers.

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김지은. "Aesthetic Extension of Motion Picture via Digital Multi-channel Sound." journal of the moving image technology associon of korea 1, no. 19 (December 2013): 5–22. http://dx.doi.org/10.34269/mitak.2013.1.19.001.

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Hirschman, Elizabeth C. "Resource Exchange in the Production and Distribution of a Motion Picture." Empirical Studies of the Arts 8, no. 1 (January 1990): 31–51. http://dx.doi.org/10.2190/ahpj-p6fc-y9b5-9dty.

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An independently produced motion picture was used as a case study of the resource exchange pattern underlying project-based aesthetic production systems. Several exploratory propositions resulted concerning 1) sources of processual conflict, 2) the nature of resource criticality during the production process, 3) the timing of returns on invested resources, and 4) the commercialization of aesthetic products.

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Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (July 2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.

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Figueiredo, Vera Lúcia Follain de. "A grande arte: palavra e imagem." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 42–49. http://dx.doi.org/10.17851/2317-2096.8..42-49.

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Resumo: No romance A grande arte, de Rubem Fonseca, a tensão entre as exigências do mercado editorial e a autonomia da arte resolve-se pela adoção de uma estética ambígua. No filme A grande arte, de Walter Salles Junior, a tentativa de preservar esta ambigüidade, realizada de maneira superficial, desequilibra a obra.Palavras-chave: romance policial; cinema brasileiro; mercado.Absctract: In the novel A grande arte, by Rubem Fonseca, the tension between the demands of the editorial market and the autonomy of art is resolved by the adoption of ambiguous aesthetics. In Walter Salles Junior’s motion picture, A grande arte, the rather superficial attempt to maintain that ambiguity jeopardizes the balance of the work. Keywords: detective novel; Brazilian motion picture; market.

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Gerstner, David A. "Past the Post?: Screening Progress and Fascism's Return." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 15, no. 1 (January 23, 2017): 73–81. http://dx.doi.org/10.31269/triplec.v15i1.838.

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The 2016 presidential election triggers many unanticipated responses. Emotions run high. Political activists discover newfound energy. One’s place in the world has been unfixed, troubled, and unsettled. Philosophers and artists, stunned, rethink the terms for their critical positions and the formal aesthetics that shape their work. The moment is thus rife with anxiety in search of a response. As a film scholar, I find myself driven to script a response. Ironically, as I write I feel paused in time and space. My unfixedness in the shadow of the election put in motion what can best be described as quivering stasis. From my troubled place, an intellectual processing unfolded. I conjured ideas and images that invariably failed to yield a satisfactory response to what had come to pass. What had I seen? Felt? My psychical and physical response to current events might be likened to what Adorno refers to as “the capacity to shudder, as if goose bumps were the first aesthetic image” (437). It’s not a pretty picture. But we’ve known this all along.

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Wright, Damien, and Marco Bertamini. "Aesthetic Judgements of Abstract Dynamic Configurations." Art & Perception 3, no. 3 (2015): 283–301. http://dx.doi.org/10.1163/22134913-00002037.

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To date, aesthetic preference for abstract patterns has mainly been examined in the relation to static stimuli. However, dynamic art forms (e.g., motion pictures, kinetic art) are arguably more powerful in producing emotional responses. To start the exploration of aesthetic preferences for dynamic stimuli (stripped of meaning and context) we conducted three experiments. Symmetrical or random configurations were created. Each line element had a local rotation, and the whole configuration also underwent a global transformation (horizontal translation, rotation, expansion, horizontal shear). Participants provided explicit preference ratings for these patterns. As expected results showed a preference for dynamic symmetrical patterns over random. When global transformations were compared, expansion was the preferred dynamic transformation whilst participants liked the horizontal shear transformation the least. Overall, these results show that preference for symmetry persists and is enhanced for dynamic stimuli, and that there are systematic preferences for global transformations.

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Hui, Tingting. "Aesthetics of Care: Caring for the Mother with Chantal Akerman." Humanities 13, no. 3 (May 22, 2024): 79. http://dx.doi.org/10.3390/h13030079.

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Caring for the other is an ethical as well as an aesthetic question: but where does one end and where does the other begin? Rita Charon, in her work Narrative Medicine (2006), builds a strong case against such separation in medical care, or more precisely, against the negligence of what she calls “narrative competence”—defined as the ability to absorb, interpret, and translate stories of others. Charon compares the work of health professionals to that of a skilled translator, who reads not only words but also silences and metaphors. While Charon focuses primarily on developing the concept of care as aesthetic experience for health professionals, Yuriko Saito’s recent publication Aesthetics of Care (2022) draws a parallel between care ethics in general and aesthetic experience. Both, according to Saito, share the same attitudes such as open-mindedness, receptivity, respect, and collaborative spirit. In this paper, I will discuss the concept of care in Belgian film director Chantal Akerman’s later works: My Mother Laughs (2019) and No Home Movie (2015). Through different media—the former being a memoir and the latter a documentary—Akerman cares for her mother and bears witness to the end of her mother’s life. Taking cues from Charon and Saito, I argue that both media are media of care: they are aesthetic means of bearing witness to illness, trauma, love, and care. Especially through filmmaking, Akerman seems to have achieved the impossible: that is, the desire of the daughter not to take her eyes off her dying mother and look at her eternally. Such desire is also expressed in her film aesthetics: the long take inscribes a waiting becoming infinite; it is as if the movie, or the motion picture, is exposed to both a slow death and a passage to eternity. At the same time, unlike Charon and Saito, who position the carer as an ideal reader and viewer, I argue that Akerman as the carer is by no means perfect: her memoir offers a detailed account of her need to keep a distance and hide from her mother, and of her mother’s complaint about Akerman not sharing her life with her. Distance is what Akerman struggles with regarding her relation to her mother, and she struggles with it through writing and filming. In Akerman’s case, the ability to achieve the impossible with aesthetic media lies precisely in mediation and mediality: they enable a relation of care that is close, yet still maintains a safe distance.

