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Script of the movie “Infi nite Minutes”, directed by Cecília Felméri, based upon the novel “Az élet”(The Life) by János Szántai. The movie was awarded at numerous film festivals (ClujShorts – 2013, Cinefista IFF Puerto Rico – 2012, Vilnius IFF – 2012, etc.)
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By this paper, we analyze the way as the motive of football hooliganism in several movies produced at the beginning of the XXI century. Beside presenting the manner in which the football hooligans antihero we present its social background too. The presentation is axed especially on films, but other sources are also used.
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About the documentary:Genocide: Worse than War, (2010). Directors: Mike DeWitt and Daniel Jonah Goldhagen
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The most important issue filmmakers, artists, producers and managers of the film industry are facing these days is to find a way (or more) to renew cinema in such manner that it doesn’t lose its specificity, that it doesn’t simply dissolve among the other forms of media and art.
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The essay presents the use of costumes and sets in the eastern martial art films by comparing three films. These films pay special attention on the colours, materials, forms of the costumes worn by the different characters. The study presents the correlation between the colours of the costume and the narrative strata of the film, how the protagonists are devided into groups, and how these two factors contribute to the unfolding of visual world of the film.
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The American and Eastern tradition mutually influence each other. The present essay analysis the presence of these two in a typical eastern martial art-film. It presents the Hollywood type narrative and the exact choreography of the wuxia-films, including the characteristic image building techniques presented in the film. This movie is able to capture the attention of both the American and the Eastern public due to the use of these two different traditions.
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The study presents the rhythmical characteristics of the Eastern martial art films drawing a parallel between the rhythm of the film and the musical rhythm. It also presents the technical methods (cutting, the conduct of the actors etc.) that contributed to the unique visual world and movement. The study concludes that the success of the martial art films is contributed to the joint effect of the martial arts, music and films.
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This paper aims to present the ways in which Ben Russell’s films, the quarry and TRYPPS #7 (BADLANDS), tend to draw on conventions traditionally associated with ciné-trance (TRYPPS #7), as developed by Jean Rouch, and film-performance (TRYPPS #7 and the quarry). While both pictures invoke the presence of the sublime, the quarry transforms the featured landscape into an image-object and hence fails to represent the lived experience and instead provides the audience with a spectacle or a sensation simultaneously engaging them in the performance on their own terms. Meanwhile, TRYPPS #7’s reliance on ciné-trance becomes more evident in its attempt to expose the hypnotic and deceptive capabilities of moving-image media, which do not only distort the spectator’s rational sense of space and perspective, but also connote the phenomenon of possession itself through featuring the protagonist’s narcotic trance. To achieve the desired effect, Russell creates an atmosphere of sublimity and transcendence by means of structural and avant-garde film’s devices that transcend the realist–narrative paradigm of anthropological filmmaking, including static and kinetic montage, multiple perspectives, hand-held and rotating camera movements, intimate long takes or fixed shots of extended duration.
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In 2011, Jonas Mekas and José Luis Guerín finished their collective film project, Correspondence: Jonas Mekas – J. L. Guerín, a series of ‘film-letters’ between the two contemporary filmmakers. The film starts with Guerín (Letter to Jonas Mekas no. I), and ends, also with Guerín (Letter to Jonas Mekas no. 5). The film includes nine film-letters between the two. The film is interesting, as it is not only a project across time and space – it took three years to complete, and the correspondences sent and received from numerous locations across the globe – but is also that rarest of filmmaking, so close to diary film and first-person cinema, yet with something different waiting to be discovered.In this paper I shall discuss the following characteristics in the film correspondence between Guerín and Mekas, in order to give a clearer picture of what exactly is a film-letter:1) When is the (real) beginning of film-letters?2) The continuity and exchange of the filmed subjects and themes.3) The narration: the use of images plus voice-overs in film-letters.4) The question of audience.
