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Staţie Facultativă,Adina Diana Savin – regizor Pure by Magic, Constantin Radu Vasile – regizor Pentru Ana. Cu drag, Moș Crăciun, Mirona Radu; What God Wants, Mihai Pîrcălabu; Cat’s Pub, Şerban Racoviţeanu - regizor, Vlad Lapadatescu – operator; Lucruri simple: accelerarea de particule, Cristian Drăgan – regizor,Laura Grigoriu – montaj/sunet; Grota cu măști; Sare de mare, Andrei Răuțu – regizor; Chat with Alice, Isabela Țenț- regizor; Flux Reflux, Ioana Grigore – regizor; Fuga, Daria Chițimia – regizor; Zâmbete, Mihnea Aliciu – regizor; Privește Cerul, Zoran Simulov; Reflexii asupra reflexiilor, Adrian Bulgaru;
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The essay looks at the phenomenon of stop motion animation from a broader, inter-textal perspective, taking into account both the spatial dependence of analogue animation on other forms of animated art and its relationship to mainstream cinema. The authors begin by discussing the deficiencies of traditional definitional categories, but do not seek to create a more precise theoretical framework. The inadequacy of the definition becomes, instead, a pretext for reflecting upon the syncretic character of the medium of stop-motion animation, manifested in both experimental works and in purely commercial productions. Using as examples selected works from the more than 100-year history of puppet-animated film, the authors follow the tendency to deconstruct the genre codes in actor-based cinema and pose the hypothesis that stop-motion cinema is by nature conducive to self-referential reflection.
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What many 20th-century dictators shared in common, aside, of course, from their lack of respect for democracy, was a passion for cinema. Not cinema with a capital “C”, but popular movies, designed to entertain, including animation. Stalin and Hitler were in the habit of watching films with their closest associates after dinner. Their repertoire included such works as Disney’s Snow White and the Three Little Pigs. Mao Zedong and his wife Jiang Qing spent many hours a day watching Hollywood blockbusters, while Kim Jong Il, the head of North Korea from 1994 to 2011, even wrote two articles on filmmaking and directing. His son, Kim Jong Un, is considered a great cartoon lover. The love of satraps for animated films, melodramas and action movies seems to be rooted in their mental infantilism, which does not demand any sophisticate spiritual nourishing. Tyrants like to laugh (in private), even if they are generally devoid of a sense of humour.
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The article discusses the criticism of modernist design contained into Torill Kove’s autobiographical film Me and My Moulton (Canada/Norway 2014), which takes place in the provincial Norwegian town of Hamar in 1965. The director’s parents were architects with very specific, “modern” tastes, and the interior design of the flats of the film’s protagonists looks akin to an exhibition of Scandinavian design. In addition to the Moulton bicycle (a UK designer folding model) mentioned in the title, a symbol of the mismatch between the parents’ aesthetics and their children is Arne Jacobsen’s famous Ant three-legged chair, from which their little girls are constantly falling during meals.
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A sketch about the work of a British animated film director whose work is marked by the presence of socio-political criticism and also formally by the author’s expressive and rather characteristic visual style. The text discusses two series from Mulloy’s analogue period: Cowboys and The Ten Commandments and a digital film series about the Christie family.
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Review of: Tři kámoši (Trzech kumpli) TVN 2008, directed by Anna Ferens and Ewa Stankiewicz by: Jan Cholínský
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Interview with Jean Claud Carrier, Salvador Dali, Jean-Paul Morea
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The article is devoted to fairytale motifs, occurring in the chosen works of contemporary Russian horror literature, such as: Новая жизнь by Aleksey Provotorov, Ей отмщение — Aykhal Mikhaylov, Sanctuary 3/9 — Anna Starobinets, Дети Робинзона Крузо — Roman Kanushkin. The main aim of the present study is to show that the witches image in the analyzed examples reveals the character that merges typical features of both the fairytales, and the horror. Therefore, the basic elements of the fairytale canon (e.g., antagonist appearance, motifs, activity, common features mainly connected with Baba Yaga or other Russian witches) have been examined in terms of their existence in the world presented.
