Suchergebnisse

This book presents the bold and original proposal to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema'. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that aspires to be life itself; 'intermedial passages', or films that incorporate other artforms as a channel to historical and political reality; and 'total cinema', or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.

This book proposes to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema', all the while valorising world cinema as an invaluable reservoir of diversity and inclusion. Arguing that an ethics of the real has bound world films together across history and geography at cinema's most creative peaks, the book veers away from the usual focus on modes of reception and spectatorship, locating instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that questions the film medium, aspiring to be life itself, in constant, and often self-defeating, competition with the medium's inevitable manipulation of world phenomena; 'intermedial passages', or films that incorporate other artworks in progress as a channel to historical and political reality; and 'total cinema', or films relying on long duration and monumental landscapes with a totalising historical and geographical impetus akin to what Bazin had defined as the human desire for 'integral realism'. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, thereby reasserting the point that realism is timeless and inherent in cinema from its origin.

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).

Cinema audiences' behavior interests both industry professionals and academics. Cinema-going is still indisputably popular form of entertainment in Malaysia. This study discusses cinema-going in the era of omnipresent screens. It aims to verify Malaysians' cinema going behaviors and the sustainability factors contributing to the Malaysian film industry. The various factors affecting cinema and movie-going behavior would include encouragement, theme, motivation, perception, gratification, and genre. The local filmmaking industry fell into a decline after 2014 based on observation of annual film production. In the context of westernization, this small market presents a challenge for the government in promoting local popular films. With the influx of genre films from abroad, Malaysian cinema is struggling to the hilt to survive. To understand this situation from the perspective of the audiences, this study, using data from surveys conducted in Malaysia in 2018, discusses the fandom of Malaysian cinema, their cinema-going behavior, and the association with their identities.

Este ensaio parte da premissa de que a "transfiguração étnica" preconizada por Darcy Ribeiro pode ser reutilizada de forma paródica para pensar algo que o próprio Darcy não previu: o cinema indígena. Pretendo com isso ressaltar o aspecto singularíssimo desse conjunto de filmes e posicionar uma indagação de fundo: a partir do debate em torno da história transformacional preconizada pela categoria "transfiguração étnica", de que forma pensar a aparente contradição e a força renovadora do cinema protagonizado por povos originários? Pretendo expor aqui essa diferença através da análise de dois filmes: Ava Yvy Vera — Terra do Povo do Raio (2016), do coletivo Kaiowa formado por Genito Gomes, Valmir Gonçalves Cabreira, Johnaton Gomes, Joilson Brites, Johnn Nara Gomes, Sarah Brites, Dulcídio Gomes e Edna Ximenes; e Yãy tu nũnãhã payexop: Encontro de Pajés (2021), de Sueli Maxakali. Adianto aqui minha hipótese: trata-se de uma forma da diferença que é inventada e produzida pela consistente inconstância da alma selvagem: da assimilação interessada ao simultâneo desprezo pela reificação da coisa assimilada e seu posterior reaproveitamento, seletivo, negociado, ressignificado.

"Middlebrow Cinema challenges an often uninterrogated hostility to middlebrow culture that frequently dismisses it as conservative, which it often is not, and feminized or middle-class, which it often is. The volume defines the term relationally against shifting concepts of 'high' and 'low', and considers its deployment in connection with text, audience and institution.
In exploring the concept of the middlebrow, this book recovers films that were widely meaningful to contemporary audiences, yet sometimes overlooked by critics interested in popular and arthouse extremes. It also addresses the question of socially-mobile audiences, who might express their aspirations through film-watching; and traces the cultural consequences of the movement of films across borders and between institutions.
The first study of its kind, the volume comprises 11 original essays that test the purchase of the term 'middlebrow' across cultures, including those of Europe, Asia and the Americas, from the 1930s to the present day. Middlebrow Cinema brings into view a popular and aspirational - and thus especially relevant and dynamic - area of film and film culture. Ideal for students and researchers in this area, this book:
Remaps 'Popular' and 'arthouse' approaches
Explores British, Chinese, French, Indian, Mexican, Spanish 'national' cinemas alongside Continental, Hollywood, Queer, Transnational cinemas
Analyses Biopic, Heritage, Historical Film, Melodrama, Musical, Sex Comedy genres."

This spirited volume explores the history and diversity of improvisation in the cinema, including works by Jean Renoir, Jean-Luc Godard, and Nobuhiro Suwa. Gilles Mouëllic examines improvisational practices that can be specifically attributed to the cinema and argues in favors of their powers as instigators of unprecedented forms of expression. Improvising Cinema reflects both on the permanence of attempting improvisation and the relationship between technology and aesthetics. Mouëllic concludes preservation becomes even more invaluable in the case of improvisation, as the creative act exists only within the brief time span of the performance

Transcultural Cinema. David MacDougall. Edited and with an Introduction by Lucien Taylor. Princeton, NJ: Princeton University Press, 1998.318.

AFRICAN CINEMA: ADDRESSEE UNKNOWN Thirty years after Sembene's pioneering Borom Sarret, this is a moment of celebration but also of self-assessment for emergent African cinema -- an opportunity to think through questions of funding, the basis of production, and the way that various African films address their different audiences. Pieces of Identity In Europe and North America a nebulous imaginary unity is projected onto Africa. This lazily assumed misconception continues to underpin the distorting insularity and ignorance of the north. It is precisely an imaginary, implicit unity and not to be confused with the distinct political unity proposed by the project of Pan-Africanism, built from conscious political and cultural alliances. One does not have to be too familiar with the continent to understand that there are also many Africas -- culturally, politically, socially. Indeed more than a thousand languages are spoken in Africa and there are as many.