Development Of Cinematography Research Articles

The Evolution of Cinemas in Prague from the Second Half of the Twentieth Century: A Contemporary Perspective

The article approaches the situation of Prague cinemas in the second half of the 20th century from the end of the Second World War to the Velvet Revolution within the socio-historical background from the point of view of an architect and a cinephile. The entire text is arranged chronologically in four paragraphs reflecting the contemporary political and social situation. It approximates the post-war period full of ideological ideals, when the construction of a dense network of cinemas became a key element of national renewal, not only in large cities but also in the regions. The following decade brought a paradigmatic shift, when local single-screen cinemas gave way to large cultural houses with multifunctional use (film, theatre, gallery, restaurant, sports facilities, etc.). It deals with the socially relaxed sixties, reflecting the synergy of various artistic disciplines, thanks to which Czechoslovakia presented to the world new artistic disciplines based precisely on film projection – “polyekran” (polyscreen) and “laterna magika” (a combination of projection and performance with live actors). The imaginary culmination of the new wave period was the opening of the luxury cinema 64 U Hradeb, which is given more attention in the text below. Furthermore, the text outlines the situation of cinemas in large Prague housing estates and deals with Czech brutalism in the context of foreign architecture and with the only brutalist cinema still operating today – the Dlabačov cinema. The final part of this article gives a brief overview of the total number of cinemas established in this period in the territory of Prague and a comparison with other European metropolises with a similar socio-cultural background. The research has the ambition to understand and approach how to integrate valuable cinema buildings on the territory of Prague into the daily life of contemporary Prague residents through the investigation of the cinema phenomenon, and the development of cinematography and cinema architecture as such, from its inception to the present day. The general logical processing methods are historical and socio-cultural analysis, architectural and urban research including architectural drawings, photographic documentation and a study of the urban development of the appearance of individual cinemas, comparison and deduction.

Арт-журналистика: әлеуметтік-мәдени парадигмадағы кино өнері

The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recognized as an urgent issue. In society in general, no one can limit a person's inner spiritual need and taste. As demand grows, the requirements and tasks for teleworking grow. Television equipment is also being developed taking into account the requirements. Since it is impossible to separate the history of television from cinematography, there is a need to consider film journalism from a theoretical and practical point of view. Therefore, it is necessary to know the theoretical foundations of working with information in the development of art journalism as one of the directions of industry journalism, the development of cinematography. It is known that speech in cinema and on television forms the culture of speech in society, so it is important from a practical point of view to pay attention to the use of the possibilities of cinema, theater and new media and consider the way of a comprehensive study of screen culture

‘A League of Minds’? Uses and abuses of the League of Nations’ internationalism by Fascist Italy

ABSTRACT This article aims to shed light on the rationale behind Fascist Italy’s participation in the League of Nations’ (L.o.N.) cultural organizations, as well as on the strategies and diplomatic tools it adopted with a view to setting the intellectual cooperation agenda in the 1920s and 1930s. Although inspired by a strong nationalist ideology, the Fascist regime, at least initially, successfully adapted its cultural diplomacy strategies to the multilateral context of the L.o.N., embracing the language and tools of internationalism. In the long run, however, this delicate balance between nationalist and internationalist attitudes proved untenable: Mussolini’ project aiming to convey a positive and tolerant image of Fascism to the outside world was firstly tainted by the measures taken in 1931 to regiment Italian intellectuals, and then finally collapsed with the aggression to Ethiopia. However, this article shows that the involvement in the L.o.N.’s cultural organizations, while providing Fascism with international channels for circulating its propaganda, also determined instances of real cooperation: the most emblematic case is represented by the development of cinematography, which can be considered Italy’s long-term contribution to the enhancement of intellectual cooperation within the L.o.N. in the interwar period.

