A Cognitive-Affective Approach to Foregrounding Categorical-Thematic Patterns in Popular Cinema

The article sets out to discuss disruptions of the embodied flow of movie perception triggered by foregrounded categorical-thematic patterns. First, categorical-thematic patterns are framed in a cognitive perspective and tied to categorical (or parallel) information processing as opposed schematic (sequential). I argue that the former are not prototypical of embodied movie perception and tend to be disruptive if foregrounded, as they are more prevalent in art cinema. Next, I indicate how categorical-thematic patterns may encourage a type of non-habitual pattern recognition producing a number of emotional and aesthetic effects: delight at pattern isolation, wonder emotions, emotional focus of a story theme, and intensification or modulation of global and empathetic emotions. Finally, I turn to illustrate these points using Pan’s Labyrinth, a film that systematically foregrounds categorical-thematic patterns yet naturalizes them, alleviating disruption of movie perception. This, I believe, marks an effective strategy of importing avant-garde film techniques into popular cinema.

THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON

Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.

The Golden Ages of Porn: the 1970s (Translation into Russian)

This essay focuses on the brief moment in early seventies filmmaking when the porn industry made narrative-based films such as Deep Throat (1972) and Behind the Green Door (1972). This attempt to fuse porn with mainstream culture has come back into vogue in the present, when we see a new legitimization of porn. One might say that recent representations of sex on the screen have attempted to go back to the early seventies to restart a trajectory that was never able to complete itself. The essay begins with a consideration of the origins of porn films in nineteenth-century European art before moving on to the discussion of the seventies porn films and the complex way in which European art cinema influenced mainstream porn. Related to this topic are how cultural differences within countries influence the approach to sex that is expressed on the screen. In the US, the seventies full-length porn films legitimized certain sexual acts for their audiences and centered some of the pleasure on the screen on female desire as a way to expand the audience for porn. The essay concludes with a coda on the gay male cinematic equivalents of straight seventies porn films.

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

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.

Pedro Costa: The man (the circumstances) and his work

Book review of "The Films of Pedro Costa: Producing and Consuming Contemporary Art Cinema", by Nuno Barradas Jorge.

Introduction

This introduction explores—and questions—how art cinema’s enigmatic characterization and unconventional forms have often been interpreted as a series of puzzles to which criticism can provide the answers. Since David Bordwell’s seminal 1979 essay, one of the core approaches to explaining and resolving art cinema’s challenges has been through the logic that complex character explains complex form. This logic has resulted in reductive critical statements that have dismissed the intricate achievements of untidy form, sweeping them aside with the statement that disturbed form is simply the articulation of disturbed character. This introductory chapter argues that art cinema is eccentric, and that character-centric criticism overlooks the aesthetic and political challenges of complicatedly articulated form. The introduction interrogates the critic’s theological role in resolving art cinema’s fascinating complexities and offers a new ethics of criticism which acknowledges more fully the discrete achievements of characterization and form.

Conclusion

The conclusion compares eccentric film form to the spaces of a haunted house, considering how the disruption to structures of knowledge offered by both is tamed and diminished by the imposition of a centring character, a ghost in the machine. The subversive potential of art cinema, like that of the haunted house, is constrained by the centring critical manoeuvre of discovering (or constructing) a comprehensible protagonist with backstory and motivation. If, instead, the protagonist is read as just another symptom of a film’s complicated articulation, the effect of the text’s ability to disrupt and disturb habitual patterns of knowledge-making is reinstated. Drawing on Deleuze and Guattari’s theory of the rhizome, the conclusion argues for a criticism that does not seek to settle, but rather to unsettle, meaning.