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Ochonicky, Adam. "Memory patterns." Science Fiction Film & Television 17, no. 1 (February 2024): 1–27. http://dx.doi.org/10.3828/sfftv.2024.1.

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This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.

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Luiz, Tiago Marques. "Romeo and Juliet’s Rewriting in the Walt Disney Animated Movie Pocahontas: Adaptation Studies, Comparative Literature and Theory of Intertextuality." Cadernos de Tradução 43, no. 1 (January 24, 2023): 1–23. http://dx.doi.org/10.5007/2175-7968.2023.e87714.

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Intertextuality has been a driving force for Adaptation Studies, but few scholars have highlighted its relevance, rather prioritizing issues such as audience reception, cinematographic technique or aesthetics and, occasionally, fidelity. However, the starting point for any audiovisual production (be it film, television or theater) is the written matter, the text. Inserted within the field of Adaptation Studies in dialogue with Comparative Literature and Theory of Intertextuality, the present papers assesses the extent to which there are points of contact between William Shakespeare’s tragedy Romeo And Juliet the Walt Disney animated motion picture Pocahontas. The paper initially discusses the adaptation of Shakespeare’s text as a starting point for film productions, proceeding to theoretical reflections between Comparative Literature, Adaptation Theory, intertextuality and rewriting, and to the comparative analysis between the tragedy and the motion picture, which leads to the conclusion of a retroversive movement between source and adapted texts, which invites to the question of intertextual rewriting in Adaptation Studies

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Chapman, Alison Georgina. "ORNAMENT AND DISTRACTION: PERIPHERAL AESTHETICS IN THE NINETEENTH CENTURY." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 233–55. http://dx.doi.org/10.1017/s1060150316000590.

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In the section devoted to “Attention”inThe Principles of Psychology(1890), William James describes how the “‘adaptation of the attention’” can alter our perception of an image so as to permit multiple visual formulations (417). In his example of a two-dimensional drawing of a cube, we can see the three-dimensional body only once our attention has been primed by “preperception”: the image formed by the combination of lines has “no connection with what the picture ostensibly represents” (419, 418). In a footnote to this passage, however, James uses an example from Hermann Lotze'sMedicinische Psychologie(1852), to show how a related phenomenon can occur involuntarily, and in states of distraction rather than attention:In quietly lying and contemplating a wall-paper pattern, sometimes it is the ground, sometimes the design, which is clearer and consequently comes nearer. . .all without any intention on our part. . . .Often it happens in reverie that when we stare at a picture, suddenly some of its features will be lit up with especial clearness, although neither its optical character nor its meaning discloses any motive for such an arousal of the attention. (419)James uses the formal illogicality of the wallpaper (its lack of compositional center prevents it from dictating the trajectory for our attention according to intrinsic aesthetic laws) to demonstrate the volatility of our ideational centers, particularly in moments of reverie or inattention. Without the intervention of the will, James says, our cognitive faculties are always in undirected motion, which occurs below the strata of our mental apprehension. Momentary instances of focus or attunement are generated only by the imperceptible and purely random “irradiations of brain-tracts” (420). Attention, for James, is the artistic power of the mind; it applies “emphasis,” “intelligible perspective,” and “clear and vivid form” to the objects apprehended by the faculties of perception, it “makesexperience more than it is made by it” (381). Reverie, a moment when attention has been reduced to a minimum, thus demands an alternative aesthetic analog, where composition is reduced to a minimum too.

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Nepiypov, Vladyslav V. "HYPERREALISM IN DIGITAL CINEMA (BASED ON THE ANALYSIS OF LOVE, DEATH & ROBOTS ANTHOLOGY SERIES)." Art and Science of Television 17, no. 3 (2021): 73–94. http://dx.doi.org/10.30628/1994-9529-2021-17.3-73-94.

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The article is devoted to the aesthetic features of digital cinematography. Due to the widespread use of computer graphics in films, traditional methods of analyzing cinema are no longer enough. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the nature of film. Digital cinema, based on contemporary technologies, no longer builds on the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen. Objects created with the help of computer graphics can transform and go beyond the simulated real objects, while remaining photorealistic, unable to exist outside the framework of the screen and the particular film. Using classical film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christian Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malthe Hagener, the author analyzes the process of transition of digital objects from photorealistic to hyperrealistic ones, which today can be identified as real, while not existing in reality. This phenomenon is of undoubted interest for the academic study of new forms of realism in digital cinema. Based on the analysis of the Snow in the Desert episode from the Love, Death & Robots anthology series, the author traces the development of hyperrealism in digital cinema. Through state-of-the-art digital filmmaking technologies combining both graphic and photographic techniques—motion capture, digital cloning of actors, real-time fluid and environment modelling—we have a new kind of cinematography that is not limited to classical methods of filmmaking, but goes beyond cinema itself, merging with animation and video games. All these processes affect the film aesthetics and make it more malleable, free and less restricted by the classical understanding of motion picture.

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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.

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Melbye, David. "Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’." Short Film Studies 13, no. 1 (March 1, 2023): 35–48. http://dx.doi.org/10.1386/sfs_00090_1.

