Auteur Studies

Este ensayo explora, en primer lugar, el concepto de interpretación y el lugar de la hermenéutica en la teoría literaria, centrándose en un análisis del reciente e iluminador libro En torno a la interpretación (2023), de Sultana Wahnón, particularmente en los pasajes dedicados a Roland Barthes y Pierre Bayard. El libro de Wahnón procura evidenciar la presencia de la hermenéutica literaria en autores que en general, y según la autora, equivocadamente son considerados como antihermenéuticos. Luego, sin dejar de acordar en muchos puntos con Wahnón, se toma cierta distancia de sus ideas, para pensar un más allá de la hermenéutica en Barthes, Bayard e incluso V. Shklovski, un más allá ubicado en la teoría de la lectura. Según esta idea, algunos críticos contemporáneos apostaron por una superación de la cultura del comentario propia de la hermenéutica para avanzar a una cultura retórica como afirmación de la singularidad de la literatura.

Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada's greatest horror film successes was Vincenzo Natali's 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to reformulate the most subversive critique of the original film. Two decades later, in 2021, Japanese producers released a remake of the original film (which was so popular there), although it also re-coded the thematic critique, just as the American sequels had done. With this group of films across three national production traditions arises an opportunity to "detect shifts in the ideological constellation", as Slavoj Žižek has argued, by "compar[ing] consecutive remakes of the same story" (2011, p. 61). Following primarily Herbert Marcuse's understanding of political repressive tolerance, this article demonstrates the way in which constructions of cultural identity are negotiated across national traditions in the age of globalisation. Cube and its follow-ups demonstrate the nationalistinflected limits of critical expression in the way that each subsequent film attempts to re-focus and re-code the horrors of the narrative machine in order to assert their own nationalist sensibilities threatened by the cultural levelling effect of globalisation in an age of transnational cinema distribution.

The release of Todd Phillips’ Joker in 2019, while generally met with rave critical reviews from more progressively-minded cinema scholars, was met with media reception that was more mixed. From rhetoric diminishing the narrative to “the back-story that nobody wanted,” to more dire accusations of the narrative glorifying the most violent consequences of mental health problems, the media seemed baffled by a film about an infamous DC Comics villain in an idiom of social realism that did not satisfy the established conventions of such films.  But it is this very response that speaks to the larger ways in which the character of “the Joker” has worked as a convenient receptacle for the vilification or trivialization of progressive anarchist philosophies, even from the ostensible neo-Marxist left. The project of this paper is to demonstrate the ways in which media interests at the levels of cinematic production through to their journalistic reception work to control and marginalize certain progressive ideologies that run counter to their interests, in this particular case by deploying widespread stereotypes of mental illness and instability that map neatly, in the arena of normative ideology, onto the image of the insane clown (always an “anarchist”). It is also, more specifically, to demonstrate the ways in which progressive anarchist philosophy remains an ideological scapegoat for even ostensibly left-inflected political stances.

Peut-on parler d’une carrière pour les hommes de lettres ? Le présupposé ne va pas de soi. A minima, il nécessite la prise en compte de nombreux paramètres et de distinguer selon la période, le statut social et le type d’écrit. Néanmoins, en dépit de l’absence de cursus clairement établi, quelques constantes apparaissent et permettent de discerner certains jalons allant dans le sens d’une reconnaissance de la place des hommes de lettres au sein de la cité et d’une propension à hiérarchiser les écrivains en fonction de la valeur qu’on leur accorde.
Can we speak of a career for writers? The presupposition is not self-evident. At the very least, it requires taking into account many parameters and distinguishing according to the period, the social status and the type of writing. Nevertheless, in spite of the absence of a clearly established cursus, some constants appear and make it possible to discern certain steps going in the direction of a recognition of the place of the writers within the city and of a propensity to hierarchize them according to the value which one grants to them.

Este artículo analiza la posibilidad de considerar a Joaquín Sabina un poeta maldito en virtud de su imagen autorial. Para ello se revisan los rasgos configuradores esenciales del malditismo y se comprueba que Sabina solo se vincula circunstancialmente con ellos. Por tanto, se propone observar su imagen dentro de la bohemia y en relación con la figura del dandi más que con la del maldito. / This article examines the possibility of considering Joaquín Sabina as a poète maudit based on his image as an author. To this end, the essential characteristics of malediction are reviewed, and it is found that Sabina is only circumstantially associated with them. Therefore, it is proposed that his image should be placed the world of bohemianism and that the figure should be that of the dandy rather than that of the poète maudit.

Ermanno Olmi, uno de los cineastas clave del cine italiano moderno, comenzó su carrera como realizador a sueldo de una de las compañías hidroeléctricas más importantes del país, la Edisonvolta, para la que realizó varios filmes promocionales entre 1952 y 1961. Durante esos años, también dio sus primeros pasos en el cine de autor, con tres películas de ficción ambientadas en el mundo corporativo, y que enseguida fueron conocidas como la “Trilogía del trabajo” (1959-1963). Con herramientas propias de la historiografía y el análisis textual, este artículo argumenta que los filmes corporativos de Olmi son la base creativa fundamental de su trilogía. El análisis comparado de los tres largometrajes se cruzará con el de sus filmes corporativos, para así trazar la evolución autoral de Olmi, evidenciar las diferencias estilísticas y discursivas entre ambas etapas solapadas de su filmografía y calibrar la ambivalente relación del cineasta con la Edisonvolta.

