This article examines the milestones in the development of cinematography as a phenomenon in Bashkortostan. The author traces the path from the emergence of very first films to the present state of local film production in the republic. Research methodology leans on the methods of systematization and analysis of scientific literature, written and cinematographic sources, historical-typological, interpretation of written and cinematographic material. The peculiarities of the establishment and development of Bashkir cinematography are revealed. The theoretical importance of this (...) article lies in systematization of knowledge and description of the ethnocultural characteristics of the development of cinematography in the context of Bashkir cultural field. Cultural tradition as an example that is being reflexively used by people within the framework of a particular culture for solution of life tasks underlies the national cinematography. The models of lifestyle and perception of the world in a given cultural era are realized in the national cinematographic works and represent cultural paradigm of the nation. The author notes the ethnic peculiarities of the development of the phenomenon of cinematography in the region. Prevalence of the elements of traditional national culture in the films determines the peculiar nature of Bashkir cinematography and impacts the ethnocultural identity of the recipient. The scientific novelty lies in revealing the historiographical and culturological aspects of Bashkir cinematographic works, as well as outlining its role in modern art culture. The study was conducted on the basis of semiotic and interpretational methods of art history analysis. (shrink)

The biologist and founder of Umwelt-Research Jakob von Uexküll used cinematographic techniques in many ways. This article explores three of these. First, Uexküll uses chronophotography to investigate the locomotion of marine organisms and insects, making multiple exposures on a single photographic surface to facilitate comparison between different phases of locomotion. Second, according to Uexküll, observing the motions of the living being in this way renders visible the ‘conformity with plan’ that is particular to each organism. The technique of cinematography (...) is therefore original to his investigation of the plan-like character of organisms. Third, in his later works Foray into the World of Humans and Animals ([1934] 2010) and Theoretical Biology ([1920] 1926), Uexküll uses cinematography to demonstrate his theory that the life of every living being unfolds in its own perceptual world possessing of its own subjective time and spatiality. It is in this context that one has to understand the centrality of his references to ‘pre-cinematographic’ experiments on and theories of perception. (shrink)

The article focuses on Alexander Bogdanov’s utopian novel The Red Star, which is interpreted as a sort of literary experimentation that, in a free artistic form, develops ideas of socialist...

This article examines cinematographic observational studies of infants conducted by a loosely connected group of female psychologists and physicians in the USA from the 1930s to the 1960s. Largely forgotten today, these practitioners realized detailed and carefully planned research projects about infant behavior in a variety of settings—from the laboratory to the well-baby clinic. Although their studies were in conversation with better-known works, such as John Bowlby's research on attachment and René Spitz's films on institutionalized infants, they differed in a (...) close examination of individual characteristics of babies and a critical attitude toward contemporary notions of ‘pathological mothering’. In closely following the work of several researchers, including but not limited to pediatrician Margaret Fries (1898–1987), the clinical psychologist Sibylle Escalona (1915–96) and her team members—child psychiatrist Mary Leitch (1914–?) and avant-garde photographer Ellen Auerbach (1906–2004)—and psychologist Anneliese Korner (1918–2010), I argue that their cinematographic works shed a more nuanced light on the landscape of infant research and child psychiatry in the mid 20th century, and open a way for alternative readings of gender, psychoanalysis, and scientific observation at that time. (shrink)

This essay investigates time-lapse cinematography as a hybrid, intermedial practice. To interrogate practices of authorship, publication, copying, storage, and especially distribution, it recovers the history of The Embryonic Development of Drosophila melanogaster, a film made by Eric Lucey at the University of Edinburgh in 1956. An unusually rich archive makes it possible to recover uses and reuses of time-lapse footage in research, teaching, and other forms of communication.

This paper explores how allegory served as a subtle yet powerful form of criticism in Romanian cinema during the 1980s, under Nicolae Ceauşescu’s authoritarian regime. The research focuses on selected films by directors such as Dan Pița, Alexandru Tatos, and Copel Moscu, who used metaphorical and indirect approaches to criticise the oppressive social and political climate. Through detailed content analysis, the study reveals how these filmmakers circumvented strict censorship by embedding criticism of societal conditions and governmental control in their works. (...) The paper also discusses the production and distribution challenges faced by these films, emphasising the filmmakers’ resistance to the regime’s constraints and their efforts to depict the harsh realities of life in socialist Romania. Ultimately, the paper contributes to the understanding of how Romanian artists used cinema as a medium of resistance and cultural expression in a repressive political environment. (shrink)

The Flowers of War, based on the homonymous novel by Geling Yan, and City of Life and Death are recent Chinese films that deal with the so-called 'Nanking Massacre‘ or 'the Rape of Nanking‘. The events which inspired these stories in the context of the second Sino-Japanese War will be analysed through the study and comparison of both films, together with the reasons which led the directors to fictionalise a series of events so many years after they occurred in 1937. (...) This analysis will be carried out based on the testimonies of the foreigners who eyewitnessed the events at the time, and who left written testimony of the facts, and a comparison shall be made between the fictional and factual events. (shrink)

