History of Film Theory and Criticism

The cinema audience has in the past not been given a lot of room in film theory; insofar Annette Kuhn's book 'An Everyday Magic, Cinema and Cultural Memory' (2002) fills a rather large gap. Kuhn explores how cinema-going affected people's everyday life and how the film text became part of people's personal memory. Cinema, Kuhn claims in her book, is an integral part of formation of identities, especially for the generation who were young in the 1930s and for whom going to 'the pictures' was their favourite leisure activity. Why were the 1930s so special? What kind of audience are we dealing with? When considering how popular it was to visit the cinema at the time we are inclined to think of cinema as mass entertainment, even just in reference to the sheer numbers-but what significance did cinema-going have and what role did the culture that surrounded cinema play in 1930s British society?

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.

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.

Еженедельное иллюстрированное приложение ИНФОРМАЦИОННОЕ СООБЩЕНИЕ о П ленуме Центрального Комитета Коммунистической партии Советского Союза зГч-февраля 1984 года состоялся внеочередной Пленум Центрального КЖштета КПСС. По поручению Политбюро ЦК Пленум открыл член Политбюро, секретарь ЦК КПСС тов. К. У. Черненко. В связи с кончиной Генерального секретаря ЦК КПСС, Председателя Президиума Верховного Совета СССР Ю. В. Андропова участники Пленума ЦК почтили память Юрия Владимировича Андропова минутой скорбного молчания. Пленум ЦК отметил, что Коммунистическая партия Советского Союза, весь советский народ понесли тяжелую утрату. Ушел из жизни выдающийся деятель Коммунистической партии и Советского государства, пламенный патриот, ленинец, неутомимый борец за мир и коммунизм. Находясь по воле партии на важнейших постах партийной и государственной работы, Юрий Владимирович Андропов отдавал все свои силы, знания и огромный жизненный опыт осуществлению политики партии, упрочению ее связей с массами, укреплению экономического и оборонного могущества Советского Союза. Много внимания уделял Ю. В. Андропов проведению в жизнь выработанной XXVI съездом КПСС и последующими Пленумами ЦК КПСС линии на всемерную интенсификацию производства, ускорение научно-технического прогресса, совершенствование управления народным хозяйством, усиление ответственности кадров, организованности и дисциплины, на неуклонный рост материального и духовного уровня жизни народа. Большой вклад внес Ю. В. Андропов в развитие всестороннего сотрудниче ства стран социалистического содружества, в укрепление единства и сплоченно г о международного коммунистического и рабочего движения, в поддержку (Лтаведливой борьбы народов за свою свободу и независимость. Под его руководством последовательно и настойчиво осуществлялся на международной ленинский внешнеполитический курс нашей партии и государства --^--у с т р а н е н и е угрозы термоядерной войны, на твердый отпор агрессив-К. У. Черненко награжден высшими наградами социали стических стран. ным проискам империализма, на упрочение мира и безопасности народов. Пленум подчеркнул, что в эти скорбные дни коммунисты, весь советский народ еще теснее сплачивают свои ряды вокруг ленинского Центрального Комитета партии, Политбюро ЦК КПСС, полны решимости беззаветно бороться за претворение в жизнь ленинской внутренней и внешней политики партии. Участники Пленума ЦК выразили глубокое соболезнование родным и близким покойного. Пленум ЦК рассмотрел вопрос об избрании Генерального секретаря ЦК КПСС. По поручению Политбюро ЦК с речью по этому вопросу выступил член Политбюро ЦК КПСС, Председатель Совета Министров СССР тов. Н. А. Тихо нов. Он внес предложение избрать Генеральным секретарем ЦК КПСС тов. К. У. Черненко. Генеральным секретарем Центрального Комитета КПСС . Пленум еди ногласно избрал тов. Черненко Константина Устиновича. Затем на Пленуме выступил Генеральный секретарь ЦК КПСС тов. К. У. Черненко. Он выразил сердечную благодарность за высокое доверие, оказанное ему Центральным Комитетом партии. Тов. К. У. Черненко заверил Центральный Комитет КПСС, Коммунистиче скую партию, что приложит все свои силы, знания и жизненный опыт для успешного выполнения задач коммунистического строительства в нашей стране, обеспечения преемственности в решении поставленных XXVI съездом КПСС задач дальнейшего укрепления экономического и оборонного могуще ства СССР, повышения благосостояния советского народа, упрочения мира, в осуществлении ленинской внутренней и внешней политики, которую проводят Коммунистическая партия и Советское государство. На этом Пленум ЦК закончил свою работу. «jw i ф е в р а л ь г. НА ТОМ СТОИМ ♦ и ю ш я р ш к я ш Рубежи созидания Товарищ! Комсомолец! Ровесник! Сегодня твое место -на передовой социалистического строительства. По партии коммунистов сверяй свой шаг, ибо ты -плоть от плоти народа-революционера, народа-труженика, народа-творца. Его частица. Его будущее. В любое дело -большое и малое, в общий труд, воинскую службу, учебувкладывай