Cinema Club Research Articles

Análise crítica de experiência com cineclube com estudantes de 7 a 10 anos

The present work analyzes a cinema experience at school, more specifically a cinema club workshop held in 2017, under the program Novo Mais Educação (2016), in Public School Profa Aurea Melo, peripheral region of the north of the city of Aracaju, capital of the state of Sergipe. This government program, aimed at the functional permanence of students in the school environment, had as its main objective the improvement of grammar and the development of mathematical skills. For the analysis of the experience, I use as a base the concept of an emancipated spectator, as proposed by Jacques Rancière (2002; 2012). I also think about the use of cinema in education beyond a functionalist vision, as proposed by Adriana Fresquet (2013) and Alain Bergala (2008). The comparative analysis with the Mais Educação Program, from 2009, made it possible to perceive that the changes that came with the “Novo” left out the more emancipatory character of the Program. Initially, in an impulse to consolidate integral education as a reality for Brazilian public schools, the 2009 Program intended to expand the participation of all agents involved in the school community, promoting a greater link between the community and school management. The mediation of experience, of contact between children and films, reinforced the emancipatory possibilities of this encounter between cinema and education.

“Hay Muchísimo Poder en la Oscuridad” : Black Cuir Cinema Clubs in Contemporary Havana

Cineclub Cuir and Cine Alternativo are itinerant cinematic events aimed at showing cuir, feminist, avant-garde, Afro-diasporic, and experimental media content in Havana. El paquete semanal is a widespread digital information product that Cubans use to access global media. I argue that Cineclub Cuir and Cine Alternativo’s curatorial frameworks produce exploratory spaces of moving theory that rupture the revolutionary state’s nationalist discourse of colorblindness and racial democracy and the normative and white-washed depictions of queerness that circulate in el paquete. The cinema clubs, which elude state-sponsorship and are free of charge, create collective discursive spaces where participants interrogate the figure of the cuir racializado in sites that are not fully regulated by the state or Cuba’s commodified media markets. The emergence of such spaces in the past three years marks a break with the Cuban state’s post-revolutionary monopoly on cultural spaces but also a resistance to newer, more capitalist forms of media circulation such as el paquete. By projecting moving images of Black queer intimacy in alleyways, rooftops, and a multitude of other public and private spaces throughout Havana, Cineclub Cuir and Cine Alternativo comprise a media infrastructure that is ephemeral, difficult to police, and that contravenes the colonial racial and spatial logics that organize the city.

When Ships Don’t Come Ashore – a Yugoslav cinema club production’s dissent in-between the personal and the political

As in other Eastern European Countries, film industry and culture were of central interest for the newly established socialist Yugoslav state after the Second World War. Besides the institutionalisation of a professional and profitable film industry, amateur cinema clubs were inaugurated all over the Yugoslav republics for educative purposes in the field of technical culture. Due to a prevailing underestimation of their activities and the specific, relatively liberal Yugoslav socialist path, some of these clubs became hubs of an experimental and critical film scene. This article discusses the film ‘Ships don’t come ashore’ (1955) which Mihovil Pansini – one of the leading figures of Yugoslav experimental film – made in Cinema Club Zagreb in his initial years as a film maker. It is discussed as an early example of a filmic counterpoint to political ideologies and mainstream film themes. A detailed analysis reveals that the dissent of the film, with its story of a person’s impossible escape from an island, comes in three dimensions: the individual stance, the artistic experiment, and the political message.

МЕТАМОРФОЗЫ КИНОКЛУБНОГО ДВИЖЕНИЯ ВЧЕРА И СЕГОДНЯ

The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.

