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Slovene literature and film are connected through numerous and creative links (in the Socialist Republic of Slovenia over 40 per cent of films were made according to scripts based on the works of native literature). However, never before or afterwards had the consequences of screen adaptation of fiction proved as momentous for the national culture as in the case of Dominik Smole’s novel Black Days and a White Day (1958), and the book’s adaptation, Boštjan Hladnik’s film Dancing in the Rain (1961). Both works played a very important role in promoting Slovene culture of modernist aesthetics – autonomous and noninstrumental, carrying out bold formal experiments, breaking with tradition and mimetic expression of reality. Both of them fulfilled the task properly, despite facing sharp criticism from conservative audience, especially viewers. Having completed their cultural mission, they ended up in a repository of culture texts in order to await the interest of new generations of readers viewers – rather professional than mass.
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The aim of this article is to analyze and discuss the factors impacting the process of the implementation of crowdfunding by the Polish film industry. The presented study is based on the qualitative approach: unstructured or semi-structured interviews, questionnaires and the analysis of case studies. The respondents enumerated and evaluated a wide spectrum of factors facilitating and hindering the adoption rate: from general barriers (e.g. legal regulation of crowdfunding) to very specific aspects for filmmaking (e.g. the unprofessional promotional video of the crowdfunding project). The findings highlighted the significance of the following factors: the existing strong filmmakers’ attitude that ‘crowdfunding is for film beginners’, the complexity of team management (film crew) during the process of crowdfunding campaigns, and the cultural aspects of seeking financial support from friends.
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Araştırmanın konusu; ilgili uluslararası kurumlarca genç olarak tanımlanan yaş grubundaki Suriyeligöçmenlerin sinema ve göç sinemasını takip eğilimlerini etkileyen faktörlerin incelenmesi, göçsinemasına ilişkin gözlemleri ve eleştirilerinden oluşmaktadır. Araştırmanın amacı; genç göçmenlerinsinema ve göç sinemasını takibini etkileyen faktörlerin incelenmesi, göç sinemasının genç göçmenlercetakip edilebilirliğinin ve genç göçmenlerin göç sineması üzerine bakış açılarının ortaya konmasıolmuştur. Düzensiz göçü konu alan sinema filmlerinin genç göçmenlerin düzensiz göç fikrineetkilerinin araştırılması, çalışmanın bir diğer amacını oluşturmuştur.
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Human Flow, an art documentary by the internationally renowned Chinese artist Ai Weiwei, offers a widely seen example of the role of the artist as a witness to the current migration crisis. This paper analyses how state-seeking can be studied in the context of migration through the concept of representation and reality in an art documentary. I consider how Ai Weiwei’s film represents the lives of undocumented migrants and then expand the discussion through two contrasting interviews with other artists making work on the same issues, asking them about their opinions, attitudes and approaches to state-seeking. The main aim of this paper is to re-assess the role of art and consider whether its representations can raise greater awareness of the political and social changes which are needed to support migrants.
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Mary Shelley’nin Frankenstein; Ya da Modern Prometheus (Frankenstein; or, Modern Prometheus 1818) romanının uyarlamaları; sinema, dizi, tiyatro ve türlü kurmaca biçimlerinde günümüze kadar defalarca karşımıza çıkmış ve her daim ilgi çekmiştir. 2011 yılında İngiliz yönetmen Danny Boyle’un Royal National Theatre için yönettiği ve 2020 de dâhil olmak üzere zaman zaman seyirciye gösterimi yapılan uyarlama ise belki de en ilgi çekici Frankensteinuyarlamasıdır. Çünkü Dr. Victor Frankenstein’ı canlandıran aktör Johnny Lee Miller ile Frankenstein’ın yaratığını canlandıran Benedict Cumberbatch, ilk gösterimden sonra rolleri değişirler; yaratık rolündeki Cumberbatch bu sefer doktoru canlandırır, doktoru canlandırmış olan Miller ise yaratık rolüne bürünür. Yönetmenin ve yapımcıların bu tercihi manidardır ve romanın ana fikrini verme konusunda yapılmış ustaca bir hamledir. Gerçekten de romanda insan olanla insan olmayanı ayıran çizgi o denli belirsizdir ki, romanın sonuna kadar insan olmanın ne demek olduğunu sorgularız. İnsanı insan yapan sınırların, ancak kendi öznelliğimizin dışına uzanıp “insan-dışı” ile buluştuğumuzda ya da bazen insan-dışını anlayabildiğimizde belirlenebileceğini hissederiz. Dolayısıyla, kısa fakat oldukça derin olan Frankenstein romanı yalnız insan olgusunu, sınırlarını sorgulamamıza olanak sağlamaz; insan sonrasını düşünmek konusunda da bize eşsiz bir düşünsel zemin sağlar. Mary Shelley
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In the history of the United States a prominent place is occupied by the frontier (the frontier) as a meeting point of the white settlers and what were to them virgin lands. The legendary tales of settling the West, in particular their visual depictions, have become – with the passage of time – an important part of the American Founding Myth. Their traces are found in Hudson River paintings and in those produced by Rocky Mountain School, but also in the Western films aesthetics that drew upon the former. Based on the example of John Ford’s westerns’ aesthetics, the author of the article conducts an analysis of cinematic depictions of American frontier land melted into the landscapes featured in classical Hollywood productions about the Wild West. The departure point for her considerations is the overview of the New World’s basic institutions in Stagecoach. In The Searchers, in turn, what comes to the foreground are Ford’s interests in the art of painting, for he transform Monument Valley into nothing short of a mythical land. A kind of summation of the path traversed by the American Landschaft, from the realm of nature to the centre of western civilisation, is the blockbuster How the West Was Won, being both an apogee and the twilight of the narrative on the United States’ divinely‐given mission.
