Hermeneutic Analysis of a Psychotherapist’s Representation in Russian Film Series

2021 ◽  
Vol 17 (3) ◽  
Keyword(s):  
Film Series ◽  
Russian Film

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

‘...Insured against the tyranny of time’.Knut Hamsun’s last play and an unknown Russian film script

2018 ◽  
pp. 76-102
Author(s):  
T P. Lonngren
Keyword(s):  
Film Adaptation ◽  
State Archive ◽  
Short Summary ◽  
Russian State ◽  
History Of ◽  
Theatrical Play ◽  
Russian Film

After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the history of filmmaking and relevant filmography, Khokhlov’s film script is not just the only attempt at film adaptation of a Hamsun play, but the first ever project based on a theatrical play in Russian cinematic history. Written almost 100 years ago, the script is far from perfect in the modern understanding of filmmaking; nonetheless, it has certain merits in the eyes of contemporaries. The very attempt to interpret the play by means of a nascent artistic genre may be considered a proof of its relevance to Russian audiences at the time.

scholarly journals TARGET SUBSIDIES AS A FILM SCREENING DEVELOPMENT TOOL IN RUSSIAN REGIONS

2019 ◽  
pp. 75-82
Author(s):  
L. A. Lanina ◽  
A. V. Malyshev
Keyword(s):  
Film Industry ◽  
System Organization ◽  
Implementation Process ◽  
The State ◽  
Economic Conditions ◽  
State Program ◽  
Development Tool ◽  
Current Program ◽  
Russian Film

Execution of protectionist measures by the state in the film screening field is a significant for the entire film industry as a whole, as the state of the Russian film screening affects both distribution and film production. The implementation process of the state program to provide subsidies for the cinemas modernization cinemas in small and medium-sized Russia cities has been examined. The current program results, their importance for the regional film screening and the Russian film industry have been analyzed. The special socio-economic conditions of the subsidized theaters functioning have been highlighted. The two-level system organization for further activities subsidized cinemas support is proposed and a measures set to achieve the state program goals for the long term have been offered.

scholarly journals FILM SERI ANIMASI 3D BELAJAR BAHASA INDONESIA BERSAMA MADE SEBAGAI MEDIA PEMBELAJARAN BAHASA INDONESIA UNTUK PENUTUR ASING DI UNDIKSHA

2017 ◽  
Vol 6 (1) ◽  
pp. 20
Author(s):  
I Putu Andika Subagya Putra . ◽  
I Gede Mahendra Darmawiguna, S.Kom, M.Sc . ◽  
I Made Putrama, S.T., M.Tech. .
Keyword(s):  
Research And Development ◽  
Foreign Students ◽  
Three Dimensional ◽  
3D Animation ◽  
Average Percentage ◽  
Animated Film ◽  
The Mean ◽  
Film Series ◽  
Foreign Speakers ◽  
Bahasa Indonesia

Tujuan dari penelitian ini adalah untuk mengembangkan Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha, agar mahasiswa asing yang tinggal atau berkunjung ke Indonesia dengan mudah dapat mempelajari Bahasa Indonesia. Metode penelitian yang digunakan dalam penelitian ini adalah Research and Development (R&D) dengan menggunakan model pengembangan ADDIE. Film animasi 3 dimensi ini dikembangkan dengan menggunakan software Blender dengan beberapa tahap pembuatan animasi, yaitu pra produksi, produksi, dan pasca produksi. Hasil dari penelitian ini, yaitu produk film animasi 3 dimensi berupa DVD dan respon dari peserta didik BIPA di Undiksha Singaraja terhadap Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha yang terkategorikan sangat positif dengan rata-rata persentase 91,44%. Berdasarkan analisis dari 12 peserta didik BIPA diketahui 3 siswa memberikan respon yang sangat positif dan 9 siswa memberikan respon yang positif terhadap film animasi ini.Kata Kunci : BIPA, film Animasi, Animasi 3 Dimensi The purpose of this study is to develop a 3D Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha, so that foreign students who stay or visit to Indonesia can easily learn Indonesian language. The method used in this research is the Research and Development (R & D) by using ADDIE development model. 3-D animated film is developed using software Blender with several stages of animation creation, are pre-production, production and post-production. The results of this study, three-dimensional animated film products such as DVD and the response of learners BIPA in Undiksha Singaraja to 3d Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha are categorized very positively with the mean average percentage of 91,44%. Based on an analysis of 12 learners BIPA note 3 students gave a very positive response and 9 students responded positively to this animated film.keyword : BIPA, Animation Film, 3D Animation

