Cinematographic Art Research Articles

Methodology of visual techniques in the cinematographic art of Kazakhstan in 1930-2020

Cinematography in the Republic of Kazakhstan has a century-old history that began in the 1930s and continues today. During this period, a large number of films were created reflecting the culture, history, social and political aspects of the country’s life. Therefore, the relevance of the study lies in the knowledge and preservation of valuable aspects of the cinematic legacy, the examination of cinematography and highlighting practical aspects of visual techniques in cinematography. The purpose of the study is to identify a clear difference between cinematic codes in the visual representation of films created in different periods of the development of Kazakh cinema. The following research methods were used in the study: analytical research, systematisation, comparison and generalisation. As a result of the study, it was possible to examine the periodization of the development of Kazakh cinema, which helped to understand its evolution and development at different stages. This study examines the picture of the world reflected in the films “Amangeldy” (1938), “Racketeer” (2007), and the film “Paralympian” (2023). Based on this, an analysis of their visual techniques was conducted, which allowed identifying their unique features and contribution to the cultural legacy. The study analyses current trends in the methodology of visual techniques, especially in the use of digital technologies, which opens up new opportunities for cinematographers. The importance of maintaining a balance between new trends, cultural values, and traditions of the Republic of Kazakhstan is emphasised. The study on the methodology of visual techniques in the cinematographic art of Kazakhstan can be used by modern cinematographers and students interested in this field.

Il cinema come arte del sogno

Raging Bull (Scorsese, 1980) and Veronika Voss (Fassbinder, 1982) are apparently very distant, but they present very profound traits of union. Both Scorsese and Fassbinder, in portraying their protagonists, use black and white cinematography, often resorting to the use of photographic flashes to accentuate the illusory sensation of a dream of glory. In Veronika Voss there is an openly dreamlike sequence, in which the spectator witnesses the protagonist's farewell to her dreams of greatness. Scorsese, in Raging Bull, apparently refuses to venture into the dreamlike representation of his protagonist's psyche. The vision of Raging Bull, however, is a highly evocative poetic experience: the suspension with respect to reality – that is, the sensation of witnessing the representation of a dream of glory and not of a mere fact – is achieved through the use of the soundtrack, cinematography, editing and, in general, of means that constitute the specifics of cinematographic art.

Aesthetic Grounds and Practice of Screen Adaptations of Theatrical Productions in the Light of Film and Television Language in the 1970s

The aesthetic grounds and methods of screen adaptation of theatrical performances in the context of film and television art in the USSR in the 1970s are investigated in the article as well as the influence of film and television technologies on the theatrical genre, the peculiarities of the adaptation of stage performances to the cinematographic and television environment. Attention is also paid to the revealing the peculiarities of cinematographic art as a synthetic phenomenon and its interaction with the theatrical tradition. These issues are considered in the context of the cultural and political realities of the USSR of that period, highlighting the relationship between aesthetic searches and ideological attitudes of the era. In general, a deep and systematic understanding of the process of film adaptation of theatrical performances within the framework of Soviet cinema and television art of the 1970s is submitted in the article. Since the films of this period become a time of development of existential problems of human life. The typical life of a Soviet person recedes into the background, instead, the basis of the plot becomes the search for peace of the soul, its urges for freedom, which usually unfolds against the background of something insignificant. Unlike the adaptations of literary works, when ”current ideological content” is imposed on classical original sources, adaptations of the best plays of leading Ukrainian theaters have offered perfect art, introduced a wide audience to the achievements of stage masters. But the screen adaptation of the performance is a fixation of one staging, which, of course, is shown unchanged on movie screens. The play cannot remain as it is conceived from the very beginning, and therefore gradually it has started to transform itself according to the requirements of television. However, such transformations are not always successful either. This is the beginning of the creation of a kind of the average genre between cinema and theater, which wished for better, because the aesthetic content of such a specific genre has remained opened.

MATEMÁTICA E CINEMA AO LONGO DE 25 ANOS: ALGUMAS INTERPRETAÇÕES

ABSTRACT: The paper consists of qualitative research that aims to analyze cinematographic works that explore Mathematics in their plots. To do so, we sought to understand the origin and development of media as information technology tools, in order to trace back the establishment of cinema as a storytelling mechanism - also recognizing its functionalities. After refined searches on the internet, we found 23 movies that feature scientists’ concepts and/or stories in the realm of Mathematics, released in a 25-year interval (between 1997 and 2021). These movies were viewed, classified, and analyzed according to three categories: Mathematics as background; Mathematics as a narrative tool; and mathematicians. The analysis brings a variety of mathematical approaches and references, and, as a result, we concluded that watching fictional stories, as well as those based on real events, can help us to better understand who the mathematical revolutionaries portrayed were and/or how Mathematics can interconnect with the cinematographic art, building engaging narratives while also demonstrating the versatility of this area of knowledge.

