"Introduces new perspectives to the discipline of film and media studies. First, this volume focuses ona crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book will integrate theories and practices of cinematographic technology. Second, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism."--Page [4] of cover
Autonomous UAV cinematography is an active research field with exciting potential for the media industry. It bears the promise of greatly facilitating UAV shooting for various applications, while significantly reducing the costs compared to manual shooting. However, the general problem has not been clearly defined and the challenges arising from current legislation and technology restrictions have not been fully charted. A complete overview of issues related to autonomous UAV cinematography is needed, pertaining to the current situation in the field, so as to guide immediate-future research. The purpose of this paper is to lay exactly this groundwork, with the expectation of providing a global perspective to multiple domain-specific research communities. The outlined issues are partitioned into challenges deriving from ethical/legal/safety considerations and from operational/production requirements. A brief survey of current technological solutions, including their limitations, is also provided for each issue.
This essay investigates different registers of embedded and fragmentary focalizations in war cinematography on the Iraq War (2003–11), focusing primarily on The Hurt Locker (2008) and the HBO mini-series Generation Kill (2008), but also addressing American Sniper (2014) and the Abu Ghraib scandal. I argue the "extreme close-up" that focuses almost unilaterally on the men on the ground during the Iraq War implicates a "bigger picture": a larger frame of discourse put forward by the corporate media and the government. This is primarily achieved through recursive narrative structures and through the use of diegetic ocular apparatuses, which are embedded on screen. These renditions of mise en abyme implicate, renegotiate, and even argue with the wide-angle perspective which frames the Iraq War.
The purpose of the article is a theoretical under-standing of the conceptual sphere of "heroic" cinema-tography as a genre formation. The subject of research in this article is the conceptual sphere of "heroic" cinematography.
The research methodology is based on the morpho-logical approach in art criticism and those ideas in the theory of film studies, which are contained in the works of H. Batalina, V. Horpenko, R. Cohen and others. We use the idea of V. Horpenko that "the specified problems of terminology demonstrate the complexity of their solution, and, in the end, from many options, you need to take one general direction, which should determine the system-forming methodology" (Horpenko, 2013, p. 77), it is the morphological approach that is the system-forming methodology for the subject of our research. Methodological approaches of Ukrainian media studies researchers outlined in the study "Media studies in the European integration discourse of Ukraine" are also used (Media studies, 2022).
The result of the research presented in this article. 1. Formation of the conceptual sphere of a specific scientific problem is a necessary and multifaceted pro-cess. It requires not only the definition of the "title" research concepts, but also the levels of their use as scientific tools. 2. The basic principles of the formation of the conceptual sphere of the "heroic" film research are outlined and the semantic connections of the "title" concepts "hero" and "heroism" with the subject of the study are defined. The levels and vectors of the use of these concepts as a working toolkit for the study of "heroic" cinematography are characterized. 3. The polymorphism of "heroic" cinematography as a special morphological formation of modern cinematography is indicated.
The scientific novelty of the study lies in the understanding of the basic principles of the existence of the conceptual sphere of the study of "heroic" cinematography as the newest polymorphic formation of Ukrainian cinematography.
The practical significance of the results of the study based on the intelligent use of the specified scientific tools in the future research of modern Ukrainian cinematography.
Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and where the flows of Russian equipment, weapons, ammunition, soldiers, officers and even where the killed Russian soldiers are buried come from. That is why films about the Donbass war help the mass audience to understand who is actually fighting in Eastern Ukraine. An article is devoted to this topic, which analyzes feature films about the Russian-Ukrainian war that lasts in Donbass. In particular, Oleksiy Shapariev's series "The Guard", films of Akhtem Seitablaiev "Cyborgs. Heroes never die", Serhiy Loznytsia "Donbass", Zaza Buadze "Call sign 'Banderas'", Ivan Tymchenko "Ilovaisk 2014. Battalion 'Donbass'", Valentyn Vasyanovych "Atlantis", Volodymyr Tykhyi "Our cats". In the context of world cinematography and peculiarities of the national character, it is presented how modern Ukrainian cinema develops the comedic traditions of war films. The reaction to films about the war by Ukrainian spectators, critics, Russian politicians and public officials, film awards at film festivals are shown.