молодой порыв, знания, мастерство, комсомольскую одержимость! Т оварищ! Ты взял в руки но вое комсомольское издание. Давай знакомиться. А чтобы лучше понять друг друга, будем говорить начистоту. Нам есть сегодня что обсудить, о чем посоветоваться. Побеседуем о времени и о нас, поразмыслим над тем, что волнует, заставляет думать, решать, дей ствовать. Возьмем за точку отсчета самый простой и доступный факт жизни -любой из прожитых нами дней. Мысленно возвра тившись к нему и взвесив все, что удалось наработать, постичь, отстоять, взыска тельно отметив то, что было упущено, мы откроем для себя главную сущность этого дня. Будь он знаменателен или обычен, наполнен светом радости или омрачен болью утраты,-в нем есть неизменно жизнеутверждающее назначение, имя ко торому -созидание. На наших с тобой глазах, при нашем участии свершается ход истории. Идет время, чеканя на обелисках памяти образы дорогих нам людей, и мы, сверяя свою жизнь с их делами, стремимся эти дела достойно продолжить. Нам нельзя подругому: мы -молодые, мы -будущее страны, которую обязаны передать тем, кто идет за нами. Но что нужно делать для того, чтобы от поколения к поколению жизнь станови лась лучше, как соотнести эту высокую задачу с будничными заботами, с нашей повседневной работой, которая вроде бы и не рассчитана на то, чтобы стать достоянием потомков? Есть ответ на этот вопрос. Еще на III съезде комсомола дал его нам Владимир Ильич Ленин: необходимо учиться. Учить ся комму низму, учиться у коммунистов. Это главное. Н есколько дней назад состоял ся внеочередной Пленум Центрального Комитета на шей партии, на котором вы ступил избранный Генераль ным секретарем ЦК КПСС Константин Устинович Черненко. Все мы слушали или читали эту речь и еще не раз возвратимся к ее содержанию. А сейчас вспомним такие слова: «Нужно уметь не только поставить правильные цели, но и упорно добиваться их, преодолевая любые труд ности. Нужно реалистически оценивать достигнутое, не преувеличивая, но и не преуменьшая его». Эти слова адресованы коммунистам, все му народу, а значит, и нам -комсомоль цам и молодежи. Задачи на Пленуме постаалены четкие, конкретные, отражающие преемствен ность политики партии, встретившие полное одобрение советских людей. И мо лодые труженики без промедления вклю чились в решение этих задач. Но важно не только сделанное вчера -необходимо видеть и чувствовать: что и как должны мы сделать сегодня, где потребуемся завтра и послезавтра. И выполнять пору ченное с полной отдачей сил. Сноровка у нас есть. Мы учимся вникать в большие дела, в крупные хозяйственные вопросы, многим из нас доверены ответ ственные участки производства, обще ственной работы. Это прекрасная воз можность для проявления гражданской активности, ответственности, инициати вы. Скажем, серьезной школой трудового и духовного роста юношей и девушек зарекомендовали себя комсомольско-мо лодежные коллективы. Уверенно входит в жизнь бригадная форма организации и стимулирования труда. И если ты -комсомольский вожак, акти вист, то. разумеется, не можешь не понимать: чтобы поддержать рост созна тельности, укрепление дисциплины, раз вивать хозяйскую рачительность моло дых, надо уметь прислушаться к слову, идущему из самой «бучи, боевой, кипу чей»! Д авайте приглядимся к любому полезному делу: в основе его обязательно увидим почин, встречный план. Все этонаши кровные, комсомольские понятия. Каждое поколение вкладывало в них свою жизнь. Мы молоды, у нас есть силы и знания, простор для нашей деятельности обеспечен социа лизмом -на убежденную службу ему призваны мы поставить и крепость рук, и пытливый ум, и смелость творческого дерзания. Не все наши ровесники на планете наделены таким правом. К нам оно тоже не пришло само, а было завоевано в борьбе. Какое же ощущение полноты жизни, личной причастности к обновлению мира дает сознание того, что мы -полноправные наследники этих завоеваний! Путь созидания -всегда ожидание от крытий: а что же там, впереди, кому шагать первым? Жажда поиска, проявле ние самостоятельности, умение пойти на оправданный риск для достижения це ли -такие качества современного чело века приобретают особую ценность и зна чимость. В наше время, когда идет широкомас штабный экономический эксперимент, пе рестраивается система управления, весь хозяйственный механизм, нетерпима по зиция иждивенца: меня это не касается... Нас это -касается! Разве может свежий ветер не волновать молодые побеги? Он поднимает их к жизни, закаляет, испыты вает, делает крепкими, выносливыми, необходимыми! Нам, молодежи восьмиде сятых, Родина дала все, но что мы сами отдадим ей? Свою готовность быть там, где труднее. Сейчас в стране формируется новый Всесоюзный ударный отряд имени Ленинского комсомола для работы на главных стройках пятилетки. Двадцать тысяч юных добровольцев станут в бли жайшее время в его ряды. Те, кто решил испытать свой характер, волю и руки на Тюменском Севере и КАТЭКе, Экибастузе и объектах Нечерноземья, обращаются в эти дни в комсомольские комитеты, со всей ответственностью пишут в заявлени ях: «Прошу выдать путевку. Хочу делать нужное дело...»