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Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.

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Ananeva, S. V. "RUSSIAN PROSE OF KAZAKHSTAN: EURASIANITY AND DIALOGUE OF CULTURES." EurasianUnionScientists 7, no. 5(74) (June 14, 2020): 6–9. http://dx.doi.org/10.31618/esu.2413-9335.2020.7.74.773.

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The poetry of the large genre form –the story and the novel includes «openness» as a fundamental opportunity that is endowed with the author and the reader. The poetics of works «in motion» creates a new mechanism of aesthetic perception, expanding the national picture of the writer's world. The concept as a focus of knowledge about the world expands the boundaries of the study of prose by I. Schegolikhin, T. Frolovskaya and K. Keshin. The concepts of the Motherland, memory, oblivion in the literary texts of Russian writers of Kazakhstan are extremely important. A literary work enters into complex non-textual relations with the surrounding reality, expanding the spiritual horizon of society, while preserving traditions and continuity

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CHO, Kang Sok. "A STUDY ON THE ASPECTS OF EUROCENTRISM AND DIFFUSIONISM REPRESENTED IN FOREIGNERS’ TRAVEL RECORDS ON KOREA IN EARLY 1900s." International Journal of Korean Humanities and Social Sciences 3 (July 8, 2017): 117–26. http://dx.doi.org/10.14746/kr.2017.03.07.

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This paper deals with three different perspectives appeared in foreign visitors’ records on Korea in 1900s. Jack London was a writer who wrote novels highly critical of American society based on progressivism. However, when his progressive perspective was adopted to report the political situation of Korea in 1904, he revealed a typical perspective of orientalism. He regarded Korea and ways of living in Korea as disgusting and ‘uncivilized.’Compared with Jack London’s perspective, French poet Georges Ducrocq’s book was rather favorable. He visited Korea in 1901 and he showed affectionate attitude toward Korea and its people. However, his travel report, Pauvre et Douce Coree, can be defined as representing aesthetic orientalism. He tried to make all the ‘Korean things’ seem beautiful and nice, but it is true that this kind of view can also conceal something concrete and specific. This perspective at once beautifies Korea and also conceals the reality about Korea.E. Burton Holmes was a traveler and he often used his ‘motion-picture’ machine to record things he witnessed while travelling around worldwide countries. So, his report (travelogue) and motion picture film on Korea written and made in 1901 was based on close observation and rather objective point of view. Nonetheless, he couldn’t avoid the perspective of the colonizer’s model of the world, in other words, geographical diffusionism of western culture.

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Alazawi, Muhammed, and Bushra Alrawi. "Denotation of Narrative Features in Television Advertising (A Semiotic Approach to Mr. President's Declaration)." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 144–71. http://dx.doi.org/10.35516/hum.v49i1.1651.

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The research summarizes the knowledge of the dimensions and denotations of T.V advertisement; and its constituents for building it through the semiotic approach of an ad sample represented by the announcement of Zain Kuwait Telecom Company which carries the title "Mr. President" using Roland Barth's approach, starting with the designation, implicit, and linguistic reading to reach the narrative features and their denotations. That makes television advertising as a semiotic and pragmatic discourse in view of the still and motion picture with its efficiency and strength to inform and communicate. And what lies in it of aesthetic, artistic elements; informational and effective power in influencing the recipients by focusing on narratives and anecdotes; narrative structure; and TV advertising with an attempt to present an applied model.

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Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.

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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.

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Galak, Eduardo. "Argentina y España: representaciones de la juventud y la cultura física argentinas en imágenes del NO-DO español." Historia y Memoria de la Educación, no. 13 (December 14, 2020): 579. http://dx.doi.org/10.5944/hme.13.2021.27839.

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The aim of this article is to analyze the uses of documentary informative cinema as a cultural artifact which was employed as a pedagogical device. To do so, we studied motion pictures filmed in Argentina and shown in Spain in the second quarter of the 20th century, in an attempt to understand how a symmetrical aesthetic is shaped to narrate the bodily practices of youth. Informative documentary cinema, especially newsreels, constituted a resource for mass communications. A familiarity can be observed between the Argentinean images analyzed between 1938-1955 in Sucesos Argentinos, with others made in the second quarter of the 20th century in Spain, through No-Do. In addition to economic, political and cultural influences, Argentina imported into Spain ways of narrating state-organized physical culture. Sheltered in a nationalist rhetoric characteristic of the interwar period and the Second World War, it can be affirmed that there was a transnational aesthetic of how to narrate correct corporal and cultural comportment. Through images that were projected in theaters in these countries, newsreel broadcasts simultaneously and homogeneously transmitted the same discourse –everything, to everyone, at the same time–, resulting in a true transnational pedagogy. In short, a pedagogy outside the school walls is studied through informative documentary film images from the second quarter of the 20th century that aimed to form bodies and sensibilities.

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Malina, Frank J. "Kinetic Painting: The Lumidyne System." Leonardo 40, no. 1 (February 2007): 81–90. http://dx.doi.org/10.1162/leon.2007.40.1.81.

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The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a transluscent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent colour with time. The need for aesthetic guide lines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after ten years of experience with it, as a practical, controllable and economical artistic medium.

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Ridene, Faten. "The Black magic: An aesthetic analysis of its illustration in the sociohorteur film: Dachra." CINEJ Cinema Journal 10, no. 1 (December 19, 2022): 124–49. http://dx.doi.org/10.5195/cinej.2022.464.

