This contribution analyzes the much-acclaimed exhibition Dreamstage, initially presented at the Carpenter Center for the Visual Arts in Cambridge, Massachusetts, USA, in 1977. Based on conceptual papers, private correspondences, press releases and reviews, etc., it will claim that, at the time, divergent cultures of knowledge had created divergent objects of "sleep": On the one hand, participating scientists and artists at Dreamstage represented what shall be called "sleep as movement" - by underlining the hidden activities of the sleeping body. Yet, popular cultures regarded sleep as opposing movement - a poetics, that shall be called "sleep as stillness," would frame, or even romanticize, sleep as an act of refusal or pacifistic resistance. In virtue of their constituent logic, both objects were found to collide. Throughout the 20th century, representations of "sleep" and "dreams" were shaped via multiple applications of objectifying/observational, time-based technologies (e.g., Electroencephalography [EEG], Magnetic resonance imaging [MRI], film, or video). This allowed for a circulation between laboratory, cinema, and television, in which knowledge appears to be consolidated again and again. "Sleep as stillness" and "sleep as movement" are thus developed from the case study to better grasp these formations since the late 20th century.
En este artículo se presenta un análisis de la reorganización que ha tenido la industria cinematográfica mexicana en su circuito productivo comercial (producción, exhibición, consumo) a partir de los efectos de las políticas económicas neoliberales, cambios regulatorios del sector y privatizaciones que se implementaron en el sector, a raíz de la entrada en vigor del Tratado de Libre Comercio de América del Norte (TLCAN o NAFTA) en 1994. El estudio se aborda desde la perspectiva de la economía política de la comunicación y la cultura; se trata de un estudio longitudinal y descriptivo que abarca el periodo de 1992 a 2015, en el que se utilizan como método las técnicas de investigación documental, el análisis de contenido y la entrevista. ; In this article an analysis of the reorganization appears that has had the Mexican cinematographic industry in its commercial productive circuit (production, exhibition, consumption) from the effects of the neoliberal economic policies, regulatory changes of the sector and privatizations that were implemented in the sector, as a result of the take efect of the Free Trade Agreement of North America (TLCAN or NAFTA) in 1994. The study approaches from the perspective of the political economy of the communication and the culture; is a longitudinal and descriptive study that includes the period from 1992 to 2015, in which are used like method the techniques of documentary investigation, the analysis of content and the interview. ; Este artigo apresentará uma análise da reorganização da indústria cinematrográfica mexicana em seu circuito produtivo comercial (produção, exibição e consumo) a partir da implementação de políticas econômicas neoliberais, mudanças regulatórias e privatizações realizadas sob o pano de fundo do Tratado de Livre Comércio da América do Norte (NAFTA) em 1994. O estudo aborda a perspectiva da economia política da comunicação e da cultura. Trata-se de um estudo longitudinal e descritivo que abrange o período de 1992 a 2015 e, no qual se utilizam as técnicas de investigação documental, a análise de conteúdo e a entrevista.
27 pags., 16 figs. ; Many challenges that deal with processing of HDR material remain very much open for the film industry, whose extremely demanding quality standards are not met by existing automatic methods. Therefore, when dealing with HDR content, substantial work by very skilled technicians has to be carried out at every step of the movie production chain. Based on recent findings and models from vision science, we propose in this work effective tone mapping and inverse tone mapping algorithms for production, post-production and exhibition. These methods are automatic and real-time, and they have been both fine-tuned and validated by cinema professionals, with psychophysical tests demonstrating that the proposed algorithms outperform both the academic and industrial state-of-the-art. We believe these methods bring the field closer to having fully automated solutions for important challenges for the cinema industry that are currently solved manually or sub-optimally. Another contribution of our research is to highlight the limitations of existing image quality metrics when applied to the tone mapping problem, as none of them, including two state-of-the-art deep learning metrics for image perception, are able to predict the preferences of the observers. ; This work has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement number 761544 (project HDR4EU) and under grant agreement number 780470 (project SAUCE), and by the Spanish government and FEDER Fund, grant ref. PGC2018-099651-B-I00 (MCIU/AEI/FEDER, UE).