O artigo investiga as nuances dos discursos sobre Brasília presentes nos textos de pareceres de censores que atuaram durante a ditadura militar. Os filmes que sofreram censura prévia escolhidos para a construção do artigo foram ‘‘Vestibular 70’’, ‘‘Brasília Ano 10’’ e ‘‘Samba em Brasília’’. Os dois primeiros foram produzidos na capital e o último no Rio de Janeiro, no ano de 1960. Diante disso, foi importante refletir sobre a historicidade de como se apresentava o discurso dos pareceristas nos documentos. Para (...) tal, os pareceres foram examinados à luz da Análise do Discurso de Michel Pêcheux e Althusser, bem como outras reflexões dentro deste campo teórico-metodológico. A historiografia sobre Brasília foi de extrema importância para o entendimento da conjuntura na qual a linguagem dos pareceres está inserida. A pretensão desta análise foi identificar o papel do cinema candango na construção do imaginário da cidade e sua relação com o Estado, por meio dos pareceres. This article investigates the nuances of the discourses about Brasília in the texts of the censor’s opinion on who acted in the military dictatorship in Brazil. The movies that suffered previous censorship were ‘‘Vestibular 70’’, ‘‘Brasília Ano 10’’ and ‘‘Samba em Brasília’’. The first two were produced in the capital and the last one in Rio de Janeiro, in 1960. With that being said, it was important to reflect on the historicity of how the discourse was presented in those documents. For that, the opinions were examed in the light of the Speech Analysis of Michel Pêcheux and Althusser, alongside other reflections inside this theoretical-methodological field. The histography about Brasília was also of extreme importance for the understanding of the conjecture in which the language of the opinions is inserted. The aspiration of this analysis was to identify the role of the candango cinema in the construction of the city’s imaginary and its relation to the State, through the opinions of censorship. (shrink)

The idea of the police as a “good order” from the Polizeiwissenschaft of absolutism was developed in the biopolitical model of caring for the population of the Modern era, engaged in ensuring safety and well-being. Being a product of mass society, the modern state has focused on influencing public opinion. In the XIX–XX centuries, there was a counter-movement of police supervision and art which gave rise to ‘police aesthetics’. Cinematography was an effective means of forming a desirable image of (...) the Soviet militia in the post-war period of normalization of public life. By contributing to the Soviet myth of developed socialism, militia cinema contributed to a screen-to-life transfer of a new norm of trust between representatives of power and citizens. This constructivist cinema involved the viewer in the cinematic reality by likening them to the main character, a militiaman who acts as a moral guide. In addition to forming the image of the ‘familial militia’, intellectual militia cinema—with its focus on professionalism—is actively developing. The most popular version of the latter is militia cinema that thematizes the moral rightness of militia officers fighting crime in the name of Soviet citizens. Involvement in the cinematic reality through assimilation, novelty, memory, and imagination included the romanticization of the historical events of the revolution. Militia cinema was inverted during the years of the perestroika. It exploited the effect of novelty associated with the viewer's immersion in emerging market relations. The viewer's interest was focused on the wrong, criminal, side of public life. Crime is romanticized, the militia is stigmatized. From constructing the myth of cooperation between the government and the population, militia cinema moves on to deconstructing the myth, achieving an effect of denigration. The fashion for American cinema brings elements of action, thriller, horror. The viewer is no longer included in the imperious project of transforming reality; they are attracted by the illusion, the spectacle. The latest police cinema, overcoming total deconstructionism, is busy reconstructing the spirit of Soviet militia cinema in modern settings. Oscillating between the intention to generate positive images of the police and the demonstration of the “truth of life”, modern police cinema contains the natal shoots of a new cinema in which the image of the police is important for the normalization of public life. (shrink)

This book uniquely bridges the conceptual gap between the history of geographic, cartographic thought and film theory with the technological and cultural shifts that shaped the emergence of cameras and cinema. This volume is essential reading for students, scholars and academics of cinematography, human, cultural and social geography, cartography and media studies, as well as those with an interest in these areas more generally.

The Cinematography in Whisky (2004) is essential in the directors’ efforts to explore existential isolation. The incompleteness of knowledge, the uncrossable gaps between people, and the impossibility of communion among individuals are some of the themes explored in this film, directed by Juan Pablo Rebella and Pablo Stoll. These are mostly absent in the scholarship about the movie, which tends to focus on the concept of small cinema. The present text aims to build on these discussions to propose a (...) reading of Whisky as a work of art that, although made within a very specific context of production, is not limited by it.Keywords: Cinematography. Uruguayan cinema. Small cinema. (shrink)

The Romanian communist cinematography has been analysed from the point of view of its value to the regime’s ideology or propaganda. The aim of this article is to examine Romanian cinema for its use of cultural heritage from the perspective of an art historian and museum curator. Using the current taxonomy of cultural heritage in Romania: movable cultural heritage—meaning paintings, drawings, decorative art—and immovable cultural heritage—build­ings, houses, inns, cultural monuments, the article follows these categories in the filmmaking industry. They (...) were both used in Romanian cinematography with the approval of the State and Party authorities. The main objective of this article is to „cut” the frames of selected films and see how and which cultural heritage objects were used in cinematography. (shrink)

Although socialist Romanian cinematography focused on commer­cial and artistic feature films, hundreds of short films were produced every year on the fringes of the industry, in specialised animation and documentary studios, in amateur cine-clubs, by students at the National Institute of Film and Theatre in Bucharest, and by other amateurs (some of them visual artists) who owned a personal camera. Starting from an analysis of the context that allowed for such practices to flourish in a state whose official policies (...) did not support this typology, this essay explores the modes of production and the experimental tendencies in Romanian cinema during the socialist era, mapping the territo­ries where the avant-garde and experimental film manifested themselves. It is a gesture of digging at the margins of the film industry in the hope of shaking up the current canon and of offering a better understanding of the peripheries of the period’s cultural production, which will reverberate in the ways we are used to approaching its centre. (shrink)

Morphogenesis is one of the fundamental processes of developing life. Gastrulation, especially, marks a period of major translocations and bustling rearrangements of cells that give rise to the three germ layers. It was also one of the earliest fields in biology where cell movement and behaviour in living specimens were investigated. This article examines scientific attempts to understand gastrulation from the point of view of cells in motion. It argues that the study of morphogenesis in the twentieth century faced a (...) major dilemma, both epistemological and pictorial: representing form and understanding movement are mutually exclusive, as are understanding form and representing movement. The article follows various ways of modelling, imaging, and simulating gastrular processes, from the early twentieth century to present-day systems biology. The first section examines the tactile modelling of shape changes, the second cell cinematography, mainly the pioneering work of the German embryologists Friedrich Kopsch and Ernst Ludwig Gräper in the 1920s but also a series of classic, yet not widely known, studies of the 1960s. The third section deals with the changes that computer simulation and live-cell imaging introduced to the modelling of shape change and the study of cell movement at the turn of the twenty-first century. Although live-cell imaging promises to experiment upon and represent the living body simultaneously, I argue that the new visuals are an obstacle rather than a solution to the puzzle of understanding cell motion. (shrink)