Towards a Journey Narrative Syntax

2018 ◽  
pp. 41-62
Author(s):  
Christopher Holliday
Keyword(s):  
Narrative Structure ◽  
Narrative Form ◽  
First Line ◽  
Hollywood Cinema ◽  
Short Films ◽  
Animated Films ◽  
Film Series ◽  
Virtual Experiences ◽  
Narrative Syntax

This chapter moves forward by unpacking the generic identity of computer-animated films and examines the journey narrative structure as their prevailing syntax and first line of action. In this chapter, two forms of narrative are established that are widely operational within the genre. The first of these are the “flushed away” narratives that rely upon on abrupt geographical disjuncture, and which often requires the protagonist to negotiate and quickly adapt to a foreign milieu. The second journey narrative form advanced in this chapter is the “over the hedge” narrative, which are voyages signalled as altogether more prepared or expected. This chapter explores in detail how computer-animated films deploy these two forms of journey narrative structure to interrogate ideas of mobility, location, destination and tourism through the virtual experiences they offer of travelled space. Chapter Two concludes by positioning the journey narrative within the context of film franchising and the “sequelled” narrative. Computer-animated films rarely exists in isolation, but are supported by a range of sequels, spin-offs and short films. This chapter identifies how narrative structure can be productively entwined with the wider role of film series and cycles that continues to define the franchise mentality of post-millennial Hollywood cinema.

Introduction

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Cultural Changes ◽  
Film Studios ◽  
Way Of Thinking ◽  
Russian Film ◽  
Russian Cinema ◽  
Film Market ◽  
New Generation ◽  
The Relationship ◽  
Mode A

I start by providing an overview of the major social, political and cultural changes that have occurred in Russia since Putin’s coming to power in 2000 and the Bolotnaya 2011 protests. I discuss Russian film market and industry, focussing on the emergence of new practices and a new generation of filmmakers. I zoom into particular film studios that have been responsible for the production of the most successful films and provide an overview of existing research on the Russian cinema of the period. I outline the methodological parameters and objectives of my research. I introduce the concept of the symbolic mode and explore the relationship between the symbolic mode and the ‘native’ traditions of representation. I consider the symbolic mode a critique of film semiology, polemicizing with mimetic theories and re-visiting poststructuralist thought concerning semiotics / signification. I argue the symbolic mode suggests a move away from the concerns of identity representations towards the problem of subjectivity construction. I introduce Badiou’s concept of film as a way of thinking and I identify how the film chapters develop the argument, pointing out that relevant concepts will be introduced in the film chapters.

The People’s Action Party Government of Singapore and Berita Singapura

2017 ◽  
Author(s):  
Ian Aitken
Keyword(s):  
Visual Rhetoric ◽  
Political Context ◽  
The Political ◽  
Party Government ◽  
Film Series

In his chapter on the Singaporean official newsreel series Berita Singapura (1963-1969), Ian Aitken explores how this film series embodied and propagated the ideas of the Singapore People’s Action Party (PAP), and those of the Party’s leader, Lee Kuan Yew. Aitken provides an outline of the political context involving Britain, Malaya and Singapore which led to the ascendancy of the PAP, and also relates the films of Berita Singapura to particular key PAP policies, such as housing and education. Aitken also shows how the films presented the authoritarian capitalist agenda of the PAP within a visual rhetoric of ‘modernisation’, and describes tensions which arose between the film producers, who were European expatriates, and the authoritarian and interventionist PAP leadership.

The iAnimal Film Series

Screen Bodies ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 44-61
Author(s):  
Holly Cecil
Keyword(s):  
Animal Studies ◽  
Documentary Film ◽  
Academic Research ◽  
Short Film ◽  
Film Festival ◽  
Embodied Experience ◽  
Critical Animal Studies ◽  
Advocacy Organizations ◽  
Film Series

This article explores the innovative use of virtual reality (VR) technology in nonfiction documentary film formats by animal-advocacy organizations. I examine the potential of the VR medium to communicate the living and dying environments of factory-farmed animals, and to generate viewer empathy with the animal subjects in their short, commodified lives from birth to slaughterhouse. I present a case study of the iAnimal short film series produced by Animal Equality, which made its public debut at the 2016 Sundance Film Festival. Employing a critical animal studies framework, I engage Kathryn Gillespie’s work on witnessing of the nonhuman condition as a method of academic research, and apply to it the embodied experience of virtual witnessing through virtual realty.

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