In this work we analyse the regulations of the national State on the production and exhibition of cinema in Argentina related with State security between 1914 and 1955. It is possible to find many investigations on censorship in movies. Nevertheless, scholars have not analyzed the relation between national security and defense matters with State's interventions in the cinema. In this article we make a first approach to the subject. We focus on the State defense facing internal matters. The period under analyse begins with the First World War and closes with the coup against the government of Perón. ; El objetivo de este trabajo es analizar las regulaciones del Estado nacional a la producción y exhibición del cine en Argentina relacionadas con la seguridad del Estado entre 1914 y 1955. Las investigaciones sobre la censura en el cine son amplias. Sin embargo, no se ha abordado la relación entre cuestiones de seguridad del Estado o defensa nacional y las intervenciones estatales al cine. En este artículo realizamos una primera aproximación a la cuestión concentrándonos en la defensa del Estado frente a asuntos internos. El periodo analizado comienza con la Primera Guerra Mundial y cierra con el golpe de Estado que derrocó al segundo gobierno de Perón.
Many challenges that deal with processing of HDR material remain very much open for the film industry, whose extremely demanding quality standards are not met by existing automatic methods. Therefore, when dealing with HDR content, substantial work by very skilled technicians has to be carried out at every step of the movie production chain. Based on recent findings and models from vision science, we propose in this work effective tone mapping and inverse tone mapping algorithms for production, post-production and exhibition. These methods are automatic and real-time, and they have been both fine-tuned and validated by cinema professionals, with psychophysical tests demonstrating that the proposed algorithms outperform both the academic and industrial state-of-the-art. We believe these methods bring the field closer to having fully automated solutions for important challenges for the cinema industry that are currently solved manually or sub-optimally. Another contribution of our research is to highlight the limitations of existing image quality metrics when applied to the tone mapping problem, as none of them, including two state-of-the-art deep learning metrics for image perception, are able to predict the preferences of the observers. ; This work has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement number 761544 (project HDR4EU) and under grant agreement number 780470 (project SAUCE), and by the Spanish government and FEDER Fund, grant ref. PGC2018-099651-B-I00 (MCIU/AEI/FEDER, UE). We're very grateful to Albert Pascual, Brett Harrison, Stephane Cattan and everyone at Deluxe-Spain, Alejandro Matus and everyone at Moonlight Barcelona, for their help in fine-tuning and validating our method.
Desde a sua génese, as exposições nacionais, internacionais ou universais integraram as artes nas suas estratégias de promoção e divulgação. Esta situação verificou-se também com a Exposição Ibero-americana de Sevilha, que se propunha reunir os dois países ibéricos e as nações surgidas das suas antigas colónias no continente americano num mesmo evento expositivo. Para a cidade de Sevilha a Exposição proporcionou uma reconfiguração urbanística e a afirmação da arquitetura andaluza. Para Portugal foi uma oportunidade para a divulgação do país nos circuitos do turismo internacional, em particular nos itinerários transatlânticos. A campanha de promoção nacional mobilizou o Ministério do Interior, o Conselho Nacional de Turismo e o Ministério dos Negócios Estrangeiros. A nível regional, vários Municípios e Comissões de Iniciativa promoveram iniciativas de valorização das suas cidades e territórios. Para a participação na exposição e para a campanha de promoção do país, o governo português recorreu a artistas de várias áreas, como foi o caso de Almada Negreiros, à época um jovem artista, a quem encomendou o cartaz oficial da participação portuguesa na Exposição. Por seu lado, o Pavilhão de Portugal foi concebido pelos irmãos arquitetos Rebelo de Andrade, num estilo historicista que evocava períodos gloriosos da história do país. E o Guia Oficial da Exposição Portuguesa em Sevilha incluía numerosas fotografias, que representavam não só os monumentos mais emblemáticos dos centros urbanos, mas também as praias e estâncias termais para onde se pretendia atrair os turistas. No plano regional, a expectativa das vantagens económicas do turismo deu origem a encomendas a jornalistas, fotógrafos, pintores, escritores e até mesmo realizadores. A tipicidade das gentes portuguesas, os usos e costumes, a beleza das paisagens, a história e os monumentos das cidades