This is a review of the narrative medicine documentary, Our Curse. The writer and director of this Oscar-nominated Polish movie is a film student and a young father to a baby born with congenital central hypoventilation syndrome. Using simple cinematography, the film is an autobiographical exploration of the fearful, tearful, and sometimes joyful days and nights in the lives of the child and his parents.

Même si toute l'expression humaine ne saurait se réduire à l'esthétique littéraire et cinématographique, celle-ci n'en occupe pas moins une place importante dans ce qui révèle le sentiment de l'homme dans son adhésion à l'existence, aussi élaboré soit le cri qu'explicite et déploie cette expression. Liées à des moments de l'histoire, ces formes d'expression les expriment en même temps qu'elles s'en distancient, disant, de façon originale en chaque oeuvre ou en chaque courant, cette résistance de l'humanité à ce qui normalement (...) devrait l'anéantir. De la Shoah aux images de violence dans la cinématographie contemporaine, le témoignage de l'expression et de la résistance interroge le théologien.Even if all expression cannot be reduced to a literary and cinematographic esthetic, the latter does not occupy a place of lesser importance in that which reveals the sentiment of man in his adhesion to existence, however elaborated the cry may be that makes explicit and spreads about this expression. Tied to moments of history, these forms of expression manifest them at the same time that they take a distance from them, depicting,in an original way in each work or in each current, this resistance of humanity to that which normally should destroy it. From the Shoah to the images of violence in contemporaneous film, the witness of the expression and of the resistance questions the theologian. (shrink)

This article attempts to evaluate emotive meanings across languages and cultures expressed and elicited semiotically from viewers. It investigates the challenges of subtitling emotive feelings in the American filmHomeless to Harvard(2003) into Arabic. It adopts Paul Thibault’s (2000. The multimodal transcription of a television advertisement: Theory and practice. In Anthony Baldry (ed.),Multimodality and multimediality in the distance learning age, 311–385. Campobasso: Palladino Editore) method of multimodal transcription and Feng and O’Halloran’s (2013. The multimodal representation of emotion in film: Integrating cognitive (...) and semiotic approaches.Semiotica197(1/4). 79–100) framework of the multimodal representation of emotion to formulate strategies for subtitling emotion from English into Arabic. Additionally, Feng and O’Halloran’s (2013) framework is adapted to show how stylistic choices (e.g., cinematography, music, soundtracks, etc.) and semiotic expressions can elicit emotion from viewers. The social semiotic model is employed to investigate how emotive representation is realized through verbal and non-verbal items. The findings showed that the filmmakers had properly used stylistic choices and various semiotic techniques to elicit emotion from the viewer derived from the emotion of the film’s heroine. (shrink)

This Sixth volume in the series The Key Debates. Mutations and Appropriations in European Film Studies investigates the question of screens in the context both of the dematerialization due to digitalization and the multiplication of media screens. Scholars offer various infomations and theories of topics such as the archeology of screen, film and media theories, contemporary art, pragmatics of new ways of screening (from home video to street screening).

This article develops an interdisciplinary theoretical method for assessing the environmental values articulated and practised by dispersive or ‘mobile’ film production practices, aiming toward applicable strategies to make media practices more environmentally conscientious and sustainable. Providing a social and environmental study of the local relational values, political economy and ecosystem ramifications of runaway productions and film incentive programmes, this study draws on contemporary international green production practices as entryways into environmentally positive film industry change. Offering an overview of the potential (...) use of a relational values approach to media production cultures, the essay uses two opposing models (the Michigan film incentive and the underwater cinematography culture of South Florida) in order to assess the political dynamics, social consequences and environmental threats of Hollywood's mobile practices – as well as their potential as sites, beyond Hollywood, to converge environmental values with local media culture. (shrink)

The article is devoted to the emergence and development of Yakut cinema. The object of the study is the Yakut cinema as a phenomenon of national culture. The first appearance of film installations in the Yakut region at the beginning of the XX century is considered. Attention is drawn to the process of mass cinematography in Soviet times. In parallel, the inclusion of Yakut people in the creative process of participating in the first filming at All-Union film studios in (...) the 1930s is traced. Attention is also drawn to the prominent role of the Yakutkino State Trust, which led the development of Yakut cinema. The author analyzes the reasons for the rapid development of Yakut cinema in the post-Soviet period, related to the appeal to the traditions of the Sakha people, the high level of development of theatrical art in Yakutia, artistic and aesthetic needs and spiritual demands of the audience. The article shows the role of "Sahafilm" in the history of Yakut cinema. The characteristic features of the formation of genres of journalistic cinema, the change of repertoire in the early years of Soviet cinematography and during the Great Patriotic War are revealed. The characteristic features of the post-war reconstruction of the technical equipment and training of personnel of the Yakut cinema are outlined. The genre diversity of films shot during this and subsequent times is shown, when, along with documentaries, feature films also begin to be shot. The development of Yakut cinema is traced against the background of all-Union and all-Russian processes. The formation and development of the main institutions of Yakut cinematography, the growth of the skill of its figures are examined through famous films created by them. For the first time, three stages of the development of Yakut cinema have been identified - from the very beginning to the present day: from "silent cinema" to the birth of the national film industry. (shrink)