À la croisée des arts scéniques et cinématographiques : le compromis esthétique du film-théâtre

Cet essai explore les interactions entre la mise en scène d’André Engel du Roi Lear de William Shakespeare (dans la traduction de Jean‑Michel Déprats) et la version filmée réalisée par Don Kent dans le contexte du film-théâtre. Il met en évidence les manières dont les techniques cinématographiques façonnent la mise en scène d’Engel et comment, à son tour, l’esthétique scénique conditionne les choix de filmage de Don Kent. Une courte analyse de la réalisation de Corentin Leconte du Roi Lear de Thomas Ostermeier à la Comédie-Française, filmé pour Pathé Live, permet de mettre ces films en regard afin de déterminer s’ils correspondent à la catégorie de film-théâtre tel que je la conçois. Cet essai décrit alors l’échange intermédial à l’œuvre lors du passage d’un mode de présentation à un autre, d’où émerge l’esthétique distinctive du film-théâtre, à la croisée des arts scéniques et cinématographiques.

Cultural Diplomacy in the Eastern European Space: Culturological Aspect, Current Trends

The purpose of the work is to reveal cultural diplomacy in the Eastern European context in terms of the role of cultural relations in the formation and development of international relations. Research methodology consists in the use of the following methods: descriptive, analysis and synthesis, comparison, generalisation, forecasting. The use of these methods contributes to the formation of an understanding of the influence of cultural relations on the development of international relations. At the same time, the use of these methods allows to consider the topic in both theoretical and practical terms. Thus, special attention is paid to the method of forecasting, because it can be used to determine how cultural diplomacy will develop in the future, its main directions, methods and means of influencing the international audience. The scientific novelty lies in the fact that for the first time cultural diplomacy was thoroughly investigated in the aspect of the Eastern European region as a link between culture and international relations. At the same time, the understanding of cultural diplomacy as a multifunctional system that spreads and creates new cultural contexts, based on the informative, cultural and educational, meaning-creating functions of culture and art, has been improved. Conclusions. Cultural diplomacy is an important aspect of establishing international relations between states through the means of culture and art. The essence of the conducted research is determined by the fact that cultural diplomacy at the modern stage is given more and more attention. In particular, with the help of diplomacy through the means of culture, it is possible to improve the image of the state, establish cooperation with various international partners, and present one's culture in a dignified manner on the world stage. Today, it is impossible to imagine the activity of any institution without cultural diplomacy, which aims to present the state in a dignified manner on the international arena. At the same time, in the future, Ukraine and the countries of Eastern Europe will use such areas as music and cinematographic art to establish cultural ties with other states.
 Keywords: current issues of cultural studies; cultural diplomacy; culture and art; current culture.

Розвиток кінематографа та діяльність кінотеатрів у Кам’янці-Подільському на початку ХХ ст.: за матеріалами газети «Подолянин» (1910-1911 рр.)

The purpose of the study is to use the existing source base to cover the proces- ses of formation and development of cinematographic art and the functioning of cinemas in Kamianets-Podilskyi in the early twentieth century on the pages of the local Podolianyn newspa- per. Th e research methodology is based on the principles of a specifi c historical approach, ob- jectivity, comprehensiveness and integrity, as well as the use of methods of analysis and synthe- sis, historical-comparative, and problematic-chronological. Th e scientifi c novelty is the fact that for the fi rst time in historiography it was shown how cinemas developed in Kamianets-Podilskyi; the sources we identifi ed, namely, publications in the Podolianyn newspaper, made it possible to study the social history of cinematography on the basis of the provincial case, to consider cinema as a phenomenon of culture and history, and to analyze the number and functioning of cinemas in the city in the early twentieth century. Conclusions. Th e emergence of cinema in Kamianets- Podilskyi dates back to 1901, and the popularization of Kamianets cinema was facilitated by the publication of the local Podolianyn newspaper, the fi rst issues of which were published in September 1910. In addition to publishing advertisements with dates and schedules of movie shows, the newspaper also popularized the Humanitarian Society cinema, stating that part of the collected money would be used for charity. In early March 1911, Kamianets-Podilskyi was visited by an authorized representative of a cinematographic company in Russia, who noted that Kamianets-Podilskyi cinema theatres were maintained at a decent level and all worked on elect- ricity. It is also worth mentioning that local photographers produced their own fi lms. Thus, we can conclude that cinematography appeared in Podillia, quite soon aft er its appearance, due to the proximity of the borders with European countries. At the same time, there were several cin- emas in the city, which generated competitiveness. Photographers became interested in the new business, mastered new technologies, bought movie projectors, and created fi lms. In general, the issue of the development of cinematographic art in Kamianets-Podilskyi has not been the subject of in-depth studies by Ukrainian researchers, which requires a detailed study in the future.