Introdução. 1 Breves apontamentos acerca da antiguidade clássica. 2 A invenção da imprensa. 3 Os primeiros privilégios de que se tem notícia. 4 O regime dos privilégios e a censura. 5 A company of stationers of London. 6 O Licensing Act de 1662. 7 O estatuto da rainha Ana. 8 A disputa entre livreiros da Escócia e da Inglaterra. Considerações finais. Bibliografia. O direito autoral é uma disciplina muito recente, cujo desenvolvimento está intimamente relacionado com a invenção da imprensa, que revolucionou o mercado de livros e demandou uma regulamentação da matéria pelo direito. Em um primeiro momento, o comércio de livros foi organizado por meio da concessão de privilégios, outorgados aos livreiros para a publicação de obras literárias e escritos em geral. Esse regime surgiu, inicialmente, como uma relação simbiótica entre a Coroa e a burguesia. Posteriormente, o regime de monopólio de impressão e a forte censura acabaram por exigir a renovação do sistema de proteção das obras, nascendo, assim, as leis de proteção aos autores, que não se confundem com os privilégios de impressão. É corrente na doutrina a indicação do Estatuto da Rainha Ana, de 1710, como a primeira lei que realmente deu proteção aos direitos autorais. No entanto, tal afirmação não está isenta de questionamentos. Desta feita, procuraremos realizar no presente trabalho uma investigação histórica sobre o Estatuto da Rainha Ana, a qual contemplará o período anterior e posterior à sua promulgação, o que se faz necessário para compreendermos os motivos de sua adoção, bem como para que possamos verificar se a real intenção do estatuto era a proteção dos autores ou se tal tutela acabou sendo admitida como decorrência de decisões judiciais. A previsão jurídica sistematizada da proteção do autor é algo bastante recente na civilização. A despeito disso, não se pode dizer que na história do direito a proteção do autor foi simplesmente ignorada, passando a ser regulamentada apenas a partir da Idade Moderna. Na verdade, sempre foram reconhecidos alguns direitos aos autores. Apesar disso, tais direitos não ingressaram desde suas origens no ordenamento positivo. E isso ocorreu pelo fato de que as necessidades sociais nem sempre demandaram que a proteção do autor viesse prevista na legislação,(1) bastando, no mais das vezes, a utilização de uma das fontes primordiais do direito, ou seja, os costumes. É que inicialmente os livros eram reproduzidos em forma manuscrita, o que em muito limitava tal atividade, já que seu custo era altíssimo e o montante produzido bastante reduzido. Além disso, é relevante destacar a problemática da escassez de pessoas alfabetizadas em condições de adquirir esses livros. Tudo isso conduzia à inexistência de um interesse jurídico específico a proteger.(2) Entrementes, ainda que de forma incipiente, se compararmos com nossa realidade hodierna, há inúmeros registros históricos da proteção do autor em épocas bastante remotas. Na Grécia Antiga, podemos citar uma lei ateniense do ano de 330 a.C., que ordenou o depósito de cópias exatas das obras dos três grandes clássicos nos arquivos do Estado, de maneira que os atores e copistas deveriam respeitar o texto depositado, já que, até então, havia pouco respeito em relação ao texto original.(3) Vê-se aí, portanto, a proteção da integridade da obra. Ainda no mundo helênico, por volta de 650 a.C., sabe-se que muitos pintores de vasos, como Aristonotos, Exekias, Eutimedes, Euphiletos e outros, garantiam o reconhecimento de sua autoria com a aposição de sua assinatura na obra,(4) preservando-se, assim, o direito de paternidade. Procedimento semelhante foi adotado pelo renomado poeta Teógnis de Mégara, que criou um sinal identificativo de suas obras, com o objetivo de evitar a sua utilização sem indicação de sua autoria, bem como para garantir a integridade do texto, o que poderia ser considerado um predecessor da chamada "menção de reserva", que somente surgiu vinte e cinco séculos depois.( ) Em Roma, a ausência de disposição legal específica acerca das criações intelectuais também não significou que os escritores e artistas em geral não fossem amparados pelo direito romano.( ) Ao contrário, pode-se notar entre os romanos tanto a proteção do direito moral como do direito patrimonial de autor. No que toca ao direito moral, Delia Lipzyc, apoiada nas lições de Dock, assinala que os romanos estavam cientes do fato de que a publicação e a exploração da obra guardavam íntima ligação com interesses espirituais e morais, já que era "o autor quem tinha a faculdade para decidir a divulgação de sua obra e os plagiadores eram mal vistos pela opinião publica".( ) Aliás, no que toca ao plágio, há um interessante episódio em Roma, no século V a.C., em que "vários participantes de um concurso de poesia foram acusados de 'ladrões' por terem apresentado como suas obras pertencentes à Biblioteca de Alexandria".(8) E seria até mesmo possível que o direito moral de autor fosse amparado, no direito romano, pela actio iniuriarium.( ) Nesse sentido, esclarece Katharina Schickert que a publicação sem autorização de um trabalho literário de outrem poderia ser subsumida no tipo da ne quid infamandi, (10) aplicando-se então a actio iniuriarium para proteger a personalidade do autor projetada sobre a obra. Igualmente, não se pode descurar, entre os romanos, da existência de interesse econômico na produção do autor, sendo que nesse sentido é notório "o benefício pecuniário que desfrutavam" os poetas Horácio, Virgílio e Propertius, junto a Caius Maecenas, estadista romano cujo nome simboliza atualmente o patronato das artes.(11) Aliás, fica evidente a existência do interesse econômico em uma carta de Cícero, dirigida ao seu amigo e editor Atticus, em que Cícero elogia o excelente trabalho do editor na "venda" do seu discurso Pro Ligario, afirmando o autor que no futuro entregaria a Atticus para publicação o

O artigo aborda os aspectos historicos mais relevantes do Direito de Autor. Inicia as investigacoes na Idade Media e Moderna, cuidando da invencao da imprensa de tipos moveis, do regime dos privilegios, bem como do sistema de censura criado pelos Estados para o controle da publicacao das obras. Trata do fim dos privilegios na Inglaterra e do surgimento do sistema do copyright em 1710, com a entrada em vigor do Estatuto da Rainha Ana. Examina a propriedade literaria, artistica e cientifica, cujo fundamento remonta aos decretos revolucionarios franceses de 1791 e 1793 e marca a aparicao do moderno sistema de Direito de Autor. Por fim, o estudo investiga a construcao dos direitos morais do autor pela jurisprudencia francesa. ABSTRACT: The article discusses the most relevant historical aspects of the copyright. The investigations begin in the Middle and Modern Ages, taking care of the invention of printing, the regime of privileges, as well as the censorship system created by the states...

