Hasil untuk "Motion pictures"

Shannon Magri

Sheng-mei Ma

The twelve-episode Chinese TV series Yinmi de Jiaoluo (隱秘的角落 Hidden Corner, translated as The Bad Kids [2020]) dances on a Blakean “The Tyger and the Little Lamb” tightrope between childlike innocence and homicidal nihilism, between an art house sensibility and a pop culture chained to party propaganda. Amidst the flood of ethnocentric and jingoistic police procedurals “with Chinese characteristics” on TV, director Xin Shuang (辛爽) energizes his tour de force with a sensibility ranging far beyond Chinese shores, flirting with Western artists and metaphysical self-reflexiveness torn between good and evil, innocence and meaninglessness. Xin Shuang adapts Zijin Chen’s (紫金陈) eponymous web novel while imbuing the series with an off-kilter, haunting Yeatsian “terrible beauty” of violence and attraction.1 The Bad Kids made a killing not so much in profits as in the true art of Sino Noir, or Red China Noir. The eponymous “bad kids” blackmail a murderer to obtain funds for a life-saving surgery. Courting his own death, this “loving” killer saves one of the three kids from an asthma attack and spares the other two out of a fatherly compulsion to sire his own offspring, to pass on the legacy of revenge and guilt, to prolong his life—his afterlife, rather—as he confides: “I want you all to live—to live like me.” The Bad Kids’ Red China Noir teeters on a Blakean symmetry of love and hate, East and West.

Wenge Qiu, Liao Jian, Yunjian Cheng et al.

The current geological sketch in tunnel engineering is mainly based on sketches of workers. However, geological sketch drawn by workers always offers fundamental data purely due to its drawing mode. A novel drawing method for geological sketch has been introduced using multiview photos in this process. The images of tunnel faces are taken from multiple angles, and every two pictures have overlaps. By measuring the distance between the camera and the tunnel face using a laser range finder, the photographic scale of each photo can be confirmed. SpeededUp Robust Features (SURF) is a good practice for detecting feature points, and the sparse point cloud is reconstructed from multiview photos by structure from motion (SFM). However, the sparse point cloud is not suitable for analysis for structural planes due to its sparsity. Therefore, patch-based multiview stereo (PMVS) is used to reconstruct dense point cloud from the sparse point cloud. After 3D reconstruction, the details of the tunnel face are recorded. The proposed technique was applied to multiview photos acquired in the Xiaosanxia railway tunnel and Fengjie tunnel in Chongqing, China. In order to record the geological conditions of the tunnel face quickly and accurately, Chengdu Tianyou Tunnelkey has developed a set of software and hardware integration system called CameraPad. Besides, CameraPad was used to collect the multiview photos of the tunnel face in the No. 1 Xinan railway tunnel in Jilin, China. By comparing with traditional and existing methods, the proposed method offers a more reductive model for geological conditions of the tunnel face.

Enoch Yee-lok Tam

Zumrud Jalilova

This article aims to demonstrate traditional roles and relationships depicted in Azerbaijani films in order to dismantle and address some of the alarming gender attitudes and mind-sets that continue to have a toxic effect on lives of the nation. Nowadays television, radio, and the Internet are major sources of information, and film is inevitably a very powerful form of extremely popular art. People learn from movies and media more than from any other source of information. Therefore, if we want to understand our society and its gender problems, we have to understand the images and stories that people encounter. This article analyzes scenarios with (often disparaging) portrayals of women that contribute to the underrepresentation of females in positions of leadership and build stereotypical expectations. Scenarios where roles are enacted by males and females showcase men in traditional masculine stereotypes while women tend to be in purely decorative portrayals or in mother roles, which is the ultimate feminine achievement in Azerbaijan. The article provides comparative analysis of widely watched “classic” movies along with modern-day motion pictures directed by young filmmakers in the attempt to bring positive changes. It is the objective of this article to present films directed in different times that distinctly demonstrate the negative impact of traditional gender roles and its molding effect