e vilas eram as temáticas dominantes dos trabalhos efetuados. O objetivo da comunicação é explicar de que modo as artes (arquitetura, pintura, fotografia, cinema, literatura, nomeadamente) foram centrais para a propaganda de Portugal durante a Exposição Ibero-americana de Sevilha em 1929. / Since its origin that national, international or universal exhibitions sought out to integrate the arts in its promotion and diffusion. This strategy was followed in the Ibero- American Exhibition in Seville, which had the purpose to bring together Spain and Portugal and the Nations that had arisen from their former colonies in the Americas in the same exhibition. For the city of Seville the exhibition was an opportunity for an urban redesign and the affirmation of Andalusian architecture. For Portugal the exhibition was an opportunity for the dissemination of the country in international tourism circuits, in particular in transatlantic routes. The campaign to promote Portugal mobilized the Ministry of the Interior, the National Council of tourism and the Ministry of Foreign Affairs. At the regional level, several municipalities and Initiative Committees promoted valuation iniciatives of their cities and territories. For the participation in the exhibition and to the country's promotion campaign, the Portuguese Government appealed to artists from different areas, as was the case of Almada Negreiros, then a young artist, to whom was commissioned the official poster of the Portuguese participation in the exhibition. The Portugal Pavilion was designed by the architect brothers Rebelo de Andrade, in a historicist style evoking glorious periods of the country's history. And the official guide of the exhibition in Seville included numerous photographs, representing not only the most emblematic monuments of the city centers, but also how beaches and along resorts to where one intended to attract tourists. At a regional level, the expectation of the economic benefits of tourism gave rise to order works to reporters, photographers, painters, writers and even filmmakers. The typicality of the Portuguese people, the uses and customs, the beauty of the landscapes, the history and monuments of the cities and towns were the dominant themes of the work performed. The objective of the communication is to explain how the Arts (architecture, painting, photography, cinema, literature, in particular) were central to the propaganda of Portugal during the Ibero-American Exhibition in Seville in 1929.
Abstract In this article I mobilize Deleuze to explore transformative relationships between filmic and urban space in Secret Cinema's pop-up screening of Carol Reed's The Third Man (1949). Secret Cinema is a company that turns urban sites into dramatized versions of the films they screen, and this unusual practice of exhibition raises fascinating questions about how film texts and urban sites come into contact. In particular, I respond to two crucial questions that are provoked by Secret Cinema's 'immersive' screening of The Third Man. First, I consider the impact this kind of filmic experience has on ways of seeing the urban, drawing on the Deleuzian concept of the any-space-whatever. Second, I take up Deleuze's ideas about the out-of-field and its differing functions within the movement-image and the time-image to address how Secret Cinema's dramatized site of spectatorship reciprocally transforms the meaning of film text and urban space. By addressing these two questions, and with comparative reference to early cinema's practices of exhibition, I develop a nuanced reading of Secret Cinema's screening as a co-production of filmic and urban space.
Includes bibliographical references (p. 218-236). ; In 1994, South Africa was emancipated from apartheid, and in 1996, a new democratic Constitution was released. This charter envisioned a progressive society and placed emphasis on equality, multiculturalism, reconciliation and freedom. The state targeted the cultural industries, including cinema, to carry this new vision to the nation. The problem, however, was that the production, exhibition and distribution infrastructure inherited from apartheid was not only dominated by Hollywood, but also exclusively catered for the white sector of the nation. This monopolised, racially skewed structure continues to pose an obstacle to the dissemination of progressive identities and the sustainability of local cinema. Through an analysis of relevant film policy, industry structure and specific cinematic texts, this study aims to trace the intersection between the dynamics of national identity representation and South Africa's political and economic position as a developing nation in the global marketplace. The research presented took place over a period of three years (2007-2010) and incorporated both quantitative and qualitative methods.