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Throughout the history of the humanity, and not withstanding of the humankind; the black magic has always been, and is still, an ugly and frightening human folklore in many cultures, whatever would be their religions and beliefs ; and from which, they are still suffering until nowadays, due to its distinction with mysterious and suspicious practices that have been imprinted in the identity of mankind, as a point of contention that transcends different sects and races. Discussing such issue is deeply hated by most of the populations, due to the huge rate of horror and frightens it may push the interlocutors to feel: what if such an internationally suffering from problematic is treated through a motion picture? Would its receiving and comprehension be better and easier? And how would a horror movie be a film d’auteur, horror and social one at the same time? Will there be a difference in the way of receiving it by the audience? And would the fact of being predecessor and identificatory at the same time, positively influence its distribution? We will try to answer all those questions through our article that we baptise: The Black magic: an intangible cultural heritage in defiance of the human will-An aesthetic and analytical lecture of its illustration in the sociohorteur movie: Dachra made by Abdelhamid Bouchnak

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Sulaiman, Annas Marzuki. "Kajian Bentuk Visual Iklan (Studi Kasus Iklan Oreo Versi Bayangkan Kuberi Oreo Saat Ramadhan)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (August 31, 2016): 137–50. http://dx.doi.org/10.33633/andharupa.v2i02.1182.

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AbstrakTujuan dari penelitian ini adalah untuk mengetahui dan menganalisis bentuk visual dalam iklan Oreo versi “Bayangkan Kuberi Oreo Saat Ramadhan” di televisi dengan menggunakan pendekatan Estetika Media Terapan. Dari analisis yang telah dilakukan berdasarkan kontekstual visual iklan yang membagi elemen gambar menjadi lima elemen yaitu: cahaya dan warna, ruang dua-dimensi, ruang tiga-dimensi, waktu/gerakan, dan suara. Iklan Oreo “Versi Bayangkan Ku Beri Oreo Saat Ramadhan” menggambarkan bahwa Oreo sebagai brand yang sangat akrab dengan konsumen, menghadirkan momen Ramadhan yang istimewa dengan saling berbagi menikmati keajaiban dan membangkitkan kembali jiwa kanak-kanak. Pada akhir iklan terdapat adegan yang menunjukkan bahwa iklan Oreo versi ramadhan bagian dari kampanye iklan global yang sudah ada yaitu "Berbagi Keajaiban". Selain itu, Iklan Oreo Versi Ramadhan ini merupakan jenis pengingat (reminder advertising), tujuannya untuk memberitahu pelanggan tentang keberadaan merek oreo yang menawarkan karakteristik dan penggunaan yang sama. Kata Kunci: iklan, televisi, Oreo, Estetika, Ramadhan AbstractThe purpose of this study was to determine and analyze the visual form in the Oreo ads version “Imagine Me Give Oreo During Ramadhan" on television by using the approach of Applied Media Aesthetics. From the analysis has been done based on contextual visual ads that divides the picture elements of video ads in five elements namely: light and color, the space of two-dimensional, three-dimensional space, time/motion and sound. The Oreo ads version "Imagine Me Give Oreo During Ramadhan" illustrates that the Oreo as a brand is very familiar with the consumers, presenting the moment of Ramadan special by sharing experience the magic and rekindle the spirit of childhood. At the end of the ads is contained scenes show that this Ramadhan version Oreo ads is part of a global advertising campaign that already exists is "Sharing Miracles". In addition, this Ramadhan version Oreo ads is a kind reminder (reminders advertising), aim to inform customers about the existence of Oreo brand still offers characteristics, and the same usage. Keywords: advertising, television, Oreo, Aesthetic, Ramadhan

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Labuznaya, V. Yu. "Comparative Study of Daphne du Maurier’s Rebecca Film Adaptations. Chronotope of a “Castle”." Art & Culture Studies, no. 4 (December 2021): 332–61. http://dx.doi.org/10.51678/2226-0072-2021-4-332-361.

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The article performs the comparative study of Daphne du Maurier’s Rebecca film adaptations. It investigates motion pictures by A. Hitchcock (1940), R. Milani (2008) and B. Wheatley (2020). The analysis of the narrative-discursive techniques used by these authors aims to consider the problem of screen representation of the Rebecca’s specific spacetime model. The main investigated subject is the screen image of Manderley estate, its impact on diegesis, plot and symbolism in these movies. Manderley as an aesthetic complex corresponds to the chronotope of the “castle” in the interpretation of M. Bakhtin. Accordingly, the comparative study of the operations performed with it reveals the most important characteristics and traits of this spacetime model and shows how it applies with the detective genre or plots with a detective component. The “castle” as a spacetime structure that outlines the external boundaries and sets the internal laws of diegesis; its role in the “mystery” logics and the development of detective intrigue; “castle” as a plot-forming principle and metacharacter — all these questions concerned in terms of screen arts.

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Mitroiu, Simona. "Challenging the Roma Structural Discrimination: Deterritorialization Practices in Romanian Cinema." Metacritic Journal for Comparative Studies and Theory 7, no. 2 (December 17, 2021): 46–68. http://dx.doi.org/10.24193/mjcst.2021.12.03.

