Z dziejów francuskiej debaty o kinie stalinowskim
Through the juxtaposition of texts by Andre Bazin and Georges Sadoul, the author reconstructs a stormy debate on the reception of Soviet cinema from the Stalinist era in 1950s France.
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Through the juxtaposition of texts by Andre Bazin and Georges Sadoul, the author reconstructs a stormy debate on the reception of Soviet cinema from the Stalinist era in 1950s France.
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The “Panama Papers” leakage implicated several African leaders in global corruption deals. It confirmed perceptions that these leaders care little for their people. African leaders who overstay term limits are the focus of Western democratic ire. Pro-democracy movements, the overthrow of regimes characterised as undemocratic gain unquestioned media coverage and praise. African leaders are summoned to the International Criminal Court in The Hague; their societies debate whether justice can be administered from outside. Increasingly, voices question African political and developmental processes. African Literature participates in struggles defining modern Africa’s search for identity and its own definition of leadership. It points to possibilities rooted in African Oral Tradition and in customs predating various colonial systems. Leadership forms that societies choose are closely linked to perceptions of identity. This paper examines the crisis of identity which has resulted in Africa’s crisis of leadership and looks at approaches taken by African writers and filmmakers: Malian filmmaker Cheik Oumar Sissoko’s film “La Genèse” (1999), South African writer Zakes Mda’s novels “Ways of Dying” (1995), “Heart of Redness” (2000).
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The article examines cinematic violence, and deals with one of the most distinctive examples of metacinema, namely, Blow up by Michelangelo Antonioni. Firstly, Blow up covers not only the the key issues of history of photography but also those of ontology. Therefore, in the article, it is returned not only to one of the pioneers of photography, William H. F. Talbot, but also to key ideas of Plato. Secondly, interpreting the notions of Roland Barthes, philosophical aspects of fashion photography are explored. Thirdly, the controversy of John Berger and Don McCullin over the issue of photography of war or agony is discussed. The article reveals Antonioni’s strategy to capture violence not directly but as a symptom or opportunity to overcome the monotony of everyday life predominant in modern society. It is argued that such access allows Antonioni to avoid the hypostasis of the status of violence, which is typical for various prophetic artistic manifests.
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Dubbing is both the most difficult and the most expensive type of film translation. The greatest challenge for dubbing actors is to retain the three-level—phonetic, semantic and dramatic—synchrony. Thus, the aim of the article is to put some light on the characteristic features of dubbed films, types of synchrony among them, and to analyse how these types work together in the dubbed film Up (2009). The close-ups where characters’ faces and lips are seen are the most relevant to the phonetic analysis, since it is important to find out if the number of syllables and lip and jaw movements of the actor speaking the source language can fit for the target utterance. To achieve greater semantic and phonetic synchrony various modifications are made on the semantic level, e.g. concretization, generalization, addition, and substitution. On the dramatic level, the correspondence between verbal and nonverbal information is important, the disclosure of characters’ features and rendering of specific accent. However, the main aim of dubbing is not the coherence of all types of synchrony but the attractiveness of the film, therefore some losses in synchrony may be justified if the dramatic effect is retained.
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One of the main problems of analysis of the interaction of cinema and literature is the search for a level of both texts, in which the correlation would be correct. Therefore, cinematic works with clear references to a whole set of literary works are often chosen - a narrative of screening, and usually the level at stake. The comparison arises from the "natural", culturally determined bifurcated, focusing focus, together with literary and cinematic texts, through reading-viewing. This article presents an analysis of the Kitusawa Idiot (Hakichi) filament layer, which shows that the main character of the film, Myshkin-Kameda, is a metadigital (Gerard Genette's term) character of Dostoyevsky's novel, which has become intradigital in the film's structure. The systemic function of this character is to be one of Death Manifestations. This and other characters that manifest Death at different levels of text and intertextual links - Nastasja Filipovna-Taeko and Rogozin-Akama - develop their cybercrime intradiabtically through the creation of a parable of death.
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Our contribution investigates the question of how it is possible to apply multimodal methods of education in teaching ethics with fiction films. From a more sceptical viewpoint, one could argue that this is not possible for several reasons. The article suggests some arguments for the justification of positive answer, describes the resent researches of the problem and presents some results of multimodal teaching experiment of teaching ethics with fiction films. The theoretical basis for these approaches are the pragmatic pedagogy of William James and John Dewey, and close to them – the model of teaching with films developed by William B. Russell, also the Deleuzian theory of cinema.
