Film History Research Articles

Analysis of the American directors� works in the context of the European theory of auteur cinema

Relevance. The relevance of this study is determined by the trends in the development of New Hollywood, which have radically changed the essence of modern cinematograph.Purpose. The purpose of the study is to identify the specifics of New Hollywood cinema, which resonated in the work of modern Hollywood directors as an influential and competitive area. Examples from films by American directors and authors were analysed.Methodology. Methods of scientific analysis, comparison, and generalisation were used in the study of the topic. In addition, analytical and systematic methods were applied in their unity, which is necessary for studying the art history aspect of the problem, working on the historical and factual base and clarifying the terminology of research. Using the method of introspection, the paper investigated and systematised the problems of director's self-fulfilment, which contributed to the awareness of the specifics of the theory and practice of author's cinema parity.Results. Based on the results of the study, conclusions were drawn about the specifics of creating author's models of modern cinema under the influence of the canons of New Hollywood author's independent cinematograph.Conclusions. It was established that the determination of factors of professionalism creates psychological models of professional activity and professional self-consciousness of the individual. The practical significance of the study consists in expanding the arsenal of knowledge about the specifics of the author in cinema and, in particular, the author's cinema of New Hollywood and makes it possible to use them in training courses on the theory and history of cinema and directing.

Commemorating the Great War on Film: Veterans, Pilgrimages and Amateur Filmmaking

This article explores the work of four amateur filmmakers from the Canterbury area, between the late 1920s and early 1970s focusing on the films relating to the battlefield visits of First World War veterans and their families. It argues that film provides a fascinating insight into veteran behaviour and culture. Of particular interest is the manner in which the films reveal the continuities and developments in the behaviour of ex-servicemen. The films of the late 1920s and 1930s reveal a highly masculine culture which remained closely aligned with military ceremonial and codes of conduct, whereas the later, post-1945, films show the veterans with wives and family members engaging in a wider range of activities. The article also sets the films within the culture of amateur filmmaking of the time discussing equipment, techniques and exhibition, thus engaging with an element of film history which remains under-explored compared with the degree of research commercial cinema has attracted. The article is supplemented by a short film providing excerpts from all films discussed.

Imagined reality, the liquid, dystopia, and virtuality in science fiction cinema: Don’t Worry Darling, a case study

The history of cinema has never shied away from the representation of the future, and beyond the abstract nature of the contemporary concept and its temporal fluctuations, the sheer profusion of scenarios and their different links to the very concept of the real have generated a wide range of futuristic film references, especially those conceptually linked to the dystopian. This article presents a case study of Don’t Worry Darling, directed by Olivia Wilde in 2022. It is a contemporary science fiction film proposal that condenses retro aestheticism and the American Way of Life with the historical proposals of science fiction and its forecasts about humanity’s connection or disconnection with sensory reality and the birth of virtuality. The analytical methodology, which links patriarchal dystopia, virtual reality and gender studies, is based on the analysis of differentiating elements that provide signs with which to question the reality of the experiences of the film’s main character and the environment that surrounds her. This research employs a qualitative analysis by means of case analysis with a dual approach: the audiovisual language and signs of gaps in the filmic reality created. Firstly, the audiovisual language will be analysed through the use of the decoupage technique and, secondly, the sequences that generate gaps in the filmic fiction and lead the spectator to realize that he or she is facing a simulation of reality will be organized. The anomalies identified and inferred have been subdivided for analysis into: unrealistic space/time (synchronizations and repetitions, duplications, spatial incongruities, logical errors and perfections), mediated reality and the eye metaphor and, finally, diegetic technological analysis.

Pemilihan Bagian Objektifitas Film Sejarah sebagai Media Pembelajaran

This article explains how to select objective parts of historical films that will be used as learning media. That historical films not only visualize historical actors but also the atmosphere of a situation as a background for a historical event. Therefore, historical films are very susceptible to subjectivity. On the other hand, historical sources do not perfectly describe past events, but only describe events that are considered important. This article emphasizes that history teachers have the skills to select parts of films that measure their objectivity. This article uses historical research methods in the form of source collection, source criticism, interpretation, and writing. This article's contribution is not only limited to exploring the educational values of a historical film, but also to providing tools for history teachers in selecting fragments of events in historical films that have proven objectivity.

