scholarly journals Canadian Cinema

1997 ◽  
Author(s):  
Gerald Pratley
Keyword(s):  
Film Production ◽  
Feature Film ◽  
First Time

CANADIAN CINEMA: A SUMMING UP OF THE YEAR IN REVIEW SEPTEMBER is the month when new Canadian films appear and we discover what's been going on in the underworld of feature film production. They arrive at the Montréal, Halifax, Toronto and Vancouver festivals and the nomination screenings for the Genie Awards. Except for the Montréal festival's catalogue, which is content to simply summarise the stories of the films being shown, the rest would have us believe that all their entries, Canadian, in particular, are of the most profound importance, skilful, aware and socially, politically and sexually significant! Expectations aroused by these endorsements are seldom fulfilled, and where our films are concerned much is made of "first features" with one overly-excited programmer telling us "that there are more first-time directors than ever before" forgetting that every year we have first directors by the score who, fortunately in most cases, are...

Public aid mechanisms in feature film production: the EU MEDIA Plus Programme

2005 ◽  
Vol 27 (2) ◽  
pp. 229-250 ◽  
Author(s):  
Victor Henning ◽  
Andre Alpar
Keyword(s):  
Film Production ◽  
Feature Film ◽  
Public Aid ◽  
The Eu

Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner

Films on Ice ◽  
2015 ◽  
Author(s):  
Marco Bohr
Keyword(s):  
Popular Culture ◽  
Film Production ◽  
Art Cinema ◽  
Visual Storytelling ◽  
Feature Film ◽  
Award Winning ◽  
Local Practices ◽  
Visual Sovereignty ◽  
Cultural Themes ◽  
Narrative Techniques

This chapter offers stylistic and thematic analyses of the  cinematography and strategies of visual storytelling of Zacharias Kunuk’s Atanarjuat: The Fast Runner (2001). Bohr provides an alternate reading of the Igloolik-based group Isuma’s best-known and Cannes award winning film. Bohr identifies distinctive narrative techniques and cultural themes of the film, which tie it both to traditional Inuit myths and legends and to European art cinema, concluding by highlighting the ways in which Atanarjuat situates local practices in a global popular culture framework. Drawing on the concept of Fourth Cinema first proposed by Barry Barclay, Bohr positions Atanarjuat in the relation to emerging global  international indigenous feature film production as well as to Michelle Raheja’s concept of visual sovereignty.

Rob Roy: Britain’s First Feature Film

2018 ◽  
Author(s):  
Caroline Merz
Keyword(s):  
Language Production ◽  
English Language ◽  
Film Production ◽  
Feature Film ◽  
Study Approach ◽  
Feature Films ◽  
Production History ◽  
History Of ◽  
Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

Breaking Stereotypes

2020 ◽  
pp. 135-143
Author(s):  
Manisha Mishra
Keyword(s):  
Social Media ◽  
Women Characters ◽  
Everyday Life ◽  
Digital Media ◽  
Coming Of Age ◽  
Short Film ◽  
Feature Film ◽  
Film Genre ◽  
Short Films ◽  
First Time

Indian films are gradually coming of age: becoming more realistic, bold, and daring. Indian short films are getting candid: talking openly about issues rather than brushing them under the carpet. The digital media boom and the advent of social media have made the short film genre popular. In the fast-paced age where people, caught up in the humdrum and rat race of everyday life, are generally becoming impatient about everything, the short film has come to the rescue of filmmakers and film lovers. Gone are the days where everyone had ample time and patience to watch a three hour feature film or a two hour saga. In case of a short film, the message gets conveyed in a quick, crisp, and focused manner, without beating about the bush. Women-oriented short films like Her First Time, Juice, The Day After Every Day, Mama's Boy, Going Dutch, Pressure Cooker, The Girl Story, Ek Dopahar, Khaney Mein Kya Hai, White Shirt, Naked, etc. are breaking stereotypes of the patriarchal notions about women. The chapter probes the portrayals of women characters in Indian short films.

scholarly journals Política cultural y crisis económica: algunas reflexiones a propósito de la reforma de la Ley del Cine.

2016 ◽  
Vol 14 (2) ◽  
pp. 182 ◽  
Author(s):  
María-Jesús Díaz-González
Keyword(s):  
Financial Crisis ◽  
Cultural Policy ◽  
Film Industry ◽  
Film Production ◽  
Policy Decisions ◽  
Feature Film ◽  
Political Decisions

<p>En España, desde el año 2008, las decisiones políticas que están afectando a la industria cinematográfica se han justificado con frecuencia por la situación general de crisis económica. Una de estas decisiones ha sido la reforma de la Ley del Cine, que entró en vigor a comienzos de 2016. El objetivo de este trabajo es reflexionar sobre aquellos aspectos de la reforma que pueden tener mayor repercusión en el fomento de la cinematografía; y aportar argumentos para valorar si estas reformas se han debido a la crisis económica o a las decisiones de política cultural. Los resultados indican que las reformas con mayor repercusión podrían ser: las características de las nuevas ayudas para la producción de largometrajes; las obligaciones de gasto en el territorio nacional; la intensidad máxima permitida para las ayudas; la obligación de reembolso de las ayudas en algunos casos; y la regulación de las producciones que pueden ser consideradas obras difíciles.</p><p>Since 2008, the financial crisis has often been cited as justification for certain political decisions affecting the film industry in Spain. One of these decisions was the reform of the Cinema Act, which came into effect in early 2016. The aim of this work is, firstly, to reflect on those aspects of the reform that are likely to have the greatest impact on the promotion of filmmaking, and secondly, to provide some arguments to assess whether these reforms can be put down to the financial crisis or to cultural policy decisions. The results show that the reforms likely to have the greatest impact are the characteristics of new subsidies for feature film production, the obligations to spend on national territory, the maximum permitted subsidy intensity, the obligations to reimburse subsidies in some cases, and the regulation of productions that could be considered difficult works.</p>

The Italian Film Industry (1945–1985)

2020 ◽  
pp. 23-40
Author(s):  
Michael Guarneri
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Ground Zero ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Italian Film ◽  
Post War ◽  
Film Market ◽  
First Time

The chapter provides an overview of the history of the post-war Italian film industry from crisis to crisis, that is to say from the ground zero of 1945 (when the whole Italian film business had to be politically and economically reorganised, together with the rest of the war-torn country) to the ground zero of 1985 (the year in which, for the first time in almost three decades, Italian film production fell below the rate of 100 films made per year, as the culmination of a crisis that started in the mid-1970s). The chapter opens with an in-depth production history of I vampiri / Lust of the Vampire (Riccardo Freda, 1957), followed by an account of the 1958-1964 boom in the production of pepla, the historical-mythological adventures of the sword-and-sandal kind. Both cases (an isolated commercial failure the former; a short-lived box-office goldmine, or filone, the latter) are emblematic of the functioning of the Italian film industry between the early 1950s and the mid-1980s – a state-subsidised system mostly based on a constellation of medium, small and minuscule business ventures piggy-backing on popular genres/trends in the local and/or global film market.

scholarly journals Sound Editing in Screen Works

2015 ◽  
Vol 7 (2) ◽  
pp. 73-81
Author(s):  
Natalia Nikolaevna Efimova
Keyword(s):  
Original Music ◽  
Film Production ◽  
Musical Form ◽  
Sound Design ◽  
Sound Track ◽  
Popular Films ◽  
Sound Effects ◽  
First Time

The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.

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