Cinematographic Works Research Articles

Linguistic and Cultural Analysis of Translation Techniqies in the Process of Adaptation of an English Series

Introduction. This article is devoted to the study of the specifics of stylistic techniques within translation of non-equivalent and culturally marked lexemes. The relevance of the research is determined by the fact that a rapidly developing films production market requires a high-quality adaptation of foreign films for other cultures. There is a need for a comprehensive study on adaptation mechanisms of various ethno-cultural phenomena displayed during translation from one language to another.Methodology and sources. This research was conducted in the context of a linguostylistic approach to the text analysis. Following methods were applied: comparative, directional sampling, classification, text interpretation, component analysis of lexical units, as well as the methods of contextual, semantic-cognitive and linguocultural analysis. The research is based on the transformations classifications by L.K. Latyshev and L.V. Solonovich, as well as the classification of culture-specific concepts by V.S. Vinogradov. The British-American series “Good Omens” was chosen as the research material. The analysis was conducted on the basis of the officially published script translated by Y. Poleshchuk.Results and discussion. Linguocultural adaptation of a foreign language work includes complex translation and stylistic transformations. In most cases, stylistic transformations within the series adaptation are related to idioms, metaphors and other expressive lexemes, due to discrepancies in the system of images between languages and due to the ways of conveying emotional tones in Russian and English. Nevertheless, it is not recommended to abuse the adaptation of culture-specific concepts, otherwise the meaning and national peculiarities transmitted through the original text will be lost. In the context of translating a series, this issue can be particularly acute due to inseparable connection between image and text.Conclusion. Cinematographic works, distinguished by their inseparable combination of audio and visual images, are able to unite cultures, to be a tool in the study of other cultures and languages. A pragmatic attitude towards a foreign language recipient requires a responsible approach to adapting the film text translation. The key role in this process is played by stylistic translation transformations, which are related to culturally marked lexemes, allusions, and other stylistic devices.

How Are Autism Spectrum Disorder and Savant Skills Treated in Cinematographic Works? A Study Focusing on Korean Movies and TV Series.

Numerous films and TV series worldwide have depicted characters with autism spectrum disorder (ASD) and savant skills. This study describes the portrayal of ASD and savant skills in Korean films and dramas. Starting with the 2005 film Marathon, characters with ASD have been featured in five films and four dramas. Most portrayals were based on the diagnostic criteria and pathogenesis of ASD, as outlined in the DSM-5. Of the 10 characters with ASD in these films and dramas, seven were male and three were female, with seven of them possessing savant skills. In the future, caution and guidance on the general characteristics of ASD from experts should be provided with the release of ASD-based films and TV dramas in Korea; in addition, critiques and social discourse pertinent to the reality of ASD should be provided by people with ASD, their families, and relevant experts.

The Witch’s Body as a Narrative and Symbolic Tool

"This paper aims to propose an exploration of the corporeality of witches insofar as it has been used as a medium or nexus for narratives, or as a symbolic sign in various artistic forms and arrangements. The starting point is the highlighting of an antithesis, which is permanently nuanced and overcome in the long evolution of culture, namely between the beauty of young witches and the ugliness of old ones. A first section of the article focuses on painting, looking at works by Baldung Grien, Salvator Rosa, Frans Francken, Luis Ricardo Falero. A second section looks at the corporeal duality that characterizes witchcraft and its resolution in synthesis in Vasile Voiculescu’s short story Magical Love. The last section is devoted to cinematographic works and how they have incorporated in their complex visual and textual narratives an ancient representational and iconographic tradition with roots in Renaissance and Baroque painting and in the literature of Greco-Latin Antiquity. Keywords: witches, body, narration, symbolic, visual arts, literature, cinema. "

La geología en la ambientación y paisajística de la obra cinematográfica

Cinematography, as the seventh art, uses the unique geological landscape in the setting of its creations. Geology, like everything that is related to its essence, is perceived by the human being through all its senses, reflected in its translation to the cinematographic work in terms of the setting of different scenarios, natural or artificial, where the filmic action unfolds. The various lithologies and their natural weathering form picturesque places, used in cinematography to represent the narrated stories and convey sensations to the viewer. These landscapes and morphologies are associated with the erosion of detrital materials, soft materials, deserts, dry lakes, volcanic rocks, and intrusive rocks or associated with karst modelling and within this landscape in exokarstic and endokarstic forms (caves and pits). All these landscapes, used wisely, provide the films with personality.

“The Stuff That Dreams Are Made of”—Restoring Cinema Colors: A Roadmap for Real Research

Since 1895, through the analog and the digital eras, color is among the many narrative and aesthetic tools cinema language used in its creative process to shape a unique, multi-sensorial experience for its audience. Over these 120+ years, endless cinema color techniques, technologies, aesthetics, and ideologies came and went. One thing that stayed the same is that color in cinema, more than a technology, is a complex system made up by many components: filmmakers’ ideas and intent, negotiations with the audience, technologies (such as film stocks, chemicals, cameras, printers, developing machines, projectors), and laboratory processes and practices. Taken individually, none of these elements tells the whole story of color use and experience in cinematographic works. This complexity adds to the fact that much of film color technology history is not recorded in books, journals and patents and is often forgotten as so much of it relies on individuals’ practices and memories. Consequently, a novel and more comprehensive theoretical and methodological approach is needed in order to make it possible to preserve and restore cinema colors, that is, to faithfully recreate their original chromatic effects in a modern, completely different environment.

Мюзикл «Милая Чарити» и «формула стиля» хореографа Роберта Фосси

The article explores the possibility of deriving the “formula of style” of the American choreographer, dancer, director and actor Robert Louis Fosse, better known in the national cultural tradition as Bob Fosse. The musical “Sweet Charity” was chosen as the main material. Its premiere took place in 1966 on Broadway and the film version was released in 1969. The author believes that not only the choreography, but also the artist’s stage presence, and way of constructing the mise-en-scène through the scenery, light, costume, greasepaint, as well as the transformation of musical material by superimposing additional sounds produced by dancers on the existing melody, so as to change the rhythmic pattern (and in cinematographic works — also the director's vision of not only the finished film, but also the frame itself) were all components of a single style. Without understanding the unity of the above listed elements, it is impossible to grasp the essence of the artistic method of R. Fosse and reproduce his work in practice. A detailed analysis of each element leads to the conclusion that the choreographic text conveys the choreographer's concepts through a codified message that changes its meaning depending on intonation. The musical material presented by the composer and processed by the dancers with additional sounds determines the nature of the stage story. The internal fullness of the performers, as well as mise-enscène, costume, greasepaint, and light add hidden meaning and subtext to the original story. If it were possible to deduce Robert Louis Fosse's “formula of style,” then it would be achieved from a synthesis of all the above listed elements, that have been studied within the body of all his works.

Th e healing the „wounded identity” through the spiritualization of the tragic

Th e author of the paper signals, fi rst of all, the urgent need to introduce the phrase “wounded identity” (Michael Pollak) into the scientifi c circuit manifested with unparalleled eloquence in Transylvania and Bessarabia. The excursion into the area of autochthonous arts of the post-war period resulted in the discovery in the subtext of the works by I. Druță, V. Vasilache, G. Vieru, etc. of the “obsession with self-identifi cation”, which later becomes the guide of the subject and of genuistically-stylistic structures. The cardinal problem of the nation’s consciousness, that of losing oneself in the rush of the “terror of history”, is extrapolated in the 60s in the seventh art, culminating in the two archetypal samples: Pădurea spânzuraților/ The Forest of the Hanged and Gustul pâinii/The Taste of Bread, inscribed in the solemn gravity of the tragic genre. In these cinematographic works of universal resonance, the unprecedented psychoanalytic survey impresses the turbulent state of mind of the protagonists, who face, even at the cost of their lives, the nation’s Golgotha “of carrying the life of a stranger in oneself ” (L. Rebreanu). Th e fi lms, subjected to a comparative analysis, reveal the shocking phenomenon — the interpenetration of the great echoes of the ancient tragedy; the prophecies of nature and music corresponding to the famous chorus. In conclusion, the author launches a novel hypothesis: the “ethnic renaissance” is due to the recuperative mission — the healing of the “wounded identity” through the cathartic impact of the work of art.

Com quantos filmes se fala da criança? A pluralidade representacional da infância no cinema

Abstract This article presents part of the descriptive data about a doctoral study held between 2017 and 2021. The study problematized the formative, pedagogical, and aesthetic experience with films in an undergraduate Pedagogy degree. By highlighting children’s representational plurality through films, from a filmography review or film state of the art, this text aims to reflect on the significant amount of short, middle, and feature films that portray children in their different narratives. Regarding the methods used, we privileged the work in an interdisciplinary and multi-referential methodological conjunction based on Grounded Theory and scientific bricolage, backed by hermeneutic phenomenology. We point out 204 cinematographic works - from data on theses, dissertations, and scientific articles – from searches in theses and dissertations databases in digital libraries and journal platforms. The professors interviewed accounted for thirty productions. Faced with this number of works, we believe that films are part of students’ formative process and allow other interpretations of children and childhoods nowadays, revealing their relevance as a source and reference in the formative process.

From writing to film: the writer Carolina Maria de Jesus beyond the Eviction Room

Based on the works Diário de Bitita (2014), Quarto de Espejo: Diário de uma favelada (2020), Casa de Masonaria - Volume 1: Osasco (2021), Casa de Masonaria - Volume 2: Santana (2021), by Carolina Maria de Jesus, the short film Carolina (2013), available on the video sharing platform YouTube, and the documentary Carolina (2019), available on the streaming platform GloboPlay, we are theoretically based on the concept of Structural Racism, present in Silvio Almeida ( 2021); in Cuti's conceptions of Black-Brazilian Literature (2010); in the defense that body and hair are symbols of black identity, by Nilma Lino Gomes (2020); in the conception of Lugar de fala, by Djamila Ribeiro (2020); in studies on the position of black people in national cinematographic production, by João Rodrigues (2011); and in the pedagogical dimension and ontological affirmation of Brazilian black cinema through the eyes of Celso Prudente and Dacirlene Silva (2020). The purpose of this article is to investigate the relevance of the writer Carolina Maria de Jesus as one of the great representatives of black-Brazilian literature and as an inspiration for Black Cinema, in addition to analyzing how the writer's protagonism, as an intellectual, is a way to confront to the erasure and historical silencing of their literary productions and reductionist representation in audiovisual productions. In this way, this research problematizes the linguistic prejudice and structural racism faced by Carolina de Jesus, as well as the scarcity of black protagonism and a positive image of black people in cinema. In order to highlight Black Cinema in the process of resistance and decolonization of cinematographic productions. We realize, with this study, that the presence of Carolina Maria de Jesus in the cinematographic works analyzed does not overcome the overvaluation of poverty, economic hardship and the romanticization of the challenges of living with hunger.

论影视作品改编中改编权与保护作品完整权的冲突与协调

论影视作品改编中改编权与保护作品完整权的冲突与协调

From vernacular art to the auteur moment: Tonino Guerra as a poet, writer and scriptwriter in the 1940s and 1950s

This article will investigate aspects of a little studied but key figure in Italian cinema, Tonino Guerra, focusing on his debut as a film screenwriter. The article employs a comparative approach, relating the first poetic and narrative works of Guerra of the 1940s to his first steps as a film scriptwriter of the 1950s, with his fruitful collaborations with directors such as Aglauco Casadio, Giuseppe De Santis and Michelangelo Antonioni. I rely on unpublished materials such as Guerra’s private writings and correspondence (in particular, with his friend and future colleague Federico Fellini) and then analyse the critical reception of the first cinematographic works of Guerra by film magazines active in the 1950s. My readings and analyses will be directed towards establishing the importance of Guerra in post-war Italian society and culture, particularly as he gravitated towards work in the cinema, and the role of that work in the complex transition from neorealism to auteur cinema.

Between Official Ideologemes and Traumatic Experience: Perceptions of the Civil War

In this article, the author considers the formation of ideas about the Civil War during the 1920s–1930s. The theoretical and methodological framework of the work, on the one hand, consists of publications disclosing the concept of cultural trauma and, on the other hand, of works whose authors emphasize the dynamic character of cultural memory. The author refers to literary and cinematographic works also using materials from the media and textbooks. The analysis of the sources based on the theoretical and methodological framework leads to the following conclusions. The scheme of describing the Civil War formed in the first decades of Soviet rule defined the grammar and axiology of its interpretation. The discourse of heroism contrasts with that of traumatisation. By declaring the participants in the Civil War heroes, Soviet ideologists levelled the tragedy that accompanied the event. However, some literary works also reflected the tragic experience, which could further act as the basis for the language of description and comprehension of the Civil War. The shift in value priorities towards the absolutisation of the cult of the state and the victorious idea of 1000 years of history and the actualisation of the patriotic rhetoric in the 1930s laid the foundations for a relatively conventional image of the Civil War.

AQUÍ NO HA PASADO NADA: REFLEXÕES SOBRE O AUTORITARISMO CHILENO

The Constituent Assembly in Chile, as well as the protests that took to the streets of the country in 2019 and strengthened the cry for a new Magna Carta, liven up a debate on the memory and permanence associated with the Chilean dictatorship. It is in this context that we propose a reading of the film Aquí no ha pasado nada (2016), directed by Alejandro Fernández Almendras, seeking to demonstrate how the narrative, although set in the mid-2010s, promotes a strong reflection on authoritarianism. Chilean, whose roots not only remained after the fall of the dictator, but also have origins that predate him, going back to the country's slave-holding past and the genocide of native peoples. In order to do so, we resort not only to an analysis of the relationship between cinema and memory, as well as a possible relationship between the cinematographic work and literature.

Кино в контексте арт-практики: постскриптум к конференции

On July 2–5, a conference was held (Chelyabinsk region, Miass), dedicated to art practices as a format of philosophizing and technology for developing a philosophical dialogue. The main structural elements of the conference were events that included the analytics of feature films (including author's movie). The formal integrity of the event did not exclude the substantial unity provided by the permanent focus on anthropological issues and, above all, human subjectivity. The latter, in various historical epochs, faces heterogeneous challenges, including existential ones – borderline situations, critical social circumstances, life path uncertainty, progressive technical and technological innovationism and the threat of de-anthropologization. All the cinematographic works presented in a specific manner represented the variations of responses to these challenges. The philosophical and anthropological optics of analysis made it possible to keep the main task of carrying out a philosophical dialogue in focus. The issue of subjectivity and the challenges that call it into question is optimally illustrated in the situation of modernity by means of visual and audiovisual content, which actually includes all the patterns that are significant for today's person – visibility, brevity, stimulation of affects, etc. The philosophical approach allows expanding the thesaurus of art practitioners beyond through the integration of cinematography, which can exist not only in the traditional locus of an independent direction of art, but also as a determinant for the implementation of philosophizing, a step for further development of conceptual ideas and the collaboration with the world philosophical culture.

A Survey on Multimedia Ontologies for a Semantic Annotation of Cinematographic Resources for the Web of Data

The Semantic Web provides approaches and tools that allow for the processing and analysis of online content, including multimedia resources. Multimedia resources like videos, audios, and photos are increasingly common in contemporary Web content. Cinematographic works (also known as film contents) stand out among these resources as one of the most recent attractions on the Internet. An important tool employed recently in the semantic indexation of digital resources and film content is ontological annotation. This paper studies the current multimedia ontologies related to the film contents on the web. The relevant indicators were discussed comparatively, and some open issues were reviewed in details. In this way, the authors managed to integrate the metadata related to online films practically into the web of data.

