Short Movies as a Solution for Religious Moderation Education

Indonesia has six recognized religions written in the 1945 constitution. Such diversity triggers for people to be tolerant of one another and develop modernity among others. In truth, religious diversity also has a complex problem. A problem often arises when it comes to viewpoints between people of different religions. The problem also became more complex by promoting information that was not yet clearly the source of information. The correct method for solving the problem is education. Education can be made a guide in future problem solving and today's knowledge in the modern era, digitization is already a new life for society. Education in the digital age can reach you through the making of audiovisual, in this case, a short garage. A short film presentation is both exciting and encouraging for people in viewing the film industry to be enjoyed by a variety of people, the effectiveness of education using short films should be able to give Indonesian understanding of the importance of moderation in religion.

Im Vestibül der Algorithmen

Online-access to audiovisual content is rapidly changing the system of film distribution and film presentation. The streaming portal acts as a threshold for online access to moving image works. Algorithms and artificial intelligence are increasingly taking over the selection and curation of audiovisual content and direct viewers’ attention via personalised recommendation systems. The article outlines the market development towards online access to audiovisual content and analyses selected aspects such as artwork (thumbnails) and genres to explore the functionalities of accessory (paratexts) to the film for recommendation systems in video streaming portals and data analysis. From the analysis, the article derives preliminary considerations on requirements that result from the use of artificial intelligence technologies for promoting film and visual literacy in cultural heritage institutions.

Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture

This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.

Experimental Viewing Protocols

This chapter, by Haidee Wasson, addresses the development and use of portable film projectors by the American military during World War II and after. It examines the close ties to the technological wing of the American film industry and situates the innovation and use of film projectors in the context of ongoing experiments with projectors, projection, and film viewing within the armed services. This includes a discussion of standard operating equipment that became widely integrated into military operations as well as more specialized devices: gunnery trainers, consoles, data analyzers, and dynamic projection devices that made moving images into elastic, animated performance pieces. This chapter demonstrates that the military developed an expansive, global viewing platform that normalized film presentation and viewing within a wide range of military activities. This was an unprecedented use of portable film technology, and it helped to catalyze its postwar proliferation in military and civilian life thereafter.

Contemporary Russian Cinema

The study captures the emergence of a new cinematic sensibility and provides a relevant interpretative framework—the so-called symbolic mode. The concept is introduced to account for a particular style of film presentation that has emerged in Russia since 2000. It is characterized by the use of the highly abstracted concepts and visual language. For example, on one level, Zviagintsev’s ‘The Return’ is a story of a father coming home after twelve years of absence and reuniting with his sons. On another, it is an eschatological exploration of the story of Christ, ancient myths and native folklore. The effect is achieved thanks to painterly allusions, composition, use of music, etc. Whilst such use of symbolization is common in word cinema, in Russian cinema it refers to a complex philosophical framework which includes such concepts as posthumous subjectivity, abandoned being, multiplicity, doubling, disintegration, etc. Thus the symbolic mode defines simultaneously a particular visual style, philosophical system and sensibility. The symbolic mode focuses on significative resemblances (appearing) that suggest a particular re-orientation of the consciousness (subjectivity) required to actualise the presence of appearing in the current world. The discussion revolves around films by established directors (Sokurov; Zviagintsev and Zel’dovich) and introduces lesser-known filmmakers (Balabanov; Fedorchenko; Kalatozishvili; Khomeriki; Litvinova; and so on). Whether directed towards a mystical world, or even towards an afterlife, the symbolic mode defines an emergence of a specific mindscape which escapes previous representational modus operandi.