scholarly journals Modernidad y tradición en la crítica de cine norteamericana.

Ñawi ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 39
Author(s):  
David Oubiña
Keyword(s):  
Film Studies ◽  
Dwight Macdonald

En la década de 1960, los debates alrededor de la noción de autor señalan la transición hacia una teoría contemporánea del cine. En los Estados Unidos, Andrew Sarris recupera los postulados de la politique des auteurs (que se había enunciado poco antes desde las páginas de Cahiers du cinéma) y los aplica al cine norteamericano. Confrontando con Dwight Macdonald o con Manny Farber, los textos de Sarris prepararon el ingreso de los estudios de cine a la universidad aunque, significativamente, la perspectiva académica se constituyó como un ataque contra el auterism. Este ensayo estudia ese momento previo a la consolidación de los Film Studies, cuando el cine todavía tenía que probar su legitimidad en el territorio de las artes.

Distortion in lattice-resolution scanned-probe microscope images

1993 ◽  
Vol 51 ◽  
pp. 522-523
Author(s):  
L. Fei
Keyword(s):  
Film Studies ◽  
Lattice Structure ◽  
Substrate Material ◽  
Repulsive Force ◽  
Instrument Calibration ◽  
Microscope Images ◽  
Probe Microscope ◽  
Electron Microscopes ◽  
Diffraction Patterns ◽  
Lattice Resolution

Scanned probe microscopes (SPM) have been widely used for studying the structure of a variety material surfaces and thin films. Interpretation of SPM images, however, remains a debatable subject at best. Unlike electron microscopes (EMs) where diffraction patterns and images regularly provide data on lattice spacings and angles within 1-2% and ∽1° accuracy, our experience indicates that lattice distances and angles in raw SPM images can be off by as much as 10% and ∽6°, respectively. Because SPM images can be affected by processes like the coupling between fast and slow scan direction, hysteresis of piezoelectric scanner, thermal drift, anisotropic tip and sample interaction, etc., the causes for such a large discrepancy maybe complex even though manufacturers suggest that the correction can be done through only instrument calibration.We show here that scanning repulsive force microscope (SFM or AFM) images of freshly cleaved mica, a substrate material used for thin film studies as well as for SFM instrument calibration, are distorted compared with the lattice structure expected for mica.

Bollywood and Postmodernism

2015 ◽  
Author(s):  
Neelam Sidhar Wright
Keyword(s):  
Film Studies ◽  
First Century ◽  
Indian Cinema ◽  
Alternative Method ◽  
Twenty First Century

‘New Bollywood’ has arrived, but its postmodern impulse often leaves film scholars reluctant to theorise its aesthetics. How do we define the style of a contemporary Bollywood film? Are Bollywood films just uninspired Hollywood rip-offs, or does their borrowing signal genuine innovation within the industry? Applying postmodern concepts and locating postmodern motifs in key commercial Hindi films, this book reveals how Indian cinema has changed in the twenty-first century. Equipping readers with an alternative method of reading contemporary Indian cinema, the book takes Indian film studies beyond the standard theme of diaspora, and exposes a new decade of aesthetic experimentation and textual appropriation in mainstream Bombay cinema. A bold celebration of contemporary Bollywood texts, this book radically redefines Indian film and persuasively argues for its seriousness as a field of cinematic studies.

The Core and the Flow of Film Studies

2009 ◽  
Vol 35 (4) ◽  
pp. 878
Author(s):  
Andrew
Keyword(s):  
Film Studies ◽  
The Core

Modern Thought and the Phenomenology of Film

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
William James ◽  
Edmund Husserl ◽  
Film Studies ◽  
Historical Context ◽  
Sergei Eisenstein ◽  
Siegfried Kracauer ◽  
Modern Thought ◽  
Franz Brentano ◽  
Late Nineteenth ◽  
Film Viewing

This chapter situates Merleau-Ponty’s phenomenology of film in its historical context through analysing its key insights—the reciprocal and embodied nature of film spectatorship—in the light of late-nineteenth and early-twentieth century philosophy and psychology, charting Merleau-Ponty’s indebtedness to thinkers as diverse as Henri Bergson, Max Wertheimer, Hugo Münsterberg, Rudolf Arnheim, Victor Freeburg, Sergei Eisenstein, and Siegfried Kracauer. The historical Bergson is differentiated from the Deleuzian Bergson we ordinarily encounter in film studies, and Merleau-Ponty’s fondness for gestalt models of perception is outlined with reference to the competing ‘persistence of vision’ theory of film viewing. The chapter ends with a consideration of some of the ways in which James Joyce could have encountered early phenomenology, through the work of the aforementioned philosophers and psychologists and the ideas of Gabriel Marcel, Franz Brentano, William James, and Edmund Husserl.

A Poetics of Discretion

2019 ◽  
pp. 200-212
Author(s):  
Marion Froger
Keyword(s):  
Collective Identity ◽  
Group Identity ◽  
Film Studies ◽  
Significant Shift ◽  
Social Imaginary ◽  
Community Belonging ◽  
Relational Experience ◽  
New Generation

Through an analysis drawn from microsociology and attentive to the tiny and subtle trials of the relational experience that the “new generation” of Quebec filmmakers tend to point out, this chapter explores how a poetics of “discretion” contributes to give form to a collective sentiment that does not presuppose a community belonging to be felt. By filming the urban sociality, understood as a fleeting experience of an “invisible binding,” the filmmakers find new forms to express this sense of collectivity, which does not pretend to be a sense of collectivity grounded in group identity but instead tends to blur the very issue of collective identity and its correlate (social imaginary). This blurring notably makes sense in the particular context of “the Printemps Erable” and its casserole concerts, which argues for a significant shift in research on imaginary and community in film studies.

Accessible Filmmaking and Media Accessibility

2020 ◽  
pp. 323-353
Author(s):  
Pablo Romero-Fresco
Keyword(s):  
Production Process ◽  
Film Studies ◽  
Film Industry ◽  
Theoretical Framework ◽  
Potential Solution ◽  
Creative Team

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. As a potential solution to this problem, accessible filmmaking (AFM) aims to integrate translation and accessibility into the production process through the collaboration between the creative team and the translator. This chapter outlines, firstly, the theoretical framework that underlies AFM, drawing on both translation/media accessibility and film studies and incorporating the notion of the global film. It then reviews the application of AFM in the filmmaking industry through the collaboration between accessible filmmakers and directors of translation and access. Finally, it introduces a new engagement-based approach to media accessibility that has resulted from AFM and compares it to the comprehension-based approach that has traditionally been used in this area.

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