Films

Edited by Rimgaila Salys

The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.

Learn more & purchase: https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader

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.

A survey of Stanley Kubrick’s unfinished films generally includes Napoleon, Aryan Papers and A.I. Artificial Intelligence. A few extra projects are commonly included as well: One-Eyed Jacks, The German Lieutenant and The Burning Secret. Three more scripts have enjoyed media recognition recently, after the announcement of their tentative production: Lunatic at Large, The Down Slope and God Fearing Man. But this only scratches the surface of the extensive range of cinematic interests that Kubrick manifested. The following article lists all the projects the director considered, developed and abandoned in his career. A study of Kubrick’s work that encompasses his unsuccessful endeavors could help us better understand his tastes, methodology and the necessary ingredients that would make a good film according to Stanley Kubrick.

Fantasy in the cinema is created through the inherently voyeuristic mechanism that comes into play here more strongly than in the other arts. A Freudian psychoanalytic term, voyeurism refers to the erotic gratification of watching someone without being seen oneself, i.e. the activity of the Peeping Tom. Exhibitionism refers in psychoanalysis to the sensual gratification derived from showing one's body - or part of it - to another person, as in the pleasure of being seen, or seeing oneself on the screen. Voyeurism is an active perversion, practiced primarily by men with the female body as the object of the gaze, while exhibitionism is its passive counterpart

This study examines whether the romantic comedy as an information source can impact on and shape viewer attitude toward and intention to visit a place. Data were collected from patrons at a large cinema chain located in a major shopping center in Australia. Using an experimental approach, the experimental group watched a romantic comedy set in New York, whereas the control group did not. Subjects in the experimental group had significantly higher empathy, past experience, place familiarity, attitude toward, intention to visit New York, and significantly lower performance/financial risk associated with visiting New York than the control group. Furthermore, perceived social risk played a significant role in influencing place familiarity in the control group. This suggests that romantic comedies can be an effective information source in allaying viewers' concerns about a movie location. This article provides researchers with theoretical underpinning for future empirical studies in ...

Intellectual Property, Nollywood, Creative Industry, Nigerian Copyright Laws, Digital Copyright, International Trade & Development, Transactional Negotiation, Animation Rights, Naijacomedy, Folklore, Traditional Cultural Expressions, Celebrity Branding, Fashion Design, Trademarks, Cyberspace law, Contract laws, Creative Human Capital, Technology law, Technical Protection Measures, Nigerian Copyright Commission, U.S. Copyright Office, Afrollywood, Afrondise, Technical Protection Measure, Digital Copyright Millennium Act, ECOWAS, WTO, TRIPS, WIPO, Cultural Appropriation, Cultural Anachronism, Fair Use, Fair Dealing, Bollywood, Ghallywood, Hollywood, Kennywood, Jollywood, Joziwood, Vollywood, Piracy, Cinematography, Films, Animation, Fashion design, Folklore, Customary law, Nigerian Legal System, Music, Derivative Rights.

Songs are the art of speaking
I have been using songs to teach English and Polish for a long time. Personally I firmly believe in the power of good music as well as in the power of well-written lyrics. Songs may help with teaching pronunciation and can be the inspiration for extraordinarily interesting, challenging discussions. Different topics often inspire students to talk about various issues and problems, often sharing extremely different perspectives. That is why songs are also materials for practicing conversational skills.

Si le court-métrage est souvent présenté comme une voie d'entrée dans les carrières du cinéma, il est aussi un lieu au sein duquel s'éprouvent, comme dans un modèle réduit, les contraintes plus générales de la production cinématographique. Après le documentaire, le court-métrage nous permet donc d'insister sur le lien entre les conditions de production des films et l'organisation du travail cinématographique * * * En 2010, 675 films de court-métrage1 ont reçu un visa d'exploitation du CNC (ils étaient seulement 380 en 2005), contre 203 films de long-métrage d'initiative 1. Comme le rappelle Alain Rocca dans un rapport de 2004 disponible en ligne sur le site du CNC (Perspectives d'évolution du système français de diffusion du court-métrage) « le court-métrage se définit en France comme une oeuvre audiovisuelle originale, d'une durée inférieure à 60 minutes et non commanditée » (ce qui

This paper discusses the use of Numicon number teaching materials with children with Down syndrome. The theory underlying the design of the materials is discussed, the teaching approach and methodology are described and evidence supporting effectiveness is outlined.

... The video-making process The producers of It all began with poverty – six women, Thandi, Lizzie, Bongi, Nokukhanya, Thengi, Mavis, and one man, Sipho (all ... Melodrama is a very popular performance genre within the Zulu culture of the women who produced the video. ...

