Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed “no women directors in 1925”. The examination of databases reaffirms American women directors’ contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that “influential women directors’ involvement was over by 1925”. Following an initial surge in their active leadership during the early years, influential women directors’ participation was over after 1922, rather than 1925.
History of scholarship and learning. The humanities
Inside Out (Pete Docter & Ronnie Del Carmen, 2015) develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation.
Presidential inaugurations are statutory in Ghana, but what a president wears during his inauguration are non-statutory, yet, it is a salient visual communicative apparatus that pulls the strings of patriotism, nationalism and fosters a sense of belongingness. In an attempt to throw light on the dress fashion politics of president-elects, the study examined their chronological inaugural dress fashion choice from 1960 to 2017 in order to establish the trend of dress cultural identity they have portrayed during their respective inauguration ceremonies. Using census sampling technique, the sample consisted of all democratically elected Presidents from the first to the fourth Republic. The instrumentation used were motion pictures, archival records and images of the president-elects during their respective inaugural ceremonies. Motion pictures and images gathered were subjected to semiological analysis. The study revealed that seven of the eight president-elects selected their inaugural ceremony dress fashion from the repertoire of Ghanaian fashion classics to signal their Ghanaian dress cultural identity. Their dress fashion, fabric weaves, pattern symbolisms and construal of colours used were sourced from the cultural knowledges of multi-ethnic nationalistic ideological experience and mindset with the aim of fostering unity, nationalism, and display of their Ghanaian identity. Though their ethnic cultural backgrounds and geographical locations partially influenced their dress fashion choice for their inaugural ceremonies, the nationalistic purview and psychologisation of the inauguration atmosphere took precedence, hence the blend in terms of fashion classics and fabric used. The study recommended that parliament must consider making presidential dress fashion choice statutory due to its cultural, social, political and economic factors for the development of textiles and fashion in Ghana.
The idea of photography began thousands of years ago, and many theories contributed to the invention of photography. The ancients relied on their creative minds to try to understand the light and its nature. The Greek philosopher Aristotle said that light is the activity resulting from what is transparent. And that transparency is a fundamental property of various materials, and when activated by the sun or fire, resulting in light and color. In the fifth century BC, Impedocles, a Greek philosopher in the pre-Socrates period, assumed that everything consisted of four elements: fire, air, land, and water. He believed that Aphrodite, the god of love in Greek mythology, had made the human eye of these four elements, and that it had left the fire in the eye to bring out from the eye the light that made vision possible. If that were true, one would be able to see at night as in the day, The idea of digital imaging technology began since the invention of the television broadcast1951, where the optical image is converted into a package of digital electrical signals. Television broadcasts were started until the digital cameras developed, specifically in the 1960s, where NASA developed the technique and used it to shoot through space. Imaging and sending digital signals to the ground. At that time the computers were in progress and the images were processed, displayed and processed on computers.In the beginning and mid-1970s, specifically in 1975, Kodak produced the first digital camera, where digital sensors were invented by megapixel camera and the images were displayed on the computer or television and a new era of photography began.This design for DSLR has been in place for a long time and even now. With the addition of some modifications to suit the hand and fit the comfort of the user. This is one of the most important features of DSLR when compared to Mirror less, which is simpler and easier to use.As technology continues to evolve, photographic machines have the ability to capture motion pictures (video).There is no need for a mirror. So that the subject will be reflected in the vision finder. The vision is when the animation is shot through the screen in the back of the camera electronically and not visually. As a result of the absence of the mirror, the weight and size of the camera will be reduced.
