Film Theory Research Articles

:Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema

:<i>Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema</i>

Michael Balcon's Vision of a National Cinema: Propaganda, the Producer and the Market

This article examines Michael Balcon's vision of a British national cinema, as articulated in a series of lectures and articles in the 1940s and early 1950s. Balcon is best known for his role as Director of Ealing films during that studio's peak years, yet he also was a significant spokesperson for Britain's film industry in a period of world war and the post-war reconstruction of Britain's social contract. For Balcon, it was crucial that British national cinema reflect the mundane qualities of daily life, that it appeal to audiences rather than hector them, and that it convey British values to international audiences in the service of cultural diplomacy. This article argues that Balcon's vision of a producer-based film theory not only served the strategic needs of an industry faced with seemingly overwhelming competition from Hollywood, but also appropriately reflected the democratisation of British society. Moreover, by addressing the state's increased need for cultural diplomacy as the material basis of its international position declined, Balcon cast cinema as a nationally crucial industry.

Unveiling Complexity: Cinematic Representations of Apartheid History and the Post-Apartheid Dutch- Afrikaner Relationship in &lt;em&gt;Black Butterflies&lt;/em&gt; (2011) and &lt;em&gt;An Act of Defiance&lt;/em&gt; (2017)

The cinematic representation of Apartheid, and in particular the tendency of using white protagonists to narrate the story of black suffering, has been the object of much scholarly enquiry but this has never included Dutch films. This article explores the representation of Afrikaner anti-Apartheid activism in Dutch cinema through an analysis of the films Black Butterflies (2011) and An Act of Defiance (2017). It investigates how these films perpetuate or challenge the paradigm of ‘white heroism’ and ‘white saviourism’ prevalent in cinematic portrayals of colonial and Apartheid history. Through a comparative study, it reveals nuanced narratives of white protagonists, highlighting their complexities as ‘tragic heroes’ rather than conventional ‘white saviours,’ yet at the same time suggesting a societal inclination towards absolving their past sins, echoing a broader post-Apartheid narrative of forgiveness and reconciliation. By contextualising these representations within broader societal discourses on colonialism and post-Apartheid reconciliation, the article sheds light on evolving Dutch attitudes towards Afrikaners, as the descendants of Dutch colonists, and their historical culpability, offering insights into contemporary Dutch engagement with issues of race, identity, and historical memory.

The "Aesthetics of Reality" in Abbas’s Films

The French film theorist André Bazin introduced the concept of the "aesthetics of reality," which is reflected in a focus on direct realism, an emphasis on the authenticity of film segments, and the promotion of non-performative acting. The "aesthetics of reality" both summarized the creative approach of Italian Neorealism and influenced the subsequent development of the French New Wave, documentary cinema, and film production across different countries and regions. This theory opened new paths in both theoretical and practical realms. It also profoundly influenced Iranian director Abbas Kiarostami’s filmmaking. Abbas, through his unique poetic audiovisual language and philosophically rich narrative structure, offers a new interpretation of the concept of the "aesthetics of reality."

Онтология иероглифа в философии кинообраза Сергея Эйзенштейна и Андрея Тарковского

In film theory, in the hermetically academic form to which it has come today, there is a quasi-conciliatory conventionality, according to which any film text finds its ‘legitimate’ place in the catalog of types, genres, movements, historical and cultural contexts. In the spirit of postmodernism, as described by Jean-François Lyotard, mass cinema is no longer the antithesis of cinema-as-art, but yet another ‘kind’ of cinema, etc. This allegedly allows one to think cinema as a totality, albeit diverse, but still united by a certain general principle. Using the example of Sergei Eisenstein’s and Andrei Tarkovsky’s approaches to constructing and understanding the film image, this article shows that it is possible to talk about different cinemas, phenomena which differ not just on the dramatic or aesthetic level, but rather on the ontological one. We use the theme of hieroglyph and the East, which the above-mentioned filmmakers have been addressing in their theoretical works, while understanding it in completely different ways, as a template by which their films are assessed. The differences that appear at the level of interpretation of the hieroglyph allow, in turn, to deduce fundamental differences inherent not only in those specific theorists and practitioners of cinema, but also to outline two essentially contradictory traditions of cinema, one of which, as it seems at the moment, has suppressed and supplanted the other.

