Hasil untuk "Motion pictures"

Nuria Pérez Matesanz

O presente trabalho explora as confluências, transferências e transformações entre os espaços reais ficcionados e recriados na obra cinematográfica e literária de Ingmar Bergman. O nosso percurso aprofunda a descrição e a encenação (ou em imagens) desses ecossistemas vitais habitados pelo autor, bem como as metamorfoses que estes sofrem ao serem reelaborados e projetados artisticamente. Serão examinados espaços interiores reais recriados em filmes como Segredos de um Casamento (Scener ur ett äktenskap, 1974), Saraband (2003) e Infiel (Trolösa, 2000), este último dirigido por Liv Ullmann a partir de um roteiro bergmaniano. A investigação é completada com um estudo comparativo de Três Diários (Tre dagböcker, 2004), onde Bergman transita pelo seu território íntimo e público ao enfrentar a doença da sua esposa. A partir de uma metodologia crítica baseada na análise fílmica e comparativa, serão decompostos os elementos visuais e narrativos essenciais para identificar a conformação e as conotações desse território, mais metafórico do que geográfico, atendendo às relações entre estilo, contexto e intenção autoral que requerem uma leitura intermedial da obra bergmaniana.

Xavier, José-Manuel

The allure of cinema has captivated audiences since its inception, yet for some, like the author, its appeal remains elusive. This article delves into the author's introspective journey, questioning the conventionalities of cinematic storytelling and the relentless scrutiny of Fernando Pessoa's multifaceted persona. While Pessoa's interest in cinema and diverse literary genres garners attention, the author contends that Pessoa, the poet, transcends his tangible attributes. Through an exploration of Pessoa's verses, particularly those shrouded in obscurity, the author finds resonance and inspiration. Ultimately, the article proposes an anti-cinematic approach to visual storytelling that mirrors the complexity and depth of Pessoa's literary legacy.

Giancarlo Grossi

The essay analyses from an epistemological point of view the functions of an imaginary medium, the feelies, namely some stereoscopic, tactile, and especially olfactory movies imagined by Aldous Huxley in the futuristic dystopia Brave New World (1932). Its main goal is to comprehend the identity, functions, and objectives of yesterday’s and today’s multisensory media. In this perspective, the essay reconstructs the cultural-historical horizon which produced Huxley’s imaginary entertainment, considering the three polarities which constitute a media dispositive in the perspective of media epistemology, i.e. machinery, representation, and spectator. With regard to the mechanical function of the fictional dispositive, its ability to catch sensory spheres such as smell and touch reflects the contemporary debate on media specificity, a discussion in which Huxley himself participated with a famous 1929 article. In the same way, the fictional feely Three Weeks in a Helicopter appears as a parodic pastiche which bears the marks of various cinematic paradigms of the time: especially early “cinema of attractions”, as well as film genres which communicate directly to the spectator’s unconscious. Finally, focusing on the imaginary spectator’s experience, the essay reconnects feelies to the cultural history of olfaction, a repressed sense whose media conquest coincides with a precise form of colonization of human subjectivity.

Rick Zinman

Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.

Gabriele

This article examines and compares the representation of ethnic minority lead investigators in the television crime series, Tatort Hamburg (ARD, 2008-2012 season), Cherif (France 2, 2013-2019), Last Panthers (Canal+, 2015), and Dogs of Berlin (Netflix, 2018). It suggests a typology of the figure of the ethnic minority detective based on representational patterns shared by the series and other literary and television narratives, which is discussed and contextualized within the ideological and commercial limitations of French and German television cultures. The last section assesses the series’ potential to depict ‘postmigrant societies’ founded on and influenced by social plurality and former and ongoing migration movements. In so doing, the study highlights role of typologies and narrative tropes in the portrayal of ethnic minorities in crime television and insists, despite the shortcomings of some series’ representational strategies, on the value of figures of identification for minority and majority audiences that attest to a shifting understanding of ‘us’ and ‘others’ in contemporary European societies.

Call, Lewis

Patrícia Silveirinha CASTELLO BRANCO

Neste texto pretendo desenvolver o conceito de visualidade háptica, a partir de três filmes chave da história do cinema português: A Dança dos Paroxismos (Jorge Brum do Canto, 1929), Mudar de Vida (Paulo Rocha, 1966) e A Zona (Sandro Aguilar, 2008). Iniciarei com uma introdução ao conceito de háptico, tal como foi originalmente concebido por Alois Riegl. Daqui partirei para um estudo concreto das obras acima referidas, começando por A Dança dos Paroxismos de Brum do Canto. Procurarei examinar a relação ímpar que Brum do Canto estabelece entre a visualidade háptica e a subversão da paisagem rural portuguesa. Continuarei com uma análise de Mudar de Vida de Paulo Rocha, à luz daquilo que considero um dos elementos estéticos principais da obra: a construção de um espaço que vive da constante passagem de relações físicas com a realidade, para relações emocionais e sociais. Terminarei com uma exploração do filme A Zona de Sandro Aguilar, atentando à forma como esta obra incorpora e desenvolve práticas que encerram uma visualidade háptica que aqui irei, mais uma vez, desenvolver.

Aida Vallejo

Reseña

Manuel Vidal Estévez

Secuencias

J. C. Ibáñez

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J. Bos, W. Ledegang, A. J. Lubeck et al.

Radiša R. Stefanović

The paper analyzes the flow of some multimedia services, and points to the possibility of applying some of the services in the broadband environment to improve the logistic needs of the army. The need to convey information in different forms (from text, data, graphics, still pictures to video motion pictures) is increasing continually. Requests for information transfer in high resolution require increasing the flow to several dozens of Mb/s. Broadband represents the platform for a wide range of multimedia services. Each multimedia service requires a certain flow which can be partially decreased with advanced coding techniques.

John Bleasdale

N. Burtnyk, M. Wein

S. Öhman

Ken Slock

Wulong Gu, Amélie Lafrance

This article compares the productivity growth of a set of Canadian and U.S. regulated industries. Using data from Statistics Canada’s KLEMS database and the U.S. Bureau of Economic Analysis, the article examines productivity growth in transportation services (which includes air, rail, and other transportation services), broadcasting and telecommunications, cultural industries (which include publishing and information services, and motion pictures and sound recording), and financial services (which includes financial intermediation and insurance) over the period from 1977 to 2006. These industries provide the foundational networks on which other industries rely. In 1977, they were quite heavily regulated in Canada. They experienced deregulation after 1977, but still faced various types of regulation in 2006. Deregulation also occurred in the United States, but regulation has generally been less restrictive in that country over the period.

C. Knapp, P. Roache