El presente artículo revisa la evolución del concepto de lectura sintomática en el análisis fílmico con el fin de reconstruir el término y definir un modelo de aplicación. Acudiendo a las propuestas más representativas de esta tendencia desde principios del siglo XX, el estudio aborda acuerdos y controversias históricas a modo de estado de la cuestión. Finalmente, desde las coordenadas de la semiótica, ofrece una reconstrucción teórica de la idea y discute una vía para su ejercicio de acuerdo con planteamientos metodológicos de referencia.

A partir de textos clásicos y la comparación de ejemplos, este texto propone una definición del "análisis cinematográfico" como una actividad metodológica que atraviesa varios tipos de textos sobre el fenómeno audiovisual (como las críticas y las reseñas de películas). Su interés es funcionar como una introducción a la vasta discusión sobre la pertinencia que el análisis cinematográfico puede tener en la distinción de rasgos teóricos, metodológicos, empíricos y filosóficos del campo audiovisual.

Palabras clave: análisis cinematográfico, crítica cinematográfica, lenguaje cinematográfico, metodología de análisis, estudios de cine

This article examines the specificity of representing the past in contemporary cinema, in which the principle of strict realism is no longer absolute. In modern feature films, interpretations of historical events are constructed not on the basis of historiographical evidence, but through the deployment of cinema’s expressive resources. Consequently, the past is apprehended via the viewer’s visual perception of the constructed historical reality. Such films thus become distinctive documents of historical culture, prompting the development of new methodological approaches for their analysis as historical sources. Using "Captain Volkonogov Escaped" (2021), directed by N. Merkulova and A. Chupov, as a case study, the authors identify the cinematic strategies by which a historical reality is generated. The analysis integrates narrative, visual, and semiotic perspectives, focusing on the structuring of the film’s storytelling, the chromatic solutions, cinematographic and editing techniques, as well as the use of symbols and metaphors. The film’s departure from the realist method, its engagement with the theme of violence, its pluralistic interpretive stance, and its allegorical mode of narration allow it to be classified as a “new historical film.” This category challenges audience expectations shaped by conventional realism and offers an alternative vision of the Great Terror in Leningrad in 1938. Viewer responses indicate that, despite criticisms of historical inaccuracy, the film’s cultural references remain legible and meaningful. The film draws upon the aesthetics of comic books and endless runner video games. This “clip-like” quality differentiates it from traditional historical film, which seeks to evoke authenticity. As a result, the boundaries between reality and imagination, the familiar and the fantastic, the past and the present become fluid. This raises critical questions regarding the capacities and constraints of artistic representation in historical cinema, and underscores the value of film reviews as supplementary materials for research.

This publication examines the reactions in the Czech literary field to the demands brought on by political correctness. We did not perceive correctness here as a primarily restrictive practice but, rather more generally, as a set of social and cultural norms that gradually spread from the American academic environment in the last third of the twentieth century through the process of cultural transfer.

В статье рассматривается феномен коммодификации искусства через призму фильма Стэнли Кубрика «Заводной апельсин». Анализируется использование визуальных стратегий авангарда в кинематографическом пространстве картины и их роль в репрезентации кризиса художественных ценностей в условиях потребительского общества 1970-х годов. Уделяется внимание интермедиальным связям кино с литературой, живописью и скульптурой, а также символике предметного дизайна, включающей произведения массового искусства и поп-арта.

