Education, Film Culture & Industry An Exploration of Context

1993 ◽  
Vol 70 (1) ◽  
pp. 79-82
Author(s):  
Kate Richards
2019 ◽  
Author(s):  
Francesco Pitassio
Keyword(s):  

Author(s):  
Stephen Monteiro

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.


Author(s):  
E. W. Nikdel

With the advent of online distribution and the rise of multiple media devices, claims of the cinema’s imminent death have surfaced with greater intensity than ever before. Of course, with an ever-widening array of platforms these accounts have placed a newfound emphasis on the cinema as a distinctive physical space, one that plays host to a very particular and much cherished cultural activity. This article considers the substance of these claims by tracing a very particular historical route. Firstly, be revisiting Baudry’s notion of the dispositif, this article detects the importance of the physical environment in the process of film consumption. Secondly, I relate this emphasis on the physical to the traditional notion of the cinephile, a practice that ritualises the cinema experience. Many accounts across the spectrum of film history will attest to the profound ways in which the physical experience of the cinema summons a rich emotional response. Lastly, I consider how the cinema and the collective nature of film consumption provides an authentic trace to the past and a very certain time and place in history. In turn, despite competition from cheaper and more convenient platforms, this article will endeavour to show how the cinema retains its place at the centre of contemporary film culture. KEYWORDS Cinema, dispositif, cinephilia, cultural memory.


Author(s):  
Tamara Vázquez-Barrio ◽  
Teresa Torrecillas-Lacave ◽  
Rebeca Suárez-Álvarez

Traditional television coexists with formats that originated on the internet, as well as on-demand consumption, paid television, and other audio-visual content distribution platforms. Audience data reveal a steady decline in television viewership, and digital technologies now allow any citizen to produce audio-visual content and distribute it for mass consumption through the internet. Given this new audio-visual ecosystem, the aim of this research is to ascertain whether there are any signs of a crisis regarding the dominance of television as a means of disseminating the products of the culture industry. Disinterest or indifference toward conventional programming by users would reveal a danger to the broadcast industry. In contrast, the consumption of television products through other channels would imply the retention of television audiences through the internet. This study analyzes perceptions regarding television through five online discussion groups. Three conclusions can be drawn: Firstly, television holds a prominent place in the daily lives of those who use it, including the youngest participants, despite the fact that audiences have declined in recent years. The second conclusion states that the perception of television is positive and associated with disengagement, relaxation, and family gatherings, which can be combined with individual consumption at other times of the day. As a third conclusion, this study reveals the high degree of compatibility between the internet and television screens, as new forms of consumption are emerging, yet there is still a predominant interest in content on television and from the mass culture industry. Resumen La televisión tradicional convive con formatos originados en internet, con el consumo bajo demanda, con la televisión de pago y con otras plataformas de distribución de contenido audiovisual. Los datos de audiencias muestran un descenso continuado de telespectadores y las tecnologías digitales permiten a cualquier ciudadano producir contenidos audiovisuales y distribuirlos para el consumo masivo a través de la Red. Ante este nuevo ecosistema audiovisual, el objetivo de esta investigación es comprobar si se pueden advertir signos de una crisis de la supremacía del televisor como medio de difusión de industria cultural. El desapego o indiferencia de los usuarios hacia la programación convencional evidenciaría un peligro para la televisión. Al contrario, el consumo de productos televisivos a través de otras pantallas implicaría el mantenimiento de las audiencias televisivas a través de internet. La investigación analiza las percepciones sobre la televisión mediante cinco grupos de discusión online. Se extraen tres conclusiones. La primera, que la televisión ocupa una posición relevante en la cotidianeidad de los participantes, incluidos los más jóvenes, a pesar de que las audiencias han descendido en los últimos años. La segunda, que la percepción sobre la televisión es positiva y se asocia a la desconexión, el relax y a un momento de reunión familiar compaginable con consumos individualizados en otros momentos del día. Tercera, el estudio demuestra el alto grado de compatibilidad entre internet y la pantalla del televisor porque surgen nuevas formas de consumo, pero se mantiene un interés predominante por los contenidos televisivos y de la gran industria cultural.


Screen Bodies ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 23-36
Author(s):  
Daisuke Miyao

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.


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