Censorship in Context: The British Board of film Classification, the Children’s Film Foundation and Terry on the Fence (1986)

For over thirty years the Children’s Film Foundation (CFF) produced a variety of shorts, travelogues, serials and features which were shown at a network of Saturday morning cinema clubs all over the UK and beyond. At their peak in the 1960s and 1970s they reached an audience in excess of half a million per week. Throughout that period their work caused barely a ripple of reaction at the offices of the British Board of Film Censors, latterly the British Board of Film Classification. That is until the submission of Terry on the Fence (1986), the very last feature to be completed by the CFF (by then renamed as the Children’s Film and Television Foundation or CFTF). The film produced a reaction unique in the Foundation’s history requiring alteration to its content. This article makes extensive use of the archives of the BBFC to show how Terry on the Fence touched a raw nerve in terms of its depiction of juvenile delinquency and exposed some of the same social anxieties that had fed into the so-called video nasties case. It doing so it reflects the degree to which censorship can be seen to respond to prevailing contextual factors.

DEVELOPING FOREIGN LANGUAGE COMMUNICATIVE COMPETENCE OF ENGINEERING STUDENTS WITHIN UNIVERSITY EXTRACURRICULAR ACTIVITIES

The topic of the study is the analysis of forms of extracurricular work that contribute to the formation of foreign language communication competence among engineering students. The main tasks of the research are to identify the levels of formation of components of foreign language communicative competence among engineering students, the desire to work on self-improvement outside the classroom workload. Theoretical, empirical, statistical and mathematical methods have been used to conduct the empirical study. The participants were 64 students of the Educational-Scientific Institute of Mechanical Engineering, Technology and Transport of Chernihiv National University of Technology. The most popular language for learning among students is English. The majority of respondents (52%) have a medium level of foreign language proficiency; almost half of the students (43%) stated elementary level and only 5% of respondents have a high level of foreign language knowledge. However, the cultural component of students' foreign language communication competence is even less developed. The results obtained have given the ground for searching new forms of extracurricular work with engineering students. The authors identified the prospect forms of extracurricular work with such category of students, particularly: English cinema club, English Board Games Club, student Cultural Center, student culinary studio, hand-made studio, theatre studio, art studio, studio of additive technologies, student international fraternity, etc. Further study requires experimental verification of the effectiveness of the suggested forms of extracurricular work.

Experimental (Structural Film) as the Concept of Film Innovation (Mihovil Pansini and Geff)

This paper concerns the historical presentation of avant-garde streams and the interpretation of their general characteristics. Emphasis has been placed on the neo-avant-garde art practice, especially European and American neo-avant-garde film, with the aim of carrying out a theoretical platform for the analysis and interpretation of the structural film by Yugoslav film experimentalist Mihovil Pansini. Its aim is also to understand and interpret the events that caused the establishment of world’s first experimental film festival, the GEFF (Genre Film Festival). The idea of film innovation, as a film experiment, was at that time much more feasible in democratically open Western societies than under the conditions that governed the hermetically strict environment of the socialist realism of postwar Yugoslavia. The paper will attempt to prove that the phenomenon of Yugoslavian amateur cinema clubs as such was an ideal and perhaps only possible solution for the realization of innovative, radically subversive and experimental film ideas.
 
 Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: Aprul 15, 2018; Original scholarly paper
 
 How to cite this article: Kružić, Dragana. "Experimental (Structural Film) as the Concept of Film Innovation (Mihovil Pansini and Geff)." AM Journal of Art and Media Studies 15 (2018): 11–22. doi: 10.25038/am.v0i15.226

