Cinematographic Works Research Articles

Cinema, literature and looking at the world from Naples

This interview focuses on first-hand insights into Mario Martone’s cinematographic work. It presents the accurate transcription of an engaging conversation with the filmmaker held at the University of Sussex on 8 December 2023. By discussing the inspiration behind some of his most successful films – specifically L’amore molesto (Troubling Love) (1995), Il giovane favoloso (Leopardi) (2014), Nostalgia (2022) and the docufilm Laggiù qualcuno mi ama (Massimo Troisi: Somedody Down There Likes Me) (2023) – the reader will feel captivatingly guided by Martone into the fascinating relationship between cinema and literature, and on the difficulties of love as ‘a longing that drives us all’. The role that the cultural milieu of Martone’s birthplace, Naples, had in his career and artistic creativity will also help to understand both the realistic and mythological dimensions of his cinema.

Genesis of legal protection of animated audiovisual works

The article is devoted to studying of the history of legal protection of animated audiovisual works in the course of development of technologies for production of such works. The author establishes that the creation of ‘live’ images, which was carried out to conduct scientific experiments in physics and mathematics, eventually became the starting point for the development of animation and cinematography. The history of animation is divided into six main periods. These periods naturally do not coincide with the stages of development of legal protection of objects created by animation and cinematography. It is determined that the stages of animation development as a field of creative activity and a business area are distinguished by the criteria of technology and economic development. They are also associated with the development of cinematography due to the similarity of the production process. The conclusions reflect that it is difficult to divide the genesis of the legal protection of animated audiovisual works into stages due to the diversity of legal provisions in different jurisdictions. Using the example of the evolution of national legislation of certain countries of the world and the provisions of the Berne Convention, the article reveals theoretical approaches to the legal protection of animated audiovisual works. The article provides an overview of the following approaches: 1) protection of a cinematographic work (film) as a dramatic work if it is original and does not infringe the rights of the authors of dramatic works on which it was created; 2) protection of an animated work (film) as a photographic work, according to which protection is provided for a cinematographic work that does not have any features of originality; 3) protection of an animated work (film) as a moving image, which is inherent in US law; 4) protection of an animated work (film) as a cinematographic work, which provides for the protection of such a work as a separate object; 5) protection of an animated audiovisual work, which is a new approach to legal protection. It is concluded that the reason for the diversity of terminology such as cinematographic work, film, moving image, and audiovisual work in modern legislation is the result of the historical ambiguity of approaches to legal protection of this type of work.

Laws on Copyright Protection for Cinematographic Works in Cyberspace: A Qualitative Study from Vietnam

In recent years, along with the development of social networks, many challenges have arisen in protecting copyright for digital works, especially cinematic works. Accordingly, in Vietnam there have been many cases of copyright infringement but not absolutely protected. For example: cinematic works are shared on internet platforms without the consent of the producer, audiences through livestreams have shown the works on social platforms or the audience reviews the details of the works, which causes the sales of the above works to decrease... Although the Government of Vietnam has issued many mechanisms to protect cinematographic works in the context of digital technology development. However, implementation still faces many difficulties. Through qualitative research, the article will clarify issues related to copyright protection measures for cinematographic works through administrative and civil measures in Vietnam. Beside that, the authors will provide recommendations and solutions to improve the copyright protection mechanism for cinematic works in cyberspace in Vietnam in the current context.

The Representation of Sexuality in the Film Dua Garis Biru (A Cinematic Narrative and Media Aesthetic Analysis)

Film is a cinematographic work that not only presents captivating audiovisual elements but also serves as a medium for artistic and cultural expression, often addressing important issues. Dua Garis Biru is a film that boldly tackles social issues still considered taboo in Indonesia, such as early marriage and sexual education. This research aims to analyze the representation of these issues through the character Dara, using a semiotic approach. The focus is on how audiovisual elements—narrative, visuals, and sound—contribute to conveying messages about sexuality and sexual education within the social and cultural context of Indonesia. The research method employed is qualitative, involving an in-depth analysis of cinematic narrative and media aesthetics. The findings explore how Dua Garis Biru portrays issues of sexuality outside the context of marriage through dialogue, visual symbols, and the use of sound elements that strengthen characterization and atmosphere, providing deeper insight into the themes presented in the film.

