Use Of Cinema Research Articles

The role of cinema in Young Turk propaganda during the second constitutional era (1908–1913)

ABSTRACT This article examines the use of cinema by the Young Turk Movement, which played a significant role in transforming the Ottoman Empire from an absolutist regime into a constitutional monarchy in 1908. Upon gaining power, the Young Turks faced various external and internal political challenges, such as imperialist ambitions over Ottoman territory, Balkan states' efforts to reclaim lost lands, and separatist movements within the empire. This article explores how they used cinema to promote their political agenda and address these challenges. It argues that cinema was employed not only to display power and spread propaganda but also to project an image of governance aligned with constitutional ideals.

КИНОФИЛЬМ КАК СРЕДСТВО ОБУЧЕНИЯ И ТЕРАПИИ ПСИХОЭМОЦИОНАЛЬНЫХ СОСТОЯНИЙ МОЛОДЕЖИ И СТУДЕНТОВ

The article is devoted to the use of cinema as a psychotherapeutic tool in the correction of mental and emotional states of students and youth. Its main purpose is to demonstrate the value and suitability of using motion pictures in the therapeutic process. The means of influence that a film can have on the viewer were analyzed. An attempt is made to analyze the concept of “film therapy” and the list of its components is clarified, the theoretical foundations of the method are analyzed, the main approaches are selected, the most expressive trends of modern psychological practice of using films are described. The article provides a general overview of the available research results on the use of films in therapeutic practice, using publications by Russian and foreign authors. A conceptual and definitional analysis of this phenomenon is carried out, and the most popular views on it are presented. The psychological mechanisms of the impact of films on the viewer, such as catharsis, identification with the hero, are considered. The main stages of the film therapy process are highlighted. It is shown that psychological work using works of cinematography can help young people cope with life difficulties, develop new positive personal qualities, increase tolerance, empathy and offer new ways of understanding specific problems, as well as be useful in learning. The tools of film therapy work are quite wide and can be used in various situations. The most undeveloped and controversial aspects of psychological work with the help of cinema are highlighted, such as the lack of standardized and sufficiently tested materials for work, which requires further research. By analyzing the available materials, it was found that films are an increasingly popular and effective method of therapy for psychoemotional conditions in Russia and the world. The results of the research conducted to date indicate that the use of film images in psychological practice, as well as at training events, gives positive psychotherapeutic effects.

Cinema as a pedagogical practice in higher education: a case study applied to labour law*

The aim of this article is to discuss the use of cinema as a pedagogical resource in higher education in the legal field and, more specifically, in the teaching of labour law. It emphasises the importance of multimedia resources, focused on art and aesthetics, as an aggregating element for the formation of a humanist conscience that is essential in legal training. The purpose of this pedagogical practice is to use cinema as a means of reflecting on labour relations, starting from the reality portrayed and grasping the reality of each era. By watching and analyzing films, the objective is to study labour law and encourage social reflection (Russell, 2009). There are two general objectives: to provide a reflection on the evolution of Labour Law and to raise awareness of the reality of labour relations. The specific objectives are to use cinema as a teaching tool and to discuss film narrative and its different components.

Preserving the Imperial Project: Documenting Film Censorship Practices in the Gold Coast (Ghana)

The British colonialists employed cinema from two key viewpoints; the first was the use of cinema in consolidating and promoting the economic and political agendas of the imperial project. Secondly, cinema became a critical medium through which the moral and social welfare of the natives in the British colonies were promoted. The considerably scattering of scholarly works on African cinema have explored colonial film censorship in some parts of Africa, however, the specific case of the Gold Coast (Ghana) has been an under-studied subject. The article engages a critical dialogue on how early film censorship was practised and further seeks to interrogate the nexus between the imperial project and the British colonial film censorship activities in the Gold Coast. While this paper does not claim an exhaustive treatment of the field of film censorship practices in Ghana, it endeavors to lay out an initial inroad, generate interests and critical debates in this neglected field.

An interdisciplinary comparison between artistic and juridical phenomena

This article aims to analyze the interdisciplinarity between the artistic and legal phenomenon. Within this topic, the potentialization of Art and Law are exposed, since, together, they can present a tool that goes beyond artistic entertainment and legal dogmatics, therefore, conferences and analogies will be made between the studied objects. Through Art, some concepts will be addressed and conceptualized, they are: logopathic understanding and the “image-concept”, artistic themes that are linked with filmic language. The contextualization of both concepts takes place through the use of cinema in Varguista propaganda. At the end of the article, there is a resumption of the interdisciplinary analysis between artistic and legal phenomena under the bias of Aristotle’s Poetics, work responsible for exploring the representation of reality through two concepts that the philosopher called: Mimesis and Catharsis. Other authors from the field of Politics, Communication and Language will be mobilized to achieve the respective objective of the article.