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This paper examines the cinematographic reworking of memory spaces associated with power relations and structural injustice. The way in which space is represented and used as a medium that reflects power relations allows to question the space itself in cultural productions from Central-Eastern Europe when associated with Romani people (space and power relations, memory of slavery and discrimination, space and freedom, territoriality, space and its inhabitants, non-belonging, segregation, etc.). The paper focuses on motion pictures produced in the last decade in Romania, a prolific period due to the increasing interest for memory activism and to the multiplication of the cultural exploration of challenging topics. It aims to identify narrative, visual, and aesthetic expressions used as deterritorialization practices to stimulate relational remembrance and engagement with ongoing social inequality and structural injustice. Two short films – Alina Șerban’ s Bilet de iertare (Letter of forgiveness) and Adrian Silișteanu’s Scris/Nescris (Written/Unwritten) – and a western type film – Radu Jude’s Aferim!, winner of the Silver Bear for Best director at Berlinale in 2015, are analysed here.

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Pasopati, Rommel Utungga, Fransisca Irnidianis Magdalena Suyaji, Kheista Sasi Kirana, Riska Dewi Ramadhani, and Kusuma Wijaya. "Intricateness of Adaptation of Literature to Film in Today’s Crisscrossed World." Journal Corner of Education, Linguistics, and Literature 3, no. 4 (May 3, 2024): 390–400. http://dx.doi.org/10.54012/jcell.v3i4.282.

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This paper investigates the realities of literature adaptation to film in today’s world of literary criticism. People enjoy motion pictures and compare them with its original textual Literature. By focusing on literary criticism theories, this article explains modern to postmodern aesthetic points, especially in the era of definitions in romanticism, reflectionism and its auto, empiricism until pragmatism, and the age of language beyond communication. Through those former points, the adaptation of Literature to film brings in a wider point: the world itself. The adaptation is shown to broaden concepts and interpretations among writers, directors, and also audiences. Every aspect is so active to interpret in today's crisscrossed world that meanings vary from critical and evaluation perspectives. The adaptation is not about merely fixed definitions or even market orientations but open meanings on dialogues among realities. Any measurement from Literature or film is never enough to compare adaptation to its original form since it is located between individualities and societies. In conclusion, the adaptation of Literature should indicate that dominations must be minimized by maximizing hospitality of differences.

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Yetimova, Serhat, and Abdrasul İsakov. "An Analysis of the Kurmanjan Datka Movie in the Context of Historical and Ideological Film Criticism." Galactica Media: Journal of Media Studies 6, no. 2 (May 20, 2024): 96–120. http://dx.doi.org/10.46539/gmd.v6i2.434.

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Kurmanjan Datka Queen of the Mountains (2014) is a Kyrgyz historical drama film directed by Sadyk Sher-Niyaz tells the story of Kurmanjan Datka from Kyrgyz history. In this article, how the mentioned motion picture is discussed in Central Asian, Russian, Turkish and Western digital media is analyzed comparatively in the context of historical and ideological film criticism. It is tried to be understood how each country interprets the film in their own media, how they look at the history of Kyrgyzstan and its ideological discourse. In the research, critical discourse analysis method was used and conceptual and thematic classifications were made. At the end of the research, while more history and politics were discussed in the Central Asian media, the Russian and Turkish digital media did not show enough attention to the historical flow, while the Western digital media discussed the film in a multifaceted way in the context of economy-political, identity, gender and aesthetics. Another remarkable difference was that some of the Kyrgyz or Kazakh critics (especially statesmen, historians or artists) criticized the film on the economic-political axis. The in-depth and multidimensional criticisms of the film developed by the eastern critics were found in the Western media or Western journalists gave place to these views in their own digital media.

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Miller, Gavin. "“Science fiction without gadgets” and the normalization of cognitive impairment." Science Fiction Film & Television 15, no. 2 (June 1, 2022): 145–68. http://dx.doi.org/10.3828/sfftv.2022.13.

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The motion picture Charly (1968) stars Cliff Robertson as a cognitively impaired bakery worker who undergoes an experimental intelligence-enhancing neurosurgical procedure that temporarily grants him superhuman intelligence. Although Charly may seem merely to endorse the dominant sf trope of cure for disability, it offers a complex and equivocal engagement with the growing “normalization” agenda in the 1960s US, by which cognitively impaired persons were moved out of institutions in order to lead lives as close to culturally normative as possible. The movie partly affirms normalization and its social critique through the narrative continuity between Charly before and after his neurosurgery, and by the inclusion of cognitively impaired children within the cast. Robertson’s performance also conveys Charly’s deliberate performance as an object of ridicule within his workplace. However, Charly also gestures to ongoing anxieties about the sexuality of cognitively impaired persons, and it questions the normative valorization of intelligence in modern society. Although the movie’s plural visual style was criticized by contemporary reviews, its aesthetic offers a dialogic model of the self, and resists the centripetal tendency to filmmaking within a single authoritative or neutral style.

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Кривошей [Krivosheĭ], Димитрий [Dimitriĭ] А. [A ]. "Частный сектор культуры Республики Беларуси: становление и развитие (1991–2008)". Acta Baltico-Slavica 34 (31 серпня 2015): 289–300. http://dx.doi.org/10.11649/abs.2010.016.