Legal Protection For Copyright Holders For Violations In The Form of Piracy of Film Cinematographic Works on The Telegram Application

The purpose of this research is to determine the legal protection sought by cinematography copyright holders against piracy of film works via Telegram. The method used in this research is a normative legal research method with a statutory regulatory approach. The research results show that acts of piracy, such as duplicating and distributing cinematographic works without the author's permission, are legal violations that harm copyright holders, both economically and morally. In the context of legal protection for the copyright of cinematographic works, there are two forms, namely preventive legal protection by the government in the form of laws and regulations that regulate it and repressive protection through dispute resolution. Creators or copyright holders can take legal steps, either through litigation in court or non-litigation outside of court with the help of third parties, as an effort to overcome piracy of cinematographic works that occurs in the Telegram application.

ПРОБЛЕМЫ ОПРЕДЕЛЕНИЯ ПРАВОВОЙ ПРИРОДЫ СОАВТОРСТВА В КИНЕМАТОГРАФИЧЕСКОМ ПРОИЗВЕДЕНИИ / THE ISSUES OF DETERMINING THE LEGAL NATURE OF JOINT AUTHORSHIP IN THE CINEMATOGRAPHIC WORK

In the modern developing world of high technologies, a cinematographic work, as a result of the collective artistic work of a significant number of people, has important economic, social, and legal significance, taking a privileged place in the general system of the objects of intellectual property rights. This article is devoted to the study of legal relations arising in connection with the creation and use of such a complex object of intellectual activity as a cinematographic work. The author analyzes the place and creative role of each of the co-authors of the studied object and examines the nature of the legal relationship that arises between the authors and other rights holders of the film. Based on the analysis, the author has formed and justified a legal position regarding the juridical nature of co-authorship in relation to an audiovisual (cinematographic) work. The author pays special attention to the issues of law enforcement practice arising in connection with the potential expansion of the circle of legally recognized authors to an audiovisual work. Due to the versatility of the constantly changing field of cinematography, the author points out the need to modernize the current norms of copyright law, to develop the ability of the latter to respond promptly to current trends in the development of IP relations in the film industry.

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.

Perlindungan Hukum terhadap Pemegang Hak Cipta pada Film Layar Lebar (Jakarta Vs Everybody) yang Ditayangkan Secara Ilegal pada Aplikasi Telegram

This is to legally protect copyright holders against violations of illegal access via the Telegram application as well as knowing the implementation of law enforcement on copyright against illegal downloads on the internet. Films or cinematographic works that are protected by Law No.28 of 2014 concering copyright. However, in reality, many other parties copy copyrighted works without permission from the copyright holder. One example of a film that has experienced illegal duplication is the film Jakarta vs Everybody, starring Jefri Nichole. This multiplication occurs not only on the internet/VCD, but also on a social media application, namely Telegram. This research uses a normative juridical method with an approach to applicable laws and regulations, a case problem approach, as well as a literature study wihch is analyzed qualitatively. The result of the research show that currently there are still illegal films circulating in society and there is no awareness that accessing films illegal is a from of violation. The government needs to take firmer action in monitoring and blocking unofficial online sites. The government also needs to disseminate information to the public regarding the rights owned by the creator or copyright holder of a work and provide information regarding the legal consequences and copyright violations.

Présence auctoriale dans les films de Marguerite Duras

In “Time and Autobiography in L’Amant de Marguerite Duras”, Margaret Sankey was one of the first researchers to analyze the autobiographical in the novels of Marguerite Duras. Two years later, Aliette Armel published a book on Marguerite Duras and autobiography. More recently, researchers have focused on the autobiographical dimension of the cinema of Marguerite Duras and on the projection of the self in the paratextual and cinematographic work of the author. Pursuing this work, this study examines the elements that, in connection with the media exposure of the author, deal with the projection of oneself in the films, in particular through the analysis of the incursions of the person of the writer and of her inner circle. This article will also examine the filmic strategies that allow Duras to evoke more subtly fragments of her sensorial memory through the sound and visual aspects of the films.

Pelindungan Hak Ekonomi Terhadap Pencipta Sinematografi Digital: Studi Perbandingan Hukum Hak Cipta Indonesia dan Jerman

Cinematographic work is protected by law under the Copyright Law No. 28 of 2014 in Indonesia. The fundamental principle is that the Creator is entitled to fair remuneration for the use of their work, in line with the alter-ego concept that gives the highest position to the Creator. In contrast to Indonesia, Germany has clearly regulated the procedures for the collection, management, and distribution of remuneration through the Urheberrechtsgesetz and the Collective Management Organization (CMO) operating with authorization from the Creator. The research method used is juridical-normative with a descriptive analysis approach. This study applies a comparative legal approach, utilizing data from both conventional and online literary sources, as well as interviews. The research findings indicate that Indonesia does not yet have specific regulations to protect the economic rights of digital cinematography. The absence of a Collective Management Organization (CMO) leads to an imbalance in licensing agreements between the Creator and digital platforms as users of cinematographic works.

