scholarly journals European Avant-guard: Dialectics of “Feature” and “Non-feature” Films

2015 ◽  
Vol 7 (4) ◽  
pp. 100-110
Author(s):  
Maxim V Lyubovich
Keyword(s):  
Avant Garde ◽  
Early Stages ◽  
Feature Films ◽  
Non Fiction ◽  
Phenomenological Interpretation ◽  
The Subject ◽  
Luchino Visconti

The article concludes the early stages of methodology of phenomenological interpretation of reality in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of fiction and non-fiction aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.

scholarly journals The Films of Aleksey Fedorchenko: Between Cultural Mythmaking and Playing with a Document

2021 ◽  
Vol 9 (2) ◽  
Author(s):  
Lilia Nemchenko
Keyword(s):  
Physical Reality ◽  
Free Play ◽  
Source Material ◽  
Methodological Basis ◽  
Feature Films ◽  
Cinematic Adaptation ◽  
Non Fiction ◽  
Dominant Feature ◽  
The Subject ◽  
Cultural Concept

This article studies the films of Alexey Fedorchenko in order to discover the dominant features of his artistic world. This is based on the guiding principles of documentary filmmaking, with its commitment to fact, the reliability of archival sources, trust in physical reality, and addressing the laws of the art of presentation, where a free play with reality becomes a dominant feature in its most diverse forms from documentation to mystification. The director creates his own coherent world of fiction and non-fiction, based on strategies of the cultural matrix of mythmaking as a means of understanding and experiencing the “arrangement” of the world. The purpose of the article is to study Fedorchenko’s films in order to discover the dominant feature of his artistic world. The first methodological basis for the analysis of his films is a cultural concept of art where art is understood not only as the self-consciousness of culture, but also as an object that depends on all subsystems of culture, both material and spiritual. The cinematography of Fedorchenko stems from a special type of artistic consciousness, which determines (predetermines) the subject and conceptual sphere of his artistic expression. Analysing the films of Fedorchenko, the author identifies the dominant feature of his artistic consciousness, which is focused on a reflective attitude towards culture and traditions. This type of artistic consciousness is understood as culture-centric. The culture-centric type of artistic consciousness ignores nature and its mimetic imitation, but at the same time, the dominating idea determining the source of artistic creation becomes a conscious attitude to culture as material that requires interpretation in a new context, as a space that generates meanings. Fedorchenko uses myth as source material and cultural space in his films. However, he does not deal with the cinematic adaptation of myths. He creates them on his own, using the logic of a mythological narrative, the peculiarities of mythological space and time. That is why the second methodological basis of the article is the classical concepts from A. Losev, R. Barthes and M. Eliade. The author mostly refers to documentaries and feature films by the director, as well as his mockumentaries. The study identifies certain algorithms in which documentary historical events acquire the characteristics of myth, and mythmaking becomes a key to understanding the truth.

scholarly journals Colour Me Blue: The History and the Biotechnological Potential of Pyocyanin

Molecules ◽  
2021 ◽  
Vol 26 (4) ◽  
pp. 927
Author(s):  
Thiago Gonçalves ◽  
Ulrich Vasconcelos
Keyword(s):  
Pseudomonas Aeruginosa ◽  
Antibiotic Therapy ◽  
Electric Current ◽  
Antimicrobial Therapy ◽  
Blue Colour ◽  
Current Generation ◽  
Biotechnological Potential ◽  
Avant Garde ◽  
New Horizons ◽  
The Subject

Pyocyanin was the first natural phenazine described. The molecule is synthesized by about 95% of the strains of Pseudomonas aeruginosa. From discovery up to now, pyocyanin has been characterised by a very rich and avant-garde history, which includes its use in antimicrobial therapy, even before the discovery of penicillin opened the era of antibiotic therapy, as well as its use in electric current generation. Exhibiting an exuberant blue colour and being easy to obtain, this pigment is the subject of the present review, aiming to narrate its history as well as to unveil its mechanisms and suggest new horizons for applications in different areas of engineering, biology and biotechnology.

The Book of Poetry Hysterical Fans and Its Preface by Theodor Chakarmov

2021 ◽  
Vol 63 (4) ◽  
pp. 392-403
Author(s):  
Olga Saveska ◽  
Keyword(s):  
Functional Characteristics ◽  
International Context ◽  
Main Text ◽  
Avant Garde ◽  
Famous Book ◽  
The Subject ◽  
Aesthetic Thinking

The most famous book of poetry by the yambol poet Teodor Draganov, Hysterical Fans (Истерични веери), deserves to be the subject of wider scholarly interest. This article aims to show the functional and pragmatic characteristics of its preface, written by the poet Theodor Chakarmov. The functional characteristics of the preface that make it a pretext for a manifesto, as well as its interpretive functions are analyzed in the text. Attention is paid to the place this book of poetry takes in the context of both the Bulgarian and European avant-garde. The text will answer the following questions: who and what are the influences on the author of the preface and the author of the main text, what is the nature of their aesthetic thinking, what is the "appropriate" readership for the book, and what features of the preface and the volume make them suitable for analysis in an international context.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps

