Suchergebnisse

The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film's production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi ("Two", 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi ("Breathe Deeply", 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē ("Apple in the River", 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.

In June every year, the graduate class of Film and Broadcasting at TU Dublin is usually preparing to premiere their final-year work, but as with all aspects of life today in 2020, this year's cohort of students faced a unique set of challenges. Covid-19 restricted group activity, so the BA in Film & Broadcasting final-year group had to make entirely solo projects that conformed to government guidelines on social distancing. The result is this showreel of six extraordinary films made during the Covid-19 crisis.

With the rise of indie cinema in the Philippines, many say that another golden age is again in the making, and, like its predecessor, the films are being produced in the midst of widespread poverty and political instability. Understandably, a significant number of indie films has consciously returned to and explored the limits of the urban realist film of the 'golden age' (1975-1984), revisioning city spaces and signifying patterns in Philippine and global film cultures. The essay has three intricately connected sections. On the one hand, it delineates the shifting contexts of Philippine and global film cultures and situates current indie cinema in these contexts. On the other hand, by considering several key films, it traces the development and revisions of urban realism from its birth until today and reflexively problematizes the critical discourses that define and are defined by such realism.

Media economics investigations of the international flow of media such as films reveal the importance of domestic consumer spending on films. Television penetration is seen as a threat to this. In this article, the effect of television penetration on the annual number of theatrical admissions, the annual number of films produced and the number of screens was examined using time series data from the introduction of television until the year 2005. This was examined in the context of the five major film producing countries: US, UK, France, Germany and Japan. Statistically, India fits the international pattern of a significant negative effect of television penetration on aggregate and per capita theatrical film admissions. Further, television penetration had a negative but non-significant effect on the number of films produced and on the number of screens. Descriptive data show that India's persistent aggregate admissions appear to be more an artifact of the population size rather than a higher frequency in visits to the theatres. Since 74 per cent of Indian film industry revenues come from theatrical admissions, these results may interest policy makers in view of the fact that India is the only country in the world other than the US where domestic films have approximately 93 per cent market share.