Female Empowerment in Film: The Expression of Contemporary Female Consciousness in the Movie Barbie

Barbie, one of the most noteworthy films of the year, gained significant attention and achieved great box office success. Several feminists initiated discussions about the film. The movie offers a unique perspective compared to other movies targeted towards women. Specifically, the focus is on the personal development of women by depicting women as protagonists in social contexts, which is an approach to analyzing the inner world of women. Barbie represents an important moment in the history of women's cinema. However, public attention towards Barbie has overshadowed the film's plot. Barbie challenges gender-based stereotypes present in the larger society as well as those specific to Barbie, women, and women's cinema. Furthermore, she serves as a role model and a beacon of excellence for women's cinema. The director and screenwriter have taken a courageous step in their journey toward deconstructing patriarchal norms through carefully orchestrated countermeasures. This analysis employs a comprehensive range of sources, including interviews, to scrutinize the character and film from a unique perspective. The study not only examines the movie but also provides a constructive dialogue evaluating women's cinema and their narratives. Ultimately, this exceptional piece of cinema encourages much-needed changes.

The film comedies of Leonid Gaidai: student works and the formation of a style

ABSTRACT This article studies the early stage of the career of the well-known Soviet and Russian comedy filmmaker Leonid Gaidai, notably the training period at the All-Union Institute of Cinema (VGIK), on the basis of hitherto unknown archival sources. During these student years, many important stylistic lines of Gaidai’s comedy films were established: his interest in the synthesis of satire, sharp social criticism, trick comedy and eccentricity that would become well known to audiences. Firstly, new archival materials include the theoretical parts of the diploma works from the cinematographers’ faculty of Vladimir Boganov and Vadim Yusov at VGIK (hitherto unknown), and the film Darlings-Friends. Secondly, the short film and Gaidai’s coursework Darlings-Friends (1954), discovered by the film historian Sergei Kapterev at VGIK’s film library. Thirdly, the theoretical part of Gaidai’s dissertation (hitherto not known to researchers), who worked as probationer-assistant director and actor on the musical comedy Lyana by Boris Barnet. In this text, Gaidai for the first time formulates a number of principles for the creation of a comedy film and determines some important lines of his style.

Ukrainian Textbooks on the History of Cinema and Television: Achievements and Nonsuccesses

Ukrainian Textbooks on the History of Cinema and Television: Achievements and Nonsuccesses

TELEVİZYON BELGESELCİLİĞİNDE YENİ NESİL YAKLAŞIMLAR: KİMLİK TEMSİLLERİ ÜZERİNE BİR İNCELEME

The art of cinema also has a history similar to the history of documentary cinema. With the emergence of the art of cinema, the most critical task of moving images has been to convey a message or meaning. Within the framework of the thesis content, while discussing the historical process of documentary cinema, the development of this type of cinema and its serving different purposes in different cultures are discussed. Within the scope of the thesis, it explains how documentary cinema changed after the Second World War when it shook hands with television and when consumer culture was more palpable with the influence of modernism, accompanied by different ideologies. The main problem of the thesis is that the culture of consumption affects every aspect of human life. Reality shows deformed this genre with the transition of documentary cinema to television, and hybrid genres emerged to serve the culture of consumption. For documentary cinema to survive, its agreement with television has led to the emergence of hybrid genres. In this study, "Tight Transformation," broadcast on TLC, a sub-channel of the Discovery Channel, is analyzed using Norman Fairclough's critical discourse analysis method. Discourse has been used in scientific articles and works that emerged in social sciences in the West after 1960. This method aims to reveal the ideological messages conveyed in the program through dialogues and body language in the context of consumer culture.