This book features ten critical essays on ecodocumentaries written by eminent scholars from India, USA, Ireland, Finland and Turkey in the area of ecocinema studies. Situating social documentaries with explicit ecological form and content, the volume takes relational positions on political, cultural and conservational aspects of natures and cultures in various cultural contexts. Documentaries themed around issues such as electronic waste, animal rights, land ethics, pollution of river, land grabbing, development and exotic plants are some of the topics ecocritiqued in this volume.

In an attempt to enact equitable practices in U.S. public schools, many critical multicultural and anti-racist theorists, researchers, and practitioners strongly suggest that teacher educators move beyond diversity approaches to multicultural education in their teacher preparation programs to address the more uncomfortable issues of power and equity—namely, racism (Banks & McGee-Banks, 2006; Lee, Menkart, & Okazawa-Rey, 2006; Nieto & Bode, 2008; Sleeter & Grant, 2007). Banks and McGee-Banks (2006), for example, argue that multicultural education must go beyond the “contributions approach,” wherein educators merely insert discrete ethnic heroes, holidays, and cultural artifacts into the already existing curriculum. Nieto and Bode (2008) similarly argue that while it is important to sensitize students to one another by teaching about their diverse cultural and linguistic knowledge, this approach alone fails to examine underlying asymmetrical relations of power that produce inequitable...

La educación para la salud tiene un papel clave en la adquisición de las habilidades necesarias para tomar decisiones que afectan a la salud personal o comunitaria. Por esta razón se debería garantizar en la educación obligatoria. Teniendo en cuenta que las películas y series pueden facilitar el aprendizaje de conceptos complejos, se diseñó un cuestionario para identificar los filmes relacionados con las ciencias de la salud que ven los estudiantes de secundaria de manera voluntaria y explorar su uso en las aulas para trabajar la alfabetización en salud. Participaron 237 estudiantes de España. El 54,85% afirmó que suele ver estos filmes en su vida cotidiana, siendo las series médicas las más vistas; sin embargo, el 57,38% indicó que no se utilizan estos recursos en las clases. El estudio sugiere un uso potencial de los materiales audiovisuales para trabajar los objetivos de educación para la salud, aunque debe ser fomentado sistemáticamente.

En los primeros años del siglo XXI, el documental mexicano ha incrementado sus niveles de producción, distribución y exhibición, llamando la atención de nuevos espectadores pues ha diversificado notablemente sus temas y ha aprovechado los recursos narrativos del cine de ficción. En casi todos los festivales de cine en el país hay un espacio para el documental. De hecho, algunos de los más prestigiosos están dedicados íntegramente al cine documental, y en ellos se presenta lo más destacado de la producción mundial. Se vuelve necesario dialogar desde la academia, con una mirada plural e interdisciplinaria, sobre los temas, las narrativas, los discursos, de esos documentales que en variadas formas representan las identidades, los intereses, las preocupaciones, las formas de vida en México; lo que precisamente tiene el lector en sus manos.

Mémoire de fin d'études pour l'Institut d'Etudes Politiques de Lyon réalisé en 2017.


"Si en 1996, Antoine Coppola décrivait le cinéma sud-coréen comme « l’un des plus méconnu au monde », dès 2005 la Cinémathèque Française lui réservait un numéro rétrospectif spécial, honorant « un des cinémas les plus dynamiques du monde » dont « tout le monde parle ».

Aujourd’hui le cinéma indépendant coréen est une industrie dynamique et florissante, avec de plus en plus de longs métrages produits chaque année (plus de 100 par an) grâce aux progrès techniques et au soutien des institutions. Un système particulier s’est en effet construit autour du cinéma indépendant pour protéger la diversité qu’il représente.  Or aujourd’hui, nous observons des inquiétudes grandissantes quant à l’avenir du cinéma indépendant coréen, certains annonçant même sa mort et avec lui, celle de la diversité.

Ainsi, si après une longue lutte de la part des cinéastes indépendants, la Corée a mis en place un modèle particulier pour préserver son cinéma et sa diversité il semble qu’aujourd’hui cette exception culturelle soit en danger... Entre libéralisme et conservatisme des années 2010, quel avenir pour le cinéma indépendant sud-coréen ?"

Il saggio presenta i principali temi che caratterizzano il dibattito sulla pedagogia del cinema in Italia tra la fine degli anni quaranta e l’inizio degli anni cinquanta. La prima parte ripercorre le diverse posizioni in relazione alla dimensione emotiva delle immagini cinematografiche, considerata da taluni come un ostacolo all’attività didattica, da altri come una base da sfruttare per una nuova forma di azione educativa. La seconda parte è dedicata al problema della comprensione delle strutture narrative e linguistiche del film in relazione al grado di sviluppo intellettivo dei giovani spettatori. Il dibattito nazionale evidenzia un terreno fortemente ricettivo nei confronti delle teorie metodologiche che negli stessi anni vanno maturando nell’ambito della filmologia. In questo senso, esso offre un’occasione di aggiornamento e di modernizzazione delle pratiche discorsive sul mezzo cinematografico.