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Jim Jarmusch is today considered to be among the most prominent and highly revered of independent American film directors. He is well known for incorporating experimental music into his films, for his deadpan humor, and for his fondness for lone characters from the margins. Another prominent feature of his films is the adroit blending of the high and the low and the incorporation of elements of genre film, while simultaneously bending and twisting their boundaries and skewing their conventions. One genre in particular stands out in his oeuvre—that of the road film or road movie—and he has returned to it at several points in his career. Through the analysis of four of his films—Stranger than Paradise (1984), Dead Man (1995), Ghost Dog (1999) and Broken Flowers (2005)—this paper will, therefore, focus primarily on the notion of genre film, particularly the road movie genre and the ways in which Jarmusch establishes a postmodernist dialogue with its conventions in order to create a new, meaningful whole.
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One of the most striking and frequently praised aspects of HBO’s cult TV series The Wire is its purported realism. Why this series is virtually unanimously perceived as realistic is the main question that this paper will attempt to answer. The question is addressed from the perspective of Robert Brandom’s neo-pragmatist rationalist philosophical project in general, and his account of the appearance/reality distinction in particular. The first part of the paper introduces Brandom’s neo-pragmatist rationalist account of the relation between appearance and reality as explicated in his book Reason in Philosophy. The second part addresses the question of the verisimilitude of The Wire in these Brandomian rationalist terms. It is thereby suggested that, first, The Wire appears to be real because it is rational—i.e. because it rationally integrates all its commitments into a single unified whole—and second, it is recognized as real because it exhibits an expressively progressive structure—i.e. it gradually makes explicit the commitments that were held implicitly throughout the course of its five seasons.
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This paper offers an analysis of gender discourse of Yoruba male and female movie characters. The Yoruba speech community is one of the three major ethnic groups in Nigeria. Their genderlect is examined and investigated in terms of their use of minimal responses, intensifiers, hedges, tag questions, polite and taboo words. The techniques of Media Monitoring and purposive sampling were employed to obtain relevant data. Randomly, four Yoruba movies were selected from which forty eight scenes were analyzed. From each movie twelve scenes, comprising single gender interaction and mixed gender interactions were considered. Social constructivism theory combined with the relevant aspects of Discourse Analysis was employed for the data analysis. In addition, a Chi-square analysis was done. The findings show significant differences between the gender groups in the use of hedges, intensifiers, minimal responses, taboos and euphemistic or polite words. The findings also corroborate the constructionist assumptions regarding gender-bound language taking context into consideration. Thus we conclude that the differences in the usage of male and female movie characters are determined, as empirically evidenced, by several sociolinguistic, psycholinguistic and discourse features within the context of situation or interaction in the Yoruba milieu.
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The Soviet cinematographic culture of perestroika reflected the social and political processes of the time, as well as the Russian culture of 1986-1990 period. The movies of the time showed journalistic qualities, in particular in the selection of themes they addressed. Among them were, on the one hand, various pathologies, for instance those affecting top Party offi cials, but also pathologies of the economy, of the social life, and, on the other hand, various manifestations of the revolt of the youth and the rise of subcultures. The burning issues were institutionalized violence (e.g. in the army), as well as the multifarious problem of settling accounts with communism by bringing up the question of the Stalinist terror and the subject of the individual and social identities in the totalitarian context. The cinematographic culture of the period of perestroika provided a platform for new aesthetic approaches. In particular it enabled the pursuit of a language capable of describing the phenomena so far absent from the public discourse due to censorship. The new cinematographic culture also unmasked the close ties between the earlier aesthetics and the ideology. The new themes and the new aesthetics became intertwined in the fi gure of alienation. The paper discusses the cinematographic descriptions of the intergenerational aspect of the phenomenon of estrangement.
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Internet TV giants make slow progress in CEE market, but locally made content remains a rarity.
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Kritika u filmovima Živka Nikolića najčešće nije prepoznavala ključne estetske i izražajne parametre, a katkad se, polazeći od krajnje neutemeljenih stavova presuditelja, nije ni pretjerano trudila da uđe u njihovu suštinu i skrene pažnju na njihove kontingentne estetske i umjetničke vrijednosti. Slično su postupali i pojedini, iako rijetki, filmski teoretičari koji su, čini se, olako prelazili preko onog što je u Nikolićevim filmovima trebalo da bude u fokusu njihovog primarnog interesovanja. A šta je to, u krajnjem, osobeno u Nikolićevom djelu što je filmska kritika olako preskakala, na određeni način i nipodaštavala?
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