Американский кинематограф, ФБР и пропаганда: образ внутреннего врага (1941–1942 гг.)

Introduction. The period 1941–1942 became a time when American art was rapidly rebuilt on “military rails.” Cultural figures in every way reinforced the morale of American soldiers and were engaged in justifying various actions of the government through a more accessible and understandable language of artistic narrative. Methods and materials. The rich material of the archive of the FBI, the army and other US security services allows a better look at how the cinema obeyed the propaganda needs of the warring power. The article is based on the principles of historicism and systematics, as well as the methods of historical comparativistics and imagology (discourse-analysis, analysis of audiovisual representation and some others). Analysis and results. It is quite clear that cinema played a special role in these processes – the most massive and popular type of art, which in the previous two decades became the most common form of leisure for Americans. This article is devoted to the use of cinema to justify the initially extremely unpopular measure of the American government to intern the Japanese in concentration camps in the light of the entry of the United States into World War II.

Photogénie o qué expresa la imagen del cine mudo

The purpose of this analysis is to stablish the basis of the cinematic expression, that is, what means does the cinema use to express itself. The focus of this paper will be the cinematic image and its expression through photogénie . The concept of photogénie is of interest given that, as claimed by Louis Delluc, “photogénie is the law of cinema”. Furthermore, it will be taken into account the way in which Jean Epstein will resume the intellectual sketches of Delluc in vistas of highlighting what makes and image photogenic and why does the cinema use it in order to express itself.

Cine y Educación: una historia de los discursos a favor del cinematógrafo en la escuela

ABSTRACT The cinema since its invention was quickly used to educate. Although it was also rejected, it has never stopped being used at school. Of course, this dynamic was not natural. It was the result of approaches and ideas that interpreted it as positive to achieve moral, aesthetic and cognitive objectives. Through a historical perspective, this text presents seven educational, technological, cultural and economic arguments that explain the continuity of this relationship, that is, the reasons, events and representations that throughout history have determined the use of cinema in the school.

A Educação Matemática no Cinema

The paper presents a discussion about cinema and education and the use of cinema as a pedagogical resource in mathematics’ teaching. Therefore, the first step was to identify the state of art of research in cinema and education through a systematic review of the literature on cinema, education, and mathematics education as well as the results obtained from experiences regarding cinema as a resource and language that are part of mathematics classrooms. The second step was the selection of some movies and the analyze of them to be used as pedagogical resource in class. A thematic analysis was developed with the following films: Hidden Figures (2016), A Beautiful Mind (2001) and Good Will Hunting (1997) through a decoupage of selected scenes throughout the filmic text. As results, we show that there is much to be explored and densified about cinema and education, in special math education.

Halkevlerinde Sinema Faaliyetini Yaygınlaştırma Çabaları ve Sınırlılıklar

1932 yılında Türkiye’nin farklı şehirlerinde açılan halkevlerinin temel amacı devrimin ilkelerini yaymaktır. Bu amaca ulaşmak için kullandığı araçlardan biri de sinemadır. 1930’lu yılların ortasından itibaren Cumhuriyet Halk Partisi mümkün olduğunca çok halkevinin sinema makinesi sahibi olması, halkevlerinde gösterilecek filmlerin tedariki ve halkevlerinde gösterimlerin düzenli bir şekilde yürütülmesi için çalışmalar yapar. Ancak, Parti örgütü halkevlerinde gösterilecek nitelikte “terbiyevi film” bulmak başta olmak üzere farklı sorunlar yaşayacak, bu sorunlara çözüm üretmek için çaba gösterecek, 1940’lı yılların sonuna gelindiğinde ilk baştaki hedeflerine ulaşmaktan uzak kalacaktır. Arşiv kayıtlarında yer alan Parti ve devlet aygıtının farklı birimleri ile halkevleri ve yerel yöneticiler arasında sinema konusunda yapılan yazışmaların temel alınacağı bu çalışmada halkevleri bünyesinde Cumhuriyet Halk Partisi’nin sinemadan yararlanmak için yaptığı girişimler ve karşılaşılan sorunlar incelenecektir. Böylece Türkiye Cumhuriyeti’nin ilk yıllarında sinemadan propaganda aracı olarak yararlanma girişimleri hakkında temel bir çerçeve oluşturmak amaçlanmaktadır.

