Suchergebnisse

Historical films are a widely discussed genre of visual narration as it poses the challenge of a reliable balance between history, myth and truth. Indian history and independence have been one of those themes that have been adapted into filmic narration, not only as a national oration, but from an international lens. Unlike any other historical moment, Indian Independence is the most celebrated and recurring themes of historical movies and still continuous to be a vibrant subject for Indian film makers. Dealing with the narration of a nation, often these films are looked at with a skeptical attitude, mostly because of its colonizer's view of the colonized. This article addresses Bhabha's ( 1994 ) interstitial perspective and mimicry of ambivalence positing that these films neither dominate nor propagate certain colonial ideologies, nor does it make the colonizer as a virtuous subject, but rather create an ambivalent identity, which is neither colonizer nor colonized, but a hybrid of it. Apart from some English productions on Indian colonial rule and independence, some Indian films are also taken as a case study to elucidate the concept of hybridity in cultural meaning. When the 'object' of history or the colonized reacts with their perception, it creates an ambivalence that is far different from the colonizer's perception.

Cover -- Half-Title -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction -- Section I Filming the Primitive -- Chapter 1 The Body as Artifact: Early Cinema and Ethnography -- Chapter 2 The Evolution of Vision: The Visual Culture of Early German Ethnographic Films -- Chapter 3 Paradise Lost: Colonialist and Adventure Films of the 1910s and 1920s -- Section II German Anthropology and Early Film Theory -- Chapter 4 Leo Frobenius and Kino-Vision -- Chapter 5 Primitive Spectators: Lukacs and Hofmannsthal on Film -- Chapter 6 The Visible Man: The Film Theory of Bela Balazs -- Section III Conclusion: Documenting Primitive Cinema -- Chapter 7 Ethnotopia: F. W Murnau's Tabu -- Notes -- Bibliography -- Index.

From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Extreme Cinema draws from interviews with film festival programmers, distributors, critics, and directors to demonstrate how these seemingly transgressive films actually operate within a strict set of codes and conventions, translating global notoriety into success within a competitive marketplace, and perpetuating a system that runs on provocation.

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

In this paper, we explore the importance of silence in planning, an endeavor we deem relevant in an era where communication and planning are seen as nearly equivalent. We investigate the meanings and functions of silence in the interpretation of plans, planned space and the planning process. We distinguish silence in the literal sense, as absence of sound, and metaphorical silence, representing other forms of absence: of other voices, of oppressed discourse, of intentionality. The paradoxical nature of silence, as potential fullness and emptiness of meaning, increases complexity and unpredictability in the interpretation of space, plans and the planning process. It is argued that a process of participatory planning, including many actors, documents and interpretations of space, necessarily multiplies the ambiguities introduced by silence. This creates steering problems for planners, but it also introduces openness and flexibility. Silence can have the positive function of stretching up the interpretations of space, plans and the process.

"Silent Letter is a remarkable literary work for many reasons. The narrative unveils the survival story of Rosie, recounted by her eldest son Erwin (who is in fact the author, Yitzchak Mayer). It begins in January 1943 when Moritz, Rosie's hus- band and a member of the French Resistance is arrested by the Gestapo in Marseilles. She never sees him again. He will die in Auschwitz. She is now alone, pregnant with two sons - Erwin, age 8 and Jacky, age 6. She decides to escape to Switzerland. She carries false French documents and diamonds embedded in a bar of laundry soap. She does not speak any French as she is Hungarian. She pretends that she is mute and her son, Erwin speaks for her. They reach Switzerland but Rosie is taken to an internment camp and is separated from her children. Through the eyes of the remarkable narrator, Erwin is able to find Rosie's true voice, recognize her acute perceptions, explicate her inner turmoil and recount the entire saga. Silent Letter was originally published in Israel and Switzerland."--

VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT's 1968 Ping Pong and Varda's 2006 "Ping Pong, Tong, et Camping"), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists' repeated returns to ping pong by staging a "volley," alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT's 1980s television documentary on avant-garde film, The Armed Eye, and Varda's final two documentaries, Faces Places (2017) and Varda by Agnès (2019).

The relationship between cultural–creative industries and globalization has been a significant concern of geographers for more than a decade. Geographers have argued that cultural–creative industries have become urban-based initiatives which reinforce social stratification and social inequalities. Analyzing Taiwan's film industry, this article integrates the framework of the New International Division of Cultural Labor with the urban theory of David Harvey and Henri Lefebvre. The main research question examines how the famed Taiwan New Cinema was subsumed into the overarching structure of the New International Division of Cultural Labor in the neoliberal era. Meanwhile, through a case study of "Place of People" cinema in Taipei, this article examines the Taiwan state-led "Cultural and Creative Industry Development Plan" and its aftermath. This study argues that although public–private partnerships do in fact comprise Taipei's urban entrepreneurial strategy governing Place of People cinema, they contribute to possibilities for the development of an alternative space for social and cultural transformation.

Also by the Authors -- Acknowledgements -- Contents -- Contributors -- List of Figures -- List of Tables -- Chapter 1: Introduction to the Study of Transnational Small Nation Cinema -- Films as Transnational Art -- Notions of Nations and National Cinemas -- Finnish Cinema as a Transnational Small Nation Cinema Case Study -- Theoretical and Methodological Approach -- Notes -- Part I: Beginnings: −1930 -- Chapter 2: A Young Nation Seeking to Define Itself: Finland in 1900-1930 -- Chapter 3: The Emergence of Finnish Film Production and Its Linkages to Cinema Businesses During the Silent Era

This article examines popular cinema's interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes.