Cinematographic Images Research Articles

Film-Induced Tourism as a Key Factor for Promoting Tourism Destination Image: The James Bond Saga Case

This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study’s methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers.

Unsettling Assemblages: Anxiety and Materiality in La Ciénaga (Martel, 2001) and Distancia de rescate (Llosa, 2021)

This article explores the relationship between anxiety and the nonhuman in the films La Ciénaga (Lucrecia Martel, 2001) and Distancia de rescate (Claudia Llosa, 2021). The recognition of the material continuity between the characters and their environment is central to the production of negative affect in both diegesis. Anxiety is condensed in specific signifiers that produce a palpable tension between absence and excess, and in the configuration of milieus where overproximity among agents is unavoidable. In addition, the liminality of interiority and exteriority, the hybridization of the self and the vulnerability of the body to toxic substances contribute to this oppressive affective landscape. Anxiety, as a signal of danger, points towards foundational fears around the blurring of ontological boundaries between the human and the nonhuman. The impossibility of isolation emerges in these films as an anxious trace in the form of cinematographic images, through characters that try to navigate a world in which dualism and human exceptionalism are being questioned.

Doppelganger symbolism at the dawn of French Cinema

The pioneers of French cinema founded the audiovisual language which allows narratives with moving images, while developing techniques of capture and editing, recording and representation, sequence and superposition of shots, multiple exposure frames, of appearance or disappearance. For Morin, this ghostly duplication of the world by the cinematographic image is motivated by the symbolic image of the double, which brings together dreams and cinema. In this article we discuss such symbolism in empirical reference objects of this initial moment of the Seventh Art.

Cinematography in V. Nabokov’s novellas from <i>The Return of Chorb</i> [<i>Vozvrashchenie Chorba</i>] cycle

The image of a motion picture emerges in Nabokov’s early works collected under the title The Return of Chorb [Vozvrashchenie Chorba], years before his major ‘cinematographic’ novels. The article considers cinematography as a theme of three novellas in the collection and explores its functions. It argues that, as well as integrating the image of a film in his characteristic system of reflections and refractions, Nabokov employs it to create metatextual self-reflection: in Nabokov’s view, literature has cinematographic potential for conjuring up optical illusions and plunging the reader into a hallucination or a dream, and in doing so denies its own realistic or mimetic qualities. Just like a motion picture, Nabokov’s novellas are first and foremost interplays of colour and light and their movement — features that distinguish a cinematographic image from a photographic one. Nabokov also speaks of audial imagination as another common element between films (silent at that time) and literature: according to the novelist, a verbal image, silent and visual by nature, allows for the inaudible to be heard and challenges the veracity of the visible.

Robust Dual Digital Watermark Applied to Antique Digitized Cinema Images: Resistant to Print-Scan Attack

Nowadays, advances in information and communication technologies along with easy access to electronic devices such as smartphones have achieved an agile and efficient storing, edition, and distribution of digital multimedia files. However, lack of regulation has led to several problems associated with intellectual property authentication and copyright protection. Furthermore, the problem becomes complex in a scenario of illegal printed exploitation, which involves printing and scanning processes. To solve these problems, several digital watermarking in combination with cryptographic algorithms has been proposed. In this paper, a strategy of robust watermarking is defined consisting of the administration and detection of unauthorized use of digitized cinematographic images from Mexican cultural heritage. The proposed strategy is based on the combination of two types of digital watermarking, one of visible-camouflaged type based on spatial domain and another of invisible type based on frequency domain, together with a particle swarm optimization. The experimental results show the high performance of the proposed algorithm faced to printing-scanning processes or digital-analogue attack, and common image geometric and image processing attacks such as JPEG compression. Additionally, the imperceptibility of the watermark is evaluated by PSNR and compared with other previously proposed algorithms.

Пейзаж на театральном занавесе, чайном блюдце и экране веера: экфрасис в произведениях О. Бердсли, Р. Фирбенка, М. Кузмина