James MacDowell

In theories of interpretation, the artwork's “surface” is frequently cast as something to be looked past in our quest for meaning. As such, the “surface” has also understandably been the focus of several polemics against the excesses of interpretive criticism – in film scholarship and beyond. This article explores what role concepts of the “surface” and “surface meaning” might fruitfully play in the interpretation of fiction films by thinking about a particular kind of expression-by-implication available to the medium: irony. An under-theorised phenomenon, filmic irony could seem to require interpretation in order to grasp meanings that reside precisely elsewhere than the “surface”. Yet, can we even distinguish between a “surface meaning” and an “implied” meaning in a non-linguistic medium like film? This article addresses such questions by exploring the possibility of separating the explicit and implicit, as well as interpretation and comprehension, in a medium whose very capacity for ironic expression has sometimes been doubted.

Alejandro Martín Maldonado

The exhibition, exploring Katia Maciel and André Parente's work, consisted in a multiple refexion of the ways a couple's relationship manifests itself through architectural links.

Saige Walton

While the post-cinematic is typically understood as the passing of film-as-celluloid, the digital expressivity of film need not involve the loss of materiality. Inspired by Giuliana Bruno’s call for cinematic materiality to be re-thought through the substance of material relations rather than through technological definitions, this article examines how the baroque endures in the post-cinematic. Concentrating my analysis on Birdman: Or, The Unexpected Virtue of Ignorance (Alejandro González Iñárritu, 2014) as one instance of the post-cinematic baroque, it argues for the baroque as being organised by particular vectors of movement that move between the horizontal and the vertical and the inner and the outer, often giving rise to composite and/or highly spatialized displays. Taking inspiration from Gilles Deleuze’s philosophy of the fold, art history, media archaeology and film studies, I argue for Iñárritu’s film as enacting baroque configurations of body, space, movement and environment. As with the formal and affective uplift of the musical and superhero film genres as well as the importance of movement in historic baroque forms, Birdman defies the horizontal plane. As I argue it, Birdman reprises the longstanding baroque desire to become space in every direction.

Livia Giunti

Adriana Martins

Recensão crítica do livro <em>Cinema Português: Um Guia Essencial</em>, organizado por Paulo Cunha &amp; Michelle Sales (2013).

Catherine Grant

Long after the advent of the digital era, while most university-based film studies academics still choose to publish their critical, theoretical and historical research in conventional written formats, a small but growing number of scholars working on the moving image have begun to explore the online publication possibilities of the digital video essay. This multimedia form has come to prominence in recent years in much Internet-based cinephile and film critical culture. In this article, I will consider, above all from a personal perspective looking back at two of the sixty or so videos that I have made, some of the possibilities that these processes offer for the production of new knowledge, forged out of the conjunction of the film object(s) to be studied, digital technologies of reproduction and editing tools, and the facticity of the researcher(s). I will argue that digital video is usefully seen not only as a promising communicative tool with different affordances than those of written text, but also as an important emergent cultural and phenomenological field for the creative practice of our work as film scholars.

Sophie Rabouh

The principal interest of the Pathé comic film "Max joue le drame" (Max Plays at Drama, 1914) lies in the direct way it confronts theatre and cinema in the early years of the 20th century. In the film, Max gives a theatrical performance on a private stage to his friends. A distinction between the diegetic point of view of the theatre spectators and that of the film viewers is clearly established. By making techniques of distancing (in time and space), shifting and contrast its subject, the theatre is reshaped in various ways and takes on a whole new aspect. This re-appropriation of the theatre by cinema is run through dynamically by a vector, Max Linder, whose central action and interaction with the theatre cast as a subject creates a point of view for the film viewer that is both inside and outside the film and in this way is truly cinematic. It thus becomes possible to propose the hypothesis that Pathé was contributing indirectly to the development of cinema as an institution by encouraging, through a mode of production which privileges characters typical of the cinema, the emergence of new points of view for the viewer.

Micki Nyman

Zorianna Zurba

A. Moscatelli, Laura Polito, F. Lacquaniti

Laszlo Strausz

The Light Brigade

J. Swallow, L. V. Worthington

R. Schneider, Hank H. Gosch, H. Norrell et al.

T. T. Faw, J. Nunnally