The relevance of the topic is to analyze the formation of the musical content of clips created with the involvement of the plots of cinematographic works in their text, and the impact of the clip on the perception of the viewer; to study the development of visual means attracted to the textual factors of the clip. The purpose of the present research is to study the influence of the plot intent of the scenic features of a cinematographic work on the visual and musical series of the clip, related to the associative perception of the viewer. Novelty — for the first time the influence of aesthetic-plastic and ascetic ideas of cinematography on the formation of mediaverbal texts of music videos has been investigated. Objective — to investigate the possibilities and effectiveness of the use of cinematographic techniques in music videos and their impact on the viewer's perception of the musical work. The research methodology is based on descriptive, inductive and iconological methods. The possibilities of using plastic means of cinematography in the construction of imagery, music videos and their comprehension by the viewer are studied. The possibility of determining the genre characteristic of a music video shot on the basis of the storyline of a cinematographic work is considered. The high degree of non-verbal nature of music video lyrics, which incorporate the storylines of cinematic works, allows the viewer to experience the charm of artistic possibilities complemented by the world of classic cinematic works. This is the unique potential of music videos, in the context of which the aesthetic constants of cinematographic works are used, the possibilities of visualization of which are not limited.
The purpose of this article to investigate the peculiarities of the representation of historical transformations in fiction and documentary cinematography, to reveal the artistic potential of cinema in the coverage of historical issues.
The methodology. The main methods of cognition were used: socio-communicative, axiological, culturological approaches, figurative-stylistic analysis and structural-functional method, art history approach combined with morphological analysis, hermeneutic approach. The specified methods contributed to the in-depth study of fiction and documentary films aimed at the coverage of historical or current events.
The results. In the course of the study, it was found that the line between documentary and fiction films is extremely thin, especially when the films claim to cover historical events or real figures. Despite the fact that fiction cinema is realized thanks to the play of actors, and documentary cinema is realized thanks to the shooting of real participants in the events, the means of expression of both types of cinematography are similar. One of the results of the analysis was the conclusion that documentary cinema uses a greater number of expressive means than fiction films. This is due to the fact that the directors of fiction films strive to document the aesthetics of the film, and the directors of the documentary, on the contrary, to strengthen the artistic component. Historical themes combine documentary and fiction films, while the aesthetics of documentary films is more diverse.
The scientific novelty of the research. In this research for the first time, we investigated the historical transformations in fiction and documentary cinematography from the point of view of cultural meanings and aesthetic foundations of both types of cinema, and also analyzed the potential of cinematography to reveal hot and controversial topics on the example of contemporary cinema works.
The practical significance of the article. The presented research can be used by filmmakers in both the field of fiction and documentary cinema in order to create an objective, unbiased and artistically valuable screen product. In addition, the conducted analysis can be useful in teaching professional courses in the specialty 021 "Audiovisual art and production".
Abstract The use of unmanned aerial vehicles in mainstream cinema has been underexplored in film scholarship. This article seeks to address this by looking at Ivan Sen's use of odd aerial perspectives in his 2016 film Goldstone, captured with the use of drones. This article considers the history of aerial photography and its impacts, before analyzing three drone shots from Goldstone, in terms of what these shots contain, and how they are situated in the edit. What is proposed is a poetics of drone cinematography, as observed in Sen's film but applicable to all visual media. This poetics considers what the drone affords the cinematographer, director, and editor in terms of perspective. Finally, Deleuze's film-philosophy and posthuman theory are co-opted to explore what drone footage affords Ivan Sen and all filmmakers in terms of the cinematic inscription of an attitude to the environment.
Purpose: The article deals with the politics of the Kemalists in the Republic of Turkey in the 1920s - 1930s, as well as the ways of indoctrination of the main political principles of this ideology. During this period, Turkey, under the leadership of Mustafa Kemal Ataturk, began radical changes affecting all spheres of society. Methodology: The research given is based on the principles of science, historicism, and impartiality; moreover, historical-genetic, historical-comparative, historical-systematic methods of historical research are used. Result: Having declared itself a secular state, focusing on the European level of development of those times, the Republican Turkey at the same time created its own system of national education, culture, language, ideology. This was facilitated by quite radical, largely authoritarian transformations. However, it is worth noting that the goal of the reforms was not widespread westernization of society, but the creation of a national Turkish state. Applications: This research can be used for the universities, teachers, and students. Novelty/Originality: In this research, the model of Cinematography as an element of the ideological system of Kemalism is presented in a comprehensive and complete manner.
Abstract This article is devoted to poverty and wealth presented in fiction films - both cinema and television - directed in the times of the Polish People's Republic. Poverty and wealth shown intentionally and unintentionally in these films manifest themselves in many ways. If we want to learn anything about wealth of the society shown in a given movie, a critical approach must be applied