The article studies the influence of Aubrey Beardsley on the English prose writer Ronald Firbank and Russian poet Mikhail Kuzmin, both of whom worked at the beginning of the 20th century. Theanalysis of literary works in the article is based on comparative-historical and aesthetic-poetological ap-proaches. The ekphrasis of the palace in Firbank’s novel The Artificial Princessis shown to have intermedial connections with A.Beardsley’s novel Under the Hill, or the Story of Venus and Tannhäuserand with M.Kuzmin’s poems Fuji in a Saucerand The Northern Fan. Comparative analysis leads to the conclusion that the relationships between nature and art in the works of Beardsley, Firbank, and Kuzmin are viewed through the prism of culture. In Beardsley’s novel, the landscape of a lake with frogs is created in the hero’s imagination and reflects his desires and fears, which emphasizes the romantic genesis of decadence. The de-scription ends with the assumption that the lake does not really exist, but is only painted on a theater curtain. Firbank presents the ekphrasis of the palace park from different points of view. Reality is transformed not so much by the subjectivity of vision as by its paradoxical perspective. The ‘deceptive expanse’ of the land-scape, narrowing, is compared with the image on a porcelain cup or saucer, or on the silken panel of a fan –‘so much... in so little’.In Kuzmin’s ekphrastic poem Fuji in a Saucer, the landscape simultaneously nar-rows and expands, demonstrating the unity of nature and art. Unlike the landscape descriptions by Beardsley and Firbank, Kuzmin’s poem immediately indicates the ekphrastic nature of the description, which deter-mines its genre integrity. In Firbank’s novel, the leaves of the fan in the hands of the princess cross the night sky with twin-kling planets leading into the world of dreams and imagination. A direct reference to Charles Conder indi-rectly points to the tradition of Beardsley, whose drawings the creator of the fan admired and imitated. Kuzmin’s poetic cycle The Northern Fanopens with a direct reference to Beardsley, whom Kuzmin com-pared with his friend Yu.Yurkun (the cycle is dedicated to him). Each poem is like a leaf of a fan, but while the first poem mentions only the material and details, the last one describes the movement of the fan leaves as four elements and four cardinal points, reminiscent of the film by J.Méliès The Wonderful Living Fan. The transformation of the fan in this film ends with the rotation of the planets in the starry sky, as on Fir-bank’s fan. Thus, ekphrasis in the works of Firbank and Kuzmin, aesthetically ascending to Beardsley, is distinguished by a change of points of view, by allusions to cinematographic images and the realities of the 20thcentury.

The action of self- and cast shadows on the mechanisms of perception and representation of the cinematographic image

The action of self- and cast shadows on the mechanisms of perception and representation of the cinematographic image

Employing modern audio technologies In the narrative of the cinematographic image

ترجع اهمية هذه الدراسة الى محاولتها الوقوف على التطوير التكنولوجي في مجال الابداع الصوتي، والذي بدأ يغزو السينما العالمية بصورة مضطردة وتحليل مساحة كبيرة عبر مراحل العمل بالانظمة الحديثة واتباع تقنيات ومعالجات خاصة اثناء مراحل ماقبل الانتاج، والانتاج والانتاج اللاحق بدرجة تتناسب مع التقنية المطلوبة لتنفيذ مراحل الانتاج للحصول على شريط او مجرى صوتي له الفعالية الدرامية والجمالية ومستوفي لكل الشروط الفنية. بأستخدام الوسائل التكنلوجية الحديثة. في محطات العمل وبمساعدة الوحدات الالكترونية ومكتبات المؤثرات الصوتية ( (sound effects librariesالتي هي مجموعة من الاصوات محفوضه على وسيط ما. وتلك الوسائل التي تعمل في مرحلة الانتاج الصوتي اللاحقة من خلال انظمة العرض الرقمي المجسمة dolby digitl وdts ونظام sdds. وبعد توفر الاجهزه التقنية والالكترونية الحديثة التي تغطي جميع متطلبات نجاح انتاج شريط الصوت السينماتوغرافي تقنياً وجمالياً ودرامياً لدعم الصورة ،لذلك حدد الباحث بحثه بعنوان توظيف تقنيات الصوت الحديثة في سردية الصوره السينما توغرافية

Main marketing trends in the Russian cinema market in the current realities

The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programmes were analysed. The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. The results of the study can serve as a basis for evaluating the effectiveness of marketing strategies.

A imagem-movimento sob palimpsestos visuais nas Escolas de Samba do Rio de Janeiro

The existence of a “cinema spirit”, a transcendent essence of movement-image, characterizes the hypermodernity (Lipovetsky e Serroy 2009). In a world simultaneously phagocytosed by cinema and cinephagic itself, the seventh art composes the imaginary of all humanity and integrates the aesthetic unconscious in the 21st century. In this context, cinema can be considered as a matritial form that is expressed in other practices and representations. The influence of film culture is also evidenced in the parades of samba schools in Rio de Janeiro: from metropolitan robots to superheroes, the show repeatedly presents multiple references - textual or visual - to cinema, and plays an important role in the consolidation and transmission of film memory in Brazil. This article proposes, therefore, a reflection on the relations of intertextuality between the parades of the samba schools of Rio de Janeiro and cinematography, in order to understand the various plans according to which the carnival image presents itself as a palimpsest (Genette 1989) of the cinematographic image.

Time-Resolved Atomistic Imaging and Statistical Analysis of Daptomycin Oligomers with and without Calcium Ions.

