Cinema and Television

Heimat 3, A Chronicle of Endings and Beginnings (2004) is the last part of the 54-hour-long epic Heimat trilogy by Edgar Reitz. The first part of the Heimat trilogy, Heimat 1, broadcast on German public service television in 1984, was a major media event with approximately 9 million people following the series and 25 million or 54 per cent of the viewing population in Germany watching at least one of the 11 episodes. Heimat was released for cinema and television in more than 20 countries. In the UK, the first part of the trilogy, Heimat 1, was shown on BBC2 in 1986. Despite its length and subtitles, about 2.5 million people followed the first series. According to Reitz, an increasing number of television channels contributed to the less successful reception of Heimat 2, released in 1992. Despite the success of Heimat 1, Reitz struggled for funding. Eventually 16 mainly European public service broadcasters, the BBC and SBS Australia among them, funded Heimat 2 and Heimat 3. Heimat 3 begins with the day the Berlin Wall falls. The historical moment of German reunification coincides with a symbolic moment in the lives of two central characters in the film, Hermann and Clarissa. Once lovers in 1960s Munich (Heimat 2), they meet again by chance in a Berlin hotel after a Schubert concert on 9 November 1989. Hermann and Clarissa witness the historical event on television in a hotel room, separated from the jubilant crowds. Reitz here deliberately plays with images of mediated reality that have become an intrinsic part of cultural memory. In the euphoria of the moment, they set off for the Hunsrück, a remote rural area in the Western Rhineland and Hermann's childhood home. The couple buy a run-down house with a stunning view over the romantic Rhine valley near Schabbach, the fictional village in Heimat. They employ two East German craftsmen from Leipzig, Gunnar and Udo, to renovate the house. As the story unfolds, the fate of the East Germans and other newcomers to this hinterland becomes intertwined with the people of Schabbach and Hermann's family.

1. In principio era l'exemplum! Il "principio" citato nel titolo di questo paragrafo non è quello della serialità narrativa, ma un punto arbitrario nel quale decidiamo di cominciare a studiare gli effetti performativi che la narrazione seriale produce nei suoi destinatari. Per le ragioni che vedremo tra poco, l'exemplum medievale, soprattutto nel suo utilizzo omiletico, costituisce un osservatorio privilegiato sul rapporto tra serialità e persuasione, ma la serialità in sé, almeno quella definita secondo i canoni attuali (Buonanno 2012, Scaglioni e Barra 2013), ha radici ben più profonde. Come non riconoscere nei poemi omerici l'architettura di quelle che oggi, nel gergo televisivo, vengono chiamate "serie antologiche"? Due differenti "stagioni" (stagione 1: Iliade; stagione 2: Odissea), trame diverse, ma personaggi ricorrenti, episodi auto conclusi (es. Ulisse nell'isola dei Ciclopi), ma un unico filo conduttore (il viaggio verso Itaca)...

Politics and culture are two distinct dimensions of human praxis, yet they are deeply interconnected and influence one another in complex ways. Politics is often conceived as an instrument to resist injustice and exploitation, forming an integral part of revolutionary praxis. Within this context, culture plays a crucial role, as it mobilizes people to participate in social movements and advocate for transformative change. Artists inspired by communist ideology have frequently employed culture as a means to achieve political objectives, particularly the transformation of society. Bhupen Hazarika, the celebrated people's artist of Assam, pursued a cultural mission aimed at liberating the masses from various forms of bondage and exploitation. For him, culture was never detached from politics; rather, it was infused with revolutionary ideology, which found expression in his creative praxis. Disturbed by the turmoil and unrest brought about by British imperialism, Hazarika envisioned an independent India free from oppression and exploitation. This article seeks to examine Hazarika's anticolonial stance through the lens of his cultural praxis.