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This text looks at the place of the film Zhivot do poiskvane (1987) in thecontext of the developmental tendencies of the Bulgarian cinema from the 80s of the20th century. The critical reception of the film is being examined, paying particularattention to its controversial acceptance. The discussion nature of the reviews outlinesthe complex toolset in the construction of this work of art. The study offers ananalytic view in the leading themes and motifs of the film, which are traced throughthe poetry of Veselin Hanchev, Konstantin Pavlov and Rene Char. The observationsmake an emphasis on the important role of poetry as an artistic tool for bringingforth of the suggestion.
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On Audrius Dambrauskas’ thesis „Film Culture in Lithuania, 1926–1944: Between Entertainment and Ideology“
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The article analyses the process of creation and transformation of Herkus Mantas, the leader of Prussian uprising, one of the most prominent characters in the Baltic tribe history and its representation in the tragedy Herkus Mantas by Juozas Gruðas (1957) and the film under the same title by M. Giedrys (1972). The article analyses media structures of Herkus Mantas character providing that visual arts in the Soviet culture were considered to be more massive as compared to verbal, contrary to Western tradition, which does not recognize visual images (“pictures”) as arguments. This aspect of the Soviet theory of public perception may seem confusing, because the word in official Soviet ideology was always “primary”, which means more important, privileged, or primary in development, as well as a base for other more complex systems. If primary means the first or the most important, then secondary in a more common usage would naturally mean the systems that are of lesser importance, rather than the global systems designated by the Soviets. In this use, other types of specialized systems dependent upon language, such as writing as well as myth and religion, would be referred to as secondary. The article also analyses transformations that have occurred in the behavior of the character due to the changed dominant trends in the 1970-ties in the Soviet Lithuania. Some of the tracked changes are dependant on media (text/image) paradigms, which belong to theoretical accounts of “pictorial turn”, “turn to the visual“ or “foregrounding of the visual”. In the article, these accounts are shown as clusters of two groups: stories of the falling between words and images leading to the subordination of images to texts and closely related stories about the rise of images to the role of a new universal medium or, alternatively, to the emergence of a new integration of image, text or visual language. After the analysis of the text and image, it became clear that the character of Herkus Mantas depicted in M. Giedrys film is more active, less reflective which could be related to the general Soviet cultural trends in the 60-ties and 70-ties.
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The scientific, social and political developments of the 20th century, which resulted in wars, were reflected in the field of art as the formation of movements based on the rejection of tradition. One of these art movements is Surrealism. Surrealism, which turns towards the reality and artistic expression of the subconscious by opposing rationalism and traditional way of thinking, continues its effect on many art fields such as literature, painting, sculpture, photography, graphic design. In this study, the influence of the Surrealism movement on graphic design and the graphic design works of the leading Surrealists were examined. The posters used in the movie ‘Inception’ were analyzed using the semiotic analysis method. According to the data obtained, the plot of the film is the adventures of a team who steal secrets and ideas from dreams, on a different mission. In terms of semiotics, it is referred to the transformation complexity in the perception of reality and reality with a vague transition from a realistic space to an unrealistic space in the foreground of the movie poster. This regulation, which has surrealist effects, can be interpreted as contrasts such as reality and fiction, reality and dream, reality and illusion, life and death. It can be stated that the written and visual elements in the posters examined are used in a way to create an aesthetic integrity and reflect the movie content to the audience, and the elements on the poster are successful in attracting attention, so the poster design has achieved its purpose. When the plot of the movie is examined in the context of intertextuality, it is understood that the movie ties in with very old doctrines.
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In the study, the movie La Montana Sagrada (1973) was analyzed using the method of semiotic analysis. The works in the film have been analyzed in two sections as "Footprints of the Past" and "The Modern World". In this context, the reinterpretations of works such as Goya's 3 May, Michelangelo's Pieta, an anonymous work Gabrielle d'Estrees and Sister's Portrait and the works directly used by artist Manuel Falguerez were analyzed. In the section "Footsteps of the past", some of the most striking examples of art history are semiotically revived in the transfer of difficult concepts such as religion, politics and exploitation. In the "Modern world" part of the film, postmodern works were used as a means of transmission in re-questioning concepts such as religion, war and exploitation that evolved in a different direction after modernism. With this film, Jodorowsky made a narrative through the works and at the same time revealed one of the most interesting examples of performance art.