Daptomycin (DP) is effective against multiple drug-resistant Gram-positive pathogens because of its distinct mechanism of action. An accepted mechanism includes Ca2+-triggered aggregation of the DP molecule to form oligomers. DP and its oligomers have so far defied structural analysis at a molecular level. We studied the ability of DP molecule to aggregate by itself in water, the effects of Ca2+ ions to promote the aggregation, and the connectivity of the DP molecules in the oligomers by the combined use of dynamic light scattering in water and atomic-resolution cinematographic imaging of DP molecules captured on a carbon nanotube on which the DP molecule is installed as a fishhook. We found that the DP molecule aggregates weakly into dimers, trimers, and tetramers in water, and strongly in the presence of calcium ions, and that the tetramer is the largest oligomer in homogeneous aqueous solution. The dimer remains as the major species, and we propose a face-to-face stacked structure based on dynamic imaging using millisecond and angstrom resolution transmission electron microscopy. The tetramer in its cyclic form is the largest oligomer observed, while the trimer forms in its linear form. The study has shown that the DP molecule has an intrinsic property of forming tetramers in water, which is enhanced by the presence of calcium ions. Such experimental structural information will serve as a platform for future drug design. The data also illustrate the utility of cinematographic recording for the study of self-organization processes.

Time-Resolved Imaging of Stochastic Cascade Reactions over a Submillisecond to Second Time Range at the Angstrom Level

Many chemical reactions, such as multistep catalytic cycles, are cascade reactions in which a series of transient intermediates appear and disappear stochastically over an extended period. The mechanisms of such reactions are challenging to study, even in ultrafast pump-probe experiments. The dimerization of a van der Waals dimer of [60]fullerene producing a short carbon nanotube is a typical cascade reaction and is probably the most frequently studied in carbon materials chemistry. As many as 23 intermediates were predicted by theory, but only the first stable one has been verified experimentally. With the aid of fast electron microscopy, we obtained cinematographic recordings of individual molecules at a maximum frame rate of 1600 frames per second. Using Chambolle total variation algorithm processing and automated cross-correlation image matching analysis, we report on the identification of several metastable intermediates by their shape and size. Although the reaction events occurred stochastically, varying the lifetime of each intermediate accordingly, the average lifetime for each intermediate structure could be obtained from statistical analysis of many cinematographic images for the cascade reaction. Among the shortest-living intermediates, we detected one that lasted less than 3 ms in three independent cascade reactions. We anticipate that the rapid technological development of microscopy and image processing will soon initiate an era of cinematographic studies of chemical reactions and cinematic chemistry.

The fixed image in cinema as a potential altered vision strategy

The article intends to propose some analyses of a possible formal occurrence of “altered states” in cinema: the stopping of the flow of the cinematographic image in a still image. Through some theoretical references (Metz, Bazin, Lyotard, Deleuze, Bellour, Barthes, Montani) I will try to understand if this kind of formal occurrence can be constituted as a figure of the altered state. The relationship between cinema and photography will be particularly explored, starting with films such as Antonioni’s Blow Up and Bergman’s Persona. The hallucinatory effect will thus be discovered not as opposed to that of reality, but a dialectic will be constructed between the two.

O Imaginarium Diegético na Animação e no Cinema: a representação de momentos de sonho, memória, devaneio e psicadelia no Audiovisual.

This article has the purpose of discussing about the representation of dreams, memory, reverie or psychedelic moments of the character – diegetic imaginarium – by the Audiovisual (Live-action Cinema and Animation) for the development and understanding of film analysis. With this objective the adopted borders to the imaginarium (the caracter mental image) are approached; its role in the construction of narratives, its representations, and how it favors the abstraction and deepening of the public in the stories. Thus, it is developed a particular looking over the animated image, when it is responsible for the representation of the illusional image, while the filmed one represents the reality of the same diegese. The paper is based on studies about mental image in relation to Animation (Sifianos, 2012), the perception of the cinematographic image (Metz, 1975a, 1994; Morin, 1956) and of the mental image (Arnheim, 1971, 2004). The subject is also developed with evaluations and considerations on some Psychology concepts, about mental images and their representations by the audiovisual. This text was developed during the doctoral research, The Representation of the Diegetic Imaginarium for Animation, in the Cinema Live-action, presented at the Faculty of Fine Arts of the University of Lisbon in 2018.

«Наконец-то я нашел...» Черты импрессионизма в очерках А. И. Куприна

The purpose of the study is to determine singular nature of aesthetic categories in A. I. Kuprin’s publicist writings dedicated to Lenin’s image. The article, using the material of the writer’s little-studied literary sketches, puts together a literary portrait of the leader’s personality, analyses the author’s assessment of the political leader as a person of particular substance and character. Scientific novelty of the research testifies to Kuprin’s connection to impressionist traditions in art (in particular, in literature). The attained results have shown that Kuprin’s artistic imagery simultaneously emerges at different levels: from emotionally expressive speech characteristics of the hero’s personality to photo- and cinematographic images collected from different angles through impressionistic perception.