Evolution of concepts of personnel competence development

This study was conducted through the importance of linking the concepts of corporate learning organization among themselves and a small number of published research on this issue. The answer to this question will allow the heads of the corporate learning departments to better assess their own units, select the necessary forms of development, and effectively associate them with the corporate LMS (learning management system), as well as formulate a strategy for developing training tools with a focus on more recent ones. In order to realize the corresponding task - methods of analysis and synthesis were used, a review of existing formats and forms of development of professional competencies was conducted, a survey of specialists and managers of IT companies in Kyiv was conducted and the obtained results were analyzed. The paper examines the evolution of modern concepts of staff competence development and highlights the main stages: e-learning, mixed learning, lifelong learning, digital learning. The main formats are considered, in which the tools of competence development of the personnel are used: traditional formats, corporate university, corporate e-university, experimental training, macro education, micro curriculum. The definition of such formats as macro education and experimental learning is proposed. The description of tools for development of professional competencies is presented: MBA, conferences, articles, certifications, books; trainings, cinema clubs, quests; coaching, mentoring, rotation, coaching, buddying, shadowing, statement; MOOC; video channels, mutual learning, chats in soc. networks, SMS-training. The role of the learning management system (LMS) in each of the described concepts has been investigated, and the conformity of traditional forms of learning with their analogues with the use of information technologies is indicated. The main result of the study is the developed model of the evolution of the concepts of competence development within corporate learning.

Le Juif Süss au Quartier Latin en 1950. Entre emballement médiatique et réalité de l’antisémitisme

In October 1950, a cinema club directed by Éric Rohmer created an uproar by programing the Nazi propaganda film, Le Juif Süss, in a cinema in the Latin Quarter (Paris). Was this a reflexive approach, led by a group of cinephiles ? A provocation of a small antisemitic group ? A simple publicity stunt ? Antiracist activists and resistant associations had no doubt : they immediately demanded the cancellation of the screening and greater awareness on the part of public officials about the “return of fascism.” The scandal of the Juif Süss reveals the plausible nature of antisemitism in the early 1950s, as well as the reactions produced by civil society and institutions. It creates the occasion to question the place of hate speech in the post-Shoah period, as well as the means used for combatting it.

A Film from Wales: Welsh Identity and The Children's Film Foundation

This article examines the work of the Children’s Film Foundation (CFF) in Wales. The CFF was founded in 1951 to make films for children and supported a network of Saturday morning cinema clubs which were popular until the 1970s. While considering the role of these clubs in Wales, the article focuses on CFF films with a specific Welsh dimension, particularly A Letter from Wales (1953), which was released in English- and Welsh-language versions. Made by the independent producer Brunner Lloyd, the film illustrates prevailing stereotypes of Wales and the Welsh. The article makes the case for its significance in establishing a lyrical image of rural Welsh life.

Theoretical and empirical approaches to using films as a means to increase communication efficiency

The theoretical framework of this analytic study is based on studies in the field of film perception. Films are considered as a communicative system that is encrypted in an ordered series of shots, and decoding proceeds during perception. The shots are the elements of a cinematic message that must be “read” by viewer. The objective of this work is to analyze the existing theoretical approaches to using films in psychotherapy and education. An original approach to film therapy that is based on teaching clients to use new communicative sets and psychotherapeutic patterns through watching films is presented. The article specifies the main emphasized points in theories of film therapy and education. It considers the specifics of film therapy in the process of increasing the effectiveness of communication. It discusses the advantages and limitations of the proposed method. The contemporary forms of film therapy and the formats of cinema clubs are criticized. The theoretical assumptions and empirical research that could be used as a basis for a method of developing effective communication by means of films are discussed. Our studies demonstrate that the usage of film therapy must include an educational stage for more effective and stable results. This means teaching viewers how to recognize certain psychotherapeutic and communicative patterns in the material of films, to practice the skill of finding as many examples as possible for each pattern and to transfer the acquired schemes of analyzing and recognizing patterns into one’s own life circumstances. The four stages of the film therapeutic process as well as the effects that are achieved at each stage are described in detail. In conclusion, the conditions under which the usage of the film therapy method would be the most effective are observed. Various properties of client groups and psychotherapeutic scenarios for using the method of active film therapy are described.