National Cinematography as a Response to Russian Information Aggression (A Case Study of Historical and Patriotic Films)

The article reveals the influence of Russian information propaganda on cultural industries of Ukraine, in particular film making, and describes place and role of contemporary Ukrainian cinematography as a “soft power” in counteracting humanitarian expansion of the Russian Federation, as a factor having an influence on mass consciousness and social attitudes of Ukrainians, as means of counter-propaganda and construction of all-Ukrainian identity and formation of consolidated political nation as a whole. The author has studied the state of national cinematography during 2014–2021, analyzed the reasons which hindered its development and described public and state legislative initiatives directed at support and development of cinematography. The most popular Ukrainian historical and patriotic fiction and documentary films are examined and their role in counteracting Russia’s propaganda is defined.The article contains analysis of anti-Ukrainian films produced in the Russian Federation, annexed Crimea, and quasi-states "Donetsk People’s Republic" and "Luhansk People’s Republic"; reveals essential features of its information and psychological impact; defines manipulative techniques and methods. On the basis of analysis of Russian propaganda films, the author made a conclusion about portraying a negative image of Ukraine and broad usage of messages about the “unconstitutional coups d'etat”, “Kyiv regime” that fights against population of Donbas. We may see such negative narratives as: Ukrainians are “junta”, “fascists”, “Banderites”, “hardcore nationalists”, who fight against “common people” and “miners”. Russian propaganda concerning Crimea includes, first of all, creation of illusory picture which justifies Russia’s annexation of Crimea before the world, with meaning that this process was “inevitable” and “historically justified”.Ukrainian cinematography is considered as efficient means of opposing Russian information aggression, formation of patriotic feelings of Ukrainian people, and their aspiration for historical truth and justice. State system policy on counteracting propaganda has caused a powerful development of national cinematography, which pays considerable attention to making and promoting historical and patriotic fiction and documentary films.

A cinematic soap opera: The development of cinematography as an advertising and promotional tool in Lever Brothers Limited

In his history of Unilever, Charles Wilson stated that cinema advertising was not part of the company’s marketing strategy until the late 1930s. However, despite the paucity of surviving archival sources, recent research has proved that Lever Brothers was engaged with the new medium of cinematography from its earliest days and that the practice continued up to and after the formation of Unilever in 1930. William Lever is renowned for his innovative approach to advertising and marketing, and as a pioneer of creating brand identity, but he was also one of the first British businessmen to recognise the value of film as a marketing tool. This article will argue that Lever Brothers was active in the use of cinematography from the mid-1890s and that it played a significant role in the company’s marketing campaigns.

Process of Distribution and Conditions for the Opening of Stationary Cinemas in the Cities of the Tobolsk Province at the Beginning of the 20th Century

On the basis of archival materials introduced into scientific circulation, analysis of regional periodicals, reference books, normative acts and published data, the history of the emergence and spread of stationary cinematic theaters in the Tobolsk province is traced. The administrative and institutional aspect of their opening is considered. Particular attention is paid to preparatory work, technical and construction rules and conditions for the official acceptance of buildings, fire safety measures of pre-revolutionary cinematographs, toponymy and their localization in the socio-cultural space of cities. The article provides information on the social and professional affiliation of the owners of the electric theaters. It is concluded that the positive dynamics of the founding of cinematographs in the studied region, characterized by speed and continuity, refers to the period 1909—1916. The organization of a network of cinemas in the provincial cities of the West Siberian part of Russia was associated with the work of provincial institutions, municipal authorities, and police officers. The functioning of these public institutions was systematically monitored by the officials of these departments, who were guided by the technical normative legal acts adopted in the empire that regulate the conditions for keeping cinemas. The development of cinematography was an important indicator of the innovative trends taking place in the leisure segment of the everyday life of citizens.

The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century

The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.

Organ accompaniment in silent films, part 1 – the process of cinematic art creation

The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.

THE EVOLUTION OF CINEMATOGRAPHY IN RUSSIAN LITERATURE OF THE 1920S

This paper concerns the issue of the interaction of literature and cinematography in the cultural process of the 1920s. The main emphasis is placedon the phenomenon of literary cinematography, which became widespread in the third decade of the 20th century. The content of the concept of “cinematographic literature”is defined, its significant characteristics are singled out (special compositional-syntactic organization of the work, representation of the situation of observation, the use of cinema techniques) and the development of cinematography in the work of poets and writers of the period is studied. Inthecourseof the analysis of thetexts, specific techniques and cinematographic functions characteristic of this decade were singledout. Experimenting with artistic time and space, the authors attach an innovative character to the works, develop new ways of constructing the plot. In addition, cinematography makes it possible to add the text documentary and agitationality. The study revealed a close relationship between the development of cinematography in the literature and the general tendencies of the cultural process of the early 20th century.