ENGLISH ABSTRACT:
The landscape is a complex cultural phenomenon — not merely an object of contemplation or a backdrop to daily life but an active element that interacts with communities and helps shape their identity. Following an introduction to the concept of landscape and “cultural landscape,” along with a brief overview of aesthetic perspectives developed in the United States and Europe, this essay focuses on the German philosopher Gernot Böhme’s theory of atmospheres. An atmosphere is not only the result of synesthetic perception; it can also be artificially created, not only through natural and architectural elements — as landscape architects do — but also through media such as literature, photography, and cinema. In its final section, the essay examines, through the lens of “atmospherography” — the study of how media construct atmospheres — some Sicilian atmospheres shaped by cinematic and television imaginaries. Through this exploration, the essay aims to demonstrate how films and TV series do more than merely represent Sicily; they stage it, generating atmospheres that shape collective imagination and influence the very relationship with the landscape.
ITALIAN ABSTRACT:
Il paesaggio è un complesso fenomeno culturale — non semplicemente un oggetto di contemplazione o uno sfondo della vita quotidiana, ma un elemento attivo che interagisce con le comunità e contribuisce a plasmarne l’identità. Dopo un’introduzione al concetto di paesaggio e di “paesaggio culturale”, insieme a una breve panoramica delle prospettive estetiche sviluppatesi negli Stati Uniti e in Europa, il saggio si concentra sulla teoria delle atmosfere del filosofo tedesco Gernot Böhme. L’atmosfera non è soltanto il risultato di una percezione sinestetica; può essere anche artificialmente creata, non solo attraverso elementi naturali e architettonici — come fanno i paesaggisti — ma anche tramite media quali la letteratura, la fotografia e il cinema. Nella sezione conclusiva, il saggio esamina, attraverso la lente dell’“atmosferografia” — lo studio di come i media costruiscono le atmosfere — alcune atmosfere siciliane modellate dagli immaginari cinematografici e televisivi. Questa esplorazione intende mostrare come film e serie TV non si limitino a rappresentare la Sicilia, ma la mettano in scena, generando atmosfere che plasmano l’immaginario collettivo e influenzano il rapporto stesso con il paesaggio.

The article examines a range of publications from the specialized cinema press alongside archival documents to trace the presence of Indian cinema in Bulgaria. It focuses on the period between the two world wars, addressing issues of film distribution and promotion, as well as the stereotypical framing of India as “exotic.” Particular attention is given to the work of Himanshu Rai as producer and director, in close collaboration with German filmmaker Franz Osten. To contextualize the European—and specifically Balkan—distribution of these films, the study draws on Bulgarian and Croatian sources preserved in the Jugoslovenska kinoteka (State Audiovisual Film Archive of Serbia). The selected corpus includes The Light of Asia (1925), Shiraz (1928), and A Throw of Dice (1929).

Keywords: cinema; India; Bulgaria; Himashu Rai; film distribution; movie magazines

Este artículo analiza la película Uncle Boonmee who can recall his past lives de Apichatpong Weerasethakul desde una perspectiva antropológica y mística, vinculando la visión mágica y la percepción práctica descritas por Edgar Morin con la experiencia cinematográfica contemporánea. Se examinan los conceptos de animismo, reencarnación, espiritualidad y la relación entre fantasía y realidad, sexo y muerte, mostrando cómo el cine puede funcionar como un medio para la trascendencia y la comprensión de la experiencia humana más primitiva y profunda.

Sinema eğlenceli zaman geçirme aracı olmasının yanında kültürel bir deneyimdir. Sinema ilk icat edildiği günden itibaren büyük kitlelere hitap etmiş ve dönemin en popüler sektörlerinden biri olmuştur. Sinema kullanım alanı ve seyir imkânı ile toplu gerçekleştirilen bir eylemdir. Bireyler günlük yaşam telaşının yanında sinemada film izlemek için özel zaman yaratmaktadır. Kültürel bir gelenek olarak gelişen ve ilerleyen bu sanat dalı günümüze doğru ilerledikçe biçimsel olarak değişikliğe uğramıştır. 2020 yılında Covid19 virüsünün ortaya çıkması sinemayı büyük oranda etkilemiştir. Virüsünün dünya genelinde yayılıp pandemi sürecini başlatması sektörü durma noktasına getirmiştir. Salgın döneminde önlem amaçlı birçok ülkede sinema salonları kapatılmıştır. Bu olağanüstü durum sektörü yeni yönelimlere mecbur bırakmıştır. Dijital platformalar sinema sektörü için bir tercih olmaktan çıkıp zorunluluk haline gelmiştir. Dijital platformların artması ve evlere kapanan kitleleri ile film izleme deneyiminde değişiklik meydana gelmesi kaçınılmaz olmuştur. Kapalı bir ortamda büyük beyaz perde ve yüksek sesle kitleler halinde gerçekleştirilen film seyir deneyimi yerini evlerinde bilgisayar veya televizyon başında kişisel tercihlere göre zaman mekân kısıtlamasını ortadan kaldıran bir şeklide olmaya başlamıştır. Bu çalışmada dijital platformlar aracılığıyla sinemanın değişen seyir deneyimi incelenecektir. Mekân ve mecra olarak değişikliğe uğrayan film seyir deneyimi seyirci açısından nasıl karşılanmaktadır ve filmlerin mesaj ve etkisinin ne şekilde değiştiği gibi soruların cevaplarına ulaşılmaya çalışılacaktır.

