film and video
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2021 ◽  
Vol 15 (4) ◽  
pp. 683-699
Author(s):  
Svetlana Karm ◽  
Tatiana Ivanovna Alybina

The article describes and analyzes film and video materials containing information on the topic of religious practices of the Finno-Ugric peoples in the Soviet period. The main sources of the research are archival audiovisual records created by the staff of the Estonian National Museum in the period from the 1960s to the early 1990 s, as well as field diaries of participants in the Finno-Ugric expeditions. This was the time when official atheism prevailed in the Soviet Union, the main blow of which was directed primarily at the churches. At the same time, this was a period when open persecution of traditional rituals was not observed, and the study of the worldview aspects of the traditional culture of different ethnic groups was strongly encouraged by ethnology. On the basis ofaudiovisual materials, the article analyzes which fragments of the religious practices of the Finno-Ugric peoples are reflected in the museum archives, and which methods were used by researchers to record different rituals. Much attention is paid to building the relationship between the ethnologist and the bearer of the tradition in the field, as well as the special role of the local mediator in the study of religious rituals through a film or video camera. The considered examples of collecting audiovisual material confirm that in the Soviet period, in contrast to today's digital technologies and the usual practice of photographing and filming various (including sacred) events, researchers with a camera were not always welcomed at prayers. In the audiovisual study of religious rites, the process of adaptation to the environment of the culture under study and the effect of building a first impression acquired particular importance for ethnologists, largely related to the authority of the local mediator who brought them to prayers.


Author(s):  
Heorhii Rozorinov

The textbook "Technology of film and video recording processes" by M. M. Honcharenko, O. M. Priadko is aimed at students of higher education, speciality 021 "Audiovisual Art and Production". Taking into account the specifics of training in this area, the information about modern technologies of film and video recording processes, obtaining colour images in analogue and digital technologies, equipment Digital Intermediate film production technologies, equipment for digital technologies is presented quite thoroughly.


2021 ◽  
pp. 1-18
Author(s):  
Cecilia Sayad

The book’s introduction revisits questions around the ontology of photographic and filmic images in order to lay out the role of technology in making supernatural entities become part of everyday life. An examination of theories about the transition from analog to digital image capture considers the potential of photography, film, and video to expand our senses, enhance our perception of the physical world, and work as evidence. The indexical link between the object placed before the camera and its image extends to a discussion about the spatial relationship between the contents of the framed image and the surrounding physical world, which informs discussions about framing techniques in found-footage horror films and participative spectatorship in experiential cinema and video games.


2021 ◽  
Author(s):  
◽  
Horst C Sarubin

<p>This thesis is submitted as one part of a three-part Masters program: it is accompanied by two creative praxis: a short film and video installation. The thesis itself mirrors the creative elements of the praxis and should be read in that light. It consists of writing and formatting style not usually found in academic writing. The font and formatting changes are designed to facilitate the reader’s experience and recognition of various points of view personified within. ...</p>


2021 ◽  
Author(s):  
◽  
Horst C Sarubin

<p>This thesis is submitted as one part of a three-part Masters program: it is accompanied by two creative praxis: a short film and video installation. The thesis itself mirrors the creative elements of the praxis and should be read in that light. It consists of writing and formatting style not usually found in academic writing. The font and formatting changes are designed to facilitate the reader’s experience and recognition of various points of view personified within. ...</p>


2021 ◽  
pp. 510-540
Author(s):  
Laura Horak

This chapter explores the energetic and innovative trans cinema movement that emerged in the 1990s by looking at case studies of the first transgender film festivals—Counting Past 2 in Toronto, the International Transgender Film and Video Festival in London, and Tranny Fest in San Francisco. Each festival took a different approach to trans film programming, community building, and arts funding. Together, the three festivals helped define a specifically transgender identity and community that overlapped with but were not the same as “queer.” They also influenced the programming of lesbian and gay festivals, carving out more room for trans-made work. These case studies demonstrate how film festivals can contribute to social and aesthetic movements, how festival organizers have overcome and become mired in the challenges they face, and the many ways in which trans has long put pressure on “lesbian and gay” and “queer” in the face of its erasure.


2021 ◽  
Vol 3 (4) ◽  
pp. 51-56
Author(s):  
Wanying Guo

Today’s psychology of star hunting is not only in the obvious “rice circle,” but also in the TikTok star of the live broadcasting platform such as jitter. For the current era of fast consumption, the popularity of short film and video culture is inevitable. Social networks have stimulated the personalization and motivation of Internet users, and the needs of Internet users have become more and more exquisite and artistic. This paper discusses the causes of online red and the interactive process between online red and its fans, and discusses the production mode, possible harm and Countermeasures of online red.


2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Fernando Nobre Cavalcante

Book review of The Routledge International Handbook of Ethnographic Film and Video edited by Phillip Vannini. It presents theoretical and empirical works on visual ethnography, applied consistently to mediatization studies.


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