Hasil untuk "Motion pictures"

Editorial Staff

So Young Koo

The twenty-first century saw a rise in popularity and interest in East Asian cultural and media products. First created for the local audience, they are now disseminated globally, carrying with them the cultural and identity conflicts of their respective societies. Netflix’s Bling Empire makes a similar journey as the first US reality TV series with an all-Asian main cast. The cast is mostly East Asian whose narrative centers on the ideas of movement and diaspora reflecting the journey of cultures and ideas across national borders. While this journey allows for an increased understanding of cross-cultural influences, cultural nuances are often lost. Bling Empire foregrounds exaggerated caricatures of Asian Americanness and instead globally circulates surface-y stereotypes. The inability to fully grasp the cultural insight necessary to understand these cultural and media products is a further commentary on the danger of “glocal” products of the twenty-first century. Netflix’s Bling Empire embodies seemingly contrasting American and Asian experiences in the United States. Inspired by Laura Mulvey’s theory of the male gaze, this essay attempts to analyze how the gaze functions in the identity-making of the cast members as they interact in the construction and reception of the series. While unified in their expression of material wealth, the cast members range from immigrant to Asian American to adoptee experiences. The varying backgrounds of the cast members reflect existing structures of real-world cultural interactions. The series weaves very personal struggles of marriage, family, infertility, and relationships to the heightened awareness of the gaze cues. Therefore, the gaze helps to explain the internalized external gaze cues the cast members, and by extension the audience, must negotiate in the understanding of their constructed world.

António Laginha

O Ballet Gulbenkian, que, indubitavelmente, foi a maior companhia de dança portuguesa do século vinte (com uma projecção nacional e internacional que nenhuma atingiu até ao presente) foi retratada no documentário "Um corpo que Dança" (2022), por Marco Martins e colaboradores, de um modo incongruente, do ponto de vista histórico, preconceituoso, do ponto de vista artístico, desequilibrado e desrespeitador da obra de muitos – e grandes artistas da dança – em benefício de alguns que nada de muito substantivo deixaram no agrupamento.

Rafael Garcia Madalen Eiras

O artigo analisa o filme "Quilombo" (1984), do diretor Carlos Diegues, percebendo a construção do território de Palmares na obra como reflexos de uma identidade brasileira no momento de iminente redemocratização. As imagens do filme, que representam o quilombo são, desta forma, a imaginação de uma nação democrática possível, sendo a cultura afro-brasileira ponto nodal entre diversas demandas sociais barradas pela Ditadura Militar implantada a partir de 1964. Processo que anos depois se rompe com o neoliberalismo, mas que no momento da produção é marcante. Portanto, a perspectiva de Benedict Anderson ao pensar a nação como uma comunidade imaginada e Milton Santos entendendo o território como a soma de forças diversas, são acionados em um diálogo com o filme. Uma perspectiva pós-colonial onde a territorialidade fixa, surge como controle e exclusão do outro. Aporte teórico que entende o território quilombola no filme como o rompimento com diversos processos coloniais e excludentes no Brasil. Uma abordagem metodológica interdisciplinar entendendo o filme como um documento histórico que permita perceber as características inerentes ao tempo em que é produzido; como também um discurso estético, propondo uma direção investigativa da obra através das propriedades básicas do material fílmico e suas implicações práticas.

Guilherme Gonçalves, Carlos Carvalho, Martha Sacco

Few published articles addressed the use of films to teach public health. This article describes our experience using films to teach public health to medical students from 2014 to 2017. Students were randomly allocated to groups and specific movies. Each group had three weeks to show and discuss the film in the classroom. Six films were used. After the exam, students were asked to complete a questionnaire. A Likert scale (1 to 5) was used in each question. The course unit was part of the 5th year of the Masters in Medicine curriculum taught at the Institute of Biomedical Sciences Abel Salazar. This study reports the answers given by 494 students (94.8%). More than 76% of the students graded the usefulness of the course unit with the highest values of the scale (4-5). That percentage was above 86% and 89% respectively for the items contents and methods. In general, students mentioned that they had learnt a lot on the subject, especially in the films And the Band Played On, Sicko and Super Size Me. Using films to teach public health to medical students appears to be an effective way of imparting the relevant public health knowledge