Based on the author's doctoral thesis, this book is part of the prestigious Edinburgh University Press Film, Media and Cultural Studies series, which includes previous books on American independent cinema (Tzioumakis, 2017; Rogers, 2015). Historically, the role of the independent film-maker was understood to rest on a daring, innovative form of film-making, emerging in the 1970s and 1980s, which operated outside of and in opposition to the aesthetic norms and commercial objectives of the Hollywood mainstream. Independent filmmakers sought to minimise their aesthetic and economic dependence on the major Hollywood studios. By the late 1990s, independent cinema had been consolidated as a cinematic sub-field with its own institutions, aesthetic norms, forms of financing, distribution and exhibition, embedded in speciality divisions of the major studios. With the 2008 financial crash, the major studios began closing or cutting back on their involvement in specialty production, refocusing on the production of event films and franchises. The advent of platforms, streaming, and the "cinematization" of television by the long-form series resulted in a global expansion in the demand for audiovisual products. This was followed by the expansion in small-to medium-size studios supplying sub-cultural niche markets, which were hoping to break into the global value chains controlled by conglomerate Hollywood and streaming platforms such as Amazon and Netflix (Parker and Cox, 2013; King, 2016, McDonald and Wasko, 2008). The success of streaming platforms encouraged the major studios to cultivate an elite of indieauteurs. This intervention restructured the independent sector into three modes of production: "Indie" low-cost and digital film making that departs from established Hollywood genres and film conventions; "Indiewood" film productions that stay within the aesthetic paradigms of the Hollywood cinema in order to make "quirky" modest budget features with the potential to crossover to a mass market; and the upper echelon studio-based big budget event films that aim to exploit the global market and its associated merchandising spin offs (Tzioumakis, 2014). These developments call for the reconsideration of traditional ideas concerning the nature of authorship and creative autonomy in Hollywood. Taking what is defined as a production of culture approach, the primary purpose of this book is to track the power dynamics between the major film studios and independent film makers in the era of media convergence, deregulation and neoliberal

Re-adaptation refers to the phenomenon whereby an adaptation's interpretation of its source material is influenced by preceding adaptations of the same work. This article examines Daphne du Maurier's Rebecca (1938) as an allegory of (re-)adaptation. I argue that the narrative not only presents the unnamed protagonist's effort to adapt a predecessor, but more specifically her attempt to re-adapt the role of Mrs. de Winter through the haunting influence of Rebecca, who serves as a particularly successful prior adaptation of the same role. This allegorical reading is framed within the broader discussion of the triadic relationship that mirrors the same dynamic, encompassing du Maurier's novel and its two major (re-)adaptations-Alfred Hitchcock's film (1940) and Kunze and Levay's musical (2006). Just as Rebecca casts a shadow over her successor, du Maurier's Rebecca continues to exert a significant influence over its (re-)adaptations through recurring iconography associated with Rebecca herself-the 'R' monogram, floral symbolism, and the sea-all of which resurface in both (re-)adaptations. Hitchcock's Rebecca parallels Rebecca's status as a particularly influential adaptation of its source. Its key alteration of the story-exonerating Maxim de Winter to comply with the Hays Code-is inherited by the musical re-adaptation. While being shaped by both du Maurier's and Hitchcock's works, Kunze and Levay's Rebecca ultimately asserts its own artistic vision by repositioning the story as one of the protagonist's psychological maturation, a shift that parallels the musical's distinctive portrayal of her as ultimately surpassing Rebecca as a morally superior Mrs. de Winter.

L’articolo propone un’intervista a Gianfranco Angelucci che esplora "Intervista" (1987) come riflessione meta-cinematografica di Fellini sulla vecchiaia, sul sogno e sul proprio mestiere. Angelucci racconta la genesi del film come diario intimo, la scelta di Cinecittà come rifugio creativo e “nosocomio” che garantisce libertà artistica, e il ruolo del set come spazio utopico. Si discute inoltre del rapporto tra cinema e televisione, delle pubblicità, della battaglia di Fellini contro l’interruzione pubblicitaria dei suoi film, e del cinema come linguaggio onirico, erotico e inconscio, capace di resistere alla frammentazione televisiva.

This paper aims to reconstruct the essential moments of the genesis and development of Fellini's "Toby Dammit", an episode of the collective film "Histoires extraordinaires" (Tre passi nel delirio, 1968, Federico Fellini, Louis Malle e Roger Vadim). In particular, it intends to highlight how this film is a crucial transition from Fellini's works of the 1960s and his expressionist style of the following decade, a representational regime based on the total immersion in the oneiric and visionary flow. Thanks to his collaboration with the writer Bernardino Zapponi, Fellini gives life to a work that, behind the visual codes of psychological horror, looks like a crossroads and synthesis of themes, visions, obsessions, and typically Fellinian nostalgia, composing a visual accumulation that, as many have noted, denotes a crisis of confidence in the representative possibilities offered by the camera.

Escritura arqueológica versus Crítica filosófica) Augusto Bach "O anonimato literário não nos é suportável; apenas o aceitamos a título de enigma" (Foucault in O que é um autor?). O presente artigo tem por objetivo, a título de introdução à temática explorada no decorrer da etapa arqueológica de Foucault, chamar a atenção para alguns dos aspectos constitutivos de sua escrita. Com este intuito, lançaremos mão do estudo e da referência intermitente aos textos desse período marcando a diferença e a novidades que eles carregam em relação à prática histórica tradicional. A constante obsessão foucaultiana em distanciar-se de um determinado paradigma humanista de investigação histórica, protagonizado em sua biografia intelectual1(1) por Sartre, poderá nos auxiliar a conceber a gênese de sua reflexão arqueológica sobre a história e suas próprias condições de possibilidade. Pois afinal fora mediante um incansável debate com outros modos de escrever a história, mais particularmente com o que se convencionou chamar história das idéias ou do pensamento, que a abordagem arqueológica procurou definir seus objetivos e situar o escopo de suas temáticas. Noutras palavras, foi partindo de questões nascidas no interior dessa disciplina que Foucault primeiramente precisou seus estudos.