Jewish Women in Argentine Cinema: The Transgressive Bride in Damián Szifrón’s Relatos salvajes (2014)

Abstract This article examines the final short of Damián Szifrón’s Relatos salvajes, “Hasta que la muerte nos separe,” against the context of Jewish women’s characterization in Argentine cinema since the 1930s, showing that the portrayal of Jewish women both reflects and re­sponds to key societal, cultural, and historical developments in Argentina. “Hasta que la muerte nos separe” showcases a Jewish wedding celebration where the bride transgresses the traditional gender role of the Jewish wife as submissive and passive, introducing one of the most defiant Jewish women in Argentine film. Informed by feminist film theory, this study contends that the representation of the Jewish bride as rebellious contests “natural” gender notions, thus projecting a more complex recreation of gender roles, one that is better attuned to contemporary society.

Critical comparison of interfacial boundary conditions in modelling plasma–liquid interaction

Abstract Several computational models have been developed over the past decade with the goal to investigate the various processes that occur during plasma-liquid interaction. However, many different boundary conditions to describe transfer of chemical species over the gas-liquid interface have been reported in these investigations. In this work, we employ a computational model to test these various boundary conditions, and compare the results to experimental data for H2O2, O3, ·NO and HNO2, in order to assess how well these boundary conditions can describe the dissolution of different species. We show that the validity of the different formulas depends on the solubility of the investigated chemical species; they appear valid for species with high solubility (H2O2), but not for species with low (O3 and ·NO) or intermediate (HNO2) solubility. Finally, we propose an approach to reach better agreement, based on film theory in combination with the mass accommodation coefficient.&amp;#xD;

The Influence of the Surface Density of Thermally Expanded Graphite Sheets on the Acoustic Wave Transmission

The paper presents the results of experimental and theoretical studies of the influence of the surface density of a thin porous sheet of thermally expanded graphite on the transmission coefficient of the acoustic wave. The possibility of using the theory of thin films to describe the processes of transmission of acoustic waves through porous sheet in the field of low frequencies and small thicknesses has been proven. The influence of the operating frequency on the sensitivity of the transmission coefficient to the surface density of the sheet was assessed.

Teatrologické studie Vratislava Effenbergera ze sedmdesátých let a otázka jejich zadavatele

The literary and film theorist, poet and playwright Vratislav Effenberger (1923–1986) is rightly regarded by the academic community as a galleon figure of Czechoslovak post-war surrealism. On the other hand, his extensive work in the field of theatre studies from the 1970s, influenced by the structuralism of Jan Mukařovský and Jiří Veltruský, is not very well known to the specialist public. Seven scholarly studies and a collection of translations dating from 1972 to 1979 are kept in manuscript form at the Theatre Institute and in his estate. The question remains as to why his structuralist theatrical studies have been overlooked by the specialist public, why they are not perceived at the level of the contributions of Jindřich Honzl or Květoslav Chvatík, and whether the time has not come for an annotated edition.

The cinematographic community: Fernand Deligny’s ‘tentatives’ and radical film education

Fernand Deligny’s experiments with film in the context of social work and therapeutic communities since the 1950s are part of what Marlon Miguel calls ‘semi hidden histories’, whose study is broadening the landscape of film theory and film education. Located at the margins of institutional forms of teaching and care, the ‘tentatives’ organised by Deligny involved a participatory use of the camera, the idea of film and film-making as an egalitarian and heterotopian space, and rested on the formation of radically inclusive communities. This article focuses on the proximity Deligny saw between cinema and that ‘common body’, made of contingent events and impersonal gestures, which for him constituted the common ground of the human. Inspired by the principles of éducation nouvelle, by his life with non-speaking autistic children, and taking shape through a collaboration with Gilles Deleuze and Félix Guattari, Deligny’s work placed itself within an alternative vision of education, beyond the pedagogical model later criticised by Jacques Rancière, which understands it not as a series of techniques for the transmission of knowledge, but rather as a fundamental dimension of collective life.