LINGUISTIC AND CULTURAL PECULIARITIES OF NIGERIAN SCREENPLAYS

The article deals with the features of linguistic and cultural picture of the world representation on the example of Nigerian screenplays. The authors of the research analyze the features of the Nigerian cinematographic art which is the reflection of the Nigeria national picture of the world, that is subject to the dominant influence of the British English language influence. In the course of the work, the key characteristics of the screenplays of Nigeria are revealed, viz. the influence of the phenomenon called creolization which is the forced adaptation process of the British English language to the norms of the Nigerian autochthonous languages and cultures. The key characteristics of the Nigerian screenplays grammatical structures are due to the interference processes of autochthonous Nigerian languages Hausa, Yoruba, Igbo with English.

The transformation of the director's vision in relation to the structure of virtual space in cinema

The subject of research in this article is the process of creative design by the director, which undergoes changes when transitioning from traditional cinematographic space to the world of virtual reality. A significant role is given to the technical component of VR cinema. The importance of this topic is undeniable, as it touches the foundations of cinematographic art and is of interest to a wide range of specialists in the field of film and virtual reality. It raises issues of creative freedom, technological capabilities, and new forms of interaction between the author and the audience. The aim of the work is to consider how the role of the director changes in the context of creating virtual worlds, and how new opportunities provided by technical innovations affect the structure and perception of cinematographic works. Based on comparative analysis methods, the work attempts to understand the transformation of the director's creative design in the context of virtual space. The novelty of the work is determined by the fact that it carries out a comparative analysis of traditional and virtual approaches in cinema, as well as provides a tentative forecast for the development of VR cinema, describes the role of artificial intelligence and machine learning in the narrative component of cinema. Since virtual reality carries the potential for radical changes in direction, the work touches on aspects such as narrative and stylistics in classical and VR cinema, the role of the viewer, control of viewer perception by the director, the emotional impact of VR and classical cinema, visualization features, as well as psychological aspects that distinguish classical and innovative approaches. The future of virtual cinema promises an expansion of the boundaries of what is possible in storytelling.

Interior monologue in cinematographic art as a way to convey the character’s thoughts and feelings

Cinematographic art uses various and multiple expressive methods, including those borrowed from literature and theater, one of which is the inner monologue. In a film, the inner monologue is usually short, succinct, like a flash of the mind reflecting on what is happening, or a thought about certain possible consequences, or some evocations… Since, the purpose of a film is not just to present the characters’ world of actions and passions, but also their spiritual life.

Environmental and sociocultural issues: the movie "Brave New Land” (Brava Gente Brasileira) and dialogues with students in the Institutional Scholarship Program for Teaching Initiation (PIBID – Biology)

This work was carried out based on an analysis of the assessment made by students in the Institutional Scholarship Program for Teaching Initiation in Biological Sciences (PIBID) at the Universidade Federal de Lavras - MG (UFLA), where they presented their insights about the movie “Brave New Land” (Brava Gente Brasileira). The objective was to seek elements that demonstrate how the film dialogues with sociocultural and environmental issues, promoting addition to the training of biology teachers. With this goal, we used qualitative research that fits the content analysis, categorizing these students' common statements. We found 5 categories exposed in a frame, where we noticed how sociocultural issues stand out, however, the film brings relevant considerations about the Pantanal environment and the relationship between the traditional peoples with this place. Thus, it is possible to conclude that cinematographic art manages to dialogue and build a critical view of the relationships of the most diverse cultures with the collective and the environment.