Cinemactivism: Film Reform, Spectatorship, and the Cleveland Cinema Club

Cinemactivism: Film Reform, Spectatorship, and the Cleveland Cinema Club

Synoptic Philosophy in a Neurosurgical Residency: A Book and Cinema Club

Introduction of a book and cinema club in a Department of Neurosurgery has helped combine an education in humanities with neurosurgical training. The authors believe the addition of teaching in humanities adds to the specialty and helps in fulfilling the six core competencies of the Accreditation Council for Graduate Medical Education. The goal is to encourage synoptic philosophy and impart creative ways of interacting with the world. Books and movies with a medical basis and nonmedical basis were selected and reviewed in an open forum. Efforts were made to integrate the Accreditation Council for Graduate Medical Education six core competencies into the discussions. Residents anonymously completed a questionnaire pertaining to the usefulness of the book club in residency. There were 13 residents who attended the sessions and responded to the questionnaire. Of residents, 61.5% believed the topics were pertinent to their everyday life, and 77% believed that the club had helped them somehow in residency. Most (7 of 13) believed the club should not be included as part of the curriculum in an 80-hour work week. Institution of a book and movie club seems to be an effective way of integrating humanities within a neurosurgical residency.

The Construction of Healthy Environments in Ceilândia, Brasilia, Brazil, 2011.

Background and Aims: Ceilândia is one of the most populated areas of Distrito Federal having around 350,000 residents. Originated from the Campaign for Eradication of Invasions (CEI), it was born during the process of the social space segregation plan that guided the construction of Brasilia, Brazil’s capital. An important part of the over 60.000 workers who built Brasilia in the 60s were reallocated to Ceilândia, turning it into one of the largest slums (favelas) in Brazil in the 80s. Even in an inappropriate place, the organization and struggle of its population resulted in access to public policies such as sanitation, energy, telecommunications and, more recently, the creation of a new campus of the University of Brasilia. Methods: This study aims to understand and analyze social environmental risks which might compromise the quality of life of vulnerable population groups living in Ceilândia. Moreover, it is expected to contribute to the transformation of this reality through the proposal of sustainable actions involving social networks, the brazilian public health system (SUS) and other related sectors (environment, education, culture, work). The chosen methodology to cope with these objectives involved a mapping of the existing local organizations and actors which work in health promotion of the quality of life and construction of healthier environments. This mapping resulted in a database of the contacts and profiles of these groups that can be used to promote networking and strengthening of common projects. Results and conclusions: Thirteen sessions of Cinema Club were an important strategy to meet and discuss problematizing subjects with residents of the city related to the promotion of healthy environments. At the end were set priorities for the development of demonstration projects in partnership with society.

The Fotoformas of Geraldo de Barros: Photographic Experimentalism and the Abstract Art Debate in Brazil

Geraldo de Barros produced a series called Fotoformas, consisting of photographic experiments that pioneered abstractionism in Brazil. Since the mid-1990s, this series has been presented in various retrospective exhibitions and publications. The predominant critical interpretation of the work has linked it with Concrete Art, downplaying Barros's participation in the Bandeirante Photography and Cinema Club (FCCB), an amateur association. This article rethinks his engagement in both circuits, demonstrating that the artist created the Fotoformas in dialogue with this photo-club. The author also analyzes Barros's experimental approach, which was based on the inscription of indexical marks on the images to deny the constraints of the camera, with the emphasis instead on process and interdisciplinary artistic practice. Thus, he created an alternative to Brazilian abstractionism, which focused mostly on formal aspects.