Tsui Hark’s 2014 lm The Taking of Tiger Mountain by Strategy (Zhiqu weihushan) is the latest in a long line of adaptations of Qu Bo’s historical novel Tracks in the Snowy Forest (Linhai xueyuan), one of the most canonized and adapted revolutionary works in the 1950s and 1960s. This essay seeks to trace the success of Tsui’s remake to its melodramatic recon guration of history, memory and nostalgia. Speci cally, it investigates the ways in which the lm undercuts the reverential Maoist revolutionary discourse inherent in the original source material by modeling on the wuxia (martial arts) paradigm. In addition, the essay argues that by bookending the 1946 war story with a 2015-set prologue and epilogue, Tsui’s adaptation presents the audiences with an exquisite example of how memory invokes and re-presents the past, and ultimately points to the ctionality of the reconstructed past. Finally, the essay focuses on the lm’s self- consciously simulacral status, and argues that Tsui is motivated by a desire to address the prevailing social climate of excessive commercialization and moral decay in contemporary China, and his retelling of a revolutionary tale is deeply implicated in nostalgic longing for idealism of a bygone era.
In these last years, there has been an increasing use of the Structure from Motion (SfM) techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization.<br><br>
In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions) offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.
No contexto da luta pela independência da Guiné-Bissau e de Cabo Verde, Amílcar Cabral e o PAIGC enviaram para Cuba quatro jovens Bissau-guineenses para estudar cinema. Para Cabral, as manifestações de resistência não pretendiam apenas destruir algo, mas também, simultaneamente, construir algo novo e assumiam quatro formas complementares: política, económica, cultura e armada. Para o líder do movimento independentista, o cinema teria um papel importante na resistência cultural e na construção de alternativas ao olhar colonialista português. O jovem Amílcar Cabral sabia que as imagens “descolonizadas” seriam importantes na mobilização dos guineenses na luta pela independência, na divulgação internacional das pretensões guineenses e, em último caso, na disponibilização para “o povo português” de uma outra versão da história que fosse diferente da vinculada pelo aparelho propagandístico do olhar colonial. O objetivo deste texto será partir da célebre máxima de Cabral (« nação africana forjada na luta »; Cabral, 1974) para refletir sobre o contexto de emancipação de um olhar cinematográfico na Guiné-Bissau e do seu contributo para o processo de construção de uma suposta identidade nacional a partir deste diálogo [...].
Recent art cinema has produced several experiments in the tableau that conceive entire movies based on its aesthetic. Such films blur the boundaries between cinema and installation art, and consist of a loosely connected string of tableaux which gain a degree of autonomy and therefore cannot be interpreted in the contexts of cinematic narration and dramaturgy. These films are usually categorized as slow movies, and indeed their duration has inspired the majority of their analysis in film theory. Nevertheless, I suggest that we should focus on the similarities between the tableau sequences of slow movies and the installations of moving image tableaux in order to highlight the ways they revitalise the traditional, intermedial figure of the tableau vivant in art, and foreground the single, photographic frame within moving images. Referring to recent reinterpretations of the notion of the transmedial dispositif and to the revisions of the tableau mode in art (and the ideas of Jean-François Chevrier) I propose to contest Raymond Bellour’s idea of the ‘battle of the dispositifs’ and concentrate on aspects of the complex convergences between the traditional visual arts and the new media of moving images that underlies the tableau aesthetic in post-cinema. Taking into account the implosion of the tableau vivant into a more generic tableau style, I examine a set of gestures and actions of folding together photography, painting and cinema that may define the post-cinematic ‘mise en tableau’ (via examples from the films of James Benning, Lav Diaz, Gustav Deutsch, Raúl Perrone, Apichatpong Weerasethakul and Tsai Ming-liang).