Jerzy Kaczmarek

The use of film and video in sociological research, or social sciences in general, has a long and well-established tradition. Motion pictures have, on the one hand, been the object of analysis, as in the case of sociology of film, and, on the other, they have been used as a research tool. Moreover, films can be scientific statements in their own right, as is the case with sociological film. The use of visual methods based on both still and moving pictures works very well for exploring the physical and social space of the city. The article looks at ways of using films and the actual process of obtaining film data in sociological research. Works featuring urban themes will be considered as special cases to illustrate the author’s reflections. It is noteworthy that early cinema already showed urban space, as exemplified in the films by the Lumière brothers who, incidentally, treated their motion pictures primarily as a scientific tool. City-related topics appear in research by film sociologists who analysed films featuring urban themes, among other things. Later, sociologists themselves began to use cameras in their studies and teaching. One way of using a camera for these purposes is simply to record observations of certain places and people’s behaviour. These video recordings are subsequently analysed, applying various methods developed in the field of sociology and other sciences. Another technique, well-suited for exploring urban space, is a mobile camera, used for example for video tours, as introduced by Sarah Pink. And, finally, sociological film focusing on the city plays a vital role in social research.

Dario Llinares

Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. By focusing on film-centred podcasts specifically, which, in terms of content and form, are implicitly and often explicitly concerned with properties of the cinematic, I argue for a more conceptual analysis of the idea of a visual form of audio. While many film-oriented podcasts provide a supplementary celebration of cinema culture rather than manifesting a unique cinematic experience of their own, there are examples of film-centred podcasts that attempt to actualise what I will call an “audio-cinematic” experience, deploying the creative potential of the podcast to manifest an experiential aura that evokes a cinematic imagination. I analyse the sonic dimensions of audio-cinematic podcasts including my work with Neil Fox on The Cinematologists Podcast.

Marta

This article reads together the work of Yvonne Rainer and Carolee Schneemann, as situated between film, performance, as well as dance and painting, considering what their work reveals about a specific intermedial feminist aesthetics developing at this time. It argues these traits in their work are not isolated commonalities but are shared with a wide range of feminist artists working in the 1960s and 1970s and are still echoed in contemporary feminist art. Further the article proposes to think through these intermedial relationalities as a mode of feminist aesthetics. It argues Schneemann and Rainer successfully extend the position of the female body in cinema beyond the traditional role as object to include both an embodied form of authorship, and a complex, affective performance of woman onscreen and provides the historical foundation and influence for my reading of the embodied, intermedial experiments found in feminist experimental film and media in the ensuing decades. The comparative reading of Schneeman’s film Plumb Line and Rainer’s film Lives of Performers index the artists’ shared positioning of their own bodies in the dual roles of performer and author within their films. In my analysis, this aesthetic innovation actively engages with the different embodiments of the artist/performer, the bodies onscreen and the embodied spectator the films address.

William Carroll

This article traces the historical development of aesthetic practices of colour in the generic and industrial context of Nikkatsu Action Cinema of postwar Japan, and how they influenced the idiosyncratic style of Suzuki Seijun. Nikkatsu Action’s needs as a genre devoted to a youthful and energetic subject matter shaped its colour design, and its filmmakers developed a bright, vibrant colour aesthetic by drawing on neon lighting and coloured light filters. It was within this context that Suzuki’s colour style took shape. His earliest experiments take the Nikkatsu colour idiom and bend its diegetic pretexts to motivate sudden colour transformations. In his later Nikkatsu films, Suzuki elaborates on these experiments by transforming them into a critical component of his formal strategies. In Gate of Flesh (Nikutai no mon, 1964), he gives each of the four main female characters a colour-coded costume, and in each woman’s internal monologue her dress colour becomes the colour of the entire background, suffusing the image with her subjectivity. Suzuki uses sudden colour transformations to punctuate violent action in his later action films, which this article considers in a reading of Tattooed Life (Irezumi ichidai, 1965)’s climax. Suzuki’s experimentation gradually refines his colour design to an abstraction that belies its origins in popular genre cinema.

Nuno Camilo Balduce Lindoso

Nesse artigo faço uma análise da representação da cidade do Recife no filme "Febre do Rato", dirigido pelo cineasta pernambucano Cláudio Assis e roteirizado por Hilton Lacerda. Meu objetivo é descrever e interpretar os modos de viver e experimentar a cidade que são encenados nesse filme, de forma a refletir sobre como as narrativas fílmicas apresentam as relações sociais urbanas e como podem contribuir para pensar o urbano. O enredo se passa no bairro do centro do Recife, especificamente a parte banhada pelo rio Capibaribe, e tem como protagonista Zizo, um poeta anarquista, de vida transgressora, que carrega em si a memória e os desmandos da cidade.

Diego Real

Secuencias

R. Gómez Alonso

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Richard Rushton

Stefano Baschiera

Mark Cresswell, Zulfia Karimova

Michele Lagny

Université de Paris III

Pat Brereton

Raymond Bellour

Fabienne-Sophie Chauderlot