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On its release in 1992, Werner Herzog’s quasi-documentary, Lessons of Darkness, was heavily criticised for ‘aestheticizing’ the ecological devastation of the First Gulf War by combining dream-like images of the Kuwaiti oil field fires with an overly romanticized soundtrack dominated by Wagner’s operas. Herzog’s response was that he was striving to move beyond what he calls ‘the accountant’s truth’ of Cinéma Vérité and achieve instead an ‘ecstatic truth,’ a term derived from Longinus which categorizes the sublime as a combination of immanent terror and delightful horror that strives not to persuade or educate the viewer but to entrance them, thereby attaining a higher form of truth, much like Nietzsche’s definition of art as ‘the highest power of falsehood,’ whereby ‘the will to deception is turned into a superior ideal.’ The essay then applies this form of ecstatic sublime to Félix Guattari’s ecosophical strategy, outlined in The Three Ecologies, where the usual dialectic between subject and object/nature, virtual and actual, fiction and documentary is dissolved in favour of nonhuman, interactive singularities, which act as a dynamic intersection for a series of autonomous vectors that radically transform ecology (and its associated activism) as we know it.
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The purpose of the article is to identify the specifics of art communication in the culture of production both in the process of filmmaking and in the distribution (distribution) of film products. Methodology. The method of theoretical analysis of the culture of production activity as a phenomenon of the postmodern and postmodern epoch was used in the elaboration of the topic; the comparative-historical method was used in the analysis of the evolution of the producer's activity in cinema; empirical method made it possible to address the practical component of film production and distribution as structures of socio-cultural and economic activities aimed at the needs of society; analytical method and methods of scientific analysis, generalizations have come in handy in the process of establishing the specifics of art communication in the context of creative and production aspects of the film producer. The scientific novelty of the study is that the problem of art communication of the producer in the context of his creative and production activities is the subject of a special comprehensive study; the meaning of the concept of "art-communication" as certain specific integrity and unity of interconnected elements is argued and clarified. Conclusions. Acquaintance with the materials of this study enriches the knowledge about the specifics of art communication as a component of the producer's activity in the culture of film production in the process of its evolution and is the scientific basis for their use in courses on theory and history of culture, including cinema, film production, film directing.
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The purpose of the article is to identify the specifics of the development of the producer's activity in cinema in the context of the European cultural space and to outline the vectors of mutual influence of the producer's activity in the countries of the Eurospace and Ukraine. Methodology. In elaborating the topic, the historical method was used to identify the peculiarities of the origin and development of the profession of film producer under the influence of sociocultural, economic, political factors, in particular, in Ukraine; analytical method and methods of scientific analysis, comparison, generalization, which came in handy in the process of establishing artistic, production, organizational, managerial, financial and economic features of the film producer in the European cultural space. For the sake of art history and culturological aspects of studying the problem, methods of systematization and analysis were used. The scientific novelty of the study is that the origin of the profession of producer in cinema is considered in the context of both European and Ukrainian cultural space, and has become the subject of a special multi-vector study; the content of the concepts of "film producer", "production system" as specific unique integrity and unity of interconnected elements is argued and clarified; the expediency of using the comparative method to study and manifest the peculiarities of production in the filmmaking process of European and domestic cultural space is proved. Conclusions. Acquaintance with the materials of this study enriches the arsenal of knowledge about the origins of the film producer in the culture of film production in European countries and Ukraine and provides a scientific basis for their use in courses on theory and history of culture, including filmmaking, production and directing.
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The purpose of the article is to analyze the main milestones in the life and personality qualities of Larry King, which influenced the formation of his communication skills as a professional showman. The methodology combines art history, cultural studies, and historical approaches. A biographical approach was used to analyze the main milestones in the life and work of Larry King. At the same time, general scientific research methods are involved: analysis, synthesis, generalization, etc. Scientific novelty. For the first time in Ukrainian science, the stages of life, personal and communicative qualities of Larry King, which influenced his formation as the most famous American showman of the twentieth century, are analyzed. Conclusions. Larry King can be considered a man who made himself. Getting rid of shyness, being able to choose a topic for conversation, attracting an interlocutor, etc. are the main qualities of a successful showman, which can be developed even without proper education. Also, the life and work of Larry King allow us to conclude that the ability to communicate - one of the most important in any profession and in any personal relationship. The art of conversation, negotiation, or interview makes us not only successful interlocutors but also a person who can reach great heights in the profession and reach people's hearts. This is evidenced not only by the life story of the showman but also the popularity of his highest-rated talk show on television "Larry King Live", the success of which is largely due to the personal and communicative qualities of the host.
