Existence Of Cinema Research Articles

Film Intervention in Public Space. A Phylogenetic Spatial Change

Cinema has taken up the role of a social agent that introduced a variety of images and events to the public during critical times. This paper proposes the idea of using films as a tool to reclaim public space where a sense of belonging and dialogue restore to a meaningful place. During the January 2011 protests in Egypt, Tahrir Cinema, an independent revolutionary project composed of filmmakers and other artists, offered a space in Downtown Cairo and screened archival footage of the ongoing events to the protestors igniting civic debate and discussions. The traditional public space has undergone what Karl Kropf refers to as the phylogenetic change, i.e. form and function that is agreed upon by society and represents a common conception of certain spatial elements. Hence, the framework that this research will follow is a two-layer discourse, the existence of cinema in public spaces, and the existence of public spaces in cinema. Eventually, the paper seeks to enhance the social relationship between society, spaces, and cinematic narration – a vital tool to raise awareness about the right to the city.

Evaluation of scoring method in urban-rural classification in Indonesia

BPS-Statistics Indonesia is responsible for collecting valid official data in Indonesia, which mainly depends on the sampling plan they used. The village classification into urban or rural group plays a significant role in the construction of the plan. So far, the classification has been based on a scorecard developed in 2010 consisting of 12 variables. With a certain threshold, each variable has several criteria that give a score. The total sum of the scores is then used to define the class of urban and rural. This study worked explorative to evaluate whether the scorecard is still proper to be implemented. Exploratory data analysis used in this study to analyzing data structures and patterns of the data distribution. Both of them will uncover unexpected things from the data. The result shows that variables i.e. population density, the percentage of agricultural households, the existence of kindergarten, the existence of cinema, the existence of hotel/pub/beauty shop, the percentage of household with cable phone and the percentage of household with electricity require more sensitive criteria and scorecard.

ФУНКЦИИ ПРОЕКТИВНОЙ ИДЕНТИФИКАЦИИ В КИНОИСКУССТВЕ

The article develops the concept of “projective identification” within the framework of identification theories as applied to the analysis of contemporary cinema. In the article, it is proved that cinema, in search of scenes, turns to fabulous and archetypal models that enhance the hero’s projection, identifying him or her with a role model. Such an identity becomes fatal for the hero himself. The striving of new Russian cinema, while maintaining a projective identity, to expand the range of identifications during dialogue with the viewer is also noted. A critical analysis of theories of identity and an analysis of the specifics of screen art makes it possible to clearly distinguish between the identity and identification, and to distinguish various levels of identity due to the specifics of identification. An analysis of the motivations in the film and of the screen arts conventions made it possible to clarify at which point or defining moment in the film such identification begins. The author proves that it is associated not so much with the specifics of the plot as with the specifics of the visualization, due to the narrative substrate and the boundaries of its onscreen deployment. Projective identification is considered as a resource of the spectator’s experience and as an innovation in cinema. It is proved that the modern existence of cinema in the space of new media and new arts turns what we consider art methods or devices into identification strategies that work differently depending on the expectations of the viewer and director’s optics, which becomes fundamentally changeable and unpredictable.

‘Maravalgate’ and its effects: a year of debate over the funding of French cinema

The French system of film funding allows French cinema to resist the hegemony of Hollywood better than any other European cinema. It is a reflection of France’s protective stance regarding its cultural products, a position that has long been expressed in its strong defence of the principle of ‘cultural exception’ in free trade agreements between the European Union and the United States. It might be thought that an arrangement that is so favourable to film production would receive unanimous support. On the contrary, it fuels controversy and is regularly criticised and even attacked. An example of this is producer Vincent Maraval’s claim at the end of 2012 that French actors are ‘overpaid’. This opinion piece had considerable repercussions because it called the funding system of French cinema into question. Its effects are still being felt today. This article will follow the thread of the discussion throughout 2013, a year that is a perfect case study because it presents an exceptional sequence of incidents and reactions around the question of film funding. Through their denunciation of the excesses linked to government assistance, criticism of the avance sur recettes (advance against earnings), rejection of the collective agreement, the fantasy of a cinema of ‘public servants’, and finger-pointing at films with low audiences, these reactions blurred the lines between supporters and opponents of the system. The author analyses the tensions and misunderstandings expressed in these debates, highlighting their often contradictory nature. She points out that these tensions have their origins in debates that significantly predate the very existence of cinema, because they follow in the footsteps of a traditional conflict in France between art and money. She above all stresses the fact that they have inherited a very old suspicion of any art form considered to be dependent on government support.

INTRODUCTION: Film and/as Technology: Assessing a Bargain

In the process of surveying the various technologies involved in the enterprise of filmmaking, Steve Neale offers what may seem a most obvious reminder, that the very “existence of cinema is premised upon the existence of certain technologies”: those we use for capturing image and sound, for mechanically reproducing them, and for presenting them to a mass audience (1). That reminder is needed in large part because those technologies are, for the most part, meant to be overlooked, as film, especially in its dominant classical mode, usually tries to seem like nothing more than a window onto reality, thereby making its constructed nature practically invisible. The reminder has a special import, I would suggest, because this primary level of invisibility or transparency usually begets another. For in our commonplace employment–and enjoyment–of those “certain technologies,” we are invariably engaged in a kind of unspoken “deal” with technology, in striking a bargain, as Neil Postman puts it, in which we have something both to gain and to lose.