The Warsaw Ghetto

The Warsaw Ghetto Peter Whitehead This short essay was originally written for the Time Out publication, 1000 Films to Change Your Life (London: Time Out, 2006). It appeared under the title "Unforgettable, Unforgivable." The University Cinema Club met in the Cambridge Arts Cinema to watch in de pen dent films. In 1960, an evening of "political" documentary films included footage shot inside the Warsaw Ghetto.1 An official state film, well photographed, well edited, aimed at conveying a simple enough message: this is what happened when we built an impenetrable concrete wall around the Jewish quarter of the city and starved a thousand or more inhabitants to death. It shows their degradation and their dying. This is what it looked like. Or at least, up until a point: in the film, there's not a single shot of a Nazi soldier. "Necessarily" absent, the invisible authors of this atrocity are safely hidden behind the camera. Afterwards, I collapsed emotionally, had difficulty staving off a breakdown. There was one particular image a cameraman had dwelt on as if he found it especially powerful, significant, plangent with the true "meaning" of the film: a skinny young girl in rags, alone, filthy dirty, digging with a stick in the mud, looking for food. The soundtrack a dispassionate description of her odd behaviour. The images woke me with violent nightmares (reminding me of those of Thomas De Quincey). They would sear into my daylight mind as I worked in the Cavendish laboratory, a student crystallographer assisting Crick and Watson unravelling the structure of DNA using X-rays and crystals. A few years later I would give up a science career, went to the Slade School of Art to study film. Soon after seeing the Nazi film I'd seen Rashomon and the two films seemed to merge in my mind, a painfully bitter cold fusion.2 I'd discovered [End Page 401] I couldn't entice a single reading of the ghetto film which would offer me detachment from its inhuman truths; the planned state-sanctioned murder, the hatred; rape. And something else was haunting me, my inability to "enter into" the state of mind of the cameraman. I thought of him continuously. In watching the film I must be inside his head, behind his eyes. I wasn't able to feel the necessary death-in-life detachment without which he could not stand there, camera on tripod, focussing the lens, changing to close up. Oops, film finished, pop in a new one. Or later, more hidden gods, lab technicians deciding what were the "best" settings to convey their message. For me it was not film, not celluloid passing through a projector, I had no "persona" with which to protect myself. I had been there. It was a young girl, the girl next door at the point of starvation digging in stinking mud for food. I'd discovered a "flaw" in myself. Through some quirk in my own fatherless upbringing, my personal myth, I would never see film with the detachment "necessary" to make "objective" documentary or "convincing" fiction films. "No darling, bend over more, push your bottom out, push the stick in the mud with a slower rhythm. Perfect. Print! Y'looked lovely sweetheart!" Was it possible that all film was rape? Of the "subjects" and audience? For me, irreparably wounded by the ghetto film, it was. Arriving at the Slade on a painting scholarship I discovered a nascent film department, a Bolex camera idle on a shelf. Within a month I'd made a documentary film of the sculpture students; sticky fingers, mud, plaster, moulds of dismembered bodies. Within six months I was a newsreel cameraman for Italian TV; filmed Aldo Moro in London with our Prime Minister. Moro soon to be assassinated by university students.3 Within seven years I'd made a film in America about a documentary film-maker (myself) who decides to film an act of assassination at a peace rally as the ultimate act of protest. I was inside the university during the student rebellion, filmed the police violence, wounded students, ambulances. I gave a guy $75 for a gun; I knew whom I must kill: a...

Constructing an independent Moroccan nation and national identity through cinema and institutions

A significant axis this paper addresses is the interrelationship of the nation and its cinema, particularly during the early years of national independence during which time the cinema may be used as a tool to cement national identity and unity – as is the case in Morocco's post-independence cinema history from 1956 to 1970. The paper investigates the link between national films and national identity during this important post-independence, nation-cementing era for Morocco. It provides the initial orientation to the cinema developments in Morocco inherited from French colonisation and emphasises that cinema production practices and institutions did not change drastically with Morocco's move to independence in 1956. The author focuses upon films made in Morocco by Moroccans subsequent to independence, overviews the original laws and regulations maintained by the CCM, and investigates early expectations of those first Moroccan filmmakers, and how the filmmakers worked with various institutions. Additionally, she presents how distribution and exhibition functioned in the country at the time, both for Moroccan productions and for other films that were instrumental in shaping the consciousness of consumers about cinema in general. Pertinent to this last point is information presented on the role of pivotal institutions impacting the domain of cinema in Morocco, such as cinema clubs and caravans. The author then presents an overview, not a close analysis, of several pertinent short films and feature films produced between independence in 1956 and 1970.

