A Study on the Characteristics of the 1970s in Korean Biographical Film

2020 ◽  
Vol 16 (1) ◽  
pp. 45-64
Author(s):  
Oh JinGon
Keyword(s):  
Biographical Film

scholarly journals Cinematic Equivalence in Subtitling: A Case Study of the Biographical Drama Forever Enthralled

2020 ◽  
Vol 4 (2) ◽  
pp. p1
Author(s):  
Kenny Wang ◽  
Chong Han
Keyword(s):  
Conceptual Model ◽  
Target Language ◽  
Dynamic Equivalence ◽  
Source Language ◽  
Cinematic Experience ◽  
Biographical Film ◽  
Point Of Departure

We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.

scholarly journals Literary Specifics of Biographical Film Story: On the Issue of Genre Heredity

2021 ◽  
pp. 28-47
Author(s):  
Nataliia Nikoriak ◽  
Aliona Matiychak
Keyword(s):  
Documentary Film ◽  
100Th Anniversary ◽  
Small Fragment ◽  
Film Genre ◽  
Personal Attitude ◽  
Creative Personality ◽  
State Of Mind ◽  
Creative Experience ◽  
Biographical Film ◽  
Private Individual

The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.

scholarly journals Retro-Series About the Artists of Soviet Popular Music: Between Conventions, Past and Reality

2021 ◽  
pp. 298-331
Author(s):  
D.A. Zhurkova ◽  
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Main Part ◽  
Pop Music ◽  
The Past ◽  
Soviet Cinema ◽  
The Status ◽  
Biographical Film ◽  
Film Genres ◽  
Insight Into

The article deals with the dramaturgical and aesthetic patterns of the Russian TV series of the 2000s–2010s, which provide insight into the lives of famous Soviet pop music artists. The main characters in the biopics studied were inspired by Leonid Utyosov, Pyotr Leshchenko, Lyubov Orlova, Anna German, Lyudmila Zykina, Valentina Tolkunova, Alla Pugacheva, Lyudmila Gurchenko, Edita Piekha, Valery Obodzinsky and Muslim Magomaev. The article gives an overview of the similarities in the development of historical and biographical film genres in Hollywood and Soviet cinema. Moreover, a brief introduction to Soviet films about musicians is provided. The main part of the research is devoted to the issues of adaptation of Hollywood conventions of the music biopic genre In Russiania. Through the interaction of the Soviet past, Hollywood standards and contemporary Russian realities, the specific features of different narration types are revealed, the issue of authenticity is considered, and the status of pop music in the past and present is outlined. In addition, the types of dramatic conflicts and types of heroes are analyzed, questions of the commercial component in relation to Soviet popular culture are raised.

scholarly journals The historical-biographical film: destinies and personalities

2021 ◽  
Author(s):  
Dumitru Olarescu ◽  
Keyword(s):  
Significant Role ◽  
National Cinema ◽  
Nonfiction Film ◽  
Non Fiction ◽  
History Of ◽  
Biographical Film ◽  
The Creation ◽  
The Times

The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.

scholarly journals Hou Hsiao-hsien's The Puppetmaster

1999 ◽  
Author(s):  
Yvonne Ng
Keyword(s):  
Early Life ◽  
Rural Life ◽  
Daily Lives ◽  
Chinese Tradition ◽  
Realist Approach ◽  
Biographical Film

ESSENCE AND ELLIPSIS IN HOU HSIAO HSIEN'S THE PUPPETMASTER THE Puppetmaster (Hsimeng Rensheng, 1993), about the life of veteran puppeteer Li Tienlu, is a groundbreaking film by one of Taiwan's foremost director Hou Hsiao-hsien. The biographical film portrays Li's early life from his birth in 1909 until 1945, when fifty years of Japanese rule on the island came to end. Li, whom the director calls "a living encyclopaedia of Chinese tradition"(1) is seemly regarded as a "national treasure." No stranger to Hou's films, Li has appeared in several of the director's works since Dust in the Wind (1986). Hou's themes are rooted in the daily lives of the Taiwanese, particularly rural life. His films have a nostalgic look to them but at the same time, an unmistakable feel of authenticity and originality born from a realist approach executed in a surprisingly stylized manner. In the film, Li Tienlu's...

LATINAS IN BIOGRAPHICAL FILM:

2019 ◽  
pp. 427-449
Author(s):  
Valentina Montero Román
Keyword(s):  
Biographical Film

scholarly journals Poeta narysowany – o puszkinowskiej trylogii Andrieja Chrżanowskiego

2019 ◽  
Author(s):  
Justyna Czaja
Keyword(s):  
Animated Film ◽  
The Subject ◽  
Biographical Film ◽  
The Creation ◽  
Artistic Research ◽  
Adam Mickiewicz

Czaja Justyna, Poeta narysowany – o puszkinowskiej trylogii Andrieja Chrżanowskiego [A Drawn Poet – about Andrei Khrzhanovsky’s A Pushkin Trilogy]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 357–370. ISSN 1644-6763. DOI 10.14746/ pt.2019.32.19. The subject of the article is an animated film A Pushkin Trilogy directed by Andrei Khrzhanovsky, dedicated to Alexander Pushkin. It comprises the films: Ya k vam lechu vospominanem, I s vami snova ya and Osen. The article attempts to answer the question about the reasons for the director’s interest in this outstanding writer and his work. It also shows the evolution of the ‘Pushkin theme’ in Khrzhanovsky’s work, changes in the content and formalism, and artistic research that led to the creation of the original animated trilogy. The poetics of the work are analyzed, in which the director looks at the work of the Russian writer through the prism of his manuscripts and sketches, while at the same time expanding the formula of the biographical film.

Documentary and Performance

2016 ◽  
Author(s):  
Christopher Pullen
Keyword(s):  
Case Studies ◽  
Gay Men ◽  
Performance Studies ◽  
Reality Television ◽  
Social Agency ◽  
Social Actor ◽  
The Social ◽  
Biographical Film ◽  
And Performance ◽  
Television Formats

This chapter considers the representation of the straight girl and the queer guy within varying documentary media forms, considering the notions of social agency and performativity. Foregrounding both documentary theory and performance studies, the documentary biographical film drama Carrington (Christopher Hampton 1995, UK), offers a historical precedent in the representation of the straight girl and queer guy, all the while foregrounding notions of devotion and intensity. The context of the social actor is further examined in more recent documentary case studies such as Fag Hags: Women Who Love Gay Men (Justine Pimlott 2005, Canada), My Husband Is Gay (Benetta Adamson 2005, UK) and My Husband Is Not Gay (TLC 2015, US), framing the intense relationships between straight girls and queer guys – in many instances relating legal marriages and questioning issues of fidelity. Also the performative potential of reality television is explored in Would Like to Meet (BBC 2001, UK), Boy Meets Boy (Bravo 2003, US) and Queer Eye for the Straight Guy (Bravo 2003–7, US), through examining the confines and opportunity of television formats.

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