FORMULATION OF CINEMATOGRAPHIC EDUCATION IN ODESSA: PAGES OF «SILUETS» JOURNAL (1922–1925)

The scope of the publication is the development of the cinema-technical school in Odessa in 1922–1925. The subject of the study is cinematographic education. Odessa Cinema Technology Center became the first educational institution on the territory of the Ukrainian SSR, which trained specialized film industry workers. In 1922–1925, the appearance of such institution was obvious, in connection with the establishment and development of cinematography and the limited number of qualified workers. Its teachers were also pioneers in filmmaking, shared their knowledge and practice. The value of the institution was that, besides the theoretical base, the students also gained a great deal of practical experience. Precisely from the publications in the journal «Silhouettes», we learn about the activities of the cinema-technical school and its fate. An entire section covered the cinematic activity in Odessa and the Ukrainian SSR (headings «Cinema Front», «At the Odessa Film Studio», «Cinema-technical school »...). For example, we find publications contained the information about in which films will be used the students, where they will go to the internship, how much they receive scholarships, which subjects they will learn, who can be matriculated to the college, how many students have graduated, etc. Our research can be used for the further explore of the development of cinema education in Odessa and Ukraine. The value of the journal “Silhouettes” is that with the aid of it we can recreate one of the aspects of development of the Odessa cinema-technical school. We have analysed the archives of the State Archives of the Odessa Region, specialized literature and memories of the eyewitnesses, in order to completely reconstruct the activities of the cinema college. This enabled us to provide a holistic view of the development of cinema education in Odessa.

РЕПРЕСИВНА ПОЛІТИКА РАДЯНСЬКОЇ ВЛАДИ ПРОТИ МИТЦІВ УКРАЇНСЬКОГО КІНЕМАТОГРАФА ДРУГОЇ ПОЛОВИНИ 1960-Х – ПЕРШОЇ ПОЛОВИНИ 1980-Х РОКІВ

The purpose of the paper is to unblended analysis of sources and literature on the repressive policy of Soviet power against the representatives of Ukrainian cinema. In general, the main principles of party-state policy in the field of cinematography, including the mechanism of the influence of ideology on the cinematographic process in the Ukrainian SSR, are grounded, and the interaction between public administration and creative organizations is grounded; The main methods and forms of the repressive policy directed against the artists of Ukrainian cinema are described. The existing structure severely restricted the powers and independence of the respective republican units of management. In Ukraine, the general management of cinematography was carried out by the Council of Ministers of the Ukrainian SSR through the State Committee of the Council of Ministers of the Ukrainian SSR on cinematography - a union republican body that did not have the necessary independence in determining the main principles of the development of cinema art. Derzhkino's powers included economic, financial functions and control over the ideological content of film production. Derzhkinos powers included economic, financial functions and control over the ideological content of film production. It was in its structure that the Cinema Repertoire Control Inspection functioned, the decision of which depended on the fate of films: from the approval of the script to the release of the film on the screen. In those years, the practice of «film on the shelf» was extended, when films that were fully licensed for rental by all instances were fully prepared for rental, in the final version they did not satisfy the authorities, they were banned from showing. A more liberal requirement was the processing of unsatisfactory moments. The control over the repertoire of films that fell into the audience was reliant on the Main Directorate of Film and Film. The article uses the following research methods: comparative-historical, typologies, classifications, problem-chronological, objectivity, multifactor, which allow to study complex social phenomena, concrete events and facts in their dynamics. In the course of the study, it was found that during this period there was a structuring and centralization of the management system of the cinematographic industry, the general leadership of which belonged to the State Committee of the USSR. It is proved that during the years of stagnation the influence of the command-administrative system and the rigorous subordination to the principles of party ideology, which involved interference with creative processes, increase of authorizing powers of administrative structures and increase of censorship, was intensified. It was found out that after the thaw was extinguished, Ukrainian cinema was subject to strict regulation of the canons of «socialist realism». Ideological policy was secured by relevant party and state regulations, which provided a party assessment of the development of cinematography, criticized areas that were not interested in the party-bureaucratic system, the thematic orientation of cinema was normalized. Against the representatives of this course, the authorities used the usual spectrum of methods of struggle: blatant criticism and discredit in the media, in party and government decisions at the gathering of cinematographers; prosecution and imprisonment. The process of organization of the state campaign against the school of poetry films in the context of implementation of the policy of narrowing the sphere of application of the Ukrainian language and reducing the production of films in the Ukrainian language is analyzed. The planning of the work of film studios, censorship on the subject of films became the main tools for enhanced control over the development of Ukrainian cinema during the studied period. The interaction of public administration and creative organizations - the Union of Cinematographers of Ukraine, which was a pro-government structure and controlled by the party bureaucracy, was grounded, although one of its statutory tasks was protection of the creative, professional, copyright and public rights of its members.