Pedagogical experiences in non-formal education spaces: stop Motion workshops as methodological contributions to teaching and learning

This text comes from two experiences of learning in non-formal spaces, such as museums and science centers. The first experience is a short course held in 2017 at the Federal University of Viçosa (UFV) during the Farmer's Week. The second experience refers to thematic workshops held in the classroom. The authors in this experience report examine the significance of activities in non-formal learning spaces, in this specific case, museums and science centers, proposing the use of cinematographic arts, with a focus on animations, to integrate museums-schools in the community /university through the meaning and re-signification of museums as privileged learning spaces. As a result, we experience the creation of new methodological instruments in developing new pedagogical practices involving non-formal learning spaces, re-signifying the extra-class knowledge of the investigated subjects.

Фактура Шестой симфонии Гии Канчели: стилевые особенности

The article is devoted to disclosing the peculiarities of the texture of Giya Kancheli’s Sixth Symphony for large symphony orchestra as the most significant component of the style of the composition. The genre-based basis of the composition, the timbral and dynamic levels of the artistic system are researched in correspondence with this aim. The following elements are situated within the author’s range of vision: the stratified textural phenomena and their block varieties, which essentially transform the image of the score: modulation processes based on effects of suddenness and unexpectedness. The later become characteristic patterns of a montage type of dramaturgy and also a testimony of the connection between the mastery of textural statuary art with the cinematographic art, which has proved itself very fruitful for Kancheli’s symphonic genre. This connection is examined in the article under the angle of coverage of the principle of mutability of texture as a constantly changing substance. This provides a demonstration of new methods of cohesion of textural plans capable of conveying the contradictions and paradoxes of the contemporary world in a musical text.

Th e montage film: from the document-image (of archive) to the actual audiovisual production

It is somewhat unusual that the montage fi lm (documentary) does not yet benefi t from a well-defi ned aesthetic status, starting from its name itself. In the few specialized works that refer to this kind of audiovisual production, especially of Russian expression, various defi ning features are used: “compilation fi lm”, “archive fi lm”, “cinematheque (mediatheque) fi lm”, “documentary-archival fi lm”, etc. We believe that the most appropriate name would be “montage fi lm”, because the given phrase encompasses a fundamental concept both for cinematographic art and, in terms of the theory and practice of the respective genre or format, namely, the montage (key operation in the edifi cation of the expected audiovisual reality). We also undertook a foray into the history of montage fi lm, bringing to the fore illustrious names and signifi cant examples from Soviet cinematography: Dziga Vertov, Esfi r Shub and Mikhail Romm. Other montage fi lms intended to complete our applicative analysis were taken from the Romanian audiovisual space, as well as from that of the Republic of Moldova.

Культурно-правовой феномен В.Г. Баева (в память об ученом, преподавателе и общественном деятеле)

The main stages of the life path of Doctor of Law, Candidate of Historical Sciences, Professor Valery Grigoryevich Baev are highlighted. His contribution to the development of education in the Tambov region was noted both in the course of scientific, pedagogical activities, and as a result of administrative work in state and local government bodies. Attention is paid to the applied V.G. Baev pedagogical methods based on the interactive format of the relationship between the teacher and the student, the involvement in the educational process of the most prominent representatives of practical jurisprudence, as well as Russian and foreign scientists, the use of works of fiction and cinematographic art to discuss ethical issues of professional activity of a lawyer. In particular, it was noted that practical classes became a platform for scientific discussions, as well as discussions of ethical problems of the legal profession, when each student in the group was a participant in them, and the axiological approach to the study of law formed an awareness of its unconditional authority and significance, which happened through acquaintance with the world masterpieces of domestic and foreign literature and cinematography, helped education of a comprehensively developed personality. The scientific works of the scientist devoted to the peculiarities of German constitutionalism of the second half of the 19th – first half of the 20th century are analyzed.

Manifestations of Drama in Feature Films

The purpose of the article is to study the manifestations of drama in feature cinema and to consider dramaturgy and conflict as the main aspects of feature cinema to form the interest of the audience. The research methodology is based on the use of analytical and systematic methods (to comprehend the basic principles of the conflict as a result of the theoretical material’s study and analysis of its interpretation specifics in the artistic structure of the film and to determine its place in the construction of a film); method of theoretical generalization (to summarize the manifestation of drama in feature films and its role in shaping the interest of the audience). Scientific novelty. The modern film industry is built on a variety of stories based on the drama of the plot, which is built on conflict (conflict between peoples, countries, and worlds). The modern literature, in particular of Ukrainian authors, has been processed, which made it possible to conclude the interest in the outlined topics in the context of national theoretical thought. Conclusions. Dramaturgy in feature films is a way of organizing the material and methods of dynamics of viewer interest. Dramaturgy, built by the modern needs of the viewer, forms the success and high rating of feature films. As a result of the theoretical sources analysis and consideration of individual examples of cinematographic art, it is possible to determine the fundamental differences in the construction of the collision of the screen spectacle with the literary work. Thanks to this, it was possible to outline the specific means by which the director or playwright of the film industry can achieve the goal.