Evangelization through the media. The Holy Trinity in the Shack 2017

In the new, modern post-secular society, the Catholic Church wants its evangelization mission to be extended by the media. The most recommended form of evangelization is the direct one, face to face, but nowadays so that the biblical message of the Christ to be also reach by the young people, who spend most of their time on social media, Internet, TV, films, etc. One of the most popular media is the internet, where all the information is just a click away. The Catholic Church through the Vatican II Council wishes to become involved and encourages the involvement of clergy and believers in supporting Christian film actors and producers, Christian TV and radio stations. One of the messages that the church wants to send to the world is the mystery of the Holy Trinity. This mystery is one of faith in the living God, unique in being and intermingled in persons: God the Father (the Creator), God the Son (the Redeemer) and God the Holy Spirit. The use of cinema in the transmission of Church messages must be done with caution and well documented. Through the analysis of the movie The Shack 2017, the mystery of the Holy Trinity is revealed to the cinefiles a part as a Christian teaching in accordance with the Catholic Church’s teaching and another apart as Christian teaching intertwined with new teachings (New Age).

Investigation of the effect of the use of cinema in medical education on the attitudes of medical students towards the elderly: An interventional study

Investigation of the effect of the use of cinema in medical education on the attitudes of medical students towards the elderly: An interventional study

Outside Training of Spanish University Students of Education for the Didactic Application of Cinema: Formal, Non-Formal, and Informal Perspectives

Nowadays, audiovisual media play a central role in access to information and in personal relationships. Among the audiovisual media is cinema, which due to its heterogeneous nature, can fulfill diverse educational functions. The objective of this study was to learn about the training that future teachers in Spain receive outside of their teaching degree for the didactic use of cinema. In addition, we sought to understand the influence of training on perceptions regarding the educational potential of cinema and the predisposition to its use. Using a quantitative approach, information was collected from 4659 students from 58 Spanish universities. The questionnaire used covered perceptions about the potencialities of cinema as a didactic resource in pre-school and primary classrooms (PECID). The results showed that 95.1% of the students had not received training. In addition, we found a significant influence of training on their perceptions of the educational possibilities of cinema. Furthermore, we found an influence on their predisposition to use training in their future teaching practice. Overall, it is necessary to implement training actions to fill the gaps detected in favor of a quality education with active learning and linked to society.

From Alex to Riefenstahl: Nazism, propaganda, and Stanley Kubrick’s A Clockwork Orange (1971)

In this article I will argue that graphic violence, though an essential component of A Clockwork Orange, is a side effect of the film’s broader exploration of the subjectivity-sapping power of authoritarianism, and its cinematic correlative: propaganda. I will suggest that A Clockwork Orange may indeed be seen as a powerful reflection on the power of propaganda, through a strategy of mise en abyme of auctorial figures which forces the viewers to either submit to such figures, or to develop a critical resistance. In a first part, I draw on recent empirical studies based on archival material in order to delve into the history of Kubrick’s fascination with authoritarianism – especially Nazism – so as to argue that one of the director’s main source of interest in these regimes lied in their use of cinema to subjugate the masses. In the second part I draw on the narratological approach of Mario Falsetto, presenting the film as an interweaving of various auctorial figures struggling in order to gain directorial power and fascinate the viewers into submission, thus drawing attention for the need to establish a critical distance against all directorial figures, including the film’s own “master of images”. I will also draw on recent empirical approaches – most notably Filippo Ulivieri’s – in order to suggest that Kubrick’s own persona thus becomes part of such a reflection, as the director’s construction of his own image as a tyrannical figure encourages a certain state of submissive spectatorship later questioned by the film’s mise en abyme. Finally, I will discuss the film’s reception and argue that the debates surrounding A Clockwork Orange suggest Kubrick’s meta-filmic reflection on propaganda was misunderstood by a certain part of the public who, instead of developing a critical distance, either submitted to Alex’s worldview unquestioningly – hence the issue of copycat crimes – or, on the contrary, fully rejected the film as a depraved object, two attitudes that are antithetic to the critical distancing the film hoped to create.

Tamil Nadu Politics and Tamil Cinema: A Symbiotic Relationship?

From the second-half of the twentieth century, a nascent Tamil cinema became increasingly influential in Tamil society and more prominent in political life. The Dravidar Kazhagam, founded by Periyar E. V. Ramasamy in 1944, morphed into the DMK and AIADMK, two dominant state political parties in Tamil Nadu. Through the medium of film, some of its leading lights, C. N. Annadurai, M. Karunanidhi, M. G. Ramachandran and Jayalalitha, cultivated cinema audiences and the voting public in the political ideologies of the Dravidian movement and subsequently became Chief Ministers of Tamil Nadu. The symbiotic relationship between politics and Tamil cinema has meant that political and social commentaries and the assertion of Tamil nationalistic ideas was commonplace in Tamil films. In recent years, Tamil cinema has become the vehicle for raising a wide range of concerns ranging from caste, class and gender and state/nation politics, marking a shift that focusses on everyday politics in the state. In this article, we present a critical survey of the role of Tamil cinema in disseminating particular realities and politics of identity that speak to an essentialised notion of Tamil cultural and linguistic identity, the concomitant disavowal of broader conceptions of Indian-ness or belonging to the Indian nation, as well as the use of cinema to address everyday politics in the State.