El presente artículo se centra en el estudio de las producciones cinematográficas de Fuenteovejuna realizadas por Antonio Román en 1947 y Juan Guerrero Zamora en 1972. El análisis subraya la utilización en cada una de ellas de distintas técnicas de la adaptación literaria y de la apropiación estética cuya finalidad última es la de ajustar los contenidos del texto de Lope de Vega a los discursos políticos hegemónicos del momento de sus respectivas producción y exhibición comercial. ; This article discusses the cinematic productions of Lope de Vega's Fuenteovejuna directed by AntonioRomán in 1947 and Juan Guerrero Zamora in 1972. The analysis stresses the different use ofliterary adaptation and aesthetic appropriation techniques, according to the ultimate purpose ofadjusting the contents of Lope de Vega's play to the historical and political hegemonic discourses oftheir respective productions and cinema exhibitions.
This article discusses the cinematic productions of Lope de Vega's Fuenteovejuna directed by AntonioRomán in 1947 and Juan Guerrero Zamora in 1972. The analysis stresses the different use ofliterary adaptation and aesthetic appropriation techniques, according to the ultimate purpose ofadjusting the contents of Lope de Vega's play to the historical and political hegemonic discourses oftheir respective productions and cinema exhibitions. ; El presente artículo se centra en el estudio de las producciones cinematográficas de Fuenteovejuna realizadas por Antonio Román en 1947 y Juan Guerrero Zamora en 1972. El análisis subraya la utilización en cada una de ellas de distintas técnicas de la adaptación literaria y de la apropiación estética cuya finalidad última es la de ajustar los contenidos del texto de Lope de Vega a los discursos políticos hegemónicos del momento de sus respectivas producción y exhibición comercial.
Transformation of cultural markets is a complex development that relates to both the audience and the industry. During the last decade, domestic popular films in Turkey increased their share of box office significantly. This study analyses socio-economic developments along with monopolization of exhibition sector to understand the change. While factors such as higher income level, relatively lower ticket prices, higher proportion of population in education and urbanization created a new potential audience for domestic films, rise of a dominant player in exhibition sector broke the hegemony created by foreign distribution companies.
During World War II, Latin America became a territory of ideological and political confrontation between Allied and Axis countries. After Hitler's rise to power in 1933, the influence of the National Socialist ideology spread with great strength throughout Latin America. Different movements and political parties that supported Hitler and the Axis union appeared in several countries in the region. In response, the United States executed a cultural intervention plan to stop the advance of Nazism through advertising campaigns. The present article investigates the expansion of Nazi propaganda outside the territories of the Third Reich, in more neutral territories such as Ecuador. It will examine the main spaces of distribution, and the type of propaganda cinema that was released in the country from 1934 to 1941, with the aim to discover how significant were the premieres that came to Ecuador during the conflict. ; Durante la Segunda Guerra Mundial, América Latina se convirtió en un territorio de confrontación ideológica y política entre los países Aliados y Ejistas. A partir de la ascensión de Hitler al poder en 1933, la influencia de la ideología nacionalsocialista tomó mucha fuerza en toda América Latina. Aparecieron en varios países de la región movimientos y partidos políticos que apoyaban a Hitler y a la unión ejista. Como respuesta, Estados Unidos ejecutó un plan de intervención cultural para frenar el avance del nazismo a través de campañas publicitarias. La presente investigación indaga sobre la expansión de propaganda nazi por fuera de los territorios del Tercer Reich hacia territorios más neutrales como Ecuador, los principales espacios para su difusión y el tipo de cine de propaganda que se estrenó en el país desde 1934 hasta 1941, con el objetivo de descubrir qué tan significativos fueron los estrenos que llegaron al Ecuador durante el conflicto.