Proibito di Mario Monicelli tratto da La madre di Grazia Deledda come esempio di “western deleddiano”

In the 1950s, films inspired by the work of Grazia Deledda and, at the same time, by the western genre appeared. Called ‘the Deleddian westerns,’ they typically featured the conquest of a wild environment, submission to the laws of nature, the primacy of local unwritten customary laws over the official law of the state (bound up with the frequent motif of justice), and stories of outlaws from the early 20th century. In the article, we analyse Mario Monicelli’s film Proibito (1954; Forbidden), inspired by Deledda’s novel La madre (1919; The Mother). Thematising justice, Proibito is a story of bandits and a priest who must intervene for the sake of peace and the good of the community. The film’s plot transports viewers to the non-existent Sardinian Far West and goes beyond the concerns of Deledda’s novel. Though coming closer to American cinema and the western film model of the time, Forbidden went down in the history of Sardinian cinema for its realistic and non-invasive portrayals of Sardinia’s iconic symbols, such as nuraghes, village churches, costumes, and local festivals. In this article, we compare the novel and the film to conclude that the two substantially differ in their renderings of the character of the mother and her relationship with her son, his inner conflict, religion, and superstition. All these aspects are absent or marginalised in the film.

The Manchukuo Film Association and Its Afterlives: Animated Filmmaking in Wartime and Postwar Peking

abstract: Scholarship on the Manchukuo Film Association (Manying) has largely attended to documentaries, newsreels, and live-action films featuring Li Xianglan, neglecting animation. This article examines the animated film-making activities of the North China Film Company, a branch of Manying located in wartime Peking, by focusing on Chinese animator Liang Jin and a few Japanese animators such as Asada Isamu and Onozawa Wataru. With an animated filmmaking philosophy of territorialization and localization, Manying nonetheless created a de-territorialized world that enabled it to live multiple afterlives in socialist cinema, despite the institutional efforts to erase it from the history of Chinese cinema.

Analyzing the Advantages and Disadvantages of Film Aesthetics and Background Analysis

Based on the deep-rooted class gap in South Korea, “Parasite” is one of the most influential films in the history of Korean cinema. This study will analyze and appreciate the audio-visual language, shooting techniques, skills, and other aspects of the film. Based on its sustained market promotion, it will analyze this cultural product’s comprehensive impact on Korean audiences’ awareness and the image of Eastern culture. Despite the bold plot creation and advanced aesthetics of ‘Parasite’, the distance between its character setting and reality still needs to be improved. The author believes that the character set is in line with the personality of real-life characters and is more conducive to bridging the gap between the film and the audience. The film criticizes the inequality of social class disparities, showcases cruel reality, and warns people that the author believes movies can shape more realistic Eastern character images and improve the overly simplistic setting of the poor.

The Mother in Kore-eda's Broker : Striking New Reverberations in the Korean Context

Abstract: This article's interest in Hirokazu Kore-eda's Broker (2022) is twofold. First, it analyzes the visual text to unwrap the ideas of conventionality that are subtly debunked in the making of an unconventional family, amidst which it analyzes the mother character to be a central force of redemption and union. Ultimately, it argues the role of motherhood in this new family unit to be that of an imaginary and ideological vessel. Second, it positions this idea against the history of Korean cinema, where decades of films have similarly glorified motherhood as an unconditional love that redeems. Yet Kore-eda's radical image of a teenage sex worker as the bearer of this ideology simultaneously resonates with a different strand of Korean films: half-commercial half-arthouse films from the mid-1990s and 2000s known as "high-quality films." Motherhood is one of two connections that can be drawn between Broker and high-quality films. While the mother aligns with the female precedents of these films by together pushing the boundaries of the Korean cinematic mother, her pivotal role in the making of a new kind of family also connects to depictions of "alternative families." Such reverberations are meaningful not only in allowing Broker to be positioned within the context of Korean film history as a story that interlaces with the ideas of Korean films despite being made by a non-Korean auteur, but also in illuminating the trans- and multi-national nature of (art) films today, where the lowering of the national boundaries surrounding auteurs are leading to multi-contextual films.