Breathe easily. Epuration has ended. After a dozen years of clandestine whispering we are permitted to mention, even to discuss, the auteur again. 1 Since 1990 Hors Cadre has devoted an entire issue to "L'Etat de I' auteur"; Film Quarterly has published James Naremore's "Authorship and the Cultural Politics of Film Criticism"; and Rutgers has brought out Timothy Corrigan's A Cinema Without Walls, a book that reads like a compendium of contemporary directorial talent and that includes a specific chapter on the status of the auteur today. 2 No matter what each of us thought, or thinks, of ideological criticism, it was ruthless when it came to proper names, most ruthless of all toward those names that authorized naming in the first place: Truffaut, Rohmer, and behind them, Andre Bazin. Without trying to settle scores, I am happy to call attention once more to what may be Bazin's most significant insight into the medium he so loved: the cinema, he felt, was congenitally impure. No effort to purify it could long succeed: not the Dadaists of the twenties nor the Lettrists of his own day, not the Cinema-Verite movement of the sixties nor the political avant-garde that after 1968 marched in step with the changing of the guard at Cahiers du Cinema. In fact, Cahiers in its first years had religiously pursued purity, latching onto Sartre' s notion of "authenticity," where an individual authors his or her life in choice and where writers and filmmakers authenticate their work in style. Even though auteurism had been fostered as a way of recovering a large number of otherwise disposable studio-made movies, it carried with it the aura of elitism emanating from the French cine-clubs of the postwar years and from festivals where auteurs were annually inducted and honored as individuals with strong (invariably masculine) personalities producing art capable of transcending its conditions of pro

L’obiettivo del contributo è proporre una riflessione su possibili configurazioni
non canoniche della funzione autoriale attraverso l‘analisi del testo La
Compañía (2019) dell’artista visuale messicana Verónica Gerber Bicecci.
L’opera si costruisce attraverso la collazione di materiali preesistenti, assemblati
con lo scopo di ricostruire gli eventi relativi a una miniera situata in un piccolo
paese messicano. La proposta che si intende avanzare parte dalla volontà di
svincolare la funzione autoriale dall’azione di scrittura, postulandone una
configurazione che trova nel prisma benjaminiano del montaggio e nella
categoria di «disappropriazione» formulata da Cristina Rivera Garza delle
chiavi ermeneutiche capaci di illuminare l’agency intrinseca al processo di
selezione e collazione, e al contempo uno strumento epistemologico di cui
Gerber si serve per articolare un discorso proprio, legittimandola quale autrice
del testo.

The essay aims to investigate the last productive phase of Federico Fellini’s career in relation to his relationship with television. In particular, the attention will be focused on the three commercials that the Rimini director made for the Bank of Rome in 1992. This production, as well as representing Fellini’s farewell, presents cinematographic and analytical characteristics that manifest the author’s own “mythopoetics” (Zumbo 2023: 107). The process of searching for a “vocation” through the Aristotelian concept of entelechia finds a new Fellini alter ego in the character played by Paolo Villaggio. In the first commercial "Sogno della galleria", the protagonist is stuck in his car following the collapse of a tunnel, only to awaken shattered by what is later revealed as a nightmare. The reference is to the incipit of "8 ½" (1963), with which it shares the use of the overture from Gioacchino Rossini’s "Il Barbiere di Siviglia" (1775), an opera buffa that feeds on a comic and grotesque vis common to the aforementioned works. Linguistic and psychic self-reflexivity is also part of the second commercial, Sogno del leone in cantina, in which Federico Fellini’s “tutta l’adolescenza protratta al di là di ogni attualità” (Carotenuto 1977:142) returns. The protagonist, surrounded by an atmosphere as surreal as ever, experiences his adolescent nightmares, represented in this case by a beautiful Dutch woman – who can be seen as the incarnation of the dark side of the Jungian Great Mother archetype (Zumbo 2023: 116) – and by an apparently threatening lion, who instead is revealed possessing an all-too-human fragility that frightens the character played by Villaggio. The concatenated proceeding through symbolic images, as the theme characterizing the first two episodes, finds its crowning glory in the last commercial, entitled Sogno del déjeuner sur l’herbe. a clear reference to the painting of the same name (1863) by Édouard Manet. Here the protagonist is intent on dining in the company of a young woman (Anna Falchi) – a symbol of the loss of feminine divine power (Kezich 2021: 155) – only to realize that his desire to reach his guest is interrupted by the sudden arrival of a train. From then on, Villaggio is trapped on the tracks while the girl, safe on a tree, mocks him for his awkward and dramatic condition. The three commercials end in the office of a psychoanalyst (played – not surprisingly – by Luis Buñuel’s fetish actor, Fernando Rey), a reincarnation of Fellini’s self-consciousness that suggests to the main character the way to regain his serenity through economic security. This is particularly emphasised by the slogan repeated in each commercial: “Io non mi occupo di questioni finanziarie ma di problemi psicologici”, a phrase that collides with a slow zoom that lingers on a stylised picture depicting a building which, by means of a cross-fade, coincides with the architectural lines of the Roman headquarters of the commissioning bank. Villaggio seems to correspond to the archetype of the eternally unsolved Italian and – not by chance – is chosen as a possible Mastorna in the film Fellini never made, Il viaggio di G. Mastorna and model for the comic strip of the same name by Milo Manara. The "catabasis" of the unconscious of such a protagonist would demonstrate the recurrence of the director’s “mythobiography” (Zumbo 2023: 107) as well as presenting several analogies with his works. Fellini’s active imagination, even in the last five years of his career, departs from the concept of arbitrariness by linking the anxieties and concerns of a nation to an archaeology of the collective unconscious. From that, he derives an image that from the objectification of one’s own fantasies slips towards an improbable resolution of one’s fears, stemmed from the “notti serene” the money saver protagonist of the commercials fantasized about.

Federico Fellini often referred to the weekly comics magazine "Corriere dei piccoli" as an essential source of inspiration in his artistic career. This is evident from his radio-plays, filled with talking animals, caricatures, painters and poets looking for fortune, and paintings coming alive. They were heavily influenced by a few of the characters found in "Corriere dei piccoli", as well as references to "Marc’Aurelio" editorial staff and the memory of Fellini’s friendship with the screenwriter Ruggero Maccari, with whom he wrote his radio-plays. Through these examples, our contribution aims to reflect on the influence the ‘civilization of the image’ had on the development of Italian culture through different media.