Mechanisms of Secondary Spreading and Micro Droplet Formation on Steel

Abstract A new theory for secondary spreading based on the wetting theory of thin films is presented. It explains how micro droplets within the spreading zone and the primary droplet retain their shape, although connected by a thin electrolyte film and how humidity and salt concentration affect the growth rate of micro droplets. The trigger for secondary spreading, polarization or alkalization, is identified by using droplets of sodium hydroxide solution. Secondary spreading thus occurs on steel from pH 13.5 without corrosion or external polarization. The limiting pH value found explains why secondary spreading on steel only occurs when certain salts are used. &amp;#xD;The effect of the substrate is investigated by changing the microstructure of the steel. By comparing the sizes of micro droplets and micro structural phases and by scanning electron microscopy/energy-dispersive X-ray analysis measurements of the spreading zone, the existence of an electrolyte film connecting the micro droplets is supported. Ecorr potential profiles of secondary spreading droplets of sodium chloride solution on steel acquired by means of SKP are used to assess the contribution of secondary spreading to the total corrosion current, which is estimated to be low compared to that of the cathodic zone at the edge of the droplet

Interrelationship between Multichannel Sound Formats and the “Embodiment” in Cinema

The article investigates the connection between the use of multichannel sound formats and the development of film theory: in particular, the ability of surround sound to “immerse” the viewer in the narrative universe, evoking proprioceptive sensations with sound which gives a new impetus to the theory of “embodiment” developing in the paradigm of phenomenological aesthetics. New sound films not only put the viewer into a new acoustic environment, but also create parallel universes represented by sound and identified by the viewer as “material”, capable of not only causing a reaction, but also “finalizing” the image in the minds of viewers. Technological innovations in sound recording and sound reproduction due to the introduction of multichannel systems have led to the transformation of auditory perception and the emergence of an entirely new type of acoustic space. With film sound becoming more multi-layered and omnidirectional, the auditory component has been elaborated with synthesized textures as a result of sound design. The aesthetic potential and expressiveness of the “format” sound has broken a new ground in the progress of virtual reality in film and affected the viewer’s artistic perception of the latest works of screen art as well as the development of new theoretical ideas.

‘Breaking’ the Silence and ‘Fighting’ Back: Changing Representations of Female Response to Gender-Based Violence in Select Malayalam Films

Abstract Representation, particularly mediated forms such as cinema, has always been a powerful tool to enable social change. On the one hand, cinema functions as an instrument that reinstates hegemonic patriarchy, but on the other, it also becomes “a tool for political resistance and subversion” (Lauret, 1991, p. 66). Recently, South Asian cinema and, more specifically, the corpora of Malayalam cinema1 has emerged as an empowering platform that addresses structural and institutionalised inequalities of gender. Broadly, the paper discusses the shift in the representational praxis of gender-based violence in Malayalam cinema, more specifically, the female protagonists’ responses to violence. Specifically, the paper focuses on two recent Malayalam films, Jaya Jaya Jaya Jaya Hey (2022) and The Teacher (2022). The films present vigilantism as a means of female empowerment, offering an alternative narrative to traditional portrayals of victimhood, and how it can resist feelings of powerlessness in the face of gender-based violence. Therefore, anchoring on Laura Mattoon D’Amore’s theoretical framework of vigilante feminism (2017), the study examines the intersection of vigilantism, gender-based violence, and cinematic representation, in an attempt to locate both the covert and overt forms and responses surrounding violence against women.

‘All you got to do is aim and pull the trigger’: Cinematic adaptations of the Punisher

This article examines the complex cultural and political representations and adaptations of Frank Castle, Marvel’s the Punisher, who first appeared in 1974 and again will appear in 2025. While his early visual representations were as a secondary character to Spider-Man, by the 1980s the Punisher became an exemplar of the decline of American urban society, the trauma of the Vietnam War, the growing distrust of law and the rise of Reagan masculine individualism. Charting the shifting cultural and political contexts of the Punisher’s earlier comic book representations grounds discussions of representations of the Punisher’s cinematic representations from the 1980s onwards.