Sinema eğlenceli zaman geçirme aracı olmasının yanında kültürel bir deneyimdir. Sinema ilk icat edildiği günden itibaren büyük kitlelere hitap etmiş ve dönemin en popüler sektörlerinden biri olmuştur. Sinema kullanım alanı ve seyir imkânı ile toplu gerçekleştirilen bir eylemdir. Bireyler günlük yaşam telaşının yanında sinemada film izlemek için özel zaman yaratmaktadır. Kültürel bir gelenek olarak gelişen ve ilerleyen bu sanat dalı günümüze doğru ilerledikçe biçimsel olarak değişikliğe uğramıştır. 2020 yılında Covid19 virüsünün ortaya çıkması sinemayı büyük oranda etkilemiştir. Virüsünün dünya genelinde yayılıp pandemi sürecini başlatması sektörü durma noktasına getirmiştir. Salgın döneminde önlem amaçlı birçok ülkede sinema salonları kapatılmıştır. Bu olağanüstü durum sektörü yeni yönelimlere mecbur bırakmıştır. Dijital platformalar sinema sektörü için bir tercih olmaktan çıkıp zorunluluk haline gelmiştir. Dijital platformların artması ve evlere kapanan kitleleri ile film izleme de...

This paper explores the principles of teamwork within large-scale Hollywood productions, highlighting the essential contributions of often-overlooked crew members such as grips, gaffers, drivers, carpenters, wardrobe teams, prop masters, and catering staff. Drawing on firsthand professional experience as a Production Coordinator, the analysis identifies four pillars of effective collaboration: communication, respect for every role, adaptability under pressure, and leadership as service.
While public attention in Hollywood often focuses on actors and directors, the success of productions depends on the invisible workforce whose dedication sustains every project. Their labor provides a valuable case study for understanding how large teams function under extreme time and budgetary constraints.
By bridging academic theory with lived industry practice, the article argues that Hollywood crews exemplify teamwork principles relevant across industries, from corporate organizations to healthcare and education. Ultimately, the paper concludes that true professionalism lies not in recognition but in commitment,  a lesson the crews of Hollywood embody daily.

This article identifies, outlines, and diagrams the implicit film
analysis methodologies used in the British Film Institute (BFI) Film Classics book series. The series represents important achievements in film analysis, with each book offering a detailed study of one film. However, the authors do not clearly state their analysis methods, making them hard to apply directly.
The study results will help film scholars use this approach in their work or
adapt it for specific research tasks. The diagrams based on these methods will simplify film analysis. These findings can also help professors in Cinema and Media Studies develop “Film Analysis” courses..

It has been well established that there is a link between film and tourism; however, to date most studies from the field of tourism have been singular cases, which has built a body of knowledge, but is rarely integrated with a wider discussion of film and tourism. By studying the broader concept of the moving image, this paper takes the reader back to pre-cinema times in order to ultimately better understand the links between moving images, film and tourism. From stereoscopes to virtual computer games via phantom rides and travelogues, this study explores the various relationships the viewers have with travel and tourism.

Certain notions become accepted as "truths" by the general public, regardless of their accuracy, particularly if they are repeated with sufficient regularity by so-called "respected" sources, such as those in the popular media. The field of tourism is often a witness to this phenomenon. Arguably, every journalist goes on a holiday of some sort, hence they are all "experts" and often present anecdotal material as such. This view is particularly the case with the concept of film-induced tourism. One example is the continual insistence by those in the popular press that the movie trilogy The Lord of the Rings has dramatically increased tourism visitation to New Zealand. However, research by Tourism New Zealand, along with the emerging work from academics, does little to support this. Attempting to bring some balance into the media hype that surrounds film-induced tourism, this article outlines the extent of film-induced tourism knowledge and current research in the field. Not only does the article examine tourism to sites depicted in film (movies and television series), but also the film studios themselves, particularly those with conscious tourism activities such as theme parks and bookable site tours.