In his opening address at a discussion of the book: V. V. Bychkov, N. B. Mankovskaya, and V. V. Ivanov, Trialogue: Living Aesthetics and the Contemporary Philosophy of Art , held on 27 February 2012 at the S. Gerasimov All-Russia State University of Cinematography , the author shows that Trialogue came into existence as a result of interpretation, polemical debate, and further development of ideas formulated in his early fundamental work. The Artistic Apocalypse of Culture . The key idea (...) of both books is V. Bychkov's hypothesis of Culture -post- culture drawn from radical processes that take place in art, aesthetics, and the culture of the last century. (shrink)

Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at a wrong (...) moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

A focus on the ideological use of popular culture has been one of the major innovations in the study of the Cold War over the past years. Films played a central role in the popular culture of that period and the spy genre was a very important direction in the battle for winning domestic and global hearts and minds for both the United States and the Soviet Union. Cinematography had a critical importance because it met the demands of both (...) entertainment and ideological functions. Utilising extensive archival research in film production files, this article attempts to fill a gap in the literature by providing an overview of how the tensions between East and West were exploited into the Romanian films of the first two decades of the Cold War. Focusing on the cultural and political context in which films such as Viața învinge (Life Triumphs—Dinu Negreanu, 1951), Alarmă în munți (Alarm in the Mountains—Dinu Negreanu, 1955), Vultur 101 (Eagle 101—Andrei Călărașu, 1957), Secretul cifrului (The Secret Code—Lucian Bratu, 1960) and Pisica de mare (Stingray—Gheorghe Turcu, 1964) were produced, while analysing the evolution of the image of spies and secret agents in these cinematic productions, this paper reveals how the spy film genre emerged in communist Romania during the period when Gheorghe Gheorghiu-Dej was in power, and how it contributed to the creation of images that marked the collective mind of the period for decades. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable and (...) put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

On 1 July, 1926, Express Wieczorny Ilustrowany [The Illustrated Evening Express] began printing the episodic novel Białe niewolnice [White Female Slaves] by Jan Teodor Grzechota. Twelve days later, the newspaper published an article in which it informed that the printing of the novel was suspended, because the work turned out to be a plagiarism of a novel with the same title by the Scandinavian writer Elizabeth Schoyen. The Jan Teodor Grzechota pseudonym stood for a well-known Łódź-based poet – Mieczysław Braun. (...) The subject of the plagiarism was an extremely popular novel, whose numerous trans- lations appeared in Polish in separate book editions several times in the 1920s and 1930s. The popularity of the motif of human trafficking might have proved itself, as the motif was also used at that time by Polish and European cinematography and theatre. A careful analysis of both works shows that Brown copied the content of Shonyen’s novel almost exactly, i.e. the plot, the characters, and the details. The Polish writer added several initial episodes of the novel in order to set the plot in the reality of Lodz, which was one of the determinants of the poetics of the seg- mental novel. It is probable that the only punishment Braun suffered was public critique of his shameful act, since copyright regulations were not yet in place. (shrink)

Andrey Bely's autobiographical novel Kotik Letaev and Terrence Malick's film The Tree of Life do not share a common subtext. Nevertheless, they have strikingly similar themes. They each deal with an adult's confrontation of his past through memory, a memory that extends back before birth. Coming to terms with the past prepares the adult protagonist of each work for his destiny. The essay discusses Malick's use of William Blake's mysticism and Bely's dependence on the religious-philosophical ideas of Rudolf Steiner. Memory (...) plays an important role in both works as it touches on the recapitulation of cosmic origins in the development of the individual human being. What the quester discovers through memory enables him to find the way back to Eternity from which he has descended. Both artists invoke the World Tree uniting heaven and earth and its association with the Cross of Christ. In both the novel and the film the world is seen first through a child's eyes, then through growing understanding of the adult. Malick illustrates with cinematography what Bely describes in words. Malick uses music in a way that fleshes out what Bely attempted to create through using musical tropes in language. (shrink)

By means of Vivian Sobchack’s semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film’s elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the direct and pre-verbal (...) significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles’ Citizen Kane. When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

Desde sus inicios, el cine estuvo fuertemente ligado con la literatura a partir de las adaptaciones de novelas, la divulgación del patrimonio literario, el análisis de la subjetividad, la teoría de los géneros, la aplicación de las categorías de la narratología para el estudio de las especificaciones fílmicas, entre muchos otros. Este estudio toma dos relatos literarios y los compara a través de orientaciones metodológicas y teóricas de la narratología con la versión animada de La Leyenda de la Llorona, para (...) determinar similitudes y diferencias. Asimismo, analiza ciertos elementos del lenguaje cinematográfico que tienen concordancia con las obras literarias para entender que los vuelve diferentes y específicos. (shrink)

Theodor Adorno’s thinking on the essay is an essential part of the recent theoretical development on the essay film. However, the reception of his reflection on the essay in that context does not connect with the breadth of his aesthetic and epistemological thought. This proposal explores how the articulation of his vision of the essay, his philosophy of non-identity, his aesthetic theory and his lesser-known appreciations of cinema contribute other arguments to the understanding of the essay film —in general, of (...) essayistic or audiovisual essay forms— as an aesthetic phenomenon. The connection of The essay as form with other works by Adorno allows us to reconsider his position in relation to the essay and art, to broaden his contributions to make the audiovisual essay intelligible and, in general, some of the most radical aesthetic paths of contemporary cinematography. (shrink)