Ansiedad, depresión y suicidio en el musical estadounidense. Una visión a través de Lady in the Dark, Sweeney Todd y Dear Evan Hansen

Anxiety, depression, and suicide are taboo subjects that are still rarely talked about in an open and honest way, both in musical theatre and in its cinematic namesake. In 2015 we see on the stage the work Dear Evan Hansen, Dear Evan Hansen with lyrics and music by Ben Pasek and Justin Paul and book by Steven Levenson, which for the first time openly deals with the consequences of mental pathologies. However, this does not mean that there are no examples throughout the history of musical theatre and film where the main characters do not exhibit some kind of pathology. For this reason, in this article we will Hansen, highlighting the scarce representation of mental illnesses throughout the history of theater and musical cinema.

Screened Jews of the Russian World : Race, Fate, and History in Putin's Heroic War Films

ABSTRACT: The paper analyzes how Jewish representations in Russian government-supported war films from 2010 to 2018 have been engaged in the assertion of Vladimir Putin's foreign and domestic political agenda. The paper argues that the re-emerged heroic war genre—the principal Russian ideological medium—has employed Jewish representations and Jewish historical narratives in order to instrumentalize and re-interpret them for the benefit of the new Russian imperialist ideology and Vladimir Putin's current political agenda. Using such films as The Match (Malyukov, 2012), Battle for Sevastopol (Mokritsky, 2015), Sobibor (Khabensky, 2018), and others as illustrations, the paper infers that contemporary film representations of Jewish identities are inspired by the Soviet models adjusted to transmit the idea of Russian state messianism. The paper explores how Jewishness , represented primarily on a racial account, is culturally downplayed compared to some privileged Russianness , until it comes to the recognition of the allegedly universal values of the latter and the readiness to share its historical destiny.

Registers of the melodramatic mode: the 1980s heroic bloodshed cycle in the history of the Hong Kong crime film

Registers of the melodramatic mode: the 1980s heroic bloodshed cycle in the history of the Hong Kong crime film

Кинематограф в одном кадре

The article examines the status of the screenshot, a separate static frame, a fragment of the cinematic stream, its relationship to the “whole” of the film, its influence on the spectator’s perception, as well as everyday user practices involving the observation and creation of screenshots. The starting point of the text is an attempt to reconsider the common notion of the screenshot/one-frame as a particle in a subordinate position to the film (and more broadly to the history of cinema). On the basis of texts by Pascal Bonitzer, Sergei Eisenstein, and Roland Barthes, the basic thesis is formulated — the mutual relation between the frame and the film can be constructed differently than the logic of “the frame is a lower-order element nested within the whole film;” on the contrary, the frame and the film in some cases meet as equivalent phenomena or they are superimposed on each other according to the principle of palimpsest. The article deals with three common forms of using frames and screenshots advertising and illustrative shots, the use of film images in sticker packs for messengers, and albums of images in social networks. The question is raised about the communicative plasticity of separate images, the metamorphoses that occur with them when they are taken out of their original context, and their insertion into new artistic and research practices. As such practices, the text pays special attention to two cases — the screenshot project of French director Frank Beauvais and contemporary audiovisual film criticism (based on the works of Johannes Binotto, Carrie Griffith, Daniel McIlwright).

The Evolution of Film Genres: A Historical Analysis

Since its beginnings more than a century ago, cinema has undergone tremendous change as both an artistic medium and a cultural phenomenon. Changes and improvements to film genres are illustrative of this progression. looking back at the development of film genres from their inception all the way up to the current day. historical events, trends, and critical variables that have moulded cinematic genres. early film genres including silent comedies and melodramas emerged at this time, marking the beginning of cinema. Next, it explores how innovations in technology, such sound and colour, influenced the evolution of genres. Examining cinema history in chronological order, this study reveals pivotal epochs of experimentation and invention, such as the silent film era, the Hollywood musical heyday, and the blockbuster era.keywords:- Film Genres, Film History, Cinema Evolution, Genre Development, Silent Film Era, Sound in Film