Viaggiare nel tempo e attraverso lo spazio: un sogno dell'uomo fin dall'antichità. Esploreremo qui il tema dei viaggi nello spazio e nel tempo nell’immaginario fantascientifico, proponendo l'analisi di alcune opere letterarie e cinematografiche, mostrando come l'uomo abbia da sempre sognato di poter manipolare il tempo e lo spazio.
Attraverso i testi, verranno analizzati i motivi ricorrenti, i simboli e le tematiche legate a questo tema, cercando di offrire contemporaneamente una panoramica delle teorie fisiche più recenti e delle speculazioni sui viaggi nel tempo e nello spazio, dalla relatività di Einstein ai paradossi dei viaggi nel tempo, per esplorare le possibilità e i limiti della manipolazione del continuum spazio-temporale.
Navi generazionali, “animazione sospesa", antigravità, wormhole, spazio-tempo, ponti di Einstein-Rosen…
L’impressione è che la loro realizzazione pratica e utilizzo rimarranno pertinenza del regno della fantascienza ancora per lungo tempo.

Libro de entrevistas con el director Elías León Siminiani y con prólogo de Isaki Lacuesta. Elías León Siminiani (Santander, 1971) es guionista, director y productor de cine y televisión. Se formó como cineasta en la Universidad de Columbia (Nueva York), donde empezó su serie Conceptos clave del mundo moderno (1998-2009). A su regreso a España, compaginó la realización televisiva con la dirección de cortometrajes de ficción y piezas documentales como el multipremiado ensayo Límites: 1ª persona (2009). Esta veta ensayística continúa con su primer largometraje, Mapa (2012), un travelogue introspectivo, y Apuntes para una película de atracos (2018), película inspirada en el cine negro en la que explora su relación con el atracador apodado “el Robin Hood de Vallecas”. En paralelo, aborda controvertidos temas sociales de la historia reciente de nuestro país en las series documentales El caso Asunta (Operación Nenúfar) (2017), El caso Alcàsser (2019), 800 metros (2022) y El circo de los muchachos (2024). Su interés por explorar formatos, géneros y tecnologías ha continuado en Síndrome de los quietos (2021) y Arquitectura emocional 1959 (2022), trabajo que le valió el Goya al Mejor cortometraje de ficción. A esta amplia trayectoria como creador, se suma su faceta como docente en diversas universidades y escuelas de cine.

Nos anos 90, o videocassete gozou de sua popularidade e Hollywood experimentou a ascensão de filmes independentes e de baixo orçamento, sendo muitos deles constituídos pela mescla de estilos entre o “pop” e o “clássico”. Nessa mescla, insere-se o neo-noir e o thriller erótico. O presente estudo discute a produção de Basic Instinct, traduzido como "Instinto Selvagem" e considerado o quarto maior filme de bilheteria de 1992. O texto fílmico, expresso por meio de diálogos, assim como as imagens, coreografadas por atores, cenário e câmera, são analisados à luz da semiologia de Roland Barthes em diálogo com a crítica psicanalítica ao cinema mainstream hollywoodiano de Laura Mulvey. A discussão centra-se naquilo que o filme esbanja como fetiche: a imagem da Femme Fatale, da superfície aos bastidores. Através de relatos publicados, sendo um deles a autobiografia de Sharon Stone, percebe-se que o jogo de manipulação e violência, portanto, não se reduz à ficção: toca o campo do Real. A narrativa, dotada de tensões, evoca o prazer naquilo que é tido como proibido ou perigoso. Para efetivá-la, convoca-se um ethos libidinoso, perverso e transgressor na produção cênica, levando os atores ao limite durante as gravações.