2008 ◽  
Vol 18 (1) ◽  
pp. 109-134
Author(s):  
David Bathrick
Keyword(s):  
Subject Matter ◽  
Cultural Landscape ◽  
Third Reich ◽  
The Third ◽  
Feature Films ◽  
The Holocaust ◽  
The Subject ◽  
The Third Reich ◽  
Holocaust Film ◽  
Diary Of Anne Frank

AbstractThe period prior to the 1970s has frequently been portrayed internationally as one of public disavowal of the Jewish catastrophe politically and cinematically and as one in which there was a dearth of filmic representations of the Holocaust. In addition to the Hollywood productionsThe Diary of Anne Frank(1960), Stanley Kramer’sJudgment at Nuremberg(1961) and Sidney Lumet’sThe Pawnbroker(1965), one often spoke of just a few East and West European films emerging within a political and cultural landscape that was viewed by many as unable or unwilling to address the subject. This article takes issue with these assumptions by focusing on feature films made by DEFA between 1946 and 1963 in East Berlin’s Soviet Zone and in East Germany which had as their subject matter the persecution of Jews during the Third Reich.

The Grammar of Subjectivity

2020 ◽  
pp. 59-65
Author(s):  
Jonardon Ganeri
Keyword(s):  
Logical Form ◽  
Conscious State ◽  
Careful Examination ◽  
Human Being ◽  
Phenomenological Interpretation ◽  
The Subject ◽  
The One ◽  
Affected Subject

There is a commonly agreed way to articulate the logical form of a conscious state: it a state such that there is something it is like for a subject to be in it. This formula has the important virtue that it enables us to separate out two distinct aspects in the phenomenology of an experience: what is experienced, the ‘quality’ of the experience; and how it is experienced, that it is experienced as being for-a-subject. A careful examination of the syntax of the ‘what it’s like …’ construction reveals that the colloquial phrase ‘subject of experience’ is polysemic. On the one hand it might mean the subject in whom the experience is occurring. Let me call this the ‘locative of manifestation’. This host self, an inhabited self, is more commonly identified with the physical human being, or the human being’s brain or neuropsychological state, but Pessoa gives instead a phenomenological interpretation of the notion. The phrase might also mean the subject affected by the experience. The affected subject is the one to whom the experience is addressed, so I will call this the ‘accusative of manifestation’. The accusative of manifestation is, evidently, conceptually distinct from the locative of manifestation. Finally, the phrase might mean the subject who is undergoing the experience, the one who lives through the experience, the ‘dative of manifestation.’

scholarly journals Rosmarinic Acid Interaction with Planktonic and Biofilm Staphylococcus aureus

2013 ◽  
Vol 8 (12) ◽  
pp. 1934578X1300801 ◽  
Author(s):  
Lívia Slobodníková ◽  
Silvia Fialová ◽  
Helena Hupková ◽  
Daniel Grančai
Keyword(s):  
Staphylococcus Aureus ◽  
Rosmarinic Acid ◽  
Antibacterial Activities ◽  
Microtiter Plate ◽  
Dependent Manner ◽  
Early Stages ◽  
Microtiter Plates ◽  
Sole Agent ◽  
The Subject ◽  
Biofilm Development

The subject of study was the evaluation of antibacterial activities of rosmarinic acid (RA) on clinical Staphylococcus aureus strains obtained from catheter-related infections. Minimal inhibitory (MIC) and minimal bactericidal concentrations (MBC) of RA were tested by broth microdilution assay. Biofilm-eradication activity was detected on 24-hour biofilm in microtiter plates using a regrowth technique; activity on biofilm formation was measured by a microtiter plate method after RA application to bacterial samples after 0, 1, 3 and 6 hours of biofilm development. RA had antimicrobial activity on all tested strains in concentrations from 625 to 1250 μg.mL−1 (MICs equal to MBCs). No biofilm-eradication activity on 24-hour biofilm was observed in the tested range of concentrations (from 156 to 5000 μg.mL−1). Subinhibitory RA concentrations suppressed the biofilm production, when applied at early stages of its development. Concentrations lower than subinhibitory stimulated the biofilm mass production in a concentration- and time-dependent manner. Considering our results, RA could be a candidate for a topical antimicrobial agent with killing activity on planktonic forms of bacteria and suppressing activity in the early stages of biofilm development, but probably not for the therapy of catheter-related infections as a sole agent.

Film Theory in the United States and Europe

2017 ◽  
Author(s):  
Warren Buckland
Keyword(s):  
United States ◽  
Academic Discipline ◽  
Rapid Development ◽  
Film Theory ◽  
The United States ◽  
Avant Garde ◽  
Reality Effect ◽  
The Subject ◽  
The 1960S ◽  
The University

Since the 1960s, film theory has undergone rapid development as an academic discipline—to such an extent that students new to the subject are quickly overwhelmed by the extensive and complex research published under its rubric. “Film Theory in the United States and Europe” presents a broad overview of guides to and anthologies of film theory, followed by a longer section that presents an historical account of film theory’s development—from classical film theory of the 1930s–1950s (focused around film as an art), the modern (or contemporary) film theory of the 1960s–1970s (premised on semiotics, Marxism, feminism, and psychoanalysis), to current developments, including the New Lacanians and cognitive film theory. The second section ends with a very brief overview of film and/as philosophy. The article covers the key figures and fundamental concepts that have contributed to film theory as an autonomous discipline within the university. These concepts include ontology of film, realism/the reality effect, formalism, adaptation, signification, voyeurism, patriarchy, ideology, mainstream cinema, the avant-garde, suture, the cinematic apparatus, auteur-structuralism, the imaginary, the symbolic, the real, film and emotion, and embodied cognition.