The history of the Shaw enterprise in Shanghai, Hong Kong and Singapore, is a history of Chinese cinema in a century of business evolution. The Shaw industrial model of "vertical integration", which combines production, distribution with exhibition, keeps pace with the technological developments and manages to expand its retail outlets from the stage to cinema, television, DVD and the Internet. Although the Shaw organization embraces a western industrial model to expand its business, it retains the very nature of a traditional Chinese family business. The issues surrounding the cultural and institutional evolution of the Shaw enterprise over the past 80 years are profound indications of its time.
The Spanish exhibition managed to place since the mid-nineties until 2005 as one of the most developed industries in the European Union, but unduly linked to the «housing boom». With the advent of the economic crisis, to which was added, ironically, the continuous rise in the price of tickets, attendance at the meeting collapsed and Spanish cinema lost in a few years over forty million viewers. Today, two thirds of the park cinemas in Spain are not profitable, so it is understandable that a deep reorganization of the exhibition sector occurs, with more closures of cinema complexes and new merger and absorption between operators, to foster greater concentration in a sector very diversified and in which regional groups had achieved «atomization» property, unrivaled in the large countries of the European Union. However, the most serious and worrying fact is that, today, and after the loss of more than seven hundred screens in these years of crisis, more than 40% of Spanish territory has no cinemas where films can be seen, so we're back to the situation in the early eighties when much of provincial capitals and towns with less than one hundred thousand people had lost all their theaters. ; La exhibición española logró situarse desde mediados de la década de los noventa hasta el año 2005 como una de las industrias más desarrolladas de la Unión Europea, aunque excesivamente ligada al boom inmobiliario. Pero con la llegada de la crisis económica y el continuo encarecimiento del precio de las entradas, la asistencia a las salas se desplomó y el cine español perdió en unos pocos años más de cuarenta millones de espectadores. Hoy día, dos tercios del parque de salas de cine en España no resultan rentables. Por tanto, es comprensible que se produzca una profunda reordenación del sector de la exhibición, con más cierres de complejos cinematográficos y nuevas operaciones de fusión y absorción entre operadores, que propiciarán una mayor concentración en un sector hasta ahora muy diversificado y en el que los grupos de ...
In this article an analysis of the reorganization appears that has had the Mexican cinematographic industry in its commercial productive circuit (production, exhibition, consumption) from the effects of the neoliberal economic policies, regulatory changes of the sector and privatizations that were implemented in the sector, as a result of the take efect of the Free Trade Agreement of North America (TLCAN or NAFTA) in 1994. The study approaches from the perspective of the political economy of the communication and the culture; is a longitudinal and descriptive study that includes the period from 1992 to 2015, in which are used like method the techniques of documentary investigation, the analysis of content and the interview. ; En este artículo se presenta un análisis de la reorganización que ha tenido la industria cinematográfica mexicana en su circuito productivo comercial (producción, exhibición, consumo) a partir de los efectos de las políticas económicas neoliberales, cambios regulatorios del sector y privatizaciones que se implementaron en el sector, a raíz de la entrada en vigor del Tratado de Libre Comercio de América del Norte (TLCAN o NAFTA) en 1994. El estudio se aborda desde la perspectiva de la economía política de la comunicación y la cultura; se trata de un estudio longitudinal y descriptivo que abarca el periodo de 1992 a 2015, en el que se utilizan como método las técnicas de investigación documental, el análisis de contenido y la entrevista. ; Este artigo apresentará uma análise da reorganização da indústria cinematrográfica mexicana em seu circuito produtivo comercial (produção, exibição e consumo) a partir da implementação de políticas econômicas neoliberais, mudanças regulatórias e privatizações realizadas sob o pano de fundo do Tratado de Livre Comércio da América do Norte (NAFTA) em 1994. O estudo aborda a perspectiva da economia política da comunicação e da cultura. Trata-se de um estudo longitudinal e descritivo que abrange o período de 1992 a 2015 e, no qual se utilizam as técnicas de ...