O objetivo desta pesquisa foi identificar e mapear as Áreas de Preservação Permanente -APPs no maciço residual cristalino Serra da Formiga (Estado do Rio Grande do Norte). Com auxílio de imagens de satélite (ALOS e Sentinel 2B) manipuladas em um Sistema de Informações Geográficas, aplicou-se os parâmetros da Lei Federal 12.651/2012 e foram delimitadas as APPs com base em dados de hipsografia, rede de drenagem local e os tipos de uso e cobertura da terra na área (Caatinga arbórea, Caatinga arbustiva e Solo exposto/Agropecuária/Pastagem). As APPs com maior abrangência foram as de margens de rios (20,5 km 2 ), seguidas pelas de topo de serra (11,2 km 2 ) e a de encostas (0,19 km 2 ), totalizando 39,96% da área de estudo. Foi observado que a área total de conflitos entre APPs e usos e cobertura somam 0,49 km 2 , considerado um valor baixo em relação a extensão total das APPs. Estes resultados expressam a complexidade dos mapeamentos de áreas protegidas por leis ambientais em regiões semiáridas neotropicais, tendo em vista a sazonalidade do fluxo hídrico e o caráter xerófilo do ecossistema vegetal, os quais devem ser destacados como elementos fundamentais para a validação destes importantes instrumentos de ordenamento territorial.

19. yüzyılda gerçekleşen ilk film gösteriminden beri sinema izleyicisi iki boyutlu düzlemde, dikdörtgen çerçeveyle sınırlandırılmış perde veya ekranda, birbirinin ardılı olan devinimli görüntülere oturarak tanıklık etmektedir. 21. yüzyılda yükselişe geçen bilişim, bilgisayar ve oyun teknolojileri görsel sanatların eser üretim, dağıtım ve gösterim biçimini yeniden şekillendirdiği gibi sinema literatürüne de yeni bir hikâye anlatım formu kazandırmıştır: VR Film. Sinema ve yeni teknolojilerin kesişim kümesinde bulunan VR film, izleme eyleminden öte giyilebilir teknolojilerle sanal evrende gerçek zamanlı mekânsal deneyim sunmaktadır.

Kitap, yeni medya araç ve teknolojileriyle beraber sinemada yaşanan dönüşümü tespit etmek ve henüz teknolojisi, terminolojisi, dili, sınırları ve geleceği tam olarak oluşmamış VR filmin temel kavramlarını tanımlamaktadır. Kitap, 360 derece video formatına sahip filmler ile tam etkileşimli VR filmleri merkezine alıp VR film nedir? sorusunu teknolojik, deneyimsel ve anlatısal perspektiften irdelemektedir.

Quaranta pagine, le prime, di ottima letteratura. Prosa scorrevole; periodare agile anche se intenso; tecnica descrittiva whartoniana, dunque eccellente. Ad ogni riga, in ogni parola, ogni aggettivo, ogni avverbio il fraseggio di Mc Ewan si distende con ampia e quasi autocelebrativa gestualità. Insomma, ci si annoia. Poi, esattamente a pagina 40, una deflagrazione manda in mille pezzi l'oleografia. È una bambina a squarciare la nebbia dorata del testo. E si rivelano solchi netti, precisi, profondi, del pensiero. Filosofia, insomma. È un ramo che si spezza e che precipita sul lettore spiazzandolo. Una mano, un dito che si muove, un interrogativo silenzioso. Il velle tomistico conficcato e messo a nudo in una tenuta alto borghese del Surrey inglese. Si tratta, qui, del tempo-volontà; dell'istante inafferrabile e inconoscibile indicato ma non rivelato, È il presente dell'assenza e dell'attesa attorno al cui mistero s'agita lo sforzo inconsciamente epistemologico di quella fanciullina che (facile intuizione) sarà coprotagonista dell'intera narrazione. L'osservatore si osserva in totale autoreferenzialità; l'io narrante tenta di fotografare il sé narrato. Prende le mosse proprio da questa magistrale descrizione del continuum propriocettivo di Briony, un percorso narrativo vertiginoso lungo il quale scorre "...l'istante che separava la quiete dal moto...". La bambina scopre folgorata che "Era impossibile cogliersi di sorpresa. Esistevano soltanto il prima e il dopo". Tragica riflessione sull'inesistenza logica, cronologica e psicologica del presente. Del tempo, insomma. Nessuno sviluppo è reale al di fuori della parola scritta, creatrice del pensiero. È l'azione, l'agire, a determinare la coscienza. Non viceversa. Nietzsche e Gehlen in un sol colpo.