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Between 2009 and 2020, the Irish animation studio Cartoon Saloon reworked Irish mythological and folkloric material for modern audiences, producing a “trilogy” that explored otherness, nature, and the rediscovery of ancient knowledge. This paper examines how an understanding of solitude and its benefits can be applied to the folklore trilogy, benefits that include a reconnection with nature, the attainment of knowledge and wisdom, and personal transformation. The three films – The Secret of Kells (2009), Song of the Sea (2014), and Wolfwalkers (2020) –are compared and contrasted with each other to determine how the trilogy’s representation of solitude developed over time, and to identify recurring themes relating to solitude and isolation. The argument is ultimately made that the trilogy’s depiction of solitude and its benefits is one that modern Irish audiences can, for the most part, learn from and apply in their ownlives. However, weaknesses in the films’ depictions of solitude are also identified, providing insight into how future folklore films can further explore the theme.
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Taking up Michael Marder’s “object of psychoanalysis, wherein we might detect a vegetal approach to the psyche,” and Timothy Morton’s dark ecology, which traces the twisted loops of agrilogistics, this article proposes an ecopsychological approach to the expression of plant soul as the very constitution of human subjectivity. Examining Richard Linklater’s adaptation of Philip K. Dick’s A Scanner Darkly, which demonstrates the pretty blue Mors ontologica’s insidious plant agency to cleave the somatic human spirit, and Charlie Kaufman’s Adaptation, wherein cinematic plant-thinking demands temporal distortions that render the human uncanny, this article positions the plant as the primary mover, the animating force and manifestation of human desire and its expression.
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General interest in teenage books has been upsurging because of films based on international best-sellers. Therefore, the scripture becomes a source of language, in a sense that youngsters learn new words, phrases, allusions or metaphors and incorporate them in their everyday language. Demand for popular reads requires a quick reaction translating these books as there are plenty of novels for young adults written in foreign languages. However, translation of adolescent fiction is a challenging task due to the use of slang and other colloquial vocabulary or stylistic devices. However, the translation of stylistic devices as such has not been researched since linguists focus on teen slang. The translation of stylistic devices is an interesting issue to deal with as the entire translation “eco-system” is observed not from one sentence or paragraph perspective. The research deals with stylistic devices and their translation and the analysis of translation. It also presents stylistic devices according to their types, each type is illustrated by one or two examples depending on the number found, their translation and explanation of its aim, used strategy and achieved results are provided.
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The didactic movies uploaded on YouTube are a very popular learning resource used in the academic environment, because it stimulates the students’ engagement and motivation. We conducted an opinion survey among 170 students (average age 20.93 ± 2.751) at the Faculty of Dental Medicine, “Grigore T. Popa” University of Medicine and Pharmacy, Romania, about their interest in using educational movies as didactic tools, and the features they prefer in such materials. We used an anonymously questionnaire with 15 items to investigate the students’ opinion about certain features of the didactic movies, which can be included or avoided in order to stimulate the learning and are highly responsible for the educational videos’ cognitive value. For the statistical processing of collected data we used the Two-Step Clustering procedure, for qualitative data. The procedure identified 5 distinct clusters, with sizes between 30 (17.6%) and 43 (25.3%) from the total number of cases. The clusters quality wasn’t the best, but still we were able to identify among the investigated features the most important predictors, which are: the presence of background music in the movies; the presence of images used to fill the breaks; the movie’s total length shorter than 6 minutes; the using of explicative notes for charts and drawings displayed directly on the drawing and the movie’s design as a PowerPoint presentation, with images, diagrams and animated schemes. The scientific literature provides many information about the features recommended to be used in didactic movies but, as far as we know, a classification regarding the relevance of these features was not discussed yet. That is why our study brings useful information in this area, helping the content developers to improve the quality and the popularity of the didactic materials.
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