THE FILM NECROFOBIA (2014) AS A REPRESENTATION OF MODERN ARGENTINE CYNICISM

Este artigo prevê a compreensão das associações existentes entre a narrativa da obra cinematográfica argentina Necrofobia (2014) e a estrutura do cinismo moderno, segundo Peter Sloterdijk (1987), no intuito de analisar como o filme em questão trabalha sua narrativa de horror artístico para a construção da representação do horror social real. A partir da análise do cinema como forma de reflexo da sociedade, trabalhada por Siegfried Kracauer (1985), o texto toma a narrativa da obra audiovisual para explorar a relação entre o cinismo moderno que adentrou à sociedade latino-americana e a ideologia fascista que se articula no arco narrativo do protagonista da obra.

Live broadcasting of sporting events: a trigger to the revolutionary reform of Chinese copyright law by transforming the condition of originality

In Chinese law, the seemingly transparent condition of originality has been used to classify audiovisual productions into two categories: videograms protectable by neighboring rights and cinematographic works protectable by copyright, the latter of which benefit from a higher level of protection. However, the reality is that audiovisual productions often involve the intellectual efforts of their production teams, as shown through the live broadcasting of sporting events, such that one cannot completely deny the absence of originality therein. In addition, considering that the legitimate interests of TV and broadcasting organizations are justified by their significant investments and the need to prohibit rampant retransmission of their broadcasts on the Internet, it is no longer possible to maintain the distinction between cinematographic works and non-copyrightable audiovisual productions. In these circumstances, a series of famous cases and doctrinal debates regarding live broadcasting of sporting events have triggered the revolutionary reform of the Copyright Law of China in 2020, in which the statutory category of cinematographic works has been replaced by audiovisual works. This reform has not only granted copyright protection to all audiovisual productions but has also adopted the minimum threshold requirement for which copyrightable works may qualify for originality. This minimum threshold will likely further open the door of copyrights to encompass all productions vital to industries.

Construction of bioethical understanding through cinematographic work

The study aim at to analyze the bioethical understanding of teachers, students and health professionals through cinematographic work. A descriptive-interpretative study with a qualitative approach, carried out in an online environment, through an interview guided by a semi-structured script. Data analysis was based on Bardin's referential. The process allowed the identification of two thematic categories: Building bioethical understanding through continuing education; Cinematographic work as a tool for bioethical analysis: perceptions and reflections. The results revealed that dilemmas with ethical implications were experienced by the participants, but with an incipient criticality. The methodological strategy of continuing education, using cinematographic work, allowed reflections and construction of knowledge about bioethics.

Queer fish and its scales: A film-critical analysis in communication research

This article derives from the author's master's thesis and presents the results of the cinematographic analysis-criticism of the film “Peixe”. The objective is to investigate how its visual, significance and symbolic layers configure it as a communicative tool of resistance to heteronorms. As the scales of the animal that from a distance seem integrated to its silhouette, but with an approximate look reveal its dimensions, the layers of investigation on the cinematographic work intend to reveal what at first sight is understood as a reflection of a single source through a look attentive to its various surfaces of meanings.

Systematic Design of Ancient Machines’ Models: Leonardo da Vinci’s Glider

Virtual or physical models of ancient machines are often used for museum exhibitions, documentaries and/or cinematographic works. Especially for high-fidelity models, complex activities are required, which actually lead the different stakeholders involved in the process to “design” an artifact (the model). As with any design process, the design of models of ancient machines can also benefit from the support of structured methods that guide the designers from the early “ideas” to the final design. This paper proposes a systematic approach specifically tailored for the interpretation and design of ancient machines, where a methodological tool is provided to manage both idea-generation and information-gathering activities. The method was applied to the design of a model of the delta wing conceived by Leonardo da Vinci (i.e., the glider represented in the Codex Madrid 1, Folio 64r), allowing to analyze and obtain an embodiment of the machine with the required fidelity level, thought to be realized in real scale.