The constant, if not growing, popularity of horror makes the question in the title even more intriguing: why do people buy a product for which, out of the context of the movie, they feel different negative and increasingly stronger emotions, from fear to terror, from shock to disgust? What are the psychological mechanisms which allow viewers, not only to bear with intrinsically unpleasant if not repulsive images and sounds, but also to feel pleasure in this experience? In other words, how is it possible to be shocked or disgusted and, at the same time, lured and charmed by what we see and hear?

Promotion films which is one of the ways of self-organization and expression at the institutional level among the important types of effective combination of image and sound. Despite one of those conventional media it seems to have an intensive coverage when viewed from the social media events. It is an indispensable strategy for establishing or maintaining corporate identities. Especially in the context of social media, the cost of creating and distributing content is low, increasing the interest of institutions in promotional films.
Promotion films are used for image purposes for cities which communities are providing cohesion for social life. City managers have broadcasted movies which is the conventional media product on the web pages of various institutions of the city or on different international social networks. The study aims to investigate how the image of the city was created through promotional films. For this purpose, the film defines a conceptual framework in terms of concepts such as city image, promotion and social media. The analysis of the content that will be applied to the promotional films of the city of Bishkek constitutes the research part of the work. It was determined that focusing on infrastructure marketing as a result of the analysis. It was revealed that the subtitles were used in the promotional films but the vocalization was too low. Also the using of sound has been seen to have gained more weight in background music.
Keywords: Promotion Film, Bishkek, City Image, Social Media

Plant-based proteins are emerging at the forefront of functional food trends, as well as sustainable components for various environmentally friendly and sustainable polymeric materials. This study focuses on the application of a combined computational and experimental approach in the design of plant protein-based films from soy protein and zein (corn protein). This work, for the first time, shows the application of a computational protein–ligand docking approach in the design of protein-based films by modeling the intermolecular (non-covalent) interactions of selected renewable modifiers with plant proteins, which demonstrated the effect of the incorporated modifiers on the properties of protein-based films. Based on predictive modeling, we successfully prepared films experimentally based on both modified soy protein and zein protein which exhibit promising physical and mechanical behaviors. Adding natural additives to plant proteins of varying chemical structure yields a broad range of protein-based film properties. By the incorporation of natural plasticizers (glycerol and sorbitol) and a reinforcement agent (microfibrillated cellulose) into protein systems, more flexible films (elongation 2–120%) with Young’s modulus of 99–400 MPa and higher surface hydrophobicity can be prepared, which confirmed the initial computational estimations. As a result, we found that the computational protein–ligand docking approach can be used as an effective and accurate method in guiding the experiment and predicting the physical properties of a film upon incorporation of modifiers into plant protein-based systems.

The Visit (M. Night Shyamalan, 2015) : une réécriture de conte(s) horrifique ? Summary In many of his films, M. Night Shyamalan introduces the viewer with a fairytale-like universe. In The Village (2004), the filmmaker employs Little Red Riding Hood motifs such as the red colour, a dark and impenetrable forest peopled by dangerous beasts or the parents' warnings about that forest; and Lady in the Water (2006) can be, and has often been, considered a mythical fairy tale about scary monsters, a water nymph and a team of unlikely heroes who set out to save the world. In his horror film entitled The Visit (2015), Shyamalan once again exploits many motifs from some of the most famous fairytales such as Hansel and Gretel, Snow-White or Bluebeard. The following article will therefore endeavor to show that this film can be examined as a fairytale(s') rewriting. In order to do so, it will be divided into two main sections. The first one attempts to give an overview of the links that can be made between fairytales and horror films in general and the second one will analyse the different fairytale-like elements of the film under consideration, The Visit.

"Mujeres y Cine" fue un proyecto de investigación (categoría A) aprobado en 2009, obteniendo financiación por parte de la Comisión Sectorial de Investigación Científica (CSIC) por un año. El mismo pretendió analizar cómo es representada la figura femenina en el cine de ficción nacional.
Las conclusiones finales fueron presentadas en diciembre de 2010. En marzo de 2011 participó en la ExpoCierre 2011, recibiendo una Mención Especial.

Dialectics of the fable
"The Matrix", A philosophical Machine
By Alain Badiou

“Nevertheless we must recognise that the three films have a problem in common, which is simply the fundamental problem of cognition: what is it that, from within our own capacity to know testifies that is indeed the real that is at stake in our cognition?”(Badiou, 2004)

How do these 3 movies ("The Matrix", "Cube","eXistenZ") philosophically distinguish what is real and what's not?