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Private sector of culture of the Republic of Belarus: formation and development (1991–2008)In the given research the author on the basis of the historical and genetic analysis, methods of typology and deduction represents the basic segments of sphere of culture of the Belarus in which private subjects of culture have arisen and developed. The analysis of achievements and lacks of the given phenomenon is carried out, the factors influencing development are marked.The private sector in sphere of culture of Belarus in 1991–2008 could not create appreciable enough competition to official bodies. In cultural aspect only some projects became really platforms for experiment. First of all it concerns theatrical creativity, motion picture arts and painting.Development of a competition was not promoted by a state policy creating unequal conditions for development (tax privileges, rent decrease, etc.). Negative influence on formation of private noncommercial sector has rendered absence of the developed legislation on sponsorship and patronage of arts.Private establishments in culture sphere were created both the commercial organizations and individual businessmen, and the private persons far from business. The aspiration to profit not always was the main thing for businessmen. Private theatre in Gomel, a museum‑drugstore in Grodno, picture galleries were created by businessmen for the purposes more likely aesthetic, for confirmation of the status. The satisfaction of personal ambitions, the aspiration to be more available to public was the main thing for noncommercial projects. Most brightly it is appreciable in museum business (A. Bely, J. Gil’s museum).The projects arisen and developing on a wave of political disagreements in the country are present at a private sector of culture of the Belarus (cinéma vérité, museums).It is necessary to ascertain full absence in the country of private cinemas and film studios of game cinema, the organizations of national crafts, circuses.

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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.

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Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.

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Ringle, Carter. "Mind, Music, and Motion Pictures: The Making and Remaking of the Sensuous Consumer - Joshua Yumibe. Moving Color: Early Film, Mass Culture, Modernism. New Brunswick, NJ: Rutgers University Press, 2012. 230 pp. ISBN 9780813552965, $72.00 (cloth). - Lauren Rabinovitz. Electric Dreamland: Amusement Parks, Movies, and American Modernity. New York: Columbia University Press, 2012. 256 pp. ISBN 9780231156608, $82.50 (cloth). - Neil Verma. Theater of the Mind: Imagination, Aesthetics, and American Radio Drama. Chicago: University of Chicago Press, 2012. 296 pp. ISBN 9780226853505, $90.00 (cloth). - Timothy D. Taylor. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press, 2012. 368 pp. ISBN 9780226791159, $40.00 (cloth)." Enterprise & Society 16, no. 2 (April 16, 2015): 446–63. http://dx.doi.org/10.1017/eso.2015.1.

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Banisudha, Bilambita. "Bandīś-s in khayāl of Indian classical music: a study of selected song-texts with special reference to the bandīś-s of sadāraṇg in Hindustani music". International Journal of Visual and Performing Arts 4, № 1 (27 червня 2022): 61–76. http://dx.doi.org/10.31763/viperarts.v4i1.633.

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Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. The main objective of this research is the presentation and style of certain rags, as well as the improvisation of the melodic structure. The data obtained by recording the song's melody audio technique and watching the concert live and all of them will be used to analyze and check the composition of the song. The musical analysis is carried out with respect to Rāg. This is because a composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics, such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. The results of this study indicate that compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component)

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Şahin Çeken, Kübra. "EXAMINATION OF TENTH VILLAGE WORKS IN THE CONTEXT OF SOCIAL AND REALISTIC ART." Social Science Development Journal 7, no. 29 (January 15, 2022): 26–37. http://dx.doi.org/10.31567/ssd.543.

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In this study, in the context of Social Realism, two different works of art, the novel Fakir Baykurt and the painting by Nedim Günsür, named "The Tenth Village" will be examined. In the study, “How is the social realist art in the works of the novel Fakir Baykurt and the painting of Nedim Günsür, Tenth Village?” The research question was answered and the study was carried out with content analysis method on the basis of qualitative approach. For the study object, the harmony and separations in the works, which are handled in an inter-artistic dimension and constitute the aesthetic link between the two art disciplines, are focused on. In line with the purpose of the research, the works, their lives and education, as well as their understanding of art, are discussed in order to get to know the artists better. Then, the novel written by Baykurt in the social realist style was emphasized, and the features and meanings in the literary text were mentioned. At the same time, Günsür's artistic orientation; The relationship between figure and environment has been examined in terms of internal motion and depth applications. The literary and picture elements in the novel were determined and the elements of appropriation were determined in the table. Obtained findings are presented by interpreting. In the study, while the real plot and the author's shaping were seen in the formation of the literary text, the painter remained faithful to the text in the composition he created and presented the quotation he received directly to the receiver, without dividing the subject in both of his works. Based on these results, it can be stated that branches of art branching out within themselves come together with inter-arts and feed each other. In addition, since the other works of the two social realist artists reflect the same period and society in terms of subject, they can be examined in different studies in the context of interartism.

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Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky." Artefact 7, no. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.

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The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.

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Fragoso e Castro, João, Paulo Bernardino Bastos, and Heitor Alvelos. "Emotions on pictures in motion." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a195.

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Movies are stories that convey the viewer to intensely experiment deep-rooted emotional messages. Film contents are predominantly delivered through vision and audition perceptive channel senses, with a wide gamma of colour sets and sound atmospheres managed to create moods, able as well to generate equilibrium awareness effects, as motion pictures glide through our attention. They can trigger emotions, thoughts and memories, derived of personal ecosystem attention structures. Distinct behaviours at the message interpretation are predisposed by cultural antecedents, validation associations and a reflection of individual emotions. Communication is a process of interaction, that leads the individual to establish perceptual and cognitive relationships with the transmitted message, such as: sensing, selecting and signifying. Therefore, meanings generated by the movie scene unravelling can be enhanced by detailed scenic cinema photography composition, as well through electing specific hue palette, saturation and brightness on image implementation, features that drive to conform an involving narrative, modulating the communication space mediation on movie creation. The semiotic field understanding, at cinema photography aesthetics and color-grading, bring about new insights of how to achieve meaningful messages, that can produce enjoyment and connection between people, within the cinematic masterpiece.