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In this article investigational creation and pedagogical activity of the modern Ukrainian film director of documentary films, Honoured worker of arts of Ukraine, professor, real member (academician) of Eurasian Academy of television and broadcast Yriy M. Tereschenko.
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Synopsis This understated ethnographic film provides an intimate view of a refugee center where over fifty families have lived refugees for twenty years after the war. Despite their isolation and neglect, some families engage with their children who were born as refugees and remain refugees in their own country in menial tasks such as collecting coal and harvesting herbs. The community of fifty homes lives with no hope of change, and the story the documentary tells comes to represent not only Ježevac but Bosnia as a country.
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Sinopsis Ovaj nenametljivi etnografski film pruža intimni pogled na izbjeglički centar u kojem više od pedeset obitelji žive kao izbjeglice dvadeset godina nakon rata. Unatoč njihovoj izolaciji i zanemarivanju, neke obitelji se bave, zajedno sa svojom djecom koja su rođena kao izbjeglice i ostala izbjeglice u vlastitoj zemlji, poslovima kao što su sakupljanje uglja i berba bilja. Zajednica od pedeset domova živi bez nade da će se nešto promijeniti, a priča koju dokumentarac prenosi ne prikazuje samo Ježevac nego Bosnu kao državu.
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is diffi cult to fi nd a Hungarian press organization or a journalist in Transylvania, who wouldn’t like to write about the TIFF – the festival has grown in the past few years from national to international signifi cance and it pays special attention to the Hungarian film production. In my bachelor thesis, with the guidance of Tibori Szabó Zoltán and Jakab-Benke Nándor supervisors, I analyzed the press coverage of the TIFF between 2002 and 2009. The theme is particularly important to me, because I reported about the festival more times as an accredited journalist.
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Melinda Puskai’s study analyses Victor Erice’s movie The Spirit of the Beehive with the help of cognitive analytical methods. In her study, the author replies on film as the medium of the unique mirror between reality and the fictional world, on the intertextual connection between films and the possible interpretations of the mirrored “realities”.
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The paper analyzes technical aspect of cinematography. On the basis of apparatus theory it studies how cinema equipment produces ideological meanings in cinema. It investigates some approaches in film-making and film theory, which expose this ideology of cinematographic apparatus.
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The article discusses the peculiar nature of the film with a single active actor. An example is presented film «Buried alive» by R. Cortez.
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The 100th edition of the “Kwartalnik Filmowy” becomes an opportunity for the author to undertake a reflection that is both personal and scientific. Starting from family reminiscences, Pitrus presents reflections on Johan van der Keuken’s film “To Sang Fotostudio” (1997) and his own visit to Amsterdam connected with the film. This impressionistic text, drawing attention to the various contexts of van der Keuken’s film, and the question of the credibility of representation in relation to photographs and references to the Biblical, iconography, is concluded with the author’s conviction “that not all performances – although they still show a deceptive non-reality – are founded on <<bad intention>> hunted with enthusiasm by ideological criticism. The creator of <<Jesus in a boat>>, like other painters dealing with biblical topics, moves in the area of persuasive messages. His picture is supposed to instruct the followers and it does so most probably in good faith. Portraits of Li To Sang also have little to do with the neutral imprint of reality. However, their “message” is blurred, unclear. If we can look for any <<meaning>> here, it will be related to the very celebration of the presentation process. The photographer not only shows the festive poses of the models, but also celebrates with them”.
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The aim of the article is to confront the historical Czechoslovak New Wave and the issue of free time seen through various practices of celebration, as well as examples of demonstrations and body regimes that are part of them. The socialist leisure class spends free time surrounded by nature, devoting itself to consumption (also readable in the narrative structure plan), ostentatiously escaping into private life. Dominant practices often duplicate well recognized discipline techniques. In this approach, cinema exists primarily as a mirror of everyday life practices in which the critical readings of Michel Foucault and Vaclav Havel are viewed.
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