¿Cómo leer a los padres? Cuerpos, monumentos e historia en M, Restos de restos y Tierra de los padres de Nicolás Prividera

ABSTRACT: This article analyzes the critical, poetic and cinematographic work of Nicolás Prividera with the aim of thinking about the ways in which the memory of the dictatorship is staged by a representative of "second generation" cinema. Three notions are investigated here: that of the body in relation to the cinema of the children of the disappeared in M (2007), that of the monumentalization of memory in some texts of Restos de Restos (2012) and the question of the representation of history, its relation to political discourses, and violence in Argentine history in Tierra de los Padres (2013).

Forms of Legal Protection Against Commercial Violation of Tiktok Video Copyright

<span lang="IN">This research has the aim of explaining the form of legal protection for TikTok video content which is republished without the consent of the creator or TikTok creator for commercial personal gain, one example of which is being used for advertising. This is because there is still a lack of understanding on how to take action against or report individuals who violate Intellectual Property Rights on Copyrights that have harmed creators/authors/copyright holders. Information technology has an important influence on Intellectual Property Rights, information technology updates that are increasingly developing have a positive impact on Intellectual Property Rights as well. Creators can utilize and use information technology to create works, one example is creating video content on the TikTok application. Human intellectual skills can create a work in the fields of technology, science, art and literature referred to as intellectual property to obtain legal protection in accordance with statutory regulations in the field of Intellectual Property Rights (IPR) which can be owned by individuals, groups and companies. Works in the form of moving images or short videos published in the TikTok application are one of the cinematographic works that receive legal protection under the Copyright Law. But now there is one negative impact that is increasingly prevalent, namely the misuse of the download feature provided by the TikTok application to take video content works and take advantage of personal interests in the form of advertisements without the consent of anyone. The actions of the responsible party can harm the creator/creator/copyright holder who does not get the slightest royalty and doesn't even receive an apology</span>

Film Preservation in the Digital Era: Pitfalls and Potentials

This paper highlights the pitfalls and potentials of digitization of film heritage in the archival domain. The largest issue encountered by the global archive community would be the recent transition from analog to digital technology in the capture, post-production, and distribution of cinematographic works. Due to the emergence of new platforms for access and the fact that digital copies are not susceptible to the same wear and tear as analogue film elements, digitization of historical films has the potential of enabling access on a larger scale. The conflict between the necessity to preserve originals and the need to offer access has been somewhat lessened by digitization. By acting as stand-ins for quick access or as backup copies in case original materials are lost or damaged, digital versions serve preservation functions. Also, negatives that are losing their information value can be preserved by digitization in order to extend access to them and preserve their content. The value of digitization as a preservation tactic has been hotly contested. Despite the benefits of digitization, there are significant technological, legal, financial, and curatorial obstacles or pitfalls that must be addressed in order to realize the potentials.

Mother-blaming revisited: Gender, cinematography, and infant research in the heyday of psychoanalysis.

This article examines cinematographic observational studies of infants conducted by a loosely connected group of female psychologists and physicians in the USA from the 1930s to the 1960s. Largely forgotten today, these practitioners realized detailed and carefully planned research projects about infant behavior in a variety of settings-from the laboratory to the well-baby clinic. Although their studies were in conversation with better-known works, such as John Bowlby's research on attachment and René Spitz's films on institutionalized infants, they differed in a close examination of individual characteristics of babies and a critical attitude toward contemporary notions of 'pathological mothering'. In closely following the work of several researchers, including but not limited to pediatrician Margaret Fries (1898-1987), the clinical psychologist Sibylle Escalona (1915-96) and her team members-child psychiatrist Mary Leitch (1914-?) and avant-garde photographer Ellen Auerbach (1906-2004)-and psychologist Anneliese Korner (1918-2010), I argue that their cinematographic works shed a more nuanced light on the landscape of infant research and child psychiatry in the mid 20th century, and open a way for alternative readings of gender, psychoanalysis, and scientific observation at that time.

Zdemaskować niedostrzegalne przykłady manipulacji w polskich i zagranicznych filmach fabularnych oraz serialach telewizyjnych

The article presents examples of media manipulation on the example of Polish and foreign cinematographic works. It points out significant inaccuracies in film adaptations of famous literary works, distortions in historical films and minor details affecting the content of the images. The publication emphasizes the need for permanent media education.

