scholarly journals The Berlin School and Its Global Contexts: A Transnational Art Cinema. Edited by Marco Abel and Jaimey Fisher

2021 ◽  
Vol 1 (2) ◽  
pp. 173-176
Author(s):  
György Kalmár
Keyword(s):  
Art Cinema

Coming-of-Age Cinema in New Zealand

2017 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Coming Of Age ◽  
Belief Systems ◽  
Time Frame ◽  
New Wave ◽  
Art Cinema ◽  
Literary Sources ◽  
French New Wave ◽  
Significant Phenomenon ◽  
The Impact ◽  
New Zealanders

This book investigates the coming-of-age genre as a significant phenomenon in New Zealand’s national cinema, tracing its development from the 1970s to the present day. A preliminary chapter identifies the characteristics of the coming-of-age film as a genre, tracing its evolution and the influence of the French New Wave and European Art Cinema, and speculating on the role of the genre in the output of national cinemas. Through case studies of fifteen significant films, including The God Boy, Sleeping Dogs, The Scarecrow, Vigil, Mauri, An Angel at My Table, Heavenly Creatures, Once Were Warriors, Rain, Whale Rider, In My Father’s Den, 50 Ways of Saying Fabulous, Boy, Mahana, and Hunt for the Wilderpeople, subsequent chapters examine thematic preoccupations of filmmakers such as the impact of repressive belief systems and social codes, the experience of cultural dislocation, the expression of a Māori perspective through an indigenous “Fourth Cinema,” bicultural relationships, and issues of sexual identity, arguing that these films provide a unique insight into the cultural formation of New Zealanders. Given that the majority of films are adaptations of literary sources, the book also explores the dialogue each film conducts with the nation’s literature, showing how the time frame of each film is updated in a way that allows these films to be considered as a register of important cultural shifts that have occurred as New Zealanders have sought to discover their emerging national identity.

Journeys on Screen

2018 ◽  
Keyword(s):  
New Media ◽  
Social Transformation ◽  
Special Focus ◽  
Formal Property ◽  
Art Cinema ◽  
The Road ◽  
Formal Element ◽  
Contextual Element ◽  
Documentary Fiction ◽  
Self Discovery

This collection seeks to position the journey as a persistent presence across cinema, and fundamental to its position within modernity. It addresses the innovative appeal of journey narratives from pre-cinema to new media and through documentary, fiction, and the spaces between. Its examples traverse different regions and cultures, including a sub-section dedicated to Eastern Europe, to illuminate questions of belonging, diaspora, displacement, identity and memory. It considers how the journey is a formal element determining art cinema and popular genres such as sci-fi, romance and horror alike, with a special focus on rethinking the road movie. Through this variety, the collection investigates the journey as a motif for self-discovery and encounter, an emblem of artistic and social transformation, a cause of dynamism or stasis and as evidence of autonomy and progress (or their lack). The essays in it thus document epochal changes from urbanisation, migration and war to tourism and shopping, and all aim to address the diversity of cinematic journeys through developing methodological frameworks appropriate to an understanding of the journey as simultaneously a political question, contextual element and a formal property.

Beyond the Subtitle: Remapping European Art Cinema

2010 ◽  
Vol 19 (1) ◽  
pp. 89-92
Author(s):  
Chris Robinson
Keyword(s):  
Art Cinema

The Afterlife of Art and Objects

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Historical Narratives ◽  
Still Life ◽  
Art Cinema ◽  
Spanish Baroque ◽  
Late Twentieth ◽  
Moving Pictures ◽  
Tableau Vivant ◽  
The Relationship ◽  
Late Twentieth Century

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

Impact of diversifying media content on country's economic potential: case study of South Korea

2021 ◽  
Vol 7 (Extra-D) ◽  
pp. 187-199
Author(s):  
Alina Vitalievna Fadeeva ◽  
Daria Anatolevna Puiu ◽  
Pavel Yurievich Gurushkin ◽  
Sergey Borisovich Nikonov ◽  
Iuliia Valerievna Puiu
Keyword(s):  
South Korea ◽  
Effective Interaction ◽  
Modern Society ◽  
Creative Industries ◽  
Practical Significance ◽  
Creative Industry ◽  
Art Cinema ◽  
Software Products ◽  
Scientific Potential ◽  
The Moment

The popularity of Korean pop culture in the world can be considered an exceptional phenomenon of 2020. One should note that processes reflecting the effective interaction of state structures with the spheres of the creative industry in the modern economy have a special scientific potential at the moment. These creative industry spheres include art, cinema, animation, music, game development and software products. The most successful case in this area is the developed system of cultural media export in South Korea. Research into the economic opportunities of creative industries as a new stage in modern society is becoming a practically significant way to solve the problems of increasing the country's economic power in the Digital Age. The experience of South Korea is still insufficiently covered in Russian research. The practical significance of research in this field is associated with the study of the use of cultural products as a tool for economic growth.

scholarly journals European Crime Cinema and the Auteur

2020 ◽  
pp. 1-13
Author(s):  
Stefano Baschiera
Keyword(s):  
Northern Ireland ◽  
Case Studies ◽  
Art Cinema ◽  
Historical Contextualization ◽  
The Creation ◽  
Mode Of Production

This article will offer an overview of the ever-changing relationship between the crime genre – understood as a global, transnational phenomenon – and European art cinema, with its national specificities. After a historical contextualization, this contribution focuses on the mode of production and circulation of contemporary European crime cinema by looking at two case studies of the contemporary national productions of Spain and Northern Ireland. The goal is to grasp the shifts occurring in this relationship, so understanding both the role played by the ‘auteur’ label in the distribution, commercialization, and appreciation of European crime cinema and how easily-marketable crime storylines promote the creation of new modes of authorship.

Sound and the masters: The aural in Indian art cinema

2021 ◽  
Vol 12 (1) ◽  
pp. 49-66
Author(s):  
Indranil Bhattacharya
Keyword(s):  
Textual Analysis ◽  
The Other ◽  
Sound Recording ◽  
Art Cinema ◽  
Indian Cinema ◽  
Contested Terrain ◽  
Point Of Departure ◽  
Previous Scholarship ◽  
Satyajit Ray ◽  
Indian Art

The study of art cinema has emerged as a richly discursive, but, at the same time, a deeply contested terrain in recent film scholarship. This article examines the discourse of art cinema in India through the prism of sound style and aesthetics. It analyses the sonic strategies deployed in the films of Satyajit Ray, Ritwik Ghatak, Mrinal Sen and Mani Kaul, in order to identify the dominant stylistic impulses of sound in art cinema, ranging from Brechtian epic realism on one hand to Indian aesthetic theories on the other. Locating sound as a key element in the discourse of art cinema, the article surveys the different modes through which aesthetic philosophies were translated into formal strategies of sound recording, designing and mixing. Using previous scholarship on art cinema in India as the point of departure, this study combines theoretically informed textual analysis with new historical insights on Indian cinema.

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