<p>As has often been pointed out, museums and galleries have come to accommodate an ever growing number of moving image artworks in the past two decades. Contrasting the viewing conditions of conventional cinema and exhibition spaces, commentators have tended to emphasize the spatial parameters of installation works that allow the visitor to stroll freely, while spectatorship in the film-theatre traditionally means being fixed to your seat.</p> This article suggests a reevaluation of this constellation by focusing on the different temporal protocols and regimes that the movie theater and exhibition spaces imply. Building on an essay by Georg Simmel and Peter Osborne’s concept of “distracted reception”, art exhibitions are characterized as places that confront the visitor with a multitude of options and synchronous stimuli, whereas the architecture of the film-theater provides, as Hollis Frampton claimed in 1968, “the only place left in our culture intended entirely for concentrated exercise of one, or at most two, of our senses”. Revisiting one of the canonical moments in the prehistory of “Artists’ Film”, the article investigates the early 1970s when Expanded Cinema and Structural Film suggested new answers to the question of concentration and distraction.
Resumo:O texto versa acerca da constante da figura da elipse no cinema contemporâneo, especialmente em sua habilidade para incorporar conteúdos associados à manifestação da história, da memória e da política em sentido amplo. Os modos de manifestação desse tropo franqueiam a reflexão a propósito das variantes expressivas e de substância do audiovisual latino-americano, aqui, com o intuito de análise, reduzido a dois expoentes da nova safra de filmes para cinema, Las marimbas del infierno (Julio Hernández Cordón, 2009) e O som ao redor (Kleber Mendonça Filho, 2012). Quando se fala em elipse se de recordar que se trata de uma figura de sintaxe de supressão ou suspensão, muito vinculada com a reticência (outra figura), o que a leva a indicar sentido ainda quando não apareçam signos ostensivos para sua composição.
Abstract:
This text deals about the figure of the ellipse in contemporary cinema, particularly in its ability to incorporate signs of History, memory and politics. Many modes of manifestation of this trope enable a broadly reflection on other variants of the Latin American audiovisual, here, with the aim of analysis, reduced to two exponents of the new wave of motion pictures, Las marimbas del infierno (Julio Hernández Cordón, 2009) and O som ao redor (Kleber Mendonça Filho, 2012). Once we say ellipse, we have to recall its sintatic function of vanishing and suspending, related with the reticences (another figure), which organize some senses despite with no ostensive sign to its compose.
Resumen:
El estudio reflexiona sobre la constancia de la figura de la elipsis en el cine contemporáneo, en especial en su habilidad de incorporar contenidos asociados a las manifestaciones de la historia, la memoria y de la política en sentido amplio. Los modos de manifestación del tropo posibilitan la reflexión sobre otras variantes expresivas y de substancia en el audiovisual latinoamericano, aqui, con un afa de análisis, reducido a dos ejemplares de la nueva ola de películas para la pantalla grande, Las marimbas del infierno (Julio Hernández Cordón, 2009) y O som ao redor (Kleber Mendonça Filho, 2012). Cuando hablamos de elipsis hay que acotarla a las figuras sintácticas de supresión o de suspensión, muy vinculadas a la reticencia, lo que hace que indique sentido aun cuando no aparezcan los signos ostensivos para la formación del mismo. Por lo tanto, al decir que la elipsis puede desencadenar la emergencia de otras variantes expresivas en las dos películas examinadas nos referimos a que si nada más prepara o indica el sentido, como se tratan de obras tropológicas, otras figuras lo producen en su lugar, tales como la metalepse, la metáfora, la metonimia, la sinécdoque, el oxímoron, etc. Sin embargo, no resaltaremos tal efecto de sustitución, pero sí tratatemos de aludir a las interacciones provocadas por su empleo entre eventos políticos y sociales ya codificados por disciplinas como la historia y por funciones del pensamiento como la memoria, aunque plasmadas en un discurso.
Palavras-chave: Elipse; política; memória; história; cinema.
Keywords: Ellipse; Politics; Memory; History; Cinema.
Palabras clave: Elípsis; política; memoria; historia; cine.
This article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework, which takes into account the delicate relationship between space, image, and cinematic experience. Based on the background of researches devoted to cinema’s medium-specifity, the author identifies some possible contribution from Cultural, Media and Visual Studies, with the aim of formalizing some key-concept for the study of contemporary “cinematic forms”.