Qui n'a pas son Minotaure ? Cuando en 2017, tres años después de la publicación del exitoso ensayo Éloge du chat, Stéphanie Hochet sacó a la luz L'animal et son biographe, en el sello parisino Payot & Rivages, el título suponía una clara invitación a que el público lector buscara la presencia de la autora en la nueva entrega literaria. La proyección de una clave de lectura autobiográfica o, conociendo el pelaje de la narradora, de tinte más bien autoficcional resulta de partida satisfecha en tanto que la historia de L'animal et son biographe está protagonizada por una escritora de la capital francesa que bien podría tratarse de una personajización de la propia Hochet, en un juego ambiguo que se mantiene a lo largo del relato, a pesar de que su efecto se apaga gradualmente, a la vez que se intensifica la trama inédita e insospechada que envuelve al personaje. Más allá de que se trate o no de un alter ego ficcional de la autora, la protagonista sin nombre explícito de la novela de Hochet se dedica a la escritura literaria, 1 al mismo tiempo que su relato desde una primera persona

Mani Ratnam considerably has a wide range of work in his career span of over four decades. He has worked in five languages, including Hindi. In Indian cinema, his work is acclaimed critically, in the context of his mark, symbolism, narrative, themes, and other structures. Whereas, Auteurship is related to the individuality mark of a filmmaker in his oeuvre. The Auteur theory of film criticism was propounded by film critic and theorist Andrew Sarris in the early 60s. This theory describes three premises that include Personal style, Interior meaning, and technical competence of a director. These dimensions can arguably assert the status of a director as an Auteur. In the study, the researchers attempt to explore Mani Ratnam's work within these three premises of auteur theory. While employing the case study method and narrative analysis approach, researchers have found the various signs and symbols of Mani Ratnam under every premise of the Auteur theory.

İstanbul Film Festivali'nin 30 Yılından 20 Yönetmen kitabı festivalin 30.yılında Türkiye'den 20 yönetmenin seçtikleri yönetmenler ve filmlerle ilgili yazılarını, sinema yazarlarının bu seçkiye ilişkin değerlendirmeleriyle bir araya getirdi. Bu kitapta Seyfi Teoman, Abbas Kiarostami'nin Rüzgâr Bizi Sürükleyecek filmini ele aldı. Seyfi Teoman'ın bu seçimi ve filmleri üzerine bir izlenim yazısı.

Proje Koordinatörleri: Azize Tan, Fatih Özgüven

The Petersburg Text of Russian Cinema in Perestroika and Post-Perestroika Eras Bratova, Natalia 2013 Link to publication Citation for published version (APA): Bratova, N. (2013). The Petersburg Text of Russian Cinema in Perestroika and Post-Perestroika Eras. [Doctoral Thesis (monograph), Centre for Languages and Literature]. Lund University (Media-Tryck).

O que significa ser um autor? Criar, assinar, possuir? Não raro, tomamos a figura autoral como uma noção fixa, que sempre existiu ao longo das diferentes épocas e contextos. O filósofo Marco Antônio Sousa Alves nos mostra que estamos diante de algo mais amplo: a figura autoral emergiu gradativamente ao longo dos séculos, transformada por dispositivos de poder, mecanismos de exclusão e normatização econômica. O livro de Alves, Uma genealogia do autor: a emergência e o funcionamento da autoria moderna (Editora UFMG, 2021, 478p.) rastreia as origens deste fenômeno, perguntando o que é – e igualmente importante – como surgiu e como funciona o autor que conhecemos hoje.

Questo contributo analizza il fenomeno dell’influencer-autore, cercando di comprendere in che modo la costruzione di una precisa identità social determini un’altrettanta specifica identità autoriale. Attraverso un’analisi contenutistica e tematica di quattro casi studio si mostrerà come l’assenza di originalità, propria di questi testi, lungi dall’essere un disvalore, è il prodotto di una specifica strategia editoriale.

This contribution will focus on Federico Fellini’s first column, Il raccontino pubblicitario, written for the Roman satirical magazine Marc’Aurelio, in 1939. Here, the author highlights the pervasive power of suggestion, the backbone of advertising messages. Fellini chooses advertising as his theme for the first time. In these stories written in 1939, the alienating and nonsensical aspect prevails, so as to avoid misunderstandings about the non-existence of the products – which went to embrace the most disparate categories – choosing, therefore, to entertain his readers, appealing to their non-rational side, catapulting them into situations reminiscent of the gags of Buster Keaton’s American slapstick comedies. This approach had already been characteristic of the writings and drawings from the period of collaboration with the publisher Nerbini in Florence, in 1937-1939, for the titles L’Avventuroso and Il 420. The writing of the column for Marc’Aurelio is fundamental in Fellini’s career, serving as a springboard to other media realities. In fact, in at the beginning of 1940, Fellini will be commissioned, in collaboration with Maccari – a friend and colleague in the editorial staff of the Roman satirical sheet – to write the radio skit L’Avventura di Pisolo, for the radio sponsorship of a new bon bon by the confectionery brand Elah. From a methodological point of view, with regard to the contributions published in Marc’Aurelio, the paper will reference the studies done on the Roman bi-weekly by Aldo Tassone, as well as the indispensable analyses by Peter Bondanella and Tullio Kezich; while with regard to the relationship with advertising, it will draw mainly on Stefania Antonioni’s analyses on advertising. It will be brought to light, then, how in every situation Fellini demonstrates his belonging to that generation which, for the very first time, can be defined as belonging to mass society, in which a prevailing position was assumed by advertising and the new media. Every aspect of the individual’s life was kept under control by the regime, which used the press, radio and cinema in the service of State propaganda, from Luce newsreels, to the duce’s radio broadcast speeches, to films that proposed new and exotic locales, to celebrate the weight of the Empire of Italy that had defeated the Negus. Fellini arrived in the Urbe at the end of 1938, when Rome was in full architectural effervescence because of the E42 project; the discovery of the city and the many possibilities it offered an ambitious and talented young man in the fields of journalism, theater and audiovisuals had detonated his multifaceted creativity. In this paper, the focus will be circumscribed to these beginnings of him, sometimes acerbic, aware that later in his artistic life Fellini returned, in an increasingly articulate and mature manner, to the theme of advertising; with films such as Le tentazioni del dottor Antonio, a Fellini episode within the episodic film Boccaccio ‘70 (1962, Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti), Ginger and Fred (1986), and the television commercials for the brands Barilla, Campari and Banca di Roma. The strength of his debut language will be highlighted. In the youthful column published in the pages of Marc’Aurelio, Fellini loves to play with the repeated and obsessive reference to the POP brand, which is used in the most paradoxical situations, accompanied by the skillful use of the expressiveness of a linguistic register in which comics-derived voices are present; a reference that can be found, from a graphic point of view, in the cartoons always proposed in the Roman satirical magazine and in radio advertisements from a semantic point of view.