The art direction can be identified as one of the core yet under-researched aspects of telling a story in a cinematographic way. In addition to surface work of designing sets and costumes, the art direction defines the way audience takes cognizance of the proposed narrative, emotion, and ideology. The present paper critically examines the role of art direction in film as an exemplary cultural, aesthetic and psychological practice through which there is mediation between the script and screen. The study develops a theoretical framework drawing on feminist stance on visual pleasure by Laura Mulvey, psychoanalytic lens by Sigmund Freud and semiotic exploration by Roland Barthes as approaches to seeing the art direction as a language of symbols that go beyond miseen-scene. The paper explores the structure of narrative meaning in a range of visual and spatial aspects of selected films, namely Satyajit Ray, Pather Panchali (1955); Alfred Hitchcock, Psycho (1960); Peter Greenaway, The Pillow Book (1996); Kaushik Ganguly, Shabd (2013); Sam Mendes, 1917 (2019); Daniel Craig, No Time to Die (2021), and Mezbaur Rahman Sumon, Hawa (2022 Such movies across Bangladesh, India, England, and America show how the setting of the film conveys both screening instructions and aculturality. The results indicate that the art direction does not serve solely as ornamentation but as an element of the narrative that produces psychological depths and social commentaries and ideological backgrounds. Through the interpretation of visual metaphor and symbolic system, this paper emphasizes how art direction is used to engage the audience into a form of immersion that helps audience to interpret films and induce emotions and embeds film into larger cultural discourses. The discussion also highlights the necessity of further attention to art direction in multinational cinema, especially on the examples of such countries like Bangladesh where industrial, cultural and aesthetic problems collide. In summary, the paper postulates that the art direction is a key component in invoking the reality in cinema production-expressing the scripts used into worlds experienced on the screen, framing reception of the audience of the reality seen, and ensuring the perpetual vitality of the cinematic reality as entertainment and cultural texts.

Prime luci propone un itinerario tra pellicole prodotte (perlopiù) in Italia,
talvolta legate a eventi storici decisivi collocabili tra il 1909 e il 1930.
L’approccio analitico adottato persegue vie in parte praticate dalla storiografia cinematografica antica e recente, impegnandosi a dare rilievo, di capitolo in capitolo, a singoli titoli corrispondenti a pellicole superstiti o disperse, di ambito fantastico, comico, divistico, bellico, politico, avanguardistico, dal vero, infine soffermandosi sul passaggio che dal muto conduce al sonoro. I film scelti vorrebbero stimolare in chi legge una riflessione dedicata a temi, soggetti, generi, rappresentazioni e stereotipi talvolta divergenti rispetto al tradizionale canone, o presunto tale.

This article explores the political significance of “spontaneous animal videos” through the example of “Octopus Steals My Video Camera and Swims Off with It (While It’s Recording)” (Victor Huang, 2010). These videos create opportunities to re-examine and reflexively engage with human–animal dynamics and responsibilities in the space of the filmmaking encounter. Produced inadvertently by nonhuman animals seizing cameras of their own volition, these videos are distinct from other kinds of multispecies imagery circulating on the Internet. They are multispecies achievements: something humans and animals accomplish together. However, the animals’ involvement in their making remains underexplored. It is argued that these instances of playful resistance are concealed as an aesthetic effect that promises to incite transformations only in the human viewer. Returning to the circumstances of their creation, the article uses Sara Ahmed’s framework of “the strange encounter,” to argue that animals are encountered and reproduced as strangers, especially when a camera is present, and when the animal in question is an octopus. By seizing control of cameras, animals are redefining the terms of their own representation. In this case, an uncooperative octopus turns a disruption into a creative act. Incorporating themself into the footage, the octopus claims a subjective position in it, and the story of its making. At once playful acts of resistance and collaborative cinematic practices, spontaneous animal videos nudge us to expand the domain of politics and reflect on the composition of the social from which it develops. Finally, it is argued that they visualize a creaturely solidarity that not only is possible but is already under way.

This paper analyzes The Hunger Games movie series, a dystopian adaptation of Suzanne Collins’ acclaimed novels, focusing on its reflection of contemporary societal issues. Set in the fictional world of Panem, the films explore themes of inequality, systemic oppression, and the enduring impact of hierarchical structures. Through the character of Katniss Everdeen, the series challenges gender stereotypes and portrays a powerful image of resistance and leadership. The narrative serves as a mirror to real-world injustices, highlighting how discrimination, poverty, and prejudice continue to shape society. Ultimately, this review underscores how The Hunger Games transcends entertainment, delivering a compelling critique of social inequality and the fight for justice and identity.

This paper uses the Feminist literary theory to analyze Disney's Moana (2016), paying close attention to how the film challenges gender norms and supports female empowerment. Moana's independence leadership, and empathy rewrite the Disney heroine, and her journey discards romance for self-discovery.