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Kochetkov, Maksim V., Olga G. Smolyaninova, Alevtina N. Speranskaya, and Ekaterina M. Chebotareva. "Activity-Related and Sociocultural Grounds for Foreign Language Education of Adults who Lack Expressed Motivation for Cognitive Activity." Journal of Siberian Federal University. Humanities & Social Sciences, March 2021, 341–50. http://dx.doi.org/10.17516/1997-1370-0725.

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The paper considers the problem of forced rather than self-actualized teaching of a foreign language to students, educators and representatives of other practical fields of activity. Theoretical and methodological backgrounds for solving this problem are revealed on the basis of the humanistic and activity-based traditions of psychological and pedagogical knowledge. Activity-related traditions are analyzed in regard with the potentialities of appropriate approaches to learning to stir cognitive interest while educational process. Humanistic traditions designed to individualize education are explored in the context of psycho-corrective capabilities of educational activity, its conformity to the world outlook, cultural needs and psychological characteristics of a learner. The practical side of this study consists of methodological recommendations on the application of Baitukalov’s method of teaching foreign languages. Within the framework of Baitukalov’s methodology, the activity-related aspect of sociocultural foreign-language immersion is actualized through feature films. Fragments from feature films are used for the humanization of education as well. In the paper it is also substantiated that the fragments of motion pictures recommended for memorization through role playing not only contribute to the development of the communicative competence, but also make the psycho-correcting effect on the learner’s consciousness. The paper makes emphasis on fairy-tale stories, positive situations from films, where heroes overcome external circumstances successfully and change and grow personally. Besides, a characterization of a number of feature films is given. The criteria for the selection of feature films should be based on the individual characteristics of a person. It is recommended to unite the efforts of specialists for the experience exchange of using the feature films potential. The provision of «ecological safety» (that concerns ethics, moral, etc.) and aesthetics while selecting the certain fragments of film production for education purposes is asserted as the essential problem of the noted experience exchange. Further development of Baitukalov’s methodology is suggested in the aspect of the teaching potential of feature films, as well as in increasing the efficiency of cognitive activity at the expense of equal time intervals between key semantic units (words, images, etc.) with at least threefold repetition of key information

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Panek, Elliot. "Creative Communities after Television: The Collective Authorship of Channel 101." M/C Journal 9, no. 2 (May 1, 2006). http://dx.doi.org/10.5204/mcj.2615.