Calendar Course Description: This course examines the complex and conflictual relations between women and revolutionary struggles and focuses on a number of theoretical and empirical issues relevant to the Middle East and North Africa context. Land Acknowledgement: I acknowledge that I am an educator living and teaching on Indigenous land; land that for thousands of years has been the traditional land of the Huron-Wendat, the Seneca and, most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and I am grateful to have the opportunity to teach and live on this land. I am committed to social justice for all peoples living on these lands. In this class we will make connections between past and present struggles for freedom, equality, and justice in the Middle East and Canada. It is my hope that alongside our exploration of the long history of resistance to colonialism, imperialism, state violence, and dispossession in the Middle East, we will learn more about the struggles for land, liberation, and justice "at home." Mural of Jina (Mahsa) Amini, Parliament & Gerrard East, Toronto Saskatoon's Riverside (2023) (Left): Honouring the children and survivors of Canada's residential school system (Right): Remembering Jina Amini and other victims of state violence in Iran

Based on the theoretical studies that have been published to date regarding the Making- of Documentary — concerning intertextuality, film studies, critical theory, mass communication theory and audiovisual didactics — we explore its specificities as a meta- cinematographic practice that manifests itself when a film accounts for the process of creating another film. The article is divided into three sections: Towards a Definition of the Making-of Documentary, Meta-cinematographic Formats and Functions and Specificities of the Making-of Documentary. In the first, its contemporary definition is proposed; In the following, we establish the distinction between the Making-of Documentary and its predecessors or other contemporary practices; Lastly, we approach its discursive intentions — as a promotional object of the film which it alludes to and of its filmmakers as “authors” — and its current uses, which promote an expansion of cinephilia and self- learning in the viewers.

The study aims to investigate the complex relationship between Federico Fellini, the dreams, and the unconscious universe from which they arise and thus, observe the creative and cinematic outcomes of this lifetime-long work. Since the master is strictly connected to the inner world, he is naturally drawn to dreams.

All his movies show a profound expression driven by desire. The purpose of pursuing the thread of the discourse of one’s interiority places the director in front of Lacan’s mirror, the screen that reflects the image, unitary and fragmented, of the beholder. On this reflective surface, Fellini projects his most hidden reality and the figures of his unconscious world, in this way, they come to life.His encounter with psychoanalysis occurred in 1954, thanks to Freudian Emilio Servadio, even though the natural inclination of the director is for the thoughts of Gustav Jung.

Fellini considers Jung a site and seer scientist, with a more reassuring presence than Sigmund Freud. Thanks to Jung’s works, Fellini makes his expensive qualities more effective: he becomes familiar with dream thinking, knows the language of symbols, and makes them tools of creative expression. The dream visions shed light on inner dynamics by brightening the unexplored territories of the unconscious world: with the help of Ernst Bernhard, from 1960 to 1965, Fellini employs analysis and delves into the main psychoanalytic themes.

On Bernhard’s advice, he writes down dreams and represented them graphically with color drawings until he drew up the so-called dream book, a sort of Fellini codex. Fellini is considered an oneiric director, especially starting from movies such as 8 ½ (1963) and Giulietta degli Spiriti (1965). Also, the rebuilt reality of Casanova (1976) has a strong dreamlike matrix, and in La città delle donne (1980) everything seems to appear in a dream. Yet some Jungian archetypal figures are already recognizable in La Strada (1945) such as the mentor (Il Matto) and the shadow (Zampanò). Aiming to give life to the reality of dreams, Fellini creates original and diverse combinations of expressive codes, which anticipates the interest for the semiotic research on the specific language of cinema that would find its great exponent in Christian Metz.

The particular attention given to the psychic facts and particular inner dynamics has repercussions on the actualization of his movies due to the concrete changes they bring. The sudden shifts in the program, related to expressive direction imposed by inner need, cause him many conflicts and lead to breaking points. His film 8 ½ (1963) opens with a dream that resembles a nightmare and will later be called a delirium by some critics. In 1965, with Giulietta degli spiriti, what seems to be a twist of fate materializes: Bernhard dies and collaborations with screenwriter Ennio Flaiano and producer Angelo Rizzoli cease. The historical cooperation with his friend Tullio Pinelli will also be interrupted for about twenty years. Fellini, increasingly, seems to make the Jungian concept of synchronicity his own. The round of fatal coincidences is felt as decisive by the director, who plans but does not make. Il viaggio di G. Mastorna and Viaggio a Tulum are movies not made, yet explanatory of his deep appeal for themes such as mystery and death. In conclusion, this essay highlights how the property of dreams and great confidence with the inner roots of one’s existential journey are elaborated and sublimated into lingua nova by Fellini. The work on the dynamics of the unconscious connotes the expressive range of sounds and images in his films.

Therefore, the charge of dream magic in his cinema takes on the added value of a communicative peculiarity, recognized and loved by film audiences worldwide.