The subject of the study is Bernardo Bertolucci's film "The Last Emperor", in particular, the coloristic of the film and the psychology of the image of the main character, which is largely revealed through the color palette and individual artistic details. The object of research is the language of cinematography, cinematographic artistic techniques. Despite the sometimes shocking images and plots, Bertolucci's films were highly appreciated by the international community and domestic film critics due to their artistic solution and topical (...) issues affecting the problems of class struggle and anti-fascist themes. The author of the article examines the image of the main character of the film, Aisingero Pu Yi, the last emperor of China and Manchukuo. The film is based on real historical events taking place in the first half of the 20th century, so the dramatic collisions of the character are not perceived by the viewer as some kind of abstract problem. Against the backdrop of the complex historical changes that China has faced, many questions of the formation and self-determination of the individual are being raised. The image of Emperor Pu Yi is revealed gradually through a comparison of two storylines and the color scheme of the film, since it is the color palette that helps to subtly and meaningfully convey the psychological content of the character. The main research methods are analytical and comparative-historical. The composition of the film and the dynamics of the change in the color palette of individual episodes are analyzed, which makes it possible to trace the evolution of the image. The author comes to the conclusion that it was the coloristic solution of the film that allowed the creators to convey the national color and historical atmosphere of China of a certain historical period and show a vivid image of the protagonist on the screen. (shrink)

"You will never know, nor will you, all the stories I kept telling myself as I looked at these images." With these words Jacques Derrida opens his reading of Marie-Francoise Plissart's hundred-page photo-novel. Originally published in France in 1985, this tour de force of word and image is available in English for the first time. Plissart's visual narrative unfolds in photographs, and photographs of photographs, in a kind of silent cinematography. Derrida's polylogue explores gender, photographic genre, time, language, and (...) the interpretative act of seeing. The text and the photographs, each with its own structure and syntax, together illuminate what is at stake in the "right of inspection.". (shrink)

What follows is the elaboration of a series of discussions held by the two authors at a seminar during which we tried to “read” Wim Wenders's Lisbon Story starting from Gregory Bateson's double bind theory. These discussions then developed into writings that were intertwined, hybridized, corrected, extended, and cut. We experimented directly with the game of relationships, the “mess that works” of the difficult distinction between map and territory, between epistemology and cinematography. Emerging from general considerations on cinema is (...) the double bind of the “crisis” of images, a prelude to a renewed faith in the creative and constructive possibilities of art: image not as a replica but as the experience of a relationship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE PARTY'S OVER (ALMOST): TERMINAL CELEBRATION IN CONTEMPORARY FILM Tony Bartlett Syracuse University Movies are a universal language, and as we approach more and more integrated levels of global economy and communication they increasingly become a universal symbol system. At these levels a modern movie from China orNigeria will display swiftly recognizable sensibilities and situations to any viewer in Europe or the USA, and vice versa. But should we (...) not, therefore, also feel prompted to indicate a universal de-symbolization, if movies along with the modern world reflect constitutive elements of decomposition and collapse. For I would like to suggest in this essay that not only do movies constitute a kind ofplanetary envelope, literally a "film" of collective imaginai references wrapped around the world, but that this "film" is peculiarly apt to dismemberment, to breaking up before our eyes even as it still holds together, to abuilt-in "crisis" that is part ofits very nature. The two films that form a background to these remarks, Natural Born Killers and Pulp Fiction, are, I suggest, movies that set out actively to represent this cinematic crisis. In Adam Smith's The Wealth ofNations (Bk. 2, Vol. 5, 795-97), the grandfather ofmodern capitalism discusses the fate ofthe laborer who leaves arural village in which he is known and his life observed, or "attended to," by others. He moves to a great city where promptly "he is sunk in obscurity and darkness." Smith's concern is not directly to remedy this misery ofthe worker forced to seek employment in the anonymity ofthe city, but to avoid a possible course ofaction he might take. He wishes to divert him from the possibility of joining "a small religious sect," in whose company the newly depersonalized worker will achieve "a degree of consideration which he never had before." 2 Tony Bartlett Adam Smith does not relish the prospect ofthe mushroom growth ofclosed, "unsocial" religious factions within the heart of industrialized political economies, and he proposes two remedies by which the state, "without violence," might correct these tendencies. His proposals are remarkable both for their conjunction ofcertain themes and their prescience. The first is a plan for the imposition of the study of science and philosophy on the middle ranks ofthe poor, for science is "the great antidote to the poison of enthusiasm and superstition." Next to this classic Enlightenment nostrum comes the following: The second ofthose remedies is the frequency and gaiety of publick diversions. The state, by encouraging, that is by giving entire liberty to all those who for their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, musick, dancing; by all sorts ofdramatic representations and exhibitions, would easily dissipate, in the greater part of them, that melancholy and gloomy humour which is almost always the nurse ofpopular superstition and enthusiasm. Publick diversions have always been the object of dread and hatred, to all the fanatical promoters ofthose popular frenzies. Here are the movies before the fact. Adam Smith in his charter for emergent industrial capitalism sketches an alliance between education and entertainment that together will prevent any reversion to the darkness ofsmallscale society and its ready excrescence of religious fanaticism. All of the components of cinema aesthetic are assembled in Smith's prophetic vision: cinematography, script, score, choreography, plot, spectacle. The only thing lacking was the technology to capture them together on film, and with the release ofinventive energies attending division oflabor that would only be a matter of time. Cinema is the born ally ofrational modernity, and is in itself the child of industrial alienation and the need to find a mass aesthetic to substitute for the control exercised by the sacred in a traditionally local setting. But, ofcourse, there are several levels ofirony that are not lost on us here. First, Smith says explicitly that the state has a direct interest in such mass entertainment. What then is the relationship between the much prized freedom ofthe creative artist and the very concrete concern for self-preservation on the part ofthe state? He specifies that the people's entertainment must be without scandal or indecency: what now should be said when political leaders... (shrink)