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.

Luanda e Sua Gente, Cidade Feiticeira: Representations of an Eternal Empire

After World War I, cinema emerged as a powerful instrument of (counter) information for the colonial cause in the service of the European colonial powers, and Portugal was no exception. In fact, the use of cinema by the Portuguese authorities for colonial propaganda is the subject of this article. The aim of this study is to show how the post-war “winds of change” shifted the paradigm of the Portuguese colonial cinema by comparing the representation of Luanda in two colonial films about Angola produced in the 1950s and 1970s: Luanda, Cidade Feiticeira, (1950) and Luanda e a sua Gente (1973), respectively.

Documenting Africa on Film and Nkrumah’s Legacy in Pan-Africanist Africa

Following Ghana’s attainment of political independence, the new nation’s leader, Dr. Kwame Nkrumah, made efforts to lead Africa’s decolonisation process. He used film as a medium of achieving this Pan-African agenda. Nkrumah restructured and renamed the Gold Coast Film Unit (GCFU), which the British colonial administration had established, as the Ghana Film Industry Corporation (GFIC) and placed it at the forefront of documenting and propagating his version of the Pan-African narrative. From neighbouring Togo and Burkina-Faso, to distant Kenya and the Congo, GFIC cameras captured historical moments relevant to Nkrumah’s ideas. Whereas Nkrumah’s political legacy and diplomatic rhetoric are largely known, his use of cinema to execute his agenda remains unexplored. This article draws attention to the role documentary films of the GFIC played in the African decolonisation process. Drawing on information gathered about these films from interviews with key actors within the defunct GFIC, and from personal archives of these actors, it is argued that, although the functional use of documentary films in Nkrumah government appears similar to how film functioned in the colonial regime, GFIC films traversed national education and propaganda to become media of continental African integration and stimuli for post-colonial self- motivation and independence.

Academic training in Spanish universities for the didactic use of cinema in pre-school and primary education

One of the characteristic features of current society is the relevance of technology and audiovisual media. This fact has generated demands in the educational field to adapt objectives and methodologies to non-textual languages. Among the predominant audiovisual media is the cinema, which has many potentialities as a didactic resource. Therefore, the aim of this study was to find out the training that students of the Teacher's Degree in Spanish universities receive for the didactic use of cinema through a nationwide research with survey design in which 4659 students, belonging to all the Autonomous Communities and 58 universities, participated. The questionnaire called Perceptions about the potentialities of cinema as a didactic resource in pre-school and primary classrooms (PECID) was designed ad hoc. This questionnaire, which consists of 45 items, has a section that deals with the training received for the educational use of cinema. The Spanish universities offering the Teacher Degree were identified and contacted for the dissemination of the questionnaire. The results obtained showed that 88.4% had not received training. Furthermore, 250 subjects were identified in which film content is taught, mostly in the second and third year and in the area of Didactics and School Organization. It was also found that the most frequent activities carried out are the viewing of films with individual answers to questions and the film forum. This pioneering study in Spain aims to provide information as a basis for further academic training in cinema as a resource of high educational value.

Cinema e ensino tecnológico

Fatec Paradiso is a university extension project that intends to show alternative films, national and international, to students of Fatec Cotia - public institution of technological higher education in the State of São Paulo, and to the community in general, free of charge, in public spaces in the municipality of Cotia, or on the premises of that institution. The exhibitions aim to contribute to the formation of audiences for cinema, to raise awareness about the right to use public spaces and to contribute to a more comprehensive formation, not only focused on performance in the labor market. With this initiative, it is intended to provide a region in need of cinemas, a film program that allows aesthetic appreciation, and the discussion of themes related to the contemporary world or recent history. Since its inception in 2016, exhibitions have been held in different squares in the municipality, open to the entire population of the country. In the exhibitions, testimonies were collected from viewers - students and non-students, about the construction of relationships between the themes of the films and their life experiences and about the importance of carrying out activities of this type in public spaces. Fatec Paradiso’s assessment was based on the principle that activities involving art, as a way of transforming a given reality, enable the creation of new cultural policies. In this communication, we will discuss what the project represents for a peripheral region of greater São Paulo and the use of cinema as an educational experience.