Yapılan yasal düzenlemelere ve kumarhanelerin kapatılmasına rağmen Türkiye’de kumar sorun olmaktan çıkmamıştır. Başta Yeşilay olmak üzere çeşitli sivil toplum örgütleri ve devlet kurumları, bazı sosyal sorumluluk projeleri yürütse de bunlar yetersiz kalmaktadır. Özellikle internet üzerinden oynanan yaşa dışı bahis ve kumar, önemli sosyal sorunlara zemin hazırlamaktadır. Anadolu’da çok eski bir tarihe sahip olan bu oyunlarla mücadele için bu oyunlara ilişkin alt kültürün anlaşılması büyük önem taşımaktadır. Nitekim kültürel inanç ve değerler, kumar oynamada ve kumar probleminin gelişmesinde önemli bir rol (Raento, 2017, s.60) oynar. Bu doğrultuda bu çalışmada kumar alt kültürü konusunda önemli ipuçları barındıran İllegal Hayatlar (1923) filmi çözümlenecektir. Kumarın Türk sinemasında temsillerini ve bunların hayatımızda oynadıkları rolleri araştıran bu çalışma, halkın kumar davranışını nasıl algıladığının anlaşılmasını sağlayabilecek materyal sağlamayı amaçlamaktadır.

During second semester 1997 we undertook a project to ascertain how the use of Hollywood feature films with historical content affected students' learning of twentieth century American History. Questionnaires, reflective journals and interviews were used to gauge the impact ...

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Les films sur l'art lauréats de la " Prime à la qualité " du CNC : portrait d'une catégorie de bénéficaires de l'intervention culturelle publique (1954)(1955)(1956)(1957)(1958)(1959)

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Les films sur l'art lauréats de la " Prime à la qualité " du CNC : portrait d'une catégorie de bénéficaires de l'intervention culturelle publique (1954)(1955)(1956)(1957)(1958)(1959)

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Les films sur l'art lauréats de la " Prime à la qualité " du CNC : portrait d'une catégorie de bénéficaires de l'intervention culturelle publique (1954)(1955)(1956)(1957)(1958)(1959)

O artigo discute as transformações na experiência cinematográfica por meio de um material extrafílmico específico, o making of, em seus dois formatos principais: documentaries (MDoc) e featurettes. Explicitam-se os mecanismos que permitem delinear o campo do making of no interior da indústria cinematográfica norte-americana, conforme conceitos de Bourdieu, em que agentes e instituições demonstram preocupação com práticas e regras de uma estrutura cuja especificidade é identificável e legítima. Empreendem-se análises do contexto de profusão e formatos, de realizadores e modelos produtivos e dos diferentes arranjos estético-narrativos.

Este artículo estudia la imagen de autor del cantautor español Joaquín Sabina. Para ello, se revisan primero las principales aportaciones teóricas sobre la imagen del autor con el fin de establecer qué conceptos y términos son los más operativos para este estudio. Tras este estado de la cuestión, se aborda la imagen de autor de Sabina con perspectiva diacrónica y se identifica un proyecto autorial dominado sobre todo por una imagen de canalla rebelde e integrado principalmente por las posturas del cantautor prototípico, el crápula noctívago amante de los vicios, el poeta y el viejo.

Aleksei Iu. German's Khrustalev, My Car! (1998) is often described as chaotic and incomprehensible. Yet it would make much more sense if viewed through the prism of David Bordwell's model of parametric narration which prioritises the narrative significance of stylistic techniques and devices over the horizontal unfolding of action. The article argues that Khrustalev's carnivalesque style does not inhibit the film's narrative development but rather contributes to it by actively deploying recurrent motifs of inversion, doubles, animals and the grotesque body. The article also examines how these motifs are united into rhyming pairs throughout the film. By emphasising the carnivalesque style in Khrustalev, German thus sheds light on the festive nature of tyranny in Stalin's Russia.

Derviş Zaim’s cinema is a cinema of exploration. Zaim blends found story with fiction, constructing a framework in which content and form reinforce each other. His films Somersault in a Coffin (1996) and Cycle (2013), based on real events and characters, are rooted in found stories drawn from the fabric of life. Zaim’s latest film, Tavuri (2023), is a cinéma vérité style documentary that chronicles the last five years of the life of con artist Mustafa Serttaş. The possibilities offered by digital cinema contribute significantly to Zaim’s journey along the boundaries between documentary and fiction. This study examines how Zaim incorporates Siegfried Kracauer’s concept of the “found story” into the narrative structure of films, focusing on his use of digital technology while experimenting with different forms and styles within the context of auteur theory. The aim is to analyse the films in terms of characters, plot, setting, mise-en-scène, and editing.
Keywords
cinema, derviş zaim, found story, documentary, digital cinema

The general tendency seen in many films produced throughout the history of cinema has been to work by taking the social criteria at its center. The general aesthetic criteria and the subjective intervention of the director give the films an independent meaning. The most creative element in a film production is the director. Auteur directors, who have a relatively special position among directors, are those who create their own stories, create connections between their films with thematic nuances, convey their inner world with a unique modeling and apply cinematic elements as a unique narrative tool. The New French Extremism or New Extremism movement, which emerged in France in the 90s and is seen as a branch of the New Wave, has produced a unique cinematographic form. The directors involved in this movement turned their cameras on characters experiencing burnout and adopted a style that exposed social corruption in the most extreme way. One of the characteristic features of the French New Extremism is their preferences in the use of color and light. The main problematic that this thesis focuses on is to reveal the effects of this stylistic preference.

To this end, the concepts of transgressive art, sociotelism and dystopia are analyzed through the film Gas Lamp. Thus, this thesis aims to present a new perspective on extremism from a Turkish perspective.

Klasik Nihilist yorumlamaların modern yaşamda oldukça karamsar bir yönelim yarattığı reddedilemez bir gerçek olduğu göz önündedir. Ancak durumun sebeplerinden biri ve en önemlisi Nihilizmin yanlış tanımlanması sonucu okların Nihilizme dönmesidir. Yazı da amacımız Yeni bir Nihilist yorum getirmeye çalışmak oldu. İyi okumalar.

