Close-up: great international performances

Close-Up ◽  
2018 ◽  
pp. 1-11

Humans are storytelling creatures, and as, in the last century, the dominant medium for public narratives shifted from theater to cinema, cinema placed the fruits of performative labor before the eyes of the world in an unprecedented way. What actors do in front of the camera remains central to the attraction of cinema for audiences, and influences—even marks the standard for—performance styles in other audiovisual media. Indeed, one could go further: many of the figures discussed in the pages that follow became cultural and mythical icons in the global consciousness of their time. Audiences care about actors, the characters they create, and the responses they engender. Performances are even the reason some films are preserved. But beyond vague assertions about which performances are ineffably great, profoundly moving, hopelessly terrible, or cringe-worthy, relatively little discussion of what actors ...

Author(s):  
Randolph Jordan

This chapter uses the shot of the first plane crashing into the World Trade Center, as captured in the Naudet brothers’ documentary film 9/11, as a point of entry to consider how conventions of asynchronous sound in the cinema are challenged by recent forms of media production and dissemination, and, by extension, to think about whether or not we should revise our understanding of what “cinematic” might mean in relation to listening. It situates the Naudets’ 9/11 within the discourse of “performativity” in documentary film, and assesses the implications of the Naudet footage proliferating in other media outside their own film. The notion of “secondary explosions” acts as a guiding metaphor for the concept of “asynchronization,” and it leads to the argument that the proliferation of Naudet sound elements outside of the film requires an expanded notion of the work of asynchronous sound in audiovisual media.


2021 ◽  
Vol 18 (48) ◽  
pp. 269-281
Author(s):  
Biljana adić-Bojanić ◽  

English language vocabulary is not static and unchangeable, especially because it is constantly enriched as the world changes. All this is reflected in audiovisual media, which people around the world can access easily via the cinema, TV or the internet. Since authors like Hopkins (2013), Israel (2013), Kabooha (2016), Kuśnierek (2016), Li and Brand (2009), Peters et al. (2016), Rodgers (2013) and Shing and Yin (2014) have found that audiovisual media can contribute to second language acquisition, the aim of this research is to establish if and to what extent they influence the acquisition of vocabulary of English as a foreign language among high school students in Serbia. In order to obtain the data, we examined the frequency and manner of use of audiovisual media in a questionnaire and collected the data on vocabulary knowledge in a test. The research was conducted in a grammar school and the informants were 99 second and fourth-grade students. The data were coded and statistically processed in SPSS 20.0. It was established that those students who spent more time using audiovisual media had a positive attitude towards them and achieved better results on the vocabulary test.


2011 ◽  
Vol 55 (10) ◽  
pp. 1336-1345 ◽  
Author(s):  
Roland Robertson

This is a critical discussion of Benedict Anderson’s best selling and highly influential Imagined Communities (1983/1996). This book is located within the Marxist tradition of deliberation on the crucial topic of nationhood and nationalism, which were both regarded as highly problematic in relation to the prospects for proletarian revolution. The manner in which this came to be very influential outside Marxism is discussed, in particular reference to some major features of symbolic interactionism. The final portion of the article deals with the considerable limitations of Marxism in general and the wider study of nationalism. In this respect it is argued that a global vision must necessarily precede any plausible discussion of the “units” that constitute the world as a whole. This vision is demonstrated through invocation of cartography and mapmaking. These are characterized as features of global cultures and consciousness, thereby strongly criticizing the emphasis on connectivity both in the work of Anderson and of most globalization theorists.


2018 ◽  
pp. 19-35
Author(s):  
Tiago de Luca

This chapter looks at the way in which the whole world has been imagined in visual and audiovisual media. In particular, it explores how the trope of global travel was exploited in nineteenth-century panoramas that had the ambition to encompass the entire world, such as the georama, the cosmorama and round-the-word moving panoramas. By looking at these earlier examples in mass visual culture, the chapter hopes to provide a useful framework to examine the way in which the whole world has reemerged in contemporary audiovisual culture.