Have you time for me now?" Grace Kelly to Cary Grant, To Catch a Thief Well, when they talk about black and white, you remember that black and white itself is unreal basically. After all, we see color everywhere. The camera will photograph whatever you give it. If you want to give it a black and white set -a woman in a black dress and a white blouse, there'll only be one thing in color; that'll be her face. Hitchcock

Backfat in pigs consists of water, collagen, and lipid. Apart from age, body weight, and number of estrus expression, backfat thickness is one of the significant parameters to consider when selecting female pigs into breeding herds since it dominates a number of reproductive performances, e.g. puberty attainment, total piglets born (TB), and farrowing rate. Besides, backfat is one of the significant sources of hormones related to puberty attainment, such as leptin, insulin-like growth factor-I (IGF-I), and progesterone (P4). Evaluation of backfat thickness is majorly performed by an A-mode ultrasonography at P2 position; it provides more accurate body condition than visual scoring. High backfat gilts attain puberty earlier than low backfat gilts. Moreover, gilts with high backfat thickness at insemination deliver one more piglet than low backfat gilts. Furthermore, piglets born from high backfat gilts have higher growth rate and weaning weight than those born from low backfat gilts. Besides, removal opportunity is frequently found in low backfat gilts since they produce very small litter size. During pregnancy and lactation periods, husbandmen should frequently monitor sows' body weight to protect backfat loss, especially in first and second parities. Lactating sows with high relative weight loss have considerably long weaning-to-service interval. To acquire decent reproductive performance of sow in higher parity, replacement gilts should possess backfat thickness of 18.0-23.0 mm at the first insemination and should have body weight control to protect backfat loss during gestation and lactation periods.

This article analyzes the influence of Archibald MacLeish's "strategy of truth" and the principles of the Government Information Manual for the Motion Picture Industry in the production of Frank Capra's documentary series Why We Fight. One of the main contributions of this research is to show how this series is the most important example of the application of the strategy of truth and, at the same time, one of the main examples of public relations audiovisual product realized to be addressed to American Army as well to the American public opinion. It is argued that Capra's Why We Fight made a substantial and long-lasting contribution to public relations, particularly in terms of its discourse and the use of analepsis has PR narrative resource. Overall, the article positions Why We Fight as one of the greatest efforts ever made in the history of military public relations.

[Unpublished English abstract: This German language article traces the current rise of the concept of atmosphere in film and media studies as informed by transdisciplinary atmosphere theory and philosophy in the traditions of phenomenology (e.g., Hermann Schmitz’s ‘new phenomenology’ of the lived body; Gernot Böhme’s 'new aesthetics' of atmosphere; Mikel Dufrenne’s phenomenology of aesthetic and affective experience),  media ecology, and elemental media theory. A revitalization of 20th century (and earlier) discussions of atmosphere, mood, milieu, ambience, Stimmungen, and aura,  including in early (pre-classical) film theory, has been sparked by ‘externalist’ spatial, environmental and ecological understandings of embodiment, perception (and ‘media of perception’), feeling, and cognition. These theoretical developments are here contextualized in relation to contemporary film theory (e.g., film-phenomenological, affective, Deleuzian) and media studies approaches, with which they notably converge while, at the same time, differing sufficiently to endow film and media ‘atmospherics’ the character of a novel, distinctive paradigm.]

Painting light, touching space: investigating how luminosity and the materiality of the surface of paintings create spatial illusions and contribute to the poetics of space. Painting light, touching space researches the spatial and poetic effects of the luminosity and materiality of paintings. The work explores the interrelations between the formal and experiential aspects of painting from the perspectives of both painter and beholder. A study taking the form of an exhibition of paintings exhibited at the ANU School of Art Gallery from March 17 to 26, 2010 comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken comprises 66%, and the Dissertation, which comprises 33% of the Thesis. Colour, material and structural experimentation yielded new paintings demonstrating varied spatial, luminous and potential poetic effects for the receptive viewer. Three approaches to pictorial structure are employed: the grid, concentric geometries and eccentric shapes, each of which generate different opportunities for complex colour interactions, and a variety of pictorial dynamics. Informed by the observation of natural phenomena and the examination and analysis of relevant historical and contemporary paintings, these works are particularly distinguishable by ultra-high value colours using the principles of colour interaction, a subtle range of spatial effects conveyed by colour and the highly-tuned selection and handling of materials. The theoretical platform of the Studio Research is informed by a diverse range of historical and contemporary sources: writers including

This chapter investigates the problem of internalization, or the colonization of the mind in relation to colonial film culture of the Japanese Empire. Following on my earlier research on colonial-era Korean film which I argue problematizes the subjectivity open to such internalization, this chapter investigates the relation of film theory to colonization. What was the role of film theory in the imperial metropole and what valences did the film theory produced by colonial subjects bear in the empire? Such questions are complicated by the fact that Japanese film theory exhibited what I call a theory complex in which even Japanese did not recognize Japanese film theory. What was the effect on the film theory of the colonized when the theory of the colonizer itself was in a neocolonial relationship with Europe. Considering the possibility that theorizing spectatorship was one means of reflecting on the colonial theorist's own relationship to the metropole, I analyze a number of texts published in Japanese by writers in colonial Korea and the puppet state of Manchukuo, focusing in particular on articles