Photography and Cinema in 20th-Century Mexico

2015 ◽  
Author(s):  
John Mraz
Keyword(s):  
Golden Age ◽  
Mexican Revolution ◽  
Great Majority ◽  
Documentary Films ◽  
Feature Films ◽  
Mexican Society ◽  
International Audience ◽  
The Subject ◽  
The Government ◽  
The Revolution

Photography, film, and other forms of technical imagery were incorporated quickly into Mexican society upon their respective arrivals, joining other visual expressions such as murals and folk art, demonstrating the primacy of the ocular in this culture. Photojournalism began around 1900, and has formed a pillar of Mexican photography, appearing in illustrated magazines and the numerous picture histories that have been produced. A central bifurcation in the photography of Mexico (by both Mexicans and foreigners) has been that of the picturesque and the anti-picturesque. Followers of the former tendency, such as Hugo Brehme, depict Mexicans as a product of nature, an expression of the vestiges left by pre-Columbian civilizations, the colony, and underdevelopment; for them, Mexico is an essence that has been made once and for all time. Those that are opposed to such essentialism, such as Manuel Álvarez Bravo, choose instead to posit that Mexicans are a product of historical experiences. The Mexican Revolution has been a central figure in both photography and cinema. The revolution was much photographed and filmed when it occurred, and that material has formed the base of many picture histories, often formed with the archive of Agustín Víctor Casasola, as well as with documentary films. Moreover, the revolution has been the subject of feature films. With the institutionalization of the revolution, governments became increasingly conservative, and the celebrity stars of “Golden Age” cinema provided models for citizenship; these films circulated widely throughout the Spanish speaking world. Although the great majority of photojournalists followed the line of the party dictatorship, there were several critical photographers who questioned the government, among them Nacho López, Héctor García, and the Hermanos Mayo. The Tlaltelolco massacre of 1968 was a watershed, from which was born a different journalism that offered space for the critical imagery of daily life by the New Photojounalists. Moreover, the representation of the massacre in cinema offered sharply contrasting viewpoints. Mexican cineastes have received much recognition in recent years, although they do not appear to be making Mexican films. Television in Mexico is controlled by a duopoly, but some programs have reached an international audience comparable to that of the Golden Age cinema.

Comment on Vollon, Gimenez and Bonnet: ‘The psychotic transference in groups’

2019 ◽  
Vol 52 (4) ◽  
pp. 561-570
Author(s):  
Dieter Nitzgen
Keyword(s):  
Early Development ◽  
Melanie Klein ◽  
Small Child ◽  
Early Group ◽  
Psychotic Illness ◽  
Systematic Account ◽  
Early Stages ◽  
The Subject ◽  
Mixed Groups ◽  
Brothers And Sisters

In his written work, Foulkes never gave a systematic account of psychosis, psychotic disturbances and psychotic transference(s). Instead we find scattered remarks and reflections on the subject of psychosis throughout his writings. However, it is noteworthy that his first psychoanalytic article (Foulkes, 1930) was dedicated to Observations on the significance of the name in a schizophrenic (Foulkes, 1990: 3–20). Moreover, in his first group analytic article (Foulkes and Lewis, 1944), he mentioned and encouraged the treatment of psychotic patients in mixed groups (Foulkes, 1984, case 8, 10, 11 and 12: 30–33) but cautioned that in a group ‘psychoses should not be in the majority’ and ‘groups with psychotics only were a different matter’ (Foulkes, 1984: 35). However, some his most consistent statements on psychosis are given in his late articles. For instance, the view that ‘undoubtedly, the person who later develops a psychosis, is also conditioned by his early group, and vice versa’ (Foulkes, 1990: 276). And the conviction that ‘psychotic mechanisms are operative in all of us, and that psychosis-like mechanisms and defences are produced very early’ (Foulkes, 1990: 276). However, he cautioned that ‘later psychotic illness’ should not be considered as ‘regressions to these early stages as one might say that neurosis or neurotic reactions are’ (Foulkes, 1990: 276; cf. Wälder, 1937). And although Foulkes acknowledged that ‘early development produces many of the phenomena that are stressed by Melanie Klein’ (Foulkes, 1990: 276; italics mine), he posited that they were ‘being brought about by the interaction of the whole family on these primitive levels’ (Foulkes, 1990: 276). ‘Complicated emotions’, he wrote, ‘can be felt even by the small child as actually represented and transmitted, however unconsciously, by the parents, brothers and sisters and so on’ (Foulkes, 1990: 276).

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