Киноатлас СССР: «Далеко в Азии» Владимира Ерофеева

The proposed research paper serves two purposes. Firstly, it introduces the ethno-geographical documentary titled Far Away in Asia (1931) into scientific discourse. Secondly, it sheds light on the lesser-known theoretical works of the classic of Soviet cinema Vladimir Erofeev, who explored the Soviet/Marxist cinema language. This film is examined in the context of a comprehensive interdepartmental program of the late 1920s to early 1930s, known as the Cinema-Atlas of the USSR. The program aimed to create a 150-episode visual almanac about the diverse nationalities and regions of the Union. Its objective was to construct images in the public consciousness of a multinational, friendly, and progressively developing socialist nation, both for domestic and international film distribution. Methodologically, this article develops the application of the author’s approach to analyze films as cinematic texts: using the chosen example, it demonstrates how the film document can be read as a historical source. The findings highlight the significance of historical cinema documents as multi-layered evidence of visual history, offering informative potential for research across a wide range of humanitarian disciplines. Additionally, the retrospective study of the complex theoretical and practical developments of the early Soviet period is deemed relevant for contemporary screen projects, including scientific, cinematic, and television endeavors.

Кельтская триада: кинематографии британских национальных меньшинств и «внутренний колониализм»

The global success, both in viewership and expert community, of auteur feature films Belfast, directed by Kenneth Branagh, and The Banshees of Inisherin, directed by Martin McDonagh, and produced by independent Northern Irish companies in 2022–2023, prompts a closer examination of the challenges faced by the national minority cinemas of Great Britain. Specifically, we focus on the culturally and linguistically related regions of Northern Ireland, Wales, and Scotland, collectively referred to in this article as the Celtic Triad, which represent a significant presence in the world cinema landscape. A number of British film historians and sociologists argue that national film industries are on the verge of survival, highlighting two main trends in the context of national cinema: inclusivity and sovereignty. From the perspective of the dominant ethnic group and its major production companies, inclusivity entails assimilation into the mainstream, while sovereignty involves preserving distinct national cultural characteristics. The representatives of national minorities are striving to safeguard these characteristics in the face of what American sociologist Michael Hechter termed internal colonialism—a policy implemented by the dominant Anglo-Saxon ethnic group towards cultures of national minorities and expressed in their marginalization and Anglification. A negative consequence of these dynamics, according to Hechter, is ethnocentrism, that is, the prevalence of one’s own culture in shaping perceptions of the world. Nevertheless, as this article demonstrates, the strategies employed by the Celtic Triad in pursuit of economic independence and artistic self-determination not only ensure the survival of national cinema but also establish its distinct sovereignty and success beyond the borders of Great Britain. Television broadcasting in national languages, which has gained popularity with the advent of digital broadcasting, plays a significant role in this process. An important contributing factor here is the economic and socio-cultural collaborations of these cinemas with both domestic and international partners, relying primarily on the influence of soft power and implying adaptation not only by adjusting to them, but also by active interchange and cross-fertilization of cultures.

Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s

In the 1990s, four women made their debut as film directors in South Korea. Considering that there were only five female directors from the beginning of Korean film history in 1919 until the 1980s, their debut was a remarkable phenomenon. This change was due to the structural innovation of the South Korean film field that began in the mid-1980s. With the collapse of the apprenticeship system, networks of cinephiles such as the Munhwawon sedae functioned as a new source of relational capital. In order to deepen our understanding of the emergence of the celluloid ceiling in South Korea, this study focuses on the experiences of three women filmmakers who made their first feature films in the 1990s: Yim Soon-rye, Lee Jeong-hyang, and Byun Young-Joo. Compared to male directors who had equivalent cultural and academic capital, and who entered the field during the same period, these women directors were unable to acquire sufficient relational capital to promote their careers as directors. It was the authorities of the field, such as film festivals and the media, that acknowledged them and established their reputations, allowing them to release their first films in the South Korean cinematic field. In other words, even in the new system, women remained excluded from the benefits of relational capital in the South Korean cinematic field, and they could only find their place as directors by demonstrating exceptional individual abilities.