The article addresses the special conditions in Soviet society during the Stalin period that contributed to the emergence of latent ideas about the unique position of the USSR on the map of the world, of Europe in particular. The focus is on pedagogical methods, the theory and practice of cartography, literary and journalistic texts, cinematography, and pop music, all of which present an image of the USSR as the “center of world civilization” and thereby sustain its inculcation in public (...) consciousness. An interesting and significant example is the second edition of the Great Soviet Encyclopedia, launched on Stalin’s initiative and carried out under his patronage. In this context, the logic and the rhetoric of encyclopedia articles on the physical and political geography of Europe must be analyzed as a kind of territorial “crowding out” of Europe to the periphery of the Soviet Union. “Crowding out,” not only by geographical but also by ideological illusions of space, which emphasize and reproduce fairy-tale and epic orientations of social self-knowledge, brings the illusory space clearly into view. These means motivate the cyclical movement from centre to periphery and from periphery to centre. (shrink)

Cet article s’inscrit dans le prolongement d’une recherche que je mène depuis une vingtaine d’années sur les rapports entre cinéma et pensée. En m’appuyant en particulier sur les réflexions de Gilles Deleuze, Félix Guattari, Edgar Morin, j’ai ainsi pu créer les concepts de « complexité esthétique », « noosphère filmique », « cinématographie des flux ». Suite à l’évocation de créateurs-penseurs du cinéma muet d’avant-garde, sont ici abordés des films d’Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais et Andreï Tarkovski. (...) L’intitulé, « Les métaphores filmiques du cerveau » indique que l’approche de la relation cinéma-cerveau est d’ordre philosophique, mais également d’ordre poétique. Si le cinéma est à même de donner forme à la pensée, il invente aussi des circuits cérébraux — sonores et visuels — qui lui permettent de devenir forme « pensante ». This paper is a continuation of my research over the past twenty years on the relationship between cinema and thought. By relying in particular on the reflections of Gilles Deleuze, Félix Guattari and Edgar Morin, I was able to create the concepts of “aesthetic complexity”, “filmic noosphere” and “cinematography of flows”. Following the evocation of creative thinkers coming from avant-garde movies of the silent era, here I discuss films from Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais and Andreï Tarkovsky. My title, “The brain’s cinematic metaphors”, indicates that my approach to cinema-brain relationship is philosophical, but also of a poetic nature. If cinema is able to shape thought, it also invents metaphorical brain paths—audio and visual—that allow it to become a “thinking” form. (shrink)

This essay discusses the matter of the cinematography, with the analysis of Elio Petri’s film and novel, La proprietà non è più un furto, in the background. These works are paradigmatic as to a fundamental aspect of the cinematography, that connects it with the mechanism of the money. This mechanism, as every other human product, is the effect of a projection of the humanistic ideology. For this ideology the system of exchange is the ground of the monetary circulation. (...) Criticizing this idea, this essay individualizes a correspondence between production (capture) of images in the cinema and monetary circulation (considered in his totality of displacement and original theft). (shrink)

The French public has a distinct taste for realist representations of public crisis. Citing figures from the Centre National de la Cinématographie et de l’Image Animée (CNC), Sarah Cooper has shown that interest in documentary film is steadily on the rise in France (9), as attested to by the growing number of documentary festivals and documentary films recently released in theaters. Within this context, Martin O’Shaughnessy links the popularity of the social documentary genre to a series of political developments in (...) France, such as the 1995 protests against the infamous “Plan Juppé,” which aimed to slash public spending, and the French electorate’s spurning in 2005 of the Constitution proposed by the European .