The Grapes of Wrath (1940): Thematic Emphasis Through Visual Style

Wrath has attracted enormous and enduring critical and popular attention.' Yet, in some ways it has also remained a neglected film, a film obscured by the shadow of its illustrious parentage (John Ford out of John Steinbeck) and by its generic absorption into that body of culturally significant art representative of and concerned with Depression America. Certainly, The Grapes of Wrath was and still is a highly visible film; its popularity as a classic is evidenced by its frequent appearance on prestigious commercial television series, at cinema club retrospectives, and in literature, film, and American Studies classrooms across the country. In addition, the film enjoys a wealth of critical consideration-as an adaptation of a work of fiction, as a cultural artifact which illuminates various aspects of popular American ideology and myth, and as part of the oeuvre of a major film auteur. Paradoxically, however, this widely considered film has suffered from visual neglect. Examined from several critical perspectives, The Grapes of Wrath has been more frequently looked into than looked at. Its visual surfaces have been hardly explored and mapped, its texture and tone have been rarely considered as functions of its imagery, and its dominant thematic emphasis has been only minimally related to its visual style. The reasons for this literal and figurative oversight can be linked, of course, to the myopia demanded by focused and limited critical discourse. Adaptation criticism, for example, is practiced through a comparison of a novel and film. And, no matter how sophisticated and cinematically liter-

The effects of propaganda on recall, recognition and behaviour. I. The relationship between the different measures of propaganda effectiveness.

Two experiments are described in which effects of propaganda were assessed by standard forms of recall and recognition tests as well as by any change in overt behaviour following propaganda. first, a field experiment, using road‐safety propaganda presented in a Children's Cinema Club, showed that there was no positive relationship between effects of propaganda as shown by tests of recall or recognition on one hand and behaviour on roads on other. A second experiment was conducted in laboratory where an attempt was made to influence a subject's choice of fast or slow speed on a mechanical task by means of incidental propaganda. ‘effect’ of propaganda varied according to whether its influence was assessed by its attention value, its intelligibility, by how much could be described or recognized, or by its capacity to influence behaviour. Some subjects had only attended to individual items of display and, although they were able to recall or recognize these, they were not able to understand implication of propaganda and were not influenced by it. Others understood and recalled propaganda but were not influenced by it. Finally, there were those subjects who understood propaganda and were influenced by it but who could not remember it. Thus it seems that information which has been learned from propaganda can become apparent in two distinct forms: (a) in recall or recognition, and (6) in subsequent behaviour. reasons why these different effects were more marked in some subjects than in others will be examined in second part of this paper.

The Children's Magazine in Britain Today

THE children's magazine was practically dead a few years ago, in fact during the war there was scarcely one worth buying, and there was a real need for something in this class. While books will always have first place, educationists and all interested in children's reading will agree that good periodical literature is a useful adjunct. On account of its regular appearance it encourages the habit of continuous reading among children who are sometimes lured away by out‐door activities in the summer, and by cinema clubs and other distractions in the winter. A good magazine, too, introduces children to a variety of subjects and types of story, thus widening their reading interests before their minds become set. It may be a vehicle for presenting current affairs in a form more suitable than in the daily papers, as has been the policy of The Children's Newspaper for nearly thirty years. A recent issue covered a variety of news calculated to interest boys and girls—a boy's journey by canoe across South America, the erection of a statue to Robin Hood (who probably comes first amongst boyhood's heroes), science news, a report on the United Nations meeting at Lake Success and an editorial on the subject, an explanation of inflation, wages and prices, a photograph of a model of the new House of Commons, articles on Jeremy Bentham, astronomy, the new constitution of Malaya, as well as other features, jokes, and snippets of information. This is good value and would doubtless enliven a current affairs lesson at school, but, as a magazine for general reading and entertainment, it is rather too serious. It is the kind of periodical that parents and well‐meaning friends think their children ought to read, but do they really read it from cover to cover, or do they only pick out the lighter bits ? As a news‐sheet of information it is excellent, but the production and layout would need to be more attractive to make it a favourite.