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The recent proliferation of the video shorts on the Internet may provide a glimpse of the future of production and distribution of motion pictures. One such short, Lazy Sunday, was produced by cast members of the long-running network television program Saturday Night Live. Cast member Andy Samberg had come to the attention of network producers when they saw several comedy sketches he produced and starred in on the Internet. The popularity of Samberg’s original online-distributed videos did not occur strictly as the result of the virus-like linking and e-mailing distribution pattern that is quickly becoming more common. Rather, these videos achieved exposure on Channel101.com, a Website that functions as a forum and distribution outlet for short video makers. Channel 101 is an interesting example of a hybrid mode of production and distribution of motion pictures, borrowing elements of a film festival and a Website to showcase five-minute videos created by members of the general public. It is the brainchild of two freelance television writers, Dan Harmon and Rob Schrab. There are two key components to Channel 101: a monthly competitive screening of short videos held in Los Angeles and a Website that features downloadable short videos as well as a forum for discussing the creation and content of those videos. When a short video is submitted to Channel 101 by a member of the general public, the selection committee will reject it immediately or pick it up as a “pilot.” If chosen as a pilot, it is then screened in front of a live audience of roughly 300 at Cinespace, a screening room-cum-bar in Los Angeles. The members of the audience are shown ten videos, five pilots and five ongoing series, and are asked to vote for their five favourites. At this point, the audience can elect to reject the pilot, thereby “cancelling” the show. If the audience decides that the video is one of the best five of the ten, the show is “renewed,” and the creators of the video make a new episode for the next month’s screening, resulting in a video series with ongoing characters. These shows are referred to as “prime time” shows and their creators are referred to as “Prime Timers.” These Prime Timers become the selection committee that screens initial submissions. The inception of Channel 101 in the spring of 2003 coincided with the rapid proliferation of broadband Internet access that has made downloading short video clips possible for a growing number of people. The popularity of the site, as well as the rhetoric used by Channel 101’s creators in forums, articles, and other elements of the Website’s discourse, indicate a demand for media that is not a product of the increasingly consolidated media production and distribution infrastructure. It is gaining popularity at a time when two popular modes of regulated production and distribution of motion pictures—film and television—have developed massive infrastructures and standardised labour that, by virtue of their size, are resistant to rapid change. The Channel 101 enterprise presents an alternative arrangement of creators, distributors, and audience members by shortening the time period that any single individual may occupy any of these roles and by increasing the accountability of the creators and distributors to the audience. As a result, the short videos produced and distributed by Channel 101 are products of a creative community, rather than creations of individuals with discrete artistic sensibilities. The creators of Channel 101 claim their unique mode of production and distribution of serialised entertainment constitutes an improvement on the network television system because it prevents creative control from residing in an individual or a small group of individuals for a sustained period of time. However, upon closer examination, it may have much more in common with the television mode of production and distribution than the haphazard home-video quality of viral videos, as well as the ephemeral paths they take to reach viewers online. In this analysis, I aim to discover the ways in which Channel 101 actually differs from that traditional television model and the ways in which it duplicates the consolidation of creative power that exists in the corporate creation and distribution of serialised entertainment. If one examines the aesthetics of the videos on the site, one finds that they are as homogeneous as those of any cable or network television prime time line-up, if not more so. This is not the result of a single, powerful individual controlling the content of the enterprise, but rather a product of a unique power structure that encourages a consistent tone, style, and content by promoting collective authorship. Though the occupiers of the creative roles may change, the individuals who occupy those positions are all equally obliged to indulge the relatively stable and homogeneous desires of the entire community. In “Unconventional Programs on Commercial Television,” Joseph Turow makes connections between personnel shifts at the network executive level and changes in the content and style of programming. By accounting for the implicit social aspect of production and distribution, including friendships and working relationships, Turow sheds light on processes that have an impact on programming but may not necessarily show up in official documentation of the producer/distributor’s day to day affairs (Turow 126). While the programs Turow studied exhibited properties that set them apart from most network television fare, they were often produced or written by members of a single social network. There was an internal implicit norm that members of this creative community adhered to. This “web of relationships” reduced the risk for network executives and producers by guaranteeing some regularity in the product (Turow 126). Even in a system where there is no financial risk to creators or gatekeepers, such as the Channel 101 system, which is vehemently not-for-profit, the need for programming that is both unconventional yet predictable in terms of its perceived quality persists. Social networks have always been a part of the tightly knit community of television writers and producers. The rise of social networking sites on the Internet has made these connections visible, and arguably increased the size of such networks, as well as the speed with which they change. As much as the variations in visibility, size and rate of change of the social connections impact the end product, its worth keeping in mind that Channel 101, like so many online entertainment collectives, draws together groups of people who have pre-established social bonds from the offline world. Several of the video makers who contribute to Channel 101 have worked in the television industry. The importance of existing social networks to the collaborative creative process cannot be overestimated. Message boards play an integral role in conveying what shows are popular with the Channel 101 audience, as well as providing a way for video makers to organise collaborations. In these ways, Channel 101 is as much a social enterprise as it as an entertainment enterprise. As more and more structural functionalist analyses of the culture industry reveal its increasingly Byzantine inner workings, the romantic twentieth-century notion of the individual author appears to be not long for this world. Collective authorship may well be the paradigm for studying a society in which Internet use is constantly gaining ground on more traditional forms of recreation such as film and television. However, something is misleading about the term “collective authorship.” The term implies that members of this creative collective contribute equally to the finished product, when this is rarely, if ever, the case. Similarly, there may be the temptation to believe that a collective author is less likely to be out of touch with the desires of the audience than an individual who stubbornly follows his or her muse, oblivious to the preferences of others. In truth, collective authorship, as a practice or an analytical approach, may merely paper over unequal levels of creative power within the cultural production scheme. By scrutinizing creative communities such as Channel 101 from a structural functionalist standpoint, we may move towards a more nuanced view of the collective author. References Channel 101. 25 Nov. 2005 http://www.channel101.com/>. DiMaggio, Paul, and Paul Hirsch. “Production Organizations in the Arts.” American Behavioral Scientist 19.7/8 (1976): 735-752. Lin, Nan. Social Capital: A Theory of Social Structure and Action. Cambridge, MA: Cambridge UP, 2001. Turow, Joseph. “Unconventional Programs on Commercial Television: An Organizational Perspective.” Mass Communication in Context. Ed. Charles D. Whitney and Ettema James. Beverly Hills, CA: Sage, 1982. 107-129. Citation reference for this article MLA Style Panek, Elliot. "Creative Communities after Television: The Collective Authorship of Channel 101." M/C Journal 9.2 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0605/12-panek.php>. APA Style Panek, E. (May 2006) "Creative Communities after Television: The Collective Authorship of Channel 101," M/C Journal, 9(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0605/12-panek.php>.

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Uhde, Jan. "Lost in Transit." Kinema: A Journal for Film and Audiovisual Media, April 10, 1997. http://dx.doi.org/10.15353/kinema.vi.853.

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A TORTUOUS PATH: FROM THE FILMMAKER TO THE VIEWER MOST discussions and writings on the subject of motion pictures, including those scrutinizing film's structural characteristics, aesthetic qualities, and effects on the audience, have traditionally referred to the film work in a relatively abstract sense, i.e. without considering the actual state of the film print as projected. Their authors tacitly imply the existence of the "perfect print" -- a complete and authorised version presented to the viewer in an immaculate state without distortions, as if just released from the studio's laboratory, released without delay and screened on an adequate projection equipment in an equally appropriate environment. Film is generally understood as a recorded medium which allows each print to be repeatedly screened, thus generating a series of identical performances; this inherent quality makes movies different, for example, from the stage play or a musical interpretation where every single performance is...

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Atanda, Yemi. "Film Review: Jagun Jagun, Nigeria, 2023. Produced by Euphoria 360 Media. Netflix. 129 minutes, Yoruba (with English subtitles). No price reported. Directed by Tope Adebayo and Adebayo Tijani." Yoruba Studies Review 8, no. 2 (November 14, 2023). http://dx.doi.org/10.32473/ysr.8.2.134899.

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I intend to argue in this review that the Yoruba film Jagun Jagun represents the transition of the Yoruba Travelling Theatre into the big screen motion picture. It has been a remarkable transformation from stage crafts to filmic crafts, while still retaining the “family” involvement in the vibrant business innovations of the New Nollywood. Doing this focuses on configuring the interface between technology and entrepreneurship with its attendance use of traditional visual elements, songs, dance, imageries, metaphors and other Yoruba poetic renditions for aesthetic values. However, it is noted that the inappropriate mingling of both traditional and modern visual effects influenced by the Western postmodernist style in filmic framing, composition, sound, music and war combat mode. Generally, the film occludes the postcolonial thematic relevance in the modern political African leaders in their visionless Machiavellian ideology.

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