scholarly journals Image as gesture: notes on Aernout Mik's Communitas and the modern political film

2017 ◽  
pp. 86-98
Author(s):  
Patricia Pisters
Keyword(s):  
Political Film

Klasa i alegoria we współczesnej kulturze masowej. „Pieskie popołudnie” jako film polityczny

2021 ◽  
Author(s):  
Fredric Jameson
Keyword(s):  
Mass Culture ◽  
College English ◽  
Political Film

Polski przekład klasycznego artykułu Fredrica Jamesona, opublikowanego po raz pierwszy w 1977 roku. Na przykładzie analizy filmu Pieskie popołudnie (1975, reż. Sidney Lumet) autor proponuje metodę odczytywania dzieła filmowego jako alegorii relacji klasowych. Przygląda się w tym celu elementom fabuły filmu, jego aspektom gatunkowym i formalnym oraz usytuowaniu względem systemu produkcji obrazów w Hollywood i telewizji tamtego czasu. Podstawa przekładu: „Class and Allegory in Contemporary Mass Culture: Dog Day Afternoon as a Political Film”, College English, Vol. 38, No. 8 (1977): 843-859.

scholarly journals Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil

Plaridel ◽  
2018 ◽  
Vol 15 (2) ◽  
pp. 71-112
Author(s):  
Rosemarie O. Roque
Keyword(s):  
Collective Memory ◽  
Government Organization ◽  
Stark Contrast ◽  
Political Film ◽  
Education Work ◽  
Filipino People

Sineng Bayan (People’s Cinema) is a salient part of Philippine alternative cinema, which is in stark contrast to the dominant commercial cinema. It is an important aspect in the pursuit of a more serious Philippine cinema. Political film collectives that arose in the early 1980s and flourished during the Marcos dictatorship gave way to Sineng Bayan. This article focuses on the archival audiovisual works of AsiaVisions Media Foundation (AVMF), a non-government organization which primarily utilized film documentaries in its propaganda-education work, and Alternative Horizons (AlterHorizons), the first media cooperative in the country. This study on Sineng Bayan and the Archives forwards the discourse on film as an effective cultural weapon of the Filipino people in their struggle for national freedom and genuine democracy. Capturing the people’s experiences and struggles through audio-visual presentations, videos, and films, the works of these political film collectives are part of the collective memory and documentary heritage of the country.

The Power and The Truth. A Film. A National Project

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 171-194
Author(s):  
Ion Indolean ◽  
◽  
Keyword(s):  
Content Analysis ◽  
National Project ◽  
The Press ◽  
Political Film ◽  
The Moment ◽  
Nicolae Ceausescu ◽  
The Way ◽  
Newspaper Articles

"This article tries to understand what type of film is approved by the Nicolae Ceauşescu regime and how it is promoted, through various propaganda channels. In this sense, we choose to discuss the film made by the artistic couple Manole Marcus - Titus Popovici, The Power and The Truth (1972), and we resort to a content analysis to understand the way it was made. We are also interested in the echoes of the film in the press of the time and how with the help of newspaper articles the authorities inoculate the idea that this film is the most important cinematographic achievement of the moment, a benchmark for political productions to be made from that point on. Keywords: Cinematography, Political Film, Nicolae Ceauşescu, Manole Marcus, Titus Popovici, Propaganda "

O heterogenicznym statusie filmu politycznego

1970 ◽  
Vol 22 (297) ◽  
pp. 100-125
Author(s):  
Kamil Minkner
Keyword(s):  
Social Communication ◽  
Social Practice ◽  
Theoretical Basis ◽  
The Political ◽  
Political Status ◽  
Stuart Hall ◽  
The Status ◽  
Political Film

The purpose of the paper is to reflection on the status of political film and the political status of film. It is about proposing boundary categories that can provide a theoretical basis in detailed analyzes of the film’s political core. The political nature of the films has been filtered, in the article, by the concept of circulation of meanings in the cultural circuit of Paul du Gay, Stuart Hall and others. This approach shows that the specific political significance of the film is not simply given, but is constructed and understood differently at the level of different instances of social communication: producers, creators, audiences, film critics, creators of advertising messages, etc. The author of the article assumed that the political status of the film is associated not with specific political references, but with modality of film. Two types of film were presented: as a work and social practice. It was only in this context that specific variants of the political film were ordered.

Cinema between Fable and Political Mythology

Sergio Leone ◽  
2020 ◽  
pp. 35-100
Author(s):  
Christian Uva
Keyword(s):  
Vietnam War ◽  
American History ◽  
Concentration Camps ◽  
Antonio Gramsci ◽  
Catastrophic Events ◽  
Conceptual Foundation ◽  
Political Spectacle ◽  
The Vietnam War ◽  
Political Film ◽  
Political Mythology

This chapter discusses the theoretical and critical substance of Sergio Leone’s filmography, referencing modern and postmodern thinkers. It argues that the conceptual foundation of Leone’s cinema is a postmodern attempt to deconstruct complexity through the collapse of universal narratives (Enlightenment, Idealism, and Marxism), using irony and allusions to catastrophic events such as concentration camps, war, and revolution. The chapter illustrates Leone’s approach to cinema in relation to his experience between popular and political film, labeling his work “political spectacle.” It then elaborates Leone’s politics in relation to the two major thinkers who most influenced the director: Antonio Gramsci and Ernst Jünger (including Gramsci’s “national-popular” concept). This chapter analyzes Leone’s work—his début, The Colossus of Rhodes (1961), the “Dollars Trilogy,” and the “Once Upon a Time Trilogy”—chronologically, indicating the evolution of his work and its references to Italian and American history, from Fascism to the Vietnam War.

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