Imagens-cinema e redes de conversações: linhas de fuga para pensar as questões de gêneros e de sexualidades nos cotidianos escolares

This paper draws some reflections on the results of a study developed in two municipal schools for early childhood education, situated in Vitoria, the capital of Espirito Santo, through meetings with teachers and children involving cinematographic images in networks of conversations about genders, sexualities and curricula. Throughout the text, the ways teachers create, in connection with children's fabulations, processes of resistance to the attempts of standardizing curricula and homogenizing bodies, cultures and life. As methodology, the study uses a cartography of the flows and forces generated, having the cinematographic images as the trigger for conversation. The encounters with the cinematographic images followed by conversation networks enabled the expansion of intensive forces that prompt multiple sensations and provoke ruptures in cliches and dogmatic images of thought. Thus, they potentialize the collectivity in the invention of new modes of subjectivation and inventive resistance to the networks of power.

Del Haluro de Plata al Píxel: Una Aproximación a la Definición de la "Textura" en la Imagen Cinematográfica

This article presents results obtained in research focused on the photochemical and digital supports that capture cinematographic images. Specifically, the results that are presented are in relation to a definition of one concept: texture. In this sense, this article starts describing the cinematographic acquisition current context before the paradigm change produced by the arrival of digital cameras. After that, the article focuses on the theoretical parameters, methodology and instruments used in the research. Finally, the results about the definition of "texture" are presented by three approximations marked by the phases of the research. In the first place, a proposal arising from the bibliographic analysis of technical literature of the cinematographic sector; secondly, a proposal based on the analysis of ten in-depth interviews with directors of photography; and finally, a definition of the concept "texture" delimited and focused on the world of film acquisition.

Imagens cinematográficas e imaginação

A taxonomia de imagens cinematográficas proposta por Deleuze em Cinema 1: A imagem-movimento e Cinema 2: A imagem-tempo e a relação dessas imagens com a imaginação, enquanto pensamento com imagens, é o tema deste artigo. Com o propósito de sugerir que a análise fílmica pode ter como foco as imagens cinematográficas, busca-se explicitar as teorias peirceanas que contribuíram para a compreensão das divisões da imagem-movimento e da imagem-ação, com destaque para a grande forma. Para tanto, analisamos recortes do filme Beleza Americana, com base em conceitos da semiótica de Peirce e na taxonomia deleuzeana para as imagens cinematográficas. Entre os resultados, destaca-se que as atualizações da cor vermelha fazem com que o filme prepondere como uma modalidade de imagem-ação, a grande forma, o que contribui para a compreensão do pensamento como diagramático.

El correlato objetivo desde la teoría de la relevancia: una lectura de El niño que bebió agua de brújula, de Julio Mas Alcaraz

Firstly, this paper aims to provide new theoretical insights in the study of objective correlative with the support of Relevance Theory and Second-Generation Cognitive Science. Specifically, objective correlative is studied as an example of interpretative use of language. We will focus on how it modifies reader’s cognitive environment through the activation of an array of mental assumptions. In order to do so, an adequate context for the interpretation has to be created. The role of mental imagery and embodied cognition is also taken into consideration to understand better how objective correlative is processed. Secondly, El nino que bebio agua de brujula by Julio Mas Alcaraz is analyzed with the help of this framework. For this analysis we will also take into consideration the role of montage in order to create with the poems a coherent structure and try to apply Deleuze’s system of cinematographic image classification to the study of poetry.

Entre el recuerdo y el retorno. Memoria e historia de un fantasma en A ghost story (David Lowery, 2017)

El presente artículo estudia el tratamiento de la memoria que hace la película A Ghost Story (David Lowery, 2017). Esta obra de David Lowery presenta a un fantasma cubierto por una sábana condenado a volver al mundo de los vivos. Nos interesa responder a la pregunta de cómo el relato pone en forma algunas ideas relacionadas con el tiempo, la muerte y los recuerdos. En esta historia fantasmal se identifican algunos de los motivos recurrentes en el género fantástico o de terror. Sin embargo, estos lugares comunes son reinterpretados y enmarcados en un drama romántico de compleja estructura narrativa. Además, la naturaleza de la fábula implica ciertos problemas relacionados con la temporalidad de la imagen cinematográfica. Nos interesa, por tanto, estudiar los procesos de significación y de persuasión que hacen verosímiles las desventuras de este espectro errante. Para ello se utilizarán dos herramientas metodológicas: el análisis narratológico y el análisis fílmico. Concretamente, nos apoyaremos en los conceptos de orden, duración y frecuencia acuñados por Gérard Genette, localizados en secuencias concretas de la película.