Tesi di laurea in Metodologia della ricerca sui media audiovisivi
La tesi presenta i risultati della ricerca d’archivio della documentazione personale di Guido Aristarco basata principalmente sulle Cartoline Postali e le Cartoline Illustrate al fine di ricostruire una piccola parte della “storia privata” del critico cinematografico. Questi oggetti, considerati effimeri, sono stati ricevuti e conservati da Aristarco, insieme a lettere, bozze, appunti, telegrammi, testi non pubblicati e così via, durante quasi tutto l’arco della sua vita. Queste testimonianze sono ora conservate all’interno degli archivi della Biblioteca "Renzo Renzi" e della Biblioteca "Luigi Chiarini”. Gli elementi analizzati per la realizzazione di questo studio sono 623 custoditi dalla biblioteca bolognese e 259 da quella romana. Le cartoline, nonostante i limiti dati anche dalla loro materialità, possono essere studiate sia come fonte storiografica e documentale, sia come fonte iconografica moderna, poiché sono portatrici intrinsecamente di un passato. Per osservarne le caratteristiche formali è stato necessario consultare studi di filatelia e di storia postale e gettare uno sguardo anche sulle pratiche di consumo di questi oggetti. Tuttavia per poter procedere con l’analisi delle cartoline del fondo era necessario ricostruire, per quanto possibile, la vita di Guido Aristarco, la sua biografia, i suoi spostamenti geografici e quindi i diversi indirizzi in cui ha vissuto e in cui ha trasferito la redazione di Cinema Nuovo. Per questa fase della ricerca sono stati contattati e consultati numerosi archivi, al fine di incastrare i diversi tasselli della vita privata e ignota del critico. Infine i dati raccolti dalle cartoline servono soprattutto per poter ricostruire, tramite la memoria privata, gli elementi mancanti alla storia pubblica.

This article seeks to contribute to the recent turn towards New Materialism in geopolitics by exploring the role of architecture in the production of geopolitical realities. Besides being one of the most efficient and quintessential vehicles for integrating material and symbolic elements, architecture has at times been shown to be an indispensable tool of nation-building, as demonstrated by the case of Bohemia. By focusing on the geopolitical impact of Czech architecture, explored through Slavoj Žižek's figure of the parallax, the article explicates three different, yet interrelated, aspects of neo-materialist practice: (1) the use of architecture as a way of structuring national life and of housing nations and individuals; (2) the use of architecture as a means in the conduct of (European) geopolitics through the subtle interplays between architectural forms and their functions; and (3) the progressive turn within local philosophies and architectural theory towards the integration of matter and spirit.

El simbolismo provinciano ha sido reconocido exclusivamente por los estudiosos en su etapa de eclosión decimonónica al presentarse como novela de perfil urbano. Está tras célebres obras de Balzac, Flaubert, Galdós y Clarín, entre otros. La posterior evolución de la novela provinciana con su expansión hacia el espacio rural y el trasvase de todas sus variantes al ámbito cinematográfico son fenómenos menos estudiados. Nos proponemos iluminar el último de estos capítulos en el que lo provinciano se ofrece como género cinematográfico buceando primero en las raíces culturales de su simbolismo, sentando las bases de su género y ejemplificando sus ramificaciones fílmicas mediante el análisis de películas del ámbito español que, mayoritariamente, adaptan novelas provincianas.

El biográfico-familiar es un subgénero novelesco escasamente reconocido por los estudiosos, pese a estar tras clásicos de Dickens, Balzac o Turguénev. Éxitos actuales de Landero, Longares o María Dueñas lo confirman como una opción prioritaria de la novela contemporánea. Gracias a Bajtín y a sus seguidores, sabemos que simboliza un episodio clave de la Modernidad, que enfrenta tradición y libertad: el proceso polémico de construcción del individuo, envuelto por la familia, la nación o la escuela. Su clave constructiva, una síntesis de biografía, costumbres, historia y educación, debe servir para comprender su espectacular salto a las pantallas, donde ha dado lugar a la "película biográfico-familiar". Pretendemos justificar teóricamente su existencia, iluminar su

