movie theater

Desde a sua invencao no final do seculo XIX o cinema desperta a curiosidade do espectador, pois ele possui o poder de transportar sua imaginacao - de maneira audiovisual - atraves do tempo e do espaco. Alem disso, neste artigo, veremos que o cinema e um importante veiculo de promocao da memoria social e transmissor de uma consciencia historica.

This essay considers José Corti’s early issues of Du Cinéma as part of an historical avant-garde complex that, in tandem with literary experiments, shaped another historical approach to early cinema criticism and theory by looking beyond cinephilia as a structuring paradigm. Identifying fear, rather than love, as a powerful avant-garde discourse, I suggest that Du Cinéma and especially the avant-garde writer André Delons forwarded a negative dialectical approach to cinematic thought, inquiry, and research. By investigating the enquête or questionnaire as a central research method in this avant-garde tradition, I reorient our understanding of Du Cinema's claim to the cinema's mutability, and its ability to reveal the limits of knowledge.

This chapter explores Philippine cinema’s representations of the bakla, a local gendered identity that conflates ideas of male homosexuality and transgenderism. By examining the films of Dolphy, the chapter outlines tropes that have become associated with the bakla, including the conversion trope, wherein the bakla are forced to conform to traditional notions of masculinity. The chapter also identifies tensions between contemporary representations of the bakla as the masculine gay man and as the transgender woman in films—tensions that also exist within the wider Southeast Asian context. Looking at the bakla as the primary queer figure in Philippine cinema enables film audiences to examine more closely similar figures in other Asian cinemas: the kathoey of Thailand, the waria of Indonesia, and the mak-nyah of Malaysia.

Out of the new sources for financing films that emerged in the post-1990 Turkish cinema, Eurimages is the only non-domestic, supra-national one wherein support decisions are taken by the representatives of various member states. Eurimages was established as a part of the framework of the Council of Europe in 1988 to foster co-operation amongst film professionals in the co-production and distribution of cinematographic works as well as to promote awareness and encourage the development of Europe’s cultural identity and diversity. Considering the experience of the first twenty years of Turkey’s membership of Eurimages, this research examines the contributions of a supranational cinema support fund - which demands a series of culturally sensitive criteria to be met - on a national cinema industry. In addition to the co-production, exhibition and distribution support provided by Eurimages, and its contribution to filmmaking practices, Turkish-initiative co-productions - those directed b...

This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series, (2) textual analyses of the said film collection and selected Brocka films, and (3) meta-analysis of the scholarly criticism on the Brocka film.

This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian, (2) the transient, (3) the refuse, (4) the fortuitous, (5) the indeterminate, (6) the flow of life, and (7) the spiritual life itself.

The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings, that is, the life-world as: (1) expansive, (2) multi-layered, (3) flowing, (4) in the process of becoming, (5) resonantly intersubjective, (6) a thing of beauty, (7) relating to essences, (8) cyclical, (9) transcendent, (10) meaning-laden, (11) fragmented, and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.

Cette these vise a apporter un eclairage philosophique sur l'œuvre cinematographique d'Alfred Hitchcock. Plus specifiquement, il est question d'envisager les phenomenes esthetiques et narratifs afin d'evaluer la pertinence de ses films en matiere de morale. Pour ce faire, nous proposons un travail en quatre etapes : tout d'abord, il faut prendre le temps necessaire pour consolider les fondements theoriques de l'exegese. La premiere partie s'efforce donc de mettre en place les elements principaux pour la connaissance de son œuvre, du contexte de production et de ses caracteristiques les plus pertinentes. Par la suite sont envisages les apports theoriques et conceptuels des critiques dans la filiation de laquelle se situe ce travail : la politique de rehabilitation d'Hitchcock operee par les Cahiers du cinema porte ses fruits aujourd'hui encore, malgre la necessite de depasser leur approche spiritualiste. Ainsi, cette these se veut leur heritiere, t...