Justice talk has come under criticism lately, facing trenchant refutations from decolonial activists, environmentalists, feminists, and indig enous voices. Yet, the need to develop universalist frames for building solidarity, combating violence, and repairing and restoring deteriorating Earth systems has never been more urgent. This paper seeks answers in the clarity of the voices of the worldwide youth climate justice movement (YCJM), which eschews arid abstractions around justice and instead situates universalist political aspirations in the material urgency of the climate crisis. By identifying vital driving features of its assemblage in the power of interlocking elite networks of transnational megacorporations and their supportive political routines and extractive regimes, the YCJM reminds us that it is no longer possible for these structures, first identified by Marx, to be hidden in the fog of philosophical charges of "onto-theology." The Earth system catastrophe is a shared reality whose ethical demand is without doubt; it is no longer a choice between acting responsibly and remaining committed to one's egotistical "life goals." The search for authenticity, therefore, is in question; in its place, an ethic of universal responsibility has become inevitable. The YCJM cuts through the fragmented particularities of identity politics today and proposes strategies parallel to those of the divestment and Black Lives Matter movements. By directly confronting the inner circle's capture of the world's resources, its extractive methods, and cynical use of 'universal justice' frames 1 under the cover of professional political philosophy, the climate justice alliance is pointing to far-reaching consequences entangled with the material effects of climate change. The networked coordination of the protagonists reproduces (capitalist) conditions of life and generates institutional path dependencies causing intersectional harms over the long haul. What needs special attention is the continual expression of these corruption syndromes in apparently stable cultural forms, along with practical trajectories for counterhegemonic strategy potentially guided by the movement. In this paper, I draw on Slavoj Žižek's prodigious use of Lacanian psychoanalysis and Marxist political theory to develop a rough-cut strategic assessment of the YCJM's chances for success. My aim is to explore whether the tragedy of the Anthropocene might find its redemptive power in the psychoanalytical rupture of children from adult entanglements in capitalist ideology.

Nel panorama cinematografico degli anni '30, pochi personaggi felini hanno generato tanto fascino e paradosso quanto Clinker, il protagonista a quattro zampe di "The Case of the Black Cat". Questo gatto tabby bianco e grigio rappresenta uno degli esempi più memorabili di disconnessione tra titolo e contenuto nella storia del cinema hollywoodiano, trasformando una strategia commerciale in un fenomeno culturale duraturo.

As an early twenty-first-century Gothic play, Conor McPherson’s The Veil reflects the socio-economic problems and traumas of Ireland after the collapse of the Celtic Tiger economy. As indicated by the title and the prevalent mirror image within the play, the playwright holds up a mirror to the past and through a correlation between nineteenth-century and early twenty-first-century Ireland. Conor McPherson points out the everlasting impacts of postcolonial traumas in the present, as well. In the play, the economic predicament of the landholders and the tenants function as a microcosm of contemporary Ireland, as the post-Celtic Tiger period brought back the problems of the past like unemployment, dispossession and emigration. Moreover, during the early twenty-first century, the collapse of the Celtic Tiger economy created a haunted landscape replete with ghost estates while also producing zombie banks cannibalising the Irish society. In this regard, the impoverished and harsh conditions of nineteenth-century Ireland, which transformed people into zombified figures, are closely intertwined with the effects of economic decline in the early twenty-first century, such as ghost estates and zombie banks. The zombie figure signifies not only economic hardships but also the enduring legacy of colonialism in the present. At the intersection of the past and the present, McPherson presents an uncanny and zombified portrayal of contemporary Ireland. Accordingly, this article explores the traumatic echoes of Ireland’s revenant past in the aftermath of the dramatic economic crisis.

Dopo tanto tempo, vi pubblico una ricerca basata sui generi letterari in generale e il primo genere che propongo per adesso, il Giallo, per noi italiani, per il resto del mondo ha varie denominazioni(hard boiler, medical thriller ecc..). Questa ricerca è stata presa da varie fonti perché non tutti raccontavano il giallo nel loro dettaglio. Spero che vi piaccia, buona lettura!

After years I publicize for them a research about literarature genres in general and the fist genre, Roman policer o polar, for the italian is colled “Giallo”. This research took varius source because not al describe the genre in the our detail. I hope this work you like! Enjoy the research!

