Film

Why is it that we then all go to dark rooms to collectively commune over empathizing with fictional characters, as we do when watching films? Specifically, there have been few cultural touchstones to cause as much discussion and communing in the past ten years as Marvels' Avengers series and the film industry as a whole!

In this book, Nariman Skakov explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from 'Ivan's Childhood' (1962) to 'Sacrifice' (1986). He argues that dreams, visions, mirages, memories, revelations, reveries, and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and, in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that was discussed extensively by the filmmaker in his main theoretical treatise 'Sculpting in Time,' as well as in a number of interviews and public lectures.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Research and critical studies into men and masculinity has originated as one of the most emerging areas of sociological investigation. More books and articles have been published on this study area alone as well as the introduction of two specialized journals and the creation of several websites all providing different explanations of their understanding of men and masculinity at the millennium age. Masculinity is an area of sociology that has, since the mid-1950s, drawn on many theories, including structural functionalism, Marxism, psychoanalysis, critical structuralism, and more recently, post-structuralism and theories of the post-modern (Whitehead & Barrett, 2001). Within popular culture, the media have also come across the perceived 'crisis of masculinity' in Western cultures – newspapers, documentaries and talk shows have increasingly pondered the changing meaning of manhood in our modern age (Alsop et al, 2002). The purpose of this writing is to understand men and masculinity in the modern world putting into consideration the sociology of masculinity, the social construction of masculinity, the crisis within masculinity as well as a fair contrast with masculinity and feminism.

In 1998, in a paper in which he explained the mechanisms used in Hollywood to divide the revenue generated by feature films among different stakeholders, Mark Weinstein (1998) argued that only ten to twenty percent of these projects actually were showing a positive figure under the heading “net profits”. Ten years later, the United Nations (2998) also acknowledged that; as it was widely recognized, yet without mentioning any empirical study that might corroborate the use of such a precise figure, only 20 percent of movies were making a profit. Moreover, as this report informed, the surplus generated by these extremely successful projects was so large that it offset the cumulated losses generated by the remaining 80 percent of feature films. The implications of the existence of uncontested and long lasting belief about the high risks that companies in the filmmaking business have to face and overcome, should not to be neglected: when policy makers accept that the outcome of a movie is highly unpredictable and the gap in terms of income between a success and a failure can be substantial, they are also more inclined to accept concentration in this sector as a way to reduce risk and increase investments. Epstein‟s book “The Hollywood Economist: The Hidden Financial Reality Behind the Movies” does not reveal what percentage of feature film is likely to pass the break-even point, nor it denies that filmmaking can be a risky business in financial terms. The main contribution to knowledge from this book comes from his explanation of the financial practices of the producers-distributors that are now part of the largest info-entertainment conglomerates and are the descendent of the major Hollywood studios (i.e. the „Majors‟). After reading this book, the reader will understand that making movies for these companies and for the conglomerates they are part of, is a rather stable, low-risk and very profitable activity.

Se bem a Sociologia nasce como uma "narrativa sobre a modernidade" (RITA FELSKI), o mundo contemporâneo vive transformações sociais, culturais e políticas que demandam novas análises e novos olhares. O presente trabalho aborda enfoques atuais e discursos sobre a pós-modernidade na Sociologia e na teoria social contemporâneas, identificando alguns debates centrais. Entre outras coisas, percebe-se, em muitos discursos, metáforas de "degeneração" ou deterioração social associadas a noções da "contaminação do público pelo privado", ou, de forma contrária, do "privado pelo público". Existe grande preocupação em relação a uma suposta perda de laços sociais que acompanharia a desconstrução de formas padronizadas de relacionamento (BAUMAN) ou a uma perda de possibilidades dialógicas, fruto da pulverização das identidades sociais e culturais (HABERMAS) Perante essas perspectivas e também a visão mais "otimista" de Giddens (através de sua noçã...

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

Perhaps it is telling that on the day that Steve Jobs (Danny Boyle, 2015) was released in the UK, so too was Tangerine (Sean Baker, 2015), which tells the story of transgender sex workers in Los Angeles. For, if the former film charts the rise to success of the entrepreneur behind various of the Apple products that now flood the world market, the latter film was made using one of Jobs’ best known products, the iPhone.

Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.

The Spanish Civil War was a tacitly forbidden topic in Hollywood controlled by the self-censorship of the Hays Office and the PCA. Therefore, American film companies only produced three films about warfare at the same time as it was developing (1936-1939). This article analyses the historical content and the ideological discourse of The Last Train From Madrid (James Hogan, 1937), the first approach of Hollywood to the war in Spain. This is a minor film, which has been barely studied by film analysts and is still commercially unavailable. Nevertheless, it is so relevant since that it was the first view offered to the American public on Spanish belligerency in a fiction film. Such point of view was the result of the restraint exercised by the self-censorship, which summarized in a deliberate impartiality and in a distant and apolitical position. Their filmic effects were the absolute ambiguity and confusion. As a result, this picture is a clear reflection of the official attitudes of neutrality and non-interference shared by both Hollywood’s self-censorship system and the United States Government, and it establishes itself as a prediction of what happened in history: the non-intervention of democratic Western countries in the Spanish conflict.

KEY WORDS: The Last Train From Madrid (James Hogan, 1937) – Spanish Civil War –Hollywood –Film self-censorship – Hays Office – PCA – Political discourse – Ideology – Neutrality

RESUMO Este artigo resulta de um processo investigativo que se propõe realizar uma análise sobre a origem do Serviço Social no Brasil, a partir de uma contextualização histórica das mudanças ocorridas na profissão. Abordou ainda sobre os referenciais teórico-metodológicos que se contrapõem no interior do Serviço Social. A pesquisa caracterizou-se como bibliográfica; utilizou como fontes: artigos científicos, revistas, livros e referenciou-se no método dialético para análise e interpretação de dados. ABSTRACT This article takes as its object of study "Producers Association of Settlement Corral Bois"-APACB, the municipality of Simon Day / SE. Seeks to understand how associative practices involved in the process of identity formation of ethnic-racial members. The research is exploratory and theoretical approach considers the qualitative dimension. Meanwhile, it was found that the APACB is a success in terms of the possibilities of identifying the population of the Settlement Corral Bois, because this model of collective organization installed in community farmers became owners of their land, their home and his family. The results are partial and will serve to further analysis later, secured by theoretical and methodological possibilities that were confirmed with the first investigations on the object of study.

""L’objectif est de mettre au jour la construction de l’événement dans sa rhétorique et sa performance, sa diffusion médiatique et sa reconnaissance sociale. Comment la production discursive autour de la Marche des Fiertés 2011 interroge-t-elle les enjeux
de représentations – et donc l’identité LGBT et l’action du mouvement ?

L’étude du cas de 2011 permet d’interroger les potentialités médiatiques et communicationnelles du discours polémique. Pourquoi y a-t-il eu polémique ? Quels enjeux cristallise l’affiche ? Y a-t-il réellement eu polémique ? En quoi les discussions
suscitées par l’affiche de l’édition 2011 de la Marche des Fiertés révèlent les enjeux de l’événement qu’elle est censée promouvoir ? Finalement, en quoi « l’affaire de l’affiche » marque-t-elle une rupture et témoigne-t-elle (déjà) des transformations
du « répertoire d’action collective » [Tilly, 1986] ?

La polémique autour de l’affiche implique différents acteurs : l’Inter-LGBT, les associations LGBT, l’agence créative, les journalistes et, dans un second temps, le grand public. J’ai analysé le conflit interprétatif à travers le prisme du temps (la
durée) et celui des médias (la capacité à diffuser). J’ai étudié ce cas de manière diachronique, en tenant compte des trois dimensions de « l’affaire de la Marche des Fiertés 2011 » : en amont, en nous intéressant aux raisons et conditions de
conception de l’affiche (entretiens avec des membres de l’Inter-LGBT et l’agence créative chargée de la conception de l’affiche) ; en suivant le déroulé de l’affaire, en considérant les acteurs et les espaces médiatiques mobilisés ; et en aval, en
analysant la reconnaissance de l’affiche (test de l’affiche).