This chapter examines three recent autofictional documentaries produced in Argentina and Spain—Albertina Carri’s Cuatreros (Rustlers), Mercedes Álvarez’s Mercado de futuros (Futures Market), and Víctor Erice’s Vidros partidos (Broken Windows)—which share a distinctive “archival impulse.” These films propose a meaning in a specific political sense which we read in relation to the contexts of the Iberian financial crisis and the memories of political violence during the last dictatorship in Argentina. We address the autofictional strategies through which the filmmakers “re-stage” the archive by adopting an aesthetics of ambiguity that unsettles the modern paradigm of the archive as static evidence of a given reality, revolving instead around a conception of the archive as a self-reflective process that becomes the subject matter in its own right.

In honor of Women’s History Month, I would like to talk about women’s history, particularly the history of the feminist movement in the Twentieth Century, through the lens of film history. I believe we can learn a lot about the successive feminist movements by looking to the history of cinema. There are many books on the history of women in film and then separate histories of the rise of feminism; yet, rarely are these histories perceived as related. For me they are deeply intertwined, and I hope to share this relationship with you today.

This chapter discusses the evolution of Spanish horror film in the past decades. First, it examines the growth of horror in the context of film co-productions in the 1960s and 1970s. Second, it studies how horror film developed throughout the 1980s in the context of the re-establishment of a democratic regime. Third, it analyses the return of genre in the 1990s through the appearance of a new generation of filmmakers that redefined Spanish film. Fourth, it approaches horror film in the twenty-first century, with an emphasis on the key role of television operators as film production companies. Finally, it examines The Orphanage (J.A. Bayona 2007) as a national and international triumph that paved the way for an understanding of contemporary Spanish film within a series of both national and transnational coordinates.

Mass media, especially cinema and television, are important devices that build and strengthen males and female roles in societies. The representation of gender in media is crucial because individuals get to know gender roles in the process of socialization. Besides the female identity, masculinity is also a constructible element and fictional male characters produced both in cinema and on television send messages about masculinity to the audience. In this study, the male representation both in the television series and in films were compared with this assumption and the question how male characters are represented on the two different mass media is examined in Turkey. Furthermore, the question "whether masculine representation reinforces the existing patriarchal male image or produces an alternative male model" is in the interest area of the study. The method of this study is reception analysis and in-depth interviews were undertaken with audiences with different demograph...

Hollywood has played a decisive role in shaping the recent and short history of its founding country, the United States. This paper aims at exploring the representation of peoples outside the Western standard in Hollywood movies to spot recurrences in portraying Others, especially in vilifying terms. The analysis of plots and characters in American movies in different historical stages reveal not only consistent patterns in the depiction of Otherness, but also an even more interesting need to define and reaffirm the Self through the opposition to changing Others that mainly depend on the historical and political period occurring.

In this paper, we are interested in thinking about the way in which Afro-descendent portuguese filmmakers emerge in the field of Portuguese cinema, proposing new dynamics of production and circulation of images, as well as themes related to the anticolonial issue, transposing the place of representation to self-presentation. The question of the representation of black people in Portuguese cinema takes on two central aspects of this debate in the 21st century: the need for effective participation in the field of cinematographic work, that is, producing films and occupying technical positions; and, above all, redefining the subjectivities, memories and affectivities of the black people in Portuguese society from the perspective of black people. We will analyze, in this article, the film O canto de Ossobo (2017) by Silas Tiny.

O artigo se dedica a um conjunto de filmes realizados por cineastas ou coletivos indígenas para demonstrar o modo variável como o fora-de-campo invisível se relaciona ao campo visível, fenomenológico. Trata-se assim de observar como o cinema é constituído pelas forças que atuam de fora para possibilitá-lo, mas também para desfazê-lo (ou, nas palavras de Divino Tserewahú, para "desmanchá-lo"). Tentaremos lidar de modo muito concreto com essa hipótese a partir da análise de sequências de cinco filmes: Urihi Haromatimape: Curadores da terra-floresta (2013); As hipermulheres (2011); Tatakox da Vila Nova (2009); Shuku Shukuwe: a vida é para sempre (2012) e Bicicletas de Nhanderu (2011).

Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan’s presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of “would be” critics who openly confess they did not watch Ceylan’s movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal. 

La entrevista tiene por objetivo problematizar los vínculos del cine y la educación en la escuela, afirmando y defendiéndola en su precariedad, como una alternativa contundente de espacio-tiempo de concentración y atención al mundo y como pausa voluntaria de la hiperconectividad que nos hace perder el sueño y las posibilidades de soñar otro mundo, como gesto de alteración e invención.

When punk impressed itself upon Japanese youth culture in the mid-to-late 1970s, it arrived at a time when the nation’s film industry was in crisis. The studio system that had presided over film production for decades was in serious decline, curbing opportunities for the next generation of filmmaking talent by ceasing to take on new apprentices. Inspired by the DIY ideology of the emerging punk scene, young, aspiring filmmakers took matters into their own hands by forming small clubs to self-produce zero-budget short and feature-length films on their own terms, relying on friends, classmates, musicians and other hangers-on, and using relatively cheap Super 8 and 16mm filmmaking equipment. In doing so, punk-inspired 'jishu seisaku eiga' (‘autonomously-produced cinema’) became an exciting nonprofessional alternative to the stagnating professional studio system, with many of its amateur participants going on to become influential figures within the Japanese film industry of today. This presentation seeks to provide an audio-visual exploration of punk’s overlooked emergence in Japan, its impact on (and synthesis with) 'jishu' film production, it being a catalyst for important aesthetic schisms such as ‘cyberpunk’, and how it mobilised Japanese cinema to rejuvenate itself. [This paper was subsequently expanded and published as an article with the same name in: Punk and Post Punk, Vol.6, No.1. pp.97-121]

While the interest in fashion in cinema is now thriving, it had traditionally been overlooked within the wider fields of both film and fashion studies, considered a niche (and gendered) subject. This article traces the fragmented and uneven development of fashion in cinema into a field of its own, and considers the major forms of enquiry that have emerged in specific disciplinary contexts. But it also turns to forms of practice outside of the academy that have recently co-shaped the field: popular writing on film and film costume, fashion and film curation, film festivals, and fashion image-making. In bringing all these disparate strands together, the article argues for a reframing of fashion in cinema as a multifaceted and dynamic field whereby distinct – though variously interlocking – forms of knowledge and experience have been produced in distinct contexts.

Looking at the roots of film history in India, it surfaces that the first feature film was made in the year 1912-13. Dadasaheb Phalke is acknowledged as the father of Indian cinema. He released in 1913, a historical themed movie - Raja Harischandra. Those were the days when women avoided participation in films. So, male artists had to play the female roles as well. Then a change occurred in1930 and women form rich families joined the movie industry and changed its face. Devika Rani, Zubeidaa, Mehtab, Shobhana Samarth were the popular heroines of this time. Media also discharged a key role leading to modernization of societies by changing the face of women. Over past decades, Indian cinema has witnessed a significant change in the way women are depicted through films. Modern films represent women as more independent, confident and career oriented. This article deals with the fast changing role of women represented in Indian cinema.

Il volume contiene alcuni esiti delle ricerche condotte nell’ambito del progetto PRIN 2012  I cattolici e il cinema in Italia tra gli anni ’40 e gli anni ’70 , coordinato dall’Universita degli Studi di Milano, capitalizzando riflessioni emerse nel corso di una serie di convegni che si sono succeduti dal 2014 al 2016. The issue contains some outcomes of the research project PRIN 2012  The Catholics and Cinema in Italy between the 40s and the 70s , coordinated by University of Milan, capitalizing reflections shared during a series of congresses between 2014 and 2016.