The prefix of post- in the word ‘post’colony is a misnomer, even though it is a crucial temporal and ideological denominator in processes of decolonization. The Latin prefix is often taken to mean posterior to an event or concept in a new context in which a precedent is no longer relevant, and gives a false impression of binary clarity of before and after, of then and now, and of there and here. In the shadow of colonial legacies and self-colonizing mentalities, ‘post’colonies are not necessarily ideologically post-colonial but do espouse rich and evolving cultural dynamics. Performances of Shakespeare in ‘post’colonies do not affirm the canon’s universal validity or appeal. They bring to light the fissures among different cultural locations and within ‘post’colonies themselves. A helpful concept to add nuances to ‘post’colonies is my theory of performative heterotopia, a set of layered and conflicting worlds within worlds enabled by dramatic performance. These parallel cultural spaces are mutually transformative, akin to how ‘post’colonies operate in fiction and in realpolitik.

Der Aufsatz analysiert den japanischen Spielfilm Beyond the Infinite Two Minutes (J 2020). Der Film, ein Low-Budget-Projekt, nutzt eine minimalistische Inszenierung (hauptsächlich One-Shot-Aufnahmen mit einer Smartphone-Kamera) und eine ungewöhnliche Prämisse: eine Zeitanomalie von zwei Minuten, die durch einen Computermonitor in einer Wohnung und einen Fernseher in einem Café ermöglicht wird. Die Analyse untersucht die narrative Struktur des Films, die Genrezugehörigkeit (Sci-Fi-Romcom) und die bislang nicht entdeckten mediengeschichtlichen Aspekte. Der Autor argumentiert, dass der Film ein narratives Experiment darstellt, das sich hervorragend für mediendidaktische Zwecke eignet, insbesondere im Hinblick auf die Analyse von Erzählstrukturen, Zeitparadoxa, Genrekonventionen und die mediale Gestaltung von Zeit.


The essay analyzes the Japanese feature film Beyond the Infinite Two Minutes (J 2020). The film, a low-budget project, employs a minimalist staging (mainly one-shot recordings with a smartphone camera) and an unusual premise: a time anomaly of two minutes enabled by a computer monitor in an apartment and a television in a café. The analysis examines the narrative structure of the film, its genre affiliation (sci-fi romcom), and the previously undiscovered media historical aspects. The author argues that the film represents a narrative experiment that is particularly well-suited for media educational purposes, especially regarding the analysis of narrative structures, time paradoxes, genre conventions, and the media representation of time.

Aquest document de recerca, és resultat de la reflexió del curs Estudis per la pau i geopolítica. Anàlisi de conflictes contemporanis-UdL. La finalitat del assaig és presentar una proposta a la problemàtica de la Lluita al Narcotràfic a Mèxic.

Orcid 0009-0004-6441-324X

This paper argues that the media frenzy and sensationalist media reporting of Schapelle Corby’s detention, trial and imprisonment in Bali, though not subject to regulation by Australian law, has implications for courtroom reporting in Australia. Apart from providing an illustration of court reporting unregulated by law, the shortcomings of the media reporting of Ms Corby’s case provide additional reasons why courts should not rely entirely on the media to facilitate public scrutiny of the judicial proceedings and law. On this basis, the paper outlines an argument for why open justice calls for collaboration between Australian courts and the media.

El colectivo Archivo Shub desarrolla una aproximación experimental sobre la creación con archivos a través de una conversación con el cineasta Sebastián Wiedemann, articulada con reflexiones e imágenes de sus procesos creativos. El diálogo se desarrolla como un ejercicio de potencia imaginativa que subvierte y traiciona el origen, desde un enfoque experimental sustentado en el juego, la búsqueda de lo colectivo y la resignificación. En esta conversación, se aborda el archivo no como un depósito fijo de memoria, sino como una “masa madre” viva, capaz de crecer y transformarse infinitamente al entrar en contacto con diversas sensibilidades.