Si à ses débuts la Gay Pride était subversive – au sens strict puisqu’illégale –, elle fait aujourd’hui partie du calendrier festif parisien. La montée en généralité opérée dans le discours d’accompagnement, et notamment le passage de l’homosexualisation de l’espace public à sa sexualisation tout court, réinterrogent cette subversion dans le cadre du mouvement LGBT.

Le discours d’escorte participe à la représentation du groupe cible en ce qu’il le raconte : un système complexe de discours polyphoniques s’articule selon une double logique identitaire et médiacentrique. La polémique autour de l’affiche de la Marche 2011 participe de ce discours et voit dans le médiatique sa modalité privilégiée. Avec la polémique – médiatique – comme cadre, l’affiche 2011 devient prétexte à des discours identitaires qui la dépassent : l’objet de la dispute s’éloigne du visuel-affiche pour venir se placer au niveau plus global de la représentation
du mouvement LGBT, représentation mise en tension entre l’idéologie d’une organisation militante et les réactions-commentaires polémiques du public à travers
les médias – sociaux. Il s’agit alors de distinguer l’objectif des médias de « faire polémique », les effets involontaires d’une communication inappropriée et les objectifs stratégiques que pourrait avoir une organisation militante à exploiter les
potentialités communicationnelles d’une polémique médiatique.

Finalement, dans le discours d’escorte de la Marche des Fiertés LGBT, la représentation des sexualités alternatives – et de la sexualité en général – n’est plus un signe subversif mais un signe de reconnaissance et un mécanisme de captation,
elle correspond à un horizon d’attente, à une demande sociale.

Mots clés : polémique, médias, représentation, sexualité, mouvement LGBT, militantisme""

While the boundary between Canada and the United States has rhetorically been dubbed ‘the longest undefended border in the world’, Canadian narratives have vigorously sought to defend the border in symbolic terms. In 1972, Margaret Atwood suggested this nationalist project to withstand American cultural hegemony reflected the recurring theme of survival in Canadian fiction. Similarly, theorists of Canadian television have found that discerning Canadian identity, separate from that of its southern neighbour, is a frequent (and anxious) theme in its programming. This chapter examines this symbolic border-defending through a discursive analysis of two successful English Canadian television shows, Due South and The Border, with particular emphasis on the ways in which they differentiate Canadian and American styles of justice. Although the shows represent different genres, occupy different settings, and take place in different time periods, both articulate Canadian national pride in terms of law enforcement. Both plots devote a substantial amount of time dramatising the tension, and often the conflict, between Canadian and American approaches to justice...
As will become evident, the events of September 11th serve as a significant landmark that divides the imaginaries of the two shows. I argue that a comparison of the televised shift from ‘self-othering’ a Canadian against an American backdrop in Due South, to ‘othering’ an American against a Canadian backdrop in The Border, reflects both the political climate of the day, and a strengthening sense of self in the Canadian imaginary. Amidst America’s ‘war on terror’, and in relation to international protest against
American foreign policy, many episodes of The Border depict Canada as a mature and progressive nation that strikes a better balance between security and rights. No longer needing to just survive, Canadian policing identity appears robust and confident.

This article proposes a specific structuralist methodology that may help organize the analysis of the relationship between literature and cinema. Through the instance of F. Scott Fitzgerald’s short story “The Curious Case of Benjamin Button” and David Fincher’s film adaptation of it, a focus on the comparable diegetic structures of a narrative cinematic text and the literary work on which it is based is offered, along with an exploration of the semiotic codes that support their comparative textual analyses. Este articulo propone una metodologia estructuralista especifica que posibilita organizar el estudio para analizar la relacion entre la literatura y el cine. Utilizando como ejemplo el cuento de F. Scott Fitzgerald “El curioso caso de Benjamin Button” y su adaptacion al cine de David Fincher, se ofrece un enfoque en las estructuras diegeticas comparables entre un texto cinematografico narrativo y la obra literaria en la cual se basa; ademas de una exploracion de los codigos semio...

Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.

SUMMARY: Low-density polyethylene (LDPE) films were treated with fuming nitric acid (FNA). The surface characteristics and also the insertion of polar groups like --COOH, >C=O, -NO2, and -NO on the etched LDPE film surface were meas-ured by SEM, IR and XPS ...