КИТАЙСКАЯ КИНЕМАТОГРАФИЯ В РОССИИ В КОНТЕКСТЕ "ОДНОГО ПОЯСА, ОДНОГО ПУТИ"

In this study we consider Chinese cinema in Russia distribution condition. It is proved that a serious stimulus for the development of cinematography in the People's Republic of China was a rational combination of commercial tools in the production of films with the solution of serious image problems for China, that modern Chinese cinematography has acquired another extremely important load – it has become an important media instrument of “soft power” for the dissemination abroad of information about Chinese culture, history and politics, as well as for the formation of a positive image of China, creating a trust relationship to Chinese civilization and nation. For Russia, as a country located along the “One Belt, One Road”, cooperation with China is especially valuable. The study substantiates that the interaction of the two countries in the field of cinematography is one of the main components of maintaining good – neighborly relations. It has been established during the conducted study that Chinese films actively participate in the international film festival in Russia, winning various awards, since February 1935, when at the First Moscow International Film Festival (or the Soviet Film Festival in Moscow) the social drama “Song of the Fishermen” directed by Cai Chusheng received an incentive prize of the festival jury. It was the first international prize in the history of Chinese cinema.

Transatlantic communication in the early years of the International Scientific Series (1871 to 1875)

The first 18 volumes of the International Scientific Series published in both London and New York were reviewed to assess their contribution to transatlantic communication of popular science. The dominant flow of ideas was westwards on topics such as science versus religion, empiricism in psychology, survival of the fittest, jurisprudence versus mental illness, economics and development of cinematography. There was an eastward flow in philology. The preparation of volumes was rushed and many authors merely expanded previous notes, articles and pamphlets. Commercial and idealistic motives conflicted. There were disagreements among authors. Despite all this, the series had a lasting effect on social thought.

The Face of Physiology

This article explores the relationship between the physiology of the emotions and the display of character in Victorian Britain. Charles Bell and others had begun to link certain physiological functions, such as respiration, with the expression of feelings such as fear, regarding the heart and other internal organs as instruments by which the emotions were made visible. But a purely functional account of the emotions, which emerged through the development of reflex physiology during the second half of the century, would dramatically alter the nature of feelings and the means of observing them. At the same time, instinctual or acquired sympathy, which had long underpinned the accurate reading of expressions, became a problem to be surmounted by new 'objectively'. Graphic recording instruments measuring a variety of physiological functions and used with increasing frequency in clinical diagnostics became of fundamental importance for tracing the movement of feelings during the period prior to the development of cinematography. They remained, in the form of devices such as the polygraph, a crucial and controversial means of measuring affective states, beneath the potentially deceptive surface of the body.

Future Direction of Research and Development of Cinematography in USSR

Future Direction of Research and Development of Cinematography in USSR

Oskar Messter and His Work

This is a survey of the life of Oskar Messter, founder of the German Motion-Picture and Film Industry, and of his achievements in the development of cinematography.