Cinematic Language under the Female Gaze: A Case Study of Li Yu

Abstract: This paper aims to discover the concept of the female gaze in the movie Lost in Beijing by Li Yu. The female gaze is a film theory that is in opposition to the male gaze, which is a way of viewing women as sexual beings and not as complex people. This paper posits that Li Yu uses the female gaze as a post-modernist technique to focus on the emotional and psychological aspects of the female characters, thus overturning the established Patriarchal gender norms and bringing to the fore the issues of gender inequality in contemporary Chinese society. Certain filming approaches, including those that include close ups and reflective shots, affect the experience of the film's main subject, who are women. The research also reviews the variance between the 'male gaze' and the 'female gaze' in movies, pointing out that the former is much more forthright and authentic in its portrayal of women. Lastly, the paper considers the further developments of the concept of the female gaze and possibilities to transform the film industry from the perspective of the female representation.

Feature and animated films: specifics of cinematic representation of cruelty

Feature and animated films: specifics of cinematic representation of cruelty

Gender Representation in Film and Media

The representation of gender in film and media plays an important role in shaping societal norms and influencing public perception of gender roles. This paper examines gender portrayals across media, spanning historical, theoretical, and cultural perspectives to address both the constraints and transformations within gender representations. By analyzing stereotypes, tropes, and the influence of feminist and queer theories, this study sheds light on the impact of media’s portrayal of gender on societal attitudes and expectations. Additionally, it investigates how intersectionality complicates gender representation by considering the combined influences of race, sexuality, and socioeconomic status. This review provides a comprehensive critique of how film and media continue to shape gender narratives while pushing toward a more inclusive, multi-faceted understanding of gender identities. Keywords: Gender Representation, Media Studies, Film Theory, Stereotypes, Intersectionality, Feminist Theory.

A novel condensation heat transfer correction based on non-equilibrium film theory and degradation mechanism for zeotropic mixture

Energy conversion based on thermodynamic cycle using zeotropic mixtures is an effective strategy for advancing global low-carbon development in the context of carbon neutrality. However, the deficiencies of existing heat transfer mixtures models and the complex condensation mechanisms of zeotropic refrigerants pose significant challenges to the size design and optimization of heat exchangers, which can directly impact the economic efficiency and operational safety of thermodynamic cycle systems. Thus, there is an urgent need for a simplified and universal correction method that incorporates mixing effects to improve prediction accuracy of conventional models. In the present study, a non-equilibrium condensation heat transfer model based on film theory was developed and validated to analyze the influence of various parameters on heat transfer degradation and heat transfer coefficients of zeotropic mixtures inside horizontal circular tubes. Through multi-factor sensitivity analysis and dimensionless method, a degradation factor characterizing the gradient contributions to heat transfer degradation was proposed. Based on the proposed factor, a simplified non-equilibrium model considering mixing effect without complex computations was developed. Using the new developed non-equilibrium model, prediction of a database containing 1813 experimental points was conducted. A deviation of 15.7 % between the predicted values and the experimental values was achieved, demonstrating remarkable predictive accuracy and significant generalizability compared to existing mixture models. Extending this corrective method to various pure substance models resulted in a significant improvement in accuracy.

An image too many: the contemporary biopic, the historical body, and the documentary footage trope

Abstract This article explores the inclusion of historical footage at the end of biopics. The impact of such footage, commonly appended to recent films, varies depending on the specific film. By drawing on theories of viewership, historical film, ontology, and epistemology, this investigation attempts to shed light on why this footage is sometimes, but not inevitably, troubling. Its analysis of the use of such footage in Bohemian Rhapsody and I’m Not There delves into the viewer’s relationship with images and the complexities arising from the intersection of reality and fiction. By exploring the shifting modes of engagement that influence the viewer’s experience, the analysis suggests that this choice may imply a claim to historical authenticity or truth. In questioning the reasons for the increasing prevalence of this trope in contemporary biopics, this article considers the implications of blurring the boundaries between the real and the imaginary.

On What Lacks in Current Film Theory

The review does not make the case that the recent republication of George Littera’s work is relevant for todays film criticism. On the contrary, it suggests that contemporary film criticism might not stand very well in the light of Littera’s work. In particular, it shows how his writing is concerned with the idea of value and contradictions, which is less investigated in new work concerned with subjects of history such as the working class. First, it details Littera’s assessment of Soviet avant-garde cinema. Second, it compares his book with the work of one of his UNATC collegues such as Florian Potra. Finally, it briefly investigates a mode of production and essay writing which has disappeared as technique.