This paper explores the cyberpunk movie texts Akira (Otomo, 1988) and A Scanner Darkly (Linklater (2006); based on Dick (1991) novel) as cultural critiques that use postmodern aesthetics to examine identity disintegration under the weight of surveillance, technology, and political control. Drawing on scholarly sources-and to inversely examine their social capital-this paper analyzes the films' formal techniques, cultural contexts, and narrative structures mirroring each other, and arriving in 20-year increments. To argue that both works contribute to a new transnational discourse in fragmentation, subjectivity, and the dissolution of human agency in the face of a chronologically bound state and technological power apparatus would only be an understatement. As such, we must illicit contemporary cloud-based identity fragmentation, consciousness, and virtualized governance trends in 2025 as a means of producing, such as these films have done in their abbreviated 20-year gap, not just narratives of control, but new aesthetic interfaces of political critique. Notably, Ne Zha 2, a Chinese animated film released in 2025, has become the highest-grossing animated film of all time, surpassing Inside Out 2.

The Polynesian Islands have witnessed one of the greatest human adventure mysteries, marked by the exploration and settlement of these remote landscapes. This research paper explores the historical context and contemporary representation of Polynesian cultures, focusing on the enigma surrounding their migrations and the cinematic portrayal in Disney's Moana. The study delves into the scholarly discourse on Polynesian voyaging, the role of traditional navigation techniques, and the challenges posed by hegemonic perspectives in media representation.

The Polynesian Islands have witnessed one of the greatest human adventure mysteries, marked by the exploration and settlement of these remote landscapes. This research paper explores the historical context and contemporary representation of Polynesian cultures, focusing on the enigma surrounding their migrations and the cinematic portrayal in Disney's Moana. The study delves into the scholarly discourse on Polynesian voyaging, the role of traditional navigation techniques, and the challenges posed by hegemonic perspectives in media representation.

The scope of the article Farewell to clowns ... and Colorado provides a reasoning of various progressive literary techniques in the novel Víťazný pád, 1929 (Victorious fall, 1929) by Slovak fiction writer with Czech origins Peter Jilemnický. The novel marks the crucial turning point in the authorʼs artistic development of his first novel as such, the first novel written after his relocation to Slovakia and the first novel to depict life in the poor countryside. Even though the novel Victorious fall paves the way towards Jilemnickýʼs adoption of the method of Socialist Realism there is a residual presence of avant-garde and experimental elements largely attributed to the referring to Czech avant-garde movement Poetism. The novel witnesses the author's farewell to such motifs, deemed to be inadequate for a depiction of the life of the proletariat in rural conditions.

The Polynesian Islands have witnessed one of the greatest human adventure mysteries, marked by the exploration and settlement of these remote landscapes. This research paper explores the historical context and contemporary representation of Polynesian cultures, focusing on the enigma surrounding their migrations and the cinematic portrayal in Disney's Moana. The study delves into the scholarly discourse on Polynesian voyaging, the role of traditional navigation techniques, and the challenges posed by hegemonic perspectives in media representation.

offer a variety of methodological approaches to the interpretation of set designs and interior spaces created for film and television productions. The contributions highlight the complex ways in which interiors contribute to meaning in works of cinematic art spanning the period from early twentieth century silent films to the 2010s. The book is a result of a 2015 research project at the Modern Interiors Research Centre (MIRC) at Kingston University, London, a leading center of scholarship on the history/theory of the interior, intended to jumpstart scholarly study of screen interiors. Subsequent collaboration with scholars at Parsons and the Cooper Hewitt, Smithsonian Design Museum in New York resulted in three international symposia and two publications, including this one, which is the largest and the most recent. As the sixteen essays from an impressive list of international scholars attest, the set design, props, lighting, and interior spaces that

Anfang der 1930er Jahre etablierte sich das Storyboard als neues Mittel der visuellen Planung im Film, insbesondere im Zeichentrick- und Spielfilmbereich. Als eine Abfolge gezeichneter Bilder, häufig ergänzt durch Pfeile oder Notizen, dient es der Vorvisualisierung filmischer Abläufe – sowohl der Bewegungen vor der Kamera als auch der Kamerabewegungen selbst. Zwischen künstlerischem Entwurf und technischer Zeichnung angesiedelt, erfüllt das Storyboard nicht nur eine funktionale Rolle im Produktionsprozess, sondern entfaltet auch eine eigenständige ästhetische Qualität.