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.1 (2003) 137-141 [Access article in PDF] Qvomodo Stemma Gladiatoris Pellicvlae More Philologico Sit Constitvendvm Martin M. Winklersive Martinvs Satiricvs Philocinematographicvs [Figures]Poetae rervmqve scriptores et antiqui et recentiores lectoribus fabulas suas sententiis vel versibus bene textis soliti sunt adferre. Sed hodie novum exstat narrandi genus, quod fabulas hominibus adfert praecipue picturis eo modo compositis et inter se coniunctis ut oculi humani imagines singulares celerrime et (...) sine ulla motus intermissione ipsas moveri percipiant, personarum dialogis et arte musica sonisque diversis comitantibus et iuvantibus. Adeo enim progressa est ars magna lucis et umbrae, quam primum photographiam deinde cinematographiam nominare consuevimus, ut fabulae cuiusvis modi—breves longae, novae antiquae, laetificae tragicae—imitatione veri paene perfecta spectatoribus persuadeant tempora iam praeterita in vitam novam esse recreata.In ipsa arte narrandi non multum interest inter eos qui verbis utuntur, ut poetae ac scriptores, et eos qui imaginibus, ut cinematographi. Praeclare Horatium in arte poetica exponenda dixisse recordemur ut picturam poesin esse. Qua in re Simonidem illum Ceum aliosque poetas Graecos secutus est Flaccus noster. Utroque enim modo, et verbis et picturis, auctores antiqui atque hodierni homines docent delectant movent. 1 Facillime ergo intellegimus fabulam cinematographicam genus quoddam esse textus, sed textus non tantum legendi aut audiendi sed imprimis videndi vel spectandi. Peritissimus quisque talium fabularum [End Page 137] auctor omne tulit punctum, nam miscuit utile dulci. Is quoque non aliter ac poeta antiquus aut prodesse vult aut delectare.Sed editiones nonnullarum fabularum cinematographicarum inter se differunt et lacunas corruptelas vitia alia exhibent. Non enim raro pelliculas adfectas esse constat eius generis damno quod textuum antiquorum docti in editionibus suis obelis indicare solent. Itemque quomodo fabulae cinematographicae originem suam trahant ab antiquioribus quaerere et explicare haud absurdum est. 2Ergo editorum usum secutus his paginis originem pelliculae Gladiatoris anno MM editae exempli gratia stemmate quasi philologico explicabo. Deinde stemmatis sigla brevibus adnotationibus percurram. 3 Hoc modo me demonstraturum spero principia artis philologicae, quae litterarum Graecarum Romanarumque docti adhuc solum soliti sunt textibus adhibere, fabulis quoque cinematographicis magno cum fructu admoveri posse. In stemmate infra dato titulos fabularum cinematographicarum et auctorum eorum nomina Latine reddidi.Ridlius Scotus, pelliculae Gladiatoris auctor, magna cum acclamatione publica, minore criticorum, narrare studet quae imp. Caes. M. Aurelii Commodi Antonini Aug. aetate in imperio Romano gesta sunt. Sed stemmate monstrabo Gladiatorem imprimis ortum esse a nonnullis fabulis cinematographicis prioribus, quibus sons aut insons copiosissime usus sit ille Scotus. Qua de causa pellicula eius nobis indicat quemadmodum res Romanae temporibus nostris undique floreant. Cum ipsa et ceterae huius modi fabulae falsa inventione abundare soleant, tamen rerum et linguarum Romanarum Graecarumque magistri hodie hoc artis popularis genere in scholis saepius niti consueverunt, ut discipulos a falsa ad veram adducant rerum gestarum scientiam et rebus antiquis accuratius instruant. Quibus igitur magistris hoc offero stemma, nam amicus Scotus, sed magis amica veritas. 4 [End Page 138] [Begin Page 140] Conspectvs Siglorvm WPellicularum res antiquas tractantium archetypus, qui est summa rerum Romanarum a scriptoribus antiquis et recentioribus expositarum.AConsensus fabularum quae vel litteris vel ludis scaenicis vel picturis cinematographicis praecipue Italicis Americanisque res Romanas narrant depinguntque.TTriumphus Animi Helena Riefenstahle auctore anno MDCCCCXXXV editus. 5SSpartacus Antonio Viro—nomine suppresso—et Stanlio Cubrico auctoribus anno MDCCCCLX editus.CCasus Imperii Romani Antonio Viro auctore anno MDCCCCLXIIII editus. 6B1-3Triga Georgii Lucae Bella Galactica inscripta et annis MDCCCCLXXVII MDCCCCLXXX MDCCCCLXXXIII primum edita, quae his picturis cinematographicis constat: Pars Quarta: "Spes Nova" (B1), Pars Quinta: "Imperium Referit" (B2), Pars Sexta: "Iedi Reversi" (B3). 7 Editio trigae altera anno MDCCCCLXXXXVII edita itemque Bellorum Galacticorum trigae novae Pars Prima: "Simulacri Minae" anni MDCCCCLXXXXVIIII nihil ad rem.M1-3Triga Georgii Molitoris Maximus Furens inscripta, annis MDCCCCLXXVIIII MDCCCCLXXXI MDCCCCLXXXV edita et his picturis cinematographicis constans: Maximus Furens (M1), Maximi Furentis Pars Altera vel Bellator Peregrinans (M2), Maximus Furens Vltra Tonitrus Tholum (M3). 8GGladiator Ridlio Scoto auctore anno MM editus. 9 [End Page 140]His alias poteram et plures subnectere causas vel philologicas vel cinematographicas. Qui de Scoti Gladiatore plurima cognoscere velint... (shrink)