The concept and essence of a cinematographic work as an object of legal protection in copyright law

In this article, the author reveals the legal nature and essence of a cinematographic work as an object of copyright. It is noted that the current legislation of Ukraine does not have a legislative definition of a cinematographic work, but the Law of Ukraine "On Copyright and Related Rights" proposes a definition of an audiovisual work, which cannot be equated with a cinematographic work. It should be noted that many important international legal documents in the field of copyright protection operate with the concept of cinematographic works and give its definition (Bern Convention for the Protection of Literary and Artistic Works, European Convention on Joint Cinematographic Production, etc.). A number of foreign countries also have a statutory definition of cinematographic works (Canada, France, etc.). On the basis of definitions of cinematographic works existing in the doctrine of intellectual property law, their copyright characteristics and the current legislation of Ukraine, it is proposed to distinguish general and special features of cinematographic works. The former are manifested in all works, including cinematographic works, and the latter objectively reveal the essence of cinematographic works. In particular, the author proposes to include the following: 1) the cinematographic work is presented in the form of frames; 2) frames are consecutive; 3) the frames are combined with a creative idea; 4) the work is available for perception using technical means; 5) the sequence of frames forms a moving image. The relationship between these features is illustrated, where some follow from others. The structure of the cinematographic work is analyzed, where its protected and unprotected elements are distinguished. It is concluded that a cinematographic work can be classified as a complex work among the objects of copyright, and therefore, for the proper exploitation of a cinematographic work, it is necessary that its producers observe non-property and property rights to those objects of intellectual property law that were used during the creation movie.

Interaction of Music and the Mythical Chronotope: Comparative Analysis of the Films by L. Visconti and F. Zeller

The paper addresses the interaction of music with a mythical chronotope in the cinematographic work. The temporal and spatial properties of the audio component in cinema were characterized. A terminological basis, which allows outlining most of the variants ofspatio-temporal interaction of music in the cinematographic space in detail, is provided. It is assumed that the fantastical gap—the moment of transition from diegetic to nondiegetic space and vice versa—can have a wider meaning and application. Variants of the interplay of music with the mythical chronotope are described due to the conflicts of linear and cyclic time, real and ideal space. The paper focuses on such interaction in the works of the classic Italian cinema director Luchino Visconti because his filmography is largely associated with the category of the mythical. The episodes of the director’s two films, in which the characters’ consciousness shifts in time and space occur, are analyzed. A comparison of the regularities of the combination of music and the mythical chronotope in L. Visconti’s films with the debut of one of the Franco-British playwright and director Florian Zeller is performed. The similarity in the way the directors work with the depiction of the conflict between the mythical space and objective reality is revealed. It was proven that F. Zeller’s use of academic music citations functions similarly to the corresponding technique in L. Visconti’s films: in both cases, such quotes emphasize the space of the “ideal.” The difference in the directors’ approaches is justified, which consists in choosing the “ideal” dimension of the hero: for the characters of L. Visconti, it is a myth, while for the characters of F. Zeller, it is an objective reality. It is concluded that the way music interacts with the mythical chronotope can be influenced not only by external factors of the spatio-temporal connections of audio and video tracks but also by intra-narrative ones—for example, the existential choice of the hero.

Rino Lupo before Portugal, Russia and Poland: A biography for poetics under construction

In recent years, the figure of the Italian filmmaker Rino Lupo (1884–1936) has taken on alternative developments that not only keep attention on his cinematographic work, but also expand to the birth of a new poetic centred on his numerous travels. The essence of Rino Lupo’s transnational and pro-European cinema is linked to an idea of the ‘search for beauty’ through ‘the discovery of the new’. In Poland, Rino Lupo worked on some of the most important concepts that were developed in the following years in Portugal and Spain. In particular, in this article I explore his period in Russia and Poland (1916–21), when Lupo began to expand his cinematographic activity beyond directing movies to creating a journal and a film school, the first in Warsaw.

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.

The Role of the Internal Context of a Cinematographic Work in Creating and Interpreting the Wordplay (Based on the TV Shows: “The Sandman”, “Anne with an E”, and “Shadow and Bone”)

For a long time, researchers have been studying the concept of context in linguistics and related sciences. However, until now the concept of context does not have an unambiguous definition and classification. Within the framework of this study, a special type of context was identified, namely the internal context of a cinematographic work, which covers information about the time and place of the action, the personalities of the communicants and communicative situations within the work under consideration. The subject of the study is context, or rather the role of the internal context in understanding the wordplay in the TV shows of the last decade. The author states that the internal context of film discourse is an integral factor in the creation of wordplay and plays a key role in understanding the wordplay in films, since often we cannot attribute the cases under consideration to the wordplay without contextual information. Finally, we believe that the concept of the internal context of a work can go beyond the scope of film discourse and can be used when considering literary discourse, song discourse, etc.