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The paper focuses on the main characteristics of these two genres. The aim is not that of providing a final answer but rather exploring the fundamental motives, and the expression that the author employs in order to communicate his view, in each of the cases.
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Arthur Bálint talks about how his experience in multi-camera live TV directing provided him with the skillset to make his own sort of highly cinematic observational documentary, even if he works mostly as an one man crew. He talks extensively about his preference for interesting characters over the story and the methods for capturing cinematic scenes in real situations. He believes that his task as a film maker is to discover through his camera what makes his characters special, and to avoid presenting a distorted version of the character’s life in order to make it more interesting. His work in fiction also stems from semi-improvised scenes with amateur actors, and his camerawork in fiction emulates his documentary shooting style.
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The article dissects David Lynch`s creations, which are situated on the border between popular and artistic movie. His movies are known all around the world, causing indignation and enthusiasm at the same time. The keyword of the analysis is the notion of dream, which appears in various forms in David Lynch`s movies: characters narrate their dreams/nightmares,or experience a dream during the action of the movie. Due to the visual language and fragmented structure, the movies are similar to dreams, as well.
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The author dissects a rare and seldom screened pearl of Romanian cinema: the debut collective work of Dan Pita and Mircea Veroiu, entitled The Stone Wedding (Nunta de piatrã). The two directors created two different worlds with one setting, based on literary bodies from the same writer (Ion Agârbiceanu). The stitching of these two medium-long segments resulted in an unique and interesting film, which gathers newfound actuality because of the Rosia Montana-context.
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The author analyses three films from director Wong Kar-Wai: Days of Being Wild, In The Mood For Love and 2046. The three films which recall the melancholy, the disappointment, the loneliness of the sixties together form atrilogy. The stories relate, build each other, but in the same time they cross andconfuse each other. They haven’t got conventional endings. The incalculablity of possibilities keeps up the tension. The author looks upon Wong Kar-Wai’s movies as etudes that can be split to movements in musical coreographies.
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The Tin Drum: between celluloid and paper Adapting literature was always a major issue in film theory. There are stories written as if directly to the screen – and there are those unadaptable ones. Günter Grass’ The Tin Drum lies somewhere in between these two extremes. This essay sums up some of the ways through which Schlöndorff– the director of the movie – succeeds in grabbing the adaptable layers of the novel and thus constructing a valid silver screen-version of one of the most important European novels written after the WWII.
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Ádám Dávid’s article investigates the relation of intermediality and „intersensuality” between Süskind’s novel and its cinematographic adaptation, directed by Tom Tykwer, among which many paralells can be found. The first is the musical proneness: this is found in the repeated musical analogies in Süskind, who studied the piano, and in the musical composition of cinematic dramaturgy in Tykwer’s work. Dávid’s study was presented at the tenth Transylvanian Film and Media Conference.
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The author presents some relevant information about cinema in Transylvania between the two world wars: based on Janovics’s 1920-1945 correspondence and other documents, it depicts an accurate image of the Transylvanian film school founder’s activity after the first world war.
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The paper presents the means through which the advertising campaigns of the two sequels of the horror movie tries to influence the target public,the way these things are linked to the movies’ allusion-system and the way the genre-references can be found in the elements of the campaign.Of these elements, the author underlines the role of trailers, the different movie posters and the movie’s homepage. And in the same time, she tries to identify the common elements which appear in all media and thus represent the movie.
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This documentary is about the influence of migration of some people from Romania on the rest of their communities. This case study reveals the film making process of the documentary titled The Wedding of the Year, from the Initial Idea to the Final Result, pointing the creative decisions and the circumstances which led to the complete change of the initial film project.
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The film is about a personal family story of the director, based on interviews with her relatives.This paper presents the work in progress process of the mentioned animated documentary,revealing the development of the narrative structure and reflecting on theories about interview making, and on the ideas which led to the final visual style of the film which is a mixture of video footage of the interviews, old family pictures, historical archive pictures and drawings.
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The presented docu-fiction film project was developed with the support of MEDIA DESK,received financing for production from the Romanian National Film Center, won the prize for the Best Film Project and for the Best Pitching at Sofia Meetings 2011 in the Second Film category, but unfortunately was not produced because the lack of financing from the Hungarian part, which regarding the financing plan had to have the main contribution.
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Technical tools are important part of film production – at the risk of exaggeration; we might also say that their effects influence the oeuvre itself, staking a claim to artistic production itself. Thus,lens luminosity or sensor quality or sensitivity, while only technical parameters, do determine the quality of the oeuvre. In this paper we shall show what low-budget filmmakers should base their choice of technical tools on, and respectively, what factors they should take into account to ensure optimal workflow. In addition, we shall also review the basics of color correction tools.
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The article’ aim is to show contemporary Polish translations of films’ and television series’ titles. It presents the differences between the original version and the Polish translation. The research was based on the titles of films produced in 2000 and later to show how contemporary films’ and series’ titles could be translate. After the analysis it is concluded that it is not possible to discuss contemporary tendencies in the translation of titles, because the translation depends mainly on the translator’s decision. He decides what elements of the original title are most important for him, sets the purpose of the translation, the compositional dominant and translates the title from one language into another. Translation is always presented in the series and is only one of many possible interpretations, and that’s why the translation criticism and the search for new solutions are an inherent part of the process.
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In this article the author studies the elimination of the national element in the Ukrainian cinema of the 1960s and 1970s. The author explores the role and place of national-patriotic issues in Ukrainian cinematography, shows the ideological enslavement of filmmakers, studies the conditions of creative self-realization in the Ukrainian SSR, and analyses the influence of social and political factors on the cultural sphere of Ukrainian people in the outlined period. The representatives of Ukrainian cinema has always tried to popularize national features of their own people, but in the specified period, for censorship reasons, Ukrainian cinema began to be prohibited. The main reason is the struggle with the so-called “Ukrainian bourgeois nationalism”. For such an accusation it was enough to voice any film in Ukrainian and to fill its content with Ukrainian subjects. The characteristic features of Ukrainian cinematography of the 1960s – the early 1970s are as follows: subordination to the Soviet centralized command-administrative system, total control of the CPSU – CPU, russification, denationalization, persecution of all Ukrainian values under the pretext of forming a united Soviet nation.
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In the article the activities of the Soviet party organs to establishing the stricter control of film.
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The paper analyzes the representation of manufacturing technologies in the Soviet movies of the 1930s. The author investigates changes in screening labor at mines during 1930s at the case of three films shot in Donbas: "The Symphony of Donbas" (1930) by Dzyga Vertov, "Miners" (1937) by Sergei Iutkevych and "The Big Life" (1939) by Leonid Lukov.
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The main characteristics of Postmodernism's popular art are considered in the article. Such types of mass culture as television, cinematography and Internet, in which deconstruction of sense is more representative, are analysed.
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The articles considered by costume of cinema, it is of great importance for substantial value for the visual culture of movie.
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