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With the transition to the information age and digitalization, a significant change had occurred in social and administrative dynamics. Although policymakers often determine the direction of this change, the emergence of popular culture in the 21st century has positioned cinema as an art form that is involved in policymaking among the other actors. The recent COVID-19 pandemic has brought the cinema industry under discussion for its capacity to produce creative content. In this framework, the fact that films originated from South Korea and Japan widely based on the epidemic theme and the release of these films before the beginning of the epidemic has highlighted the relevant countries compared to others. This study aimed to handle four films; Fukkatsu no hi (1980), Kansen Retto (2009), Yeon-ga-si (2012) and Gamgi (2013) from the South Korean and Japanese cinema industry, in the context of pandemic administration.
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The paper will be exploring the city of Istanbul and Tokyo as an entity, an existence that embodies the post-modern, alienated, and urban existence of the protagonists in the Turkish drama Fazilet Hanim ve Kizleri (Saraçoğlu 2017) and the Japanese film The Tokyo Night Sky is the Densest Shade of Blue (Ishii 2018). The navigation of the city and the home by the protagonists in these works are studied within the paper through the lens of urban theory and psychology to articulate their fragmentary urban experiences and the brief glimpses of intimacy within these texts. These texts are studied for the entrapment the characters feel, the claustrophobia of the urbanity of a city that has no place for vulnerable, human relationships and love. They are also studied against the background of the parental alienation the protagonists have faced and continue to feel in their life which contributes to their loneliness. Romantic love is studied as a revolutionary force and captures the “moments” theorized by Henri Lefebvre that is a response to the post-modern fragmentation and which reaffirms human existence. The domestic space of the house is theorized as a space of possibilities and human condition. So, while the space of the city often has negative connotations, the positive spaces like home and the streets are also studied to give voice to the urban experience of living in these cities.
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Toplumsal bir gerçeklik olarak göç olgusu belirli kriz dönemlerinde insanların güvenlik ihtiyaçları ile ortaya çıkmaktadır. Türk Dil Kurumu’nun Güncel Türkçe Sözlüğü’ne göre göç; “Ekonomik, toplumsal, siyasi sebeplerle bireylerin veya toplulukların bir ülkeden başka bir ülkeye, bir yerleşim yerinden başka bir yerleşim yerine gitme işi, taşınma, hicret, muhaceret (Türk Dil Kurumu, 2019)” olarak tanımlanmaktadır. Bir ülke içinde başka bir yere yerleşilmesi “iç göç” bir ülkeden başka bir ülkeye yerleşilmesi ise “dış göç” olarak tanımlanmaktadır. Güvenlik ihtiyacı kadar sosyal ve kültürel ihtiyaçlar da insanların göç nedenleri arasında yer almaktadır. Göç olgusu göç edilen coğrafya ile yerleşilen coğrafya arasında kültürel coğrafi, ekonomik ve hukuki boyutlarda etkileşime neden olmaktadır. “Göç, birçok toplumda etnik ve kültürel farklılığa eklenmekte ve demografik, ekonomik ve toplumsal dinamiklerin biçimlenmesine neden olmaktadır (Osmanoğlu, 2016, s. 79).” Göç eden insan ya da insan toplulukları kendi gereksinimlerini karşılamaları sürecinde katıldıkları yeni toplumsal çevre ile etkileşime girmektedirler.
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