По-настоящему великих фильмов о войне наберется, вероятно, десятка два. В отечественном кинематографе -в диапазоне от «Баллады о солдате» и «Летят журавли» до «Иди и смотри». В зарубежном -от «Моста через реку Квай» до «Мост слишком далеко» (два моста -случайная неслучайность). Разные национальные киношколы, разные идеологические мотивировки, разные технические возможности -тут всё понятно: выставлять (никому не нужные) оценки можно до бесконечности, разгул вкусовщины и политических симпатий-антипатий. И всё, конечно, не о том. Между тем первым фильмом о войне -и хронологически, и не толькоостается тот, который был снят в том же самом 1945-м, когда война окончилась. Это -«Roma, città aperta», «Рим -открытый город» Роберто Росселлини. Мы так привыкли, что «большое видится на расстояньи», что уже почти не в состоянии поверить: для великого искусства этого расстояния не требуется. Оно, великое, может возникнуть прямо тут, над еще неостывшим, шевелящимся. И еще трудно поверить, что хронологически первое может оказаться и вообще лучшим. «А как же последующее развитие?» А никак. То есть -развитие-то -само собой, а лучшее уже есть, свыкнитесь и уймитесь.

Abstract.
The evolution of streaming technologies has significantly influenced cinematographic techniques, reshaping the way filmmakers approach lighting, framing, and overall visual composition. Unlike traditional cinema, which relies on controlled viewing environments to ensure optimal image fidelity, streaming platforms must

accommodate a variety of screen sizes, resolutions, and lighting conditions. This shift necessitates adaptations in cinematography to maintain visual clarity and engagement across diverse viewing contexts. This study employs a qualitative analysis of contemporary cinematographic practices in streaming content, drawing from case studies of films and series distributed on major platforms. Additionally, industry reports and expert interviews provide insights into how digital distribution reshapes aesthetic and
technical strategies. The research examines cinematographic trends such as increased reliance on high-contrast lighting, tighter framing, and the impact of compression algorithms and HDR technology on color grading and dynamic range choices. Findings indicate that cinematographers increasingly adjust their techniques to suit streaming environments. High-contrast lighting enhances visibility on mobile devices, while tighter
framing ensures compositional clarity on smaller screens. Moreover, technological advancements in compression and HDR have led filmmakers to reconsider traditional color grading approaches. The study also highlights how algorithm-driven recommendations and binge-watching culture influence narrative pacing and visual style, leading to new creative strategies in storytelling. The results suggest that the transition from traditional cinema to streaming platforms is not merely a shift in distribution but a
fundamental transformation in visual storytelling. Streaming technologies not only shape cinematographic choices but also redefine audience engagement.
Keywords: Cinematography; Films; Storytelling; Streaming and Visual

Argentine and Brazilian documentary cinema is experiencing a recent trend that is characterized by a growing use of audiovisual material of private and family origin. Until now, this creative practice based on family archives has received little attention in Latin American documentary studies, despite being very productive both in the region and beyond. Based on a detailed study of four documentaries considered paradigmatic for their respective contexts —Papirosen (2011), by Gastón Solnicki; In the Intense Now (2017), by João Moreira Salles; Elena (2012), by Petra Costa and Silence Is a Falling Body (2017), by Agustina Comedi—analyzes how the use of films or home videos, at first glance very personal, it is not only usually accompanied by a politicized reading of the family past. Furthermore, the use of the family archive as a "counter-archive" in these films can be understood as an important element in the construction of political and social meanings in contemporary documentary. The films examined offer new approaches to a wide range of topics ranging from the aftermath of the Shoah to overcoming personal trauma, from the major political events of the 20th century to the micropolitics of the body and gender. At the same time, they question the traditional notion of "political cinema" and expand the spectrum of what can be considered political in documentary film.

The study focuses on the cultural circle of the Czechoslovak underground through a specific case study of a group of filmmakers around an author working under the name Čaroděj OZ. The first part explores the wider context of the underground environment in an attempt to clarify and defi ne the background of the generation that worked during the era of so-called normalization at the turn of the 1980s. It also defi nes the position of underground films in relation to amateur films and describes the specific artistic motivations of the group. Taking individual films as examples, the study comments on the selected period of film production, describing its genre characteristics and infl uences. Special chapters are dedicated to period film festivals, modes of presentation and the formation of image and self-reflection of the production of the group in samizdat journals.

This paper examines the intersection of gender, migration, and identity through the lens of Filipino migration to the United Kingdom, focusing on the experiences of Overseas Filipino Workers (OFWs) in the healthcare sector. Using Chito S. Roño’s 2008 film Caregiver as a cultural text, the paper explores how gender roles and cultural expectations shape the migration journeys and diasporic identities of Filipinas. Through Sarah’s story—a former teacher turned caregiver in London—the film illustrates the emotional, social, and economic challenges faced by migrant women, as well as the redefinition of motherhood, marriage, and selfhood in a foreign context. The paper situates these cinematic narratives within broader global migration patterns, including the feminisation of care work, the historical trajectory of Filipino labour migration, and the structural inequalities that compel women to leave their families in search of better opportunities abroad. Drawing from scholarly sources and migration data, the analysis highlights how Filipino migrants negotiate identity and belonging amid shifting cultural and economic landscapes.