The Day We Met - A Short Film Analysis

2016 ◽  
Vol 3 (4) ◽  
pp. 18
Author(s):  
Rui Figueiredo
Keyword(s):  
Short Film ◽  
Film Analysis

scholarly journals Arte Urbana Collectif and Bulgarian film education: An interview with rural classroom teacher Daniel Simeonov

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Ralitsa Assenova
Keyword(s):  
Primary School ◽  
Educational Administration ◽  
Classroom Teacher ◽  
Short Film ◽  
Film Analysis ◽  
Governmental Organizations ◽  
Non Governmental Organizations ◽  
Film Education ◽  
History Of ◽  
Small Rural School

While arts education is not currently prioritized by Bulgaria's conservative educational administration, non-governmental organizations such as Arte Urbana Collectif are pursuing a series of initiatives and projects in film education, geared specifically towards bringing together teachers and professionals. Here, we present an interview with Daniel Simeonov, a teacher at Neofit Rilski primary school, a small rural school in Dermantsi that has been collaborating with Arte Urbana Collectif on a film education project exploring both analysis and practice. Students are introduced to the art of cinema first, as spectators, watching films in their entirety and exploring first steps towards film analysis. Subsequently, they are placed in the active position of creating and directing a short film. Here, we establish a context for Arte Urbana Collectif's work within a broader history of film education in Bulgaria, before going on to explore both pedagogical and societal perspectives arising from the project through an interview conducted with Daniel Simeonov by Arte Urbana Collectif co-founder Ralitsa Assenova.

An Unexpected Visit - A Short Film Analysis

2016 ◽  
Vol 3 (4) ◽  
pp. 15
Author(s):  
Bianca Pamela N. Alcera
Keyword(s):  
Short Film ◽  
Film Analysis

Cognitive Processing of Film Cuts Among 4- to 8-Year-Old Children

2012 ◽  
Vol 17 (4) ◽  
pp. 257-265 ◽  
Author(s):  
Carmen Munk ◽  
Günter Daniel Rey ◽  
Anna Katharina Diergarten ◽  
Gerhild Nieding ◽  
Wolfgang Schneider ◽  
...  
Keyword(s):  
Eye Movements ◽  
Cognitive Processing ◽  
Media Literacy ◽  
Age Groups ◽  
Reaction Times ◽  
Time Span ◽  
Short Film ◽  
Calculation Formula ◽  
Eye Tracker ◽  
Chronological Sequence

An eye tracker experiment investigated 4-, 6-, and 8-year old children’s cognitive processing of film cuts. Nine short film sequences with or without editing errors were presented to 79 children. Eye movements up to 400 ms after the targeted film cuts were measured and analyzed using a new calculation formula based on Manhattan Metrics. No age effects were found for jump cuts (i.e., small movement discontinuities in a film). However, disturbances resulting from reversed-angle shots (i.e., a switch of the left-right position of actors in successive shots) led to increased reaction times between 6- and 8-year old children, whereas children of all age groups had difficulties coping with narrative discontinuity (i.e., the canonical chronological sequence of film actions is disrupted). Furthermore, 4-year old children showed a greater number of overall eye movements than 6- and 8-year old children. This indicates that some viewing skills are developed between 4 and 6 years of age. The results of the study provide evidence of a crucial time span of knowledge acquisition for television-based media literacy between 4 and 8 years.

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

"Le Silence est d'or": A Student Film Analysis

1948 ◽  
Vol 3 (3) ◽  
pp. 301-310
Author(s):  
L'Institut des Hautes Etudes Cinematographiques ◽  
Robert Pirosh
Keyword(s):  
Film Analysis
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