Suchergebnisse

Religious traditions have provided a seemingly endless supply of subject matter for film, from the Ten Commandments to the Mahabharata . At the same time, film production has engendered new religious practices and has altered existing ones, from the cult following of The Rocky Horror Picture Show to the 2001 Australian census in which 70,000 people indicated their religion to be 'Jedi Knight'. Representing Religion in World Cinema begins with these mutual transformations as the contributors query the two-way interrelations between film and religion across cinemas of the world. Cross-cultural and interdisciplinary by nature, this collection by an international group of scholars draws on work from religious studies, film studies, and anthropology, as well as theoretical impulses in performance, gender, ethnicity, colonialism, and postcolonialism

The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Alexander Drankov, «Christmas Eve» and «The Portrait» by Ladislas Starevich, «The Overcoat» by Georgi Kozintsev and Leonid Trauberg are in the centre of the article. Each of the listed film adaptations has its own specifics determined by close connection with other types of art, fragmentariness, melodramatic, an abundance of phantasmagorias, etc. «The Overcoat» stands out in the list of silent interpretations, since presents a new look at the process of Gogol's translation from the language of literature into the cinema language. Compared to previous films, the creators of the 1926 cinematic version of «The Overcoat» took into account Gogol's style, the mood of his work, recreated through the picture of the ghostly expressionist Petersburg.

How can archive cinema seem new again? This article discusses film curation strategies for early, silent, and pre-Code cinema, with the aim of foregrounding women's film history: attracting new audiences to works with unexpected historical contexts. It suggests that early film history can be reconceptualized as "young cinema," an era of experimentation, innovation, and excitement in the potentiality of the medium, rather than ossified as "old cinema" with the attendant connotations of the canon, overfamiliarity, and perceived irrelevance.

Introduction: Between Meaning and Significance -- 1. The Engineered Look: The Film Festival Circuit and the Aesthetics of the Global Art Film -- 2. A Fallible Tradition: Kenji Mizoguchi and the Post-War Transformation of Japan -- 3. World and Text: Interpreting Jacques Rivette -- 4. Unattainable Women: Sexual Anxiety and Location- Scorsese, Rohmer and Kiarostami -- 5. Beyond Religion: The Spiritual Cinema of Robert Bresson -- 6. Nation and Transgression: Ideology and the Horror Film in India and Pakistan -- 7. A Trajectory of Form: The Development of Soviet/Russian Cinema (1910-2010) -- 8. History as Polyphony: Understanding Aleksei German -- 9. Utopia and the Patriarchal Order: Zhang Yimou as a Chinese National Artist -- Bibliography -- Film Index -- Index -- About the Author.

Women in Ireland came into focus and onto the political stage during and as a result of nationalist and socialist movements that began in the mid-1700s and continued through the 1920s. Women like Anna Parnell, Constance Markievicz, and Hannah Sheehy-Skeffington participated in the land wars, struggles for independence from Britain and the suffragist movement. Indigenous silent feature filmmaking in Ireland was born out of this critical period of political and social change. From 1916 to 1935, Irish filmmakers produced over forty silent feature films only six of which have survived. A close study of these films, fragments of three others, and contemporary film reviews and archival synopses of the non-surviving films reveals how early Irish silent films tackled nationalist issues, but did little to represent the active participation of women. Women in these films are passive sisters, lovers, and mothers, impacted by rather than impacting historical events. This is not surprising. Irish silent cinema was a male-dominated industry with a nationalist agenda that perpetuated gender stereotypes. This study links nationalism and women in Irish silent cinema by looking at how female representation in these early films reflected a gendered ideology that existed in Irish culture alongside other narratives of the nation.

This article centers the methodological need to study both (a) social scenes and (b) social cinema scenes to elucidate a much more complicated sense for understanding how cities and space are inhabited, produced, and invented. Using a practice based method of research, it utilizes aural and visual methods to revisit how we approach and conceptualize postwar lives in the United Kingdom, beyond the limits of an either—or analysis of celebration or trauma and victimhood.