METALEPSIS AS A META-REFERENTIAL DEVICE IN PROFESSIONAL ARTISTIC COMMUNICATION

Our contribution focuses on the trans-medial concept of meta-reference. One of the main meta-referential devices is metalepsis which has been transferred from narratology to different other arts becoming a modern way of addressing the diegetic audience. We comment upon ascending, descending, horizontal metalepsis, and their effects in cinematographic art (e.g. Bergman’s, Allen’s, Haneke’s movies). Based on broken aesthetic illusions and diegetic frames, these movies offer wide possibilities to analyze self-reflexive cinematographic devices. If there is a greater level of symbolic, diegetical and dramatic motivation, the device loses its anti-illusionist effect on the audience. The directors found ways to demonstrate that their rebel characters are of a sort of victims of the movies being no longer able to see the difference between reality and fiction, and believing that the world itself responds to a remote control or that everything is rewindable.

Kosmogonie en literaire filmkunst in Blaise Cendrars’ en Fernand Légers La fin du monde filmée par l’ange N.D.

This essay explores the use of irony and media experimentation in Blaise Cendrars’ and Fernand Léger’s cinematographic art book La fin du monde filmée par l’ange N.D. At the beginning of the twentieth century, early film carved out new possibilities for the human sensorium. Many writers regarded the camera as a new aesthetic instrument, which redefined the common perception and understanding of the world. In Cendrars’ and Léger’s artist book the use of the camera led to a very special result: the camera was inscribed in a story about the end of the world, which is ironically twisted into the story of its resurrection.

PECULIARITIES OF THE INFLUENCE OF SYNCRETIC ART ON THE DEVELOPMENT OF CREATIVE THINKING OF PRIMARY SCHOOL STUDENTS

The article presents the peculiarities of the influence of the synthesis of art types on the main psychological barriers to creative thinking, which inhibit the process of developing creative thinking in children of primary education age. The scientific works of famous psychologists and teachers who worked on the development of creative thinking and the impact of various arts on it and the world’s practical achievements in this field are studied. The main features of syncretic art are outlined, in particular, its nature of origin, ability to influence the subconscious, perfect combination of sound, words, movement, music, emotion, action, image, colors in a single synergy. The issue of the impact of theatrical and cinematographic art on the development of the main four components of adult creative thinking is considered. The expediency of focusing on the organization of individual, not only collective theatrical types of work is revealed. The importance of forming healthy emotional and psychological connections in the system “child – child” and “child – teacher” in the application of elements of syncretic art in educational activities is described, as well as the role of such connections in the development of creative thinking of primary school children. The role of the introduction of syncretic art in the formation of a person of the future, who will be able to fully meet the requirements of society, is described. The article also describes the process of transferring images from cartoons or films by a 6–8-year-old child into real life, which is reflected in behavioral features, ways of self-expression, etc.
 Keywords: syncretic art; dramatization; theater; cinema; creative thinking; barriers to creativity; emotional and psychological connections; educational process; Elementary School.

FILM ART AND CONVERSATION CIRCLE AS AN LEARNING STRATEGIES IN BIOETHICS FOR COLLECTIVE SUBJECTS

Films are important tools of communication, expression, and perception of the world and important tools in the teaching and learning process. The present article aimed to analyze the discourses that emerged from the cinematographic work, having the conversation circle as a strategy for problematizing bioethics in the work process of teachers, students, and health workers. This is a descriptive study with a qualitative approach, with data collected from an interview guided by a semi-structured script. Faculty, students, and health workers participated in the study. Data analysis based on the content analysis technique, supported by the Atlas.ti version 9.0 software, enables the identification of two thematic categories: film art as a strategy for bioethical reflection and bioethical implications in teachers’ daily practices, students, and health professionals. The results revealed that the use of cinematography engenders a new formulation of the teaching-learning process, allowing participants to reflect on everyday ethical dilemmas. It’s concluded that it’s imperative to broaden debates with bioethical approaches, anchored to cinematographic art, as an effective method to stimulate reflective thinking.