The two texts—"Alain Badiou on Cinema" and "The Art of Cinema"—transcribe a seminar delivered by Alain Badiou and Denis Lévy at the Université Paris 8 Vincennes à Saint-Denis on April 7, 2016, at the invitation of Suzanne Liandrat-Guigues (Professor of Cinema, Université Paris 8). The original French text is available at http://www.artcinema. org/IMG/pdf/-4.pdf. Lévy first provides a personal account of Badiou's historical engagement with the art of cinema, outlining his central conceptual and critical contributions while focusing on work undertaken (often together) from the late-1970s onward in the journals La Feuille Foudre, L'Imparnassien, and finally L'Art du cinéma. Badiou then delivers a wide-ranging yet systematic examination of both Levy's and his own contributions to a contemporary thinking of cinema, in particular through the journal L'art du cinéma, exploring and expanding on critical theses regarding questions of duration, impurity, visitation, neoclassicism, criticism, participation, education, and more.

The mixed assessment by critics and theorists of the deus ex machina artistic device common in popular cinema requires a more thorough study of its dramatic and narrative functions in science fiction films. It is in the construction of film images of the future that this technique is combined with a fantastic assumption, expressing the narrator's attitude towards artistic narration and becoming an argument in dialogue with the viewer. The study reveals, based on the analysis of empirical material, the multifunctionality of deus ex machina using the example of the development of the theme of technological singularity in cinema. The analysis of films significant for the development of the science fiction (Sci-Fi) genre and the most popular television series among science fiction fans today demonstrates the evolution of the deus ex machina technique. In addition to the trivial function of arbitrary resolution of peripeteia, it acquires various dramatic functions (accelerating or slowing down the rhythm of action, connecting parts of the plot in a large form), obtains the properties of scaling and fragmentation, synchrony and asynchrony with a fantastic assumption, adding complex narrative functions to the toolkit of expressive means, through which the narrator reveals or, on the contrary, conceals his attitude to artistic reality, involving the viewer into the game of probable meanings. The authors of the article come to the conclusion that the theme of technological singularity has been penetrating cinema since its appearance in the work of L. Lumiere and determines, depending on the narrator's attitude to the topic, the vector of techno-skepticism or techno-optimism in the eschatological dilemma that characterizes the cosmogony of traditional religions. The article is of interest to researchers and film lovers and contributes to the study of artistic and scientific communication.

O sucesso da série The X-files, além de um intenso engajamento dos fãs, uma série de produtos que ampliaram o universo ficcional para além do cânone televisivo. Um desses produtos foi a revista X-Files Magazine, objeto selecionado para uma análise de conteúdo que visa entender como se dava a relação entre produtores e público na expansão do universo de The X-Files no final do século XX. A presente proposta utiliza o conceito de arqueologia transmídia para investigar como se davam estratégias de transmidiação em contextos históricos prévios à popularização da cultura digital. Palavras-chave ficção seriada; arqueologia transmídia; cultura de fãs; The X-Files.

Un'analisi della prima stagione della serie TV "Murderbot" (Apple TV, 2025), in cui ci si focalizza sulle scelte del protagonista, e su ciò che esse ci dicono sul nostro presente di individui occidentali, cresciuti nell'epoca d'oro delle serie TV.

Monografia upriamuje pozornosť na hollywoodsku filmovú produkciu, ktorá aj napriek ekonomickému potenciálu čínskej či indickej filmovej tvorby stále dominuje medzinárodnej distribúcii filmových diel. Globalizačné tendencie silných ázijských národných kinematografií sú, zdá sa, podstatne limitovanejšie z dôvodu kultúrnej špecifickosti jednotlivých produktov. Veľká väčšina úspešných čínskych, indických alebo kórejských filmov dosahuje žiadaný profit predovšetkým na (svojich) domácich mediálnych trhoch. Nezanedbateľným faktorom je aj široké povedomie členov globálnych mediálnych publík o produktoch americkej kinematografie. Naopak, znalosti ľudí žijúcich v „západnom“ svete o japonských, kórejských, čínskych či indických snímkach sú povrchné a nekonkrétne. Pravda, ak opomenieme existenciu a záujmy početných indických, čínskych či kórejských diaspór žijúcich práve na Západe. Hollywoodska tvorba tak nateraz zostáva jedinou národnou kinematografiou, ktorá dokáže úspešne distribuovať svoje obsahy naprieč všetkými kontinentmi a rôznymi civilizačnými okruhmi či kultúrnymi formáciami.