Viewer satisfaction measures how well a film's technical and artistic elements match or surpass the expectations and tastes provided by the viewer. Film quality refers to a film's technical and creative components. Out of 75 surveys that were provided, 50 valid results were utilized to emphasize the aspects affecting viewer satisfaction in Impact of Film Quality and View Environment. To enhance data validity and reliability, we employed the Statistical Package (SPSS) software to carry out the following tests. The correlation technique (...) was used to measure the extent of the connection between several factors like film quality, viewing environment, and the level of viewership satisfaction and the results yielded positive results. Proper regression analysis was also conducted to investigate the correctness of Resolution quality, Sound design, Cinematography, Seating comfortness, Ambient Lighting, and Viewing distance. The findings indicated how the watching setting and the caliber of the film affected the viewers' overall happiness levels. The findings also affirmed the robustness of the model which indicated that film quality impacted the respondents more than the viewing environment. These factors are highlighted in this study as key influences on viewer experiences and provide valuable information regarding possible improvements in the processes of film creation and marketing to increase audience engagement. The prevention statistically justified the quality of the film and the viewer's satisfaction with having a successful film. (shrink)

Za pretpostaviti je da identitet, čak ukoliko ga se i provizorno fiksira, biva promatran kao nestabilna, socijalno uvjetovana kategorija, označena i prepoznata ovisno o preraspodijeljenosti moći i trenutnim diskurzivnim relacijama. Pretpostavka teksta jest da se problematika identiteta promišlja kroz konfliktan suodnos dominantno i marginalno pozicioniranih društvenih aktera. Kontekstualizirano unutar ovakve dualne distribucije moći, aplikativni dio teksta tematizira temu proučavanja problematike identiteta u dva različita društvena diskursa . Pritom, film se promatra kao medij popularne kulture, dok bitan segment znanstveno-teorijskog pristupa temi (...) koji omogućuje raspravu pripada domeni kulturne kritike.Inicijalno zadirući u sferu estetskog, tekst započinje primjerima iz teorije prakse. Tiče se inkorporiranosti filmskih sadržaja u osobne identifikacijske procese svakodnevnog života. Praktična pretpostavka jest: budući da se relevantnost kinematografije u velikoj mjeri očituje u dostupnosti plasiranih sadržaja, sam film se tako predstavlja kao privatni i kolektivni itinerar kulturnih znanja i putokaz življenom iskustvu.Teorijski se pak dio priče odnosi na prenošenje znanja specijaliziranim kodovima koje potvrđuje činjenicu disciplinarnog zatvaranja kao identifikacijskog procesa. Ukoliko pretpostavimo da je inicijalna tendencija prepoznavanja, uspostave i upisivanja identiteta u matricu svakodnevice oblik kritičkog djelovanja, utoliko se s pravom možemo pitati postoji li nešto što možemo zvati paradoksom uspostavljanja identiteta? I ukoliko postoji, sabotira li zapravo taj paradoks vlastitu inicijalnu tendenciju, a ta je, ponovimo to – djelovanje? Zaključak sugerira dijalektički i interdisciplinarni pristup problematici čiji su cilj etički i politički korektnije politike predstavljanja. Preciznije, umjesto danas razvidnih i dominirajućih perpetuiranih reprezentiranja manipuliranog znanja, ovaj rad nastoji otvoriti mogućnosti za samoartikulacije i samoprezentiranja različitih identifikacijskih pozicija.It is procurable to postulate that identity as such, even if tentatively fixed, is being beheld as an unstable, socially conditioned category, marked and recognized depending on the distribution of power and current discourse relations. The assumption of this text is the politics and the problematic of identity viewed through the conflict nature of the dominantly and marginally positioned relation of social actors. Contextualized throughout this binary distribution of power, the applicable part of this text introduces the subject of identity studies and the problematic it beholds within identity itself in two different social discourses . In this perspective, the film is seen as the media of popular culture, while the important part of scientifically-theoretical access to the subject which allows debate, is in the domain of cultural critique.Interfering initially in the domain of esthetics, the text begins with examples in theory of practice. It concerns embeddedness of the film epitome into personal identification processes of everyday life. The practical assumption is: given the fact the relevancy of cinematography is broadly shown in the availability of the placed substance, the film itself is presented as a private and a collective itinerary of cultural knowledge and a signpost for lived experience.The theoretical part of the story relates to the transfer of knowledge using specialized codes while confirming the fact of disciplinal closure as well as the identification process. If we were to assume that the initial tendency of recognition, establishment and inscription of identity into the matrix of everyday life is indeed a form of critical action, than it is right to ask if there is a thing that could be called the paradox of establishing identity. And, if there is indeed such a thing, is this paradox actually sabotaging its own initial tendency – that being – acting? Conclusion suggests dialectical and interdisciplinary approach to the problematic which aims to the more correct politics of representation, both in ethical and political sense. More precisely, this text tries to open the possibilities of self-articulation and self-representation of different identification positions instead of nowadays apparent and dominate representations of manipulated knowledge. (shrink)

ArgumentThe deficit model of science communication assumes that the creation and dissemination of knowledge is limited to researchers with formal credentials. Recent challenges to this model have emerged among “e-patients” who develop extensive online activist communities, demand access to their own health data, conduct crowd-sourced experiments, and “hack” health problems that traditional medical experts have failed to solve. This article explores the aesthetics of medical media that enact the transition from a deficit model to a patient-driven model of visual representation (...) and health communication. I present a framework for understanding the role of film and video in patient movements by analyzing the historical transition from researchers filming patients as nameless, voiceless human research subjects to patients recording their own health narratives through activist cinematography. By comparing several approaches to patient-centered video, I argue that imperfect production aesthetics play a critically important role in establishing the credibility of health communications. (shrink)

The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in detail, and (...) the special role of the CNC (Centre National de la Cinématographie) is highlighted. The industry is then shown to be deeply interwined with the urban milieu of Paris, both in terms of its locational structure and its cultural dynamics. The final major section of the article deals with issues of industrial survival and competitiveness in the new global economy. It is suggested that French film policy needs to shift from a posture of defensive support of the industry to a more clearly articulated and aggressive concern with rebuilding market share in both the domestic and international arenas. (shrink)

Sergei Eisenstein’s 110th anniversary celebrated in 2008 calls for a re-assessment of his overall heritage, which until now has been customarily perceived in Western film scholarship as - in Annette Michelson’s words - ’indissolubly linked to the project of construction of socialism’ - a view shared from Marie Seton to Jacques Aumont, from Kristin Thompson to Ian Christie and from David Bordwell to Anna Bohn. Not only did Eisenstein’s output magnificently and persuasively outlive this project, but from our vantage point (...) at the beginning of the twenty- first century we can see its position within the complex tapestry of the cultural, philosophical, political and aesthetic developments of the twentieth century from a different angle. Drawing on the recently published in Russia Eisenstein’s magnum opus Method and the author’s research on still unpublished Eisenstein’s writings of the same period, including his diaries, the present paper positions the discussion of Eisenstein’s theory-and-practice between two diametrically opposed philosophical poles - utopia and event. I argue that while Eisenstein’s theoretical writings were encompassed by a number of utopian ideas, which were, nevertheless quite different from the utopian projects of bolshevism, it is his cinematography, which now - in the context of an on-going discussion in continental philosophy - can be defined as ’cinema of event’ that demonstrates the biggest and radical discrepancy between Eisenstein’s work and both ideology and art of socialism - the world of ‘realized utopia.’ . (shrink)

This article examines the Asian storytelling model ‘Kishotenketsu’, identifying its similarities with, and differences from, the classical Western model of dramaturgical plot construction. The ‘Kishotenketsu’ structure is used in poetry, literature, documentation, scientific research dissertations, music, and video game design. The article examines the application of this model in feature films. From the directing point of view, researchers have studied films with different artistic trends and from different production countries and discovered scripting and directing techniques having the elements of the (...) Asian model. Through the comparative analysis of the world films with those from Kazakhstan, this study attempted to reveal the use of the ‘Kishotenketsu’ model and its separate elements in the process of making films by prominent filmmakers in the past and the present from different countries. The films were studied in the context of screenwriting, visual storytelling, and editing. The study found that the ‘Kishotenketsu’ model is found in Kazakh cinematography in the direction of Art cinemas. The authors believe that ‘Kishotenketsu’ model will add more artistic value to the Kazakh cinema, allowing filmmakers to diversify unconventional ways of storytelling and filmmaking in the genres of both auteurs’ cinema and commercial cinema. (shrink)