Inhabiting the Coen's World(View). L'autorialità transmediale in Fargo, la serie Filippo G. Grimaldi Merlino autore di sé stesso. La trasmissione del personaggio transmediale dall'oralità all'audiovisivo Carlotta Susca Lo "sceneggia(u)tore". Itinerari teorico-critici sull'autorialità dello sceneggiatore cinematografico Livio Lepratto Federico Fellini: icona di plurima creatività Lucia Rita Vitali Andy Warhol par Andy Warhol. L'autorialità fra brand e Self-fashioning Daniela Carmosino Canone, riscrittura e ibridazione: Le 120 giornate di Sodoma secondo Christoph Schlingensief e Milo Rau Benedetta Bronzini Dimentica l'autore. Autorialità, personaggi ed ecosistema narrativo nell'opera di Zerocalcare Lorenzo Di Paola La convivenza degli orrori possibili: una proposta critica sul concetto di autore nella serialità a fumetti con personaggio fisso. Il caso Dylan Dog Gerardo Iandoli L'autrice nascosta. Roberta Rambelli e l'industria culturale italiana Mario Tirino Diritto dell'autore, diritto dell'audience: il caso Rowling Filippo Luca Sambugaro Disseminazione e ridefinizione autoriale nella scrittura di Gherardo Bortolotti Annalisa Pagliuso L'autore è morto, viva l'autore! Epitesti, posture e strategie in epoca social Marco Tognini «Ringrazio il mio pubblico che mi segue da anni». L'autorialità dell'influencer che scrive Maria Giovanna Stati Esperimenti generativi: gli autori dello Xenotext Paola Di Gennaro Amare l'automa. Nuove forme autoriali nella prosa generativa Niccolò Monti

Um dos primeiros tópicos que chamam a atenção de qualquer estudioso da obra do Marquês de Sade é a história de sua recepção. Especificamente, o fato de que, tendo escrito no século XVIII, o pensamento de Sade só teve uma recepção significativa na França do século XX. Nesse sentido, este trabalho se propõe a entender alguns aspectos histórico-filosóficos desse processo de recepção do pensamento sadeano. Especialmente, compreender o interjogo entre as condições que possibilitaram essa recepção e o que ela aportou ao cenário do pensamento filosófico francês da época. Em segundo lugar, como, a partir desses aportes, forma-se um modo filosófico de pensar que é, em alguma medida, tributário do pensamento sadeano. A tese que se pretende defender está ligada principalmente a essa segunda questão: trata-se de afirmar que essa recepção do pensamento de Sade tanto não foi casual e esteve ligada às condições estruturantes do discurso filosófico da época que teve um peso central na formação de certo pensamento filosófico característico da França da segunda parte do século XX: o pós-estruturalismo. Reconhecendo, é claro, a impossibilidade de falar do pensamento pós-estrutural como um todo, será o caso de focar-se no que parece ser um de seus aspectos constitutivos – a tentativa deliberada de confundir escritura filosófica e literária – do modo como posto na obra de dois de seus autores centrais: Michel Foucault e Roland Barthes.

La scelta de La Glace à trois faces come tema da trattare nel mio elaborato è stata per me una sorta di “colpo di fulmine”: appena ho studiato l’argomento per l’esame e ho letto il collegamento con Uno, nessuno e centomila ho capito subito che avrei voluto approfondire il tema dell’impossibilità di definire un’identità univoca nell’ambito cinematografico. La trattazione si inserisce all’interno di una serie di lavori e studi che ho svolto fin dagli anni delle scuole medie fino all’università sul Novecento più in generale e nello specifico i primi decenni del secolo.
Questo elaborato costituisce una sorta di viaggio che partendo dall’ambito generale, il cinema come medium trasversale, passando attraverso il cinema francese degli anni Venti del Novecento, le avanguardie e l’impressionismo francese è arrivato prima a parlare di Jean Epstein, cineasta e scrittore poi si è soffermato su un suo film nello specifico, La Glace à trois faces. I temi vengono sviluppati partendo da trasposizioni cinematografiche, televisive e teatrali novecentesche con il supporto di fonti letterarie coeve e testi critici successivi, alcuni anche molto recenti. Particolare attenzione è riservata agli scritti autografi di Jean Epstein.
Scrivendo circa il film La Glace à trois faces di Epstein del 1927, certamente utile e interessante ai fini della trattazione è inserire nel primo capitolo il suddetto film all’interno di quello che è il contesto tra le due guerre mondiali sotto i punti di vista storico e culturale ma soprattutto letterario (con il riferimento a Il fu Mattia Pascal e Uno, nessuno e centomila di Luigi Pirandello e La coscienza di Zeno di Italo Svevo).
Non meno importante sarà il secondo capitolo in cui si presenterà Epstein, autore tra l’altro del film in questione. In questo senso si analizzeranno prima la sua vita (anno e luogo di nascita, studi, principali, film da lui girati ecc.) poi i suoi scritti. Inoltre mi soffermerò sul concetto di photogénie quale elemento fondante della teoria dell’impressionismo francese, una delle avanguardie del cinema francese degli anni Venti del Novecento.
Solo nel terzo e ultimo capitolo di questa trattazione si scriverà circa il film La Glace à trois faces di Epstein del 1927, quale approfondimento del periodo storico e del clima culturale in cui è stato girato, nonché quale esempio tratto dall’impressionismo francese e dalla filmografia di Epstein.
Concludendo l’introduzione mi auguro che questo possa essere solo l’inizio di un viaggio che si rivelerà proficuo e stimolante, all’interno del quale “la storia dovrebbe interessare come forma oltre che come contenuto. Unirli questo è il problema. […] Questo è l’aspetto estetico della scienza, il tanto ricercato punto d’incontro tra le due culture. Ci perdoni il lettore se questi ambiziosi assunti non si troveranno tradotti [perfettamente] nelle pagine che seguono”. A questo punto non posso che augurarvi buona lettura.

The main aim of this article is to open the traditional debate on the issue of canon formation in film studies to the quantitative methods, steadily gaining more momentum in the academic world in the face of the so called ‘computational turn’ in the humanities. For the past two decades, scholars of literature and art history have been attempting to define the canon and the processes governing its formation and transformation based on external, intersubjective criteria and numerical means of analysis. It is therefore worthwhile to inquire about similar mechanisms within the field of film studies. Viewing the canon as a social construct allows us to seek its institutional or social traces, such as the number of retrospectives, critical and academic works dedicated to specific films or filmmakers, awards given to them, or their presence in academic syllabi. Simultaneously, quantitative methods can be instrumental in undermining the canons primacy in historical research by turning towards objectified criteria for sample selection or the analysis of large data corpora. Thus, the issue of the canon may serve as a litmus test for the application of digital humanities methods in film studies, providing a testing ground for their potential and limitations.