Author(s):  
Ivanna Makukh-Fedorkova

The era of audiovisual culture began more than a hundred years ago with the advent of cinema, and is associated with a special language that underlies non-verbal communication processes. Today, screen influence on humans is dominant, as the generation for which computer is an integral part of everyday life has grown. In recent years, non-verbal language around the world has been a major tool in the fight for influence over human consciousness and intelligence. Formation of basic concepts of media education, which later developed into an international pedagogical movement, in a number of western countries (Great Britain, France, Germany) began in the 60’s and 70’s of the XX century. In Canada, as in most highly developed countries (USA, UK, France, Australia), the history of media education began to emerge from cinematographic material. The concept of screen education was formed by the British Society for Education in Film (SEFT), initiated by a group of enthusiastic educators in 1950. In the second half of the twentieth century, due to the intensive development of television, the initial term “film teaching” was transformed into “screen education”. The high intensity of students’ contact with new audiovisual media has become a subject of pedagogical excitement. There was a problem adjusting your children’s audience and media. The most progressive Canadian educators, who have recognized the futility of trying to differentiate students from the growing impact of TV and cinema, have begun introducing a special course in Screen Arts. The use of teachers of the rich potential of new audiovisual media has greatly optimized the learning process itself, the use of films in the classroom has become increasingly motivated. At the end of 1968, an assistant position was created at the Ontario Department of Education, which coordinated work in the “onscreen education” field. It is worth noting that media education in Canada developed under the influence of English media pedagogy. The first developments in the study of “screen education” were proposed in 1968 by British Professor A. Hodgkinson. Canadian institutions are actively implementing media education programs, as the development of e-learning is linked to the hope of solving a number of socio-economic problems. In particular, raising the general education level of the population, expanding access to higher levels of education, meeting the needs for higher education, organizing regular training of specialists in various fields. After all, on the way of building an e-learning system, countries need to solve a set of complex technological problems to ensure the functioning of an extensive network of training centers, quality control of the educational process, training of teaching staff and other problems. Today, it is safe to say that Canada’s media education is on the rise and occupies a leading position in the world. Thus, at the beginning of the 21st century, Canada’s media education reached a level of mass development, based on serious theoretical and methodological developments. Moreover, Canada remains the world leader in higher education and spends at least $ 25 billion on its universities annually. Only the United States, the United Kingdom and Australia are the biggest competitors in this area.


2011 ◽  
Vol 4 (3) ◽  
pp. 284-299 ◽  
Author(s):  
César García

Real Madrid Football Club is today the richest sport team in the world and the third most valuable sport brand, according to the latest rankings (e.g., Deloitte, 2010; Forbes 2009). This scholarly commentary proposes the application of a relationship management model of building long-lasting relationships with fans as the main key of Real Madrid’s success. Results of this study highlight that, under the presidency of Florentino Pérez, a public relations approach has been integrated into every strategic decision including the recruitment of players with media appeal; the use of event planning, Internet, social media, promotional tours, and publications; and the display of Real Madrid’s own audiovisual media. The adoption of this model has proven successful despite poor sports results.


2018 ◽  
Vol 13 (3) ◽  
pp. 7-23
Author(s):  
Magdalena Żołud

The cognitive value of film art. The implications of Stanisław Lem’s philosophy of literatureSince the mid-twentieth century, audiovisuality has taken over the means of communication. Progress in technology has contributed to the dynamic development of media such as film and television. Today we can safely admit that life is under the pressure of audiovisual media. The film is an element of common experience, part of everyday life. The question is whether it is also cognitively valuable? Can a movie be a model that helps you to know yourself, your place in the world, relationships with others? And if so, how much can you trust such knowledge? The aim of this article is to reflect on the cognitive value of films, in the light of Stanislaw Lem’s theory of the reception of literature. The author compares a literary work to a model that represents a fragment or the whole of reality. Modeling is a design that lets us look at old problems from a new perspective or sheds light on the issues we did not realize before. An artwork becomes a model when, over time, it is recognized as outstanding by the public. Then the presented vision of the world begins to function as cognitively valuable. However, this is largely a random process. Similarly, it can be applied to a movie. The use of Lem’s theory for the analysis of literature and film aims to illustrate the importance of cognitive and culture-creating role of these arts.


Teknokultura ◽  
2020 ◽  
Vol 18 (1) ◽  
pp. 3-12
Author(s):  
Ulises Hadjis Labarca

Streaming has dominated the consumption of music and audiovisual media over the last five years. 80% of music in Mexico is now consumed through streaming (Gutiérrez, 2019) YouTube, Netflix and Spotify present an unquestionable hegemony in the Western world. This article shows how consumption through the streaming of music tracks, in conjunction with non-possession, opens up a new space in the world of music production and distribution, which in many aspects changes the creation of composers. The article also considers the power dynamics of the recommendation algorithm on various platforms.


2013 ◽  
Vol 25 (1) ◽  
pp. 109-131
Author(s):  
Atsuko Hayakawa

The dynamic power shift of the world picture from a dominant hegemonic power structure to a global consciousness of hybridity accelerated by postcolonialism in the late 20th century has opened up a way to re-read history from a new perspective. The major point in the process is the recognition of both the cultural and political others which had long been made invisible and silent by the politics of power. It is in this light that translation must be addressed by scholarly discourse. This paper focuses on war poems by Sadako Kurihara both in the time of and after the censorship that occurred during the occupation. Through the lens of translation and its modalities, I would propose here, history can be re-addressed. How the narrative of translation creates an arena where an individual voice is made to be heard in the language of others is closely related with the translator’s stance in the political context. The task of the translator today is much more important than ever, not only culturally but also ethically.


Sign in / Sign up

Export Citation Format

Share Document