Since the end of the twentieth century, many filmmakers, critics, and historians have lamented the state of cinema, claiming that the medium and Hollywood are suffering a profound crisis. This crisis, which has supposedly left cinema on its deathbed, is commonly attributed to the rise of digital technology, which has led to the emergence of rivalling screens on new devices and the demise of celluloid filmmaking.

This research paper, which is based on a doctoral research project analysing contemporary metacinema as a response to the medium’s crisis, will deal with recent metafilms that offer a nostalgic look back at cinema’s past, at a time when the medium’s identity was still unharmed by the digital revolution. As digital technologies threaten to erase medium-specific qualities that used to define cinema, nostalgic metafilms such as Gods and Monsters (1998), The Majestic (2001), My Week with Marilyn (2011), and Hugo (2011) celebrate iconic subjects, objects, and spaces in the history of cinema, thus trying to carve the medium’s shaken identity in its historical specificities.

The analysis will look closely at how forms of cinematic expressions and museological practices are merged on screen to denote materiality, transmit the physical sense of the subjects, objects, and spaces represented on screen, and thus embody the history of cinema. By doing so, the paper will reflect on the significance of embodiment and physicality in contemporary metacinema and how such films act as museums, white cubes of cinema in which we are invited to contemplate the material legacy of a medium that is being robbed of its eponymous materiality.

Após uma tragédia familiar e a situação política insegura na Índia,a família Kadam, em que a paixão pela cozinha é partilhada por todos os seus membros, decide emigrar, primeiro para a Inglaterra, onde consegue ter uma casa modesta junto do aeroporto de Hithrow. Dado o barulho e o clima pouco propício para o sabor dos legumes, a família opta por continur o caminho. Tendo-se perdido numa aldeia no Sul da França, deduzem que não há coincidências e abrem um típico restaurante indiano, barulhento, pouco higiénico para as condições europeias, repleto de cheiros e sabores exóticos. O problema é que apenas a cem passos de distância já existe um restaurante francês de alta categoria, com a clientela já habituda à qualidade e estilo sofisticado. É então que começa a guerra não apenas entre os donod de dois restaurantes, o indiano viúvo e a antipática e inacessível francesa, como também guerra entre culturas, entre os "autóctones" e os "intrusos", levantando questões da imigração, racismo, tolerância, adaptação às novas culturas, tradição e contactos interculturais. Hassan al Kadam, o jovem cozinheiro indiano compreende a necessidade de manter a sua cultura de origem, aceitando o que considera bom e útil na cultura do seu país de acolhimento. Nisso, é ajudado pela jovem ajudante de cozinha no restaurante francês de luxo,por quem chega a apaixonar-se.
Muito mais do que um filme sobre a cozinha, cheiros, sabores e amor, "A Viagem dos Cem Passos" é uma história sobe o autoconhecimento, o Outro, a amizade e a não discriminação.

The following articles are framed around the assertion that cinema audiences can be as unwieldy, wild and dynamic as the films that play on the screen. In this Themed Section on the subject of cinema-going behaviour, etiquette and decorum, we have sought to canvas a wide range of cultural contexts, technological innovations or disruptions and time periods. Throughout, our aim has been to continue the task of questioning just how cinema and screen culture broadly is experienced and engaged with day-today in-situ and, in the process, how it is reshaped and animated by the audience. Today, screen media are ubiquitous and very often experienced in relative isolation on laptops and hand-held devices within intimate, private spaces and virtual cocoons of seclusion carved out of public space-as when travelling on public transport, for instance. Yet, cinemas continue to operate despite ailing business models and screen media that is accessed online involves exciting new means of social inte...

This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual analyses and aesthetic strategies employed in the construction of national imagery of white female subjectivities. My approach is twofold: (i) to chart the historical specificities of the representational construct of the white woman through discontinuous changes occurring across Bombay cinema, and (ii) to explore the white female subjectivities across specific historical and cultural milieu. This paper probes the historicity of the ‘Otherness’ of the white woman in Hindi cinema reviews and re-examines how Hindi cinema constitutes female whiteness. I posit that the representation of the white woman in Hindi cinema as promiscuous and sexually available was constructed within the nationalist discourse of the colonial era and is a continuation of the white memsahib in her absence. It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.