Kind Of Art Research Articles

Особливості формування художньо-образного мислення здобувачів освіти засобами скульптури як виду образотворчого мистецтва

Based on the analysis of scientific literary sources and based on the author's own experience, the author in the article pays attention to the development of sculpture in the modernity, its features, differences from other types of fine art forms. The relevance of the topic is due to the need to train of highly qualified art teachers who have effective teaching methods. One of the stages of such training is the development of spatial thinking among students of pedagogical universities in sculpture classes. This kind of art allows students to go beyond the plane of the page into three-dimensional space. Sculpture classes allow you to see the relationship of different objects with the landscape, air, and each other. The main types of sculpture are characterized, the historical path is described, the essence and specific means inherent in the art of sculpture are revealed and characterized inherent in the art of sculpture. The role of sculpture in the formation of the aesthetics of the environment. The ways of solving creative tasks by means of sculpture, the importance of sculpture in the educational process is highlighted, because students should be guided by the works of high art of both old classical masters and contemporary artists. Familiarization with the world's best works of painting and sculpture contributes to development of artistic and imaginative thinking, formation of students ‘sense of beauty, the ability to understand the beauty of not only art, but also the surrounding world and the surrounding world, the formation of imaginative and spatial thinking. The art of sculpture is characterized as an artistic and figurative reflection of life. It is substantiated how important this important branch of art is in the formation of creatively thinking specialists - artists, future teachers, and teachers of fine arts. It is also shown how sculpture is connected with other art forms, that are important for students who acquire knowledge in the field of fine arts, art, as well as with such disciplines as descriptive geometry drawing, and plastanatomy. It is highlighted how artworks, while decorating our lives, also contribute to the preservation of historical memory contribute to the preservation of the historical memory of peoples, being a kind of a constant in the time line. The work is addressed to scholars, employees of the system of higher artistic and pedagogical education, students.

The Long View: Leadership at a Critical Juncture for “African Art” in America

The Long View: Leadership at a Critical Juncture for “African Art” in America

헨리 제임스의 소설에 등장하는 하인계급의 비극과 매슈 아널드적 교양의 실패

The purpose of this study is to analyze the tragedies of two main characters in Henry James’s “Brooksmith” and The Turn of the Screw based on the Arnoldian concept of ‘culture.’ The main characters of both works, butler and governess, are tragic characters who serve their masters but fail to join the master’s world or its class despite their trial and passion. “Brooksmith” is a kind of artist who hosts retired diplomats and allows guests to have a high level of intellectual conversation with each other, but it is just another aspect of the servants who revolve around the nobility and never get into the world of British society. The governess of The Turn of the Screw manages to control the master’s house and protects the two young children of the Bly from the ghosts of Peter Quint and Miss Jessel. She seems to have done her job well at first glance, but her destiny seems to be similar to that of Brooksmith, for she disappears from the world of the master in spite of her successful job. This study shows the irony of the British order based on the solid cooperative relationship between the upper class, the master and the lower class, the servant. The fate of Brooksmith depends wholly on Mr. Offord’s life and death, and the role of the governess on the master’s absence. Even though it seems that the flamboyant British society was not possible without these sacrifices and substitutes, their masters gave them the gaze of ‘the uncanny.’

Theoretical Study on Composing Technology in National Music: A Systematic Perspective

The art of music has a long history since its development from a relatively long time. It can not only bring the viewers a more shocking thought, but also enrich people's spiritual and cultural world. And national music is also a kind of art with national characteristics, which originates from life and is also higher than life. The theory of composition technology is of great significance to the development of national music. This paper mainly analyzes the theory of composition technology and its application in national music, discusses and analyzes the role of composition technology theory in national music, hoping to have some enlightenment on promoting the inheritance, innovation and development of national music and stimulating the contemporary value of national music.

Функции живописной образности в прерафаэлитической балладе: на примере произведения А.Ч. Суинберна «Дочь короля»

This article focuses on intermediality as one of the foundations of Pre-Raphaelitism. Intheir work, the Pre-Raphaelites practise both more complex and more applicative approach to intermedial interaction, seeing in the material and method of other arts the potential to enrich the poetic language. This was particularly evident in the frameworkof pictorial-poetic synthesis, which affected not only those Pre-Raphaelites who worked simultaneously as poets and painters but also those of them who were engaged in one kind of art. The first partof the article deals with the intermedial aspect of Pre-Raphaelitism, its theoreti-cal foundations, historical and cultural context, and the specificity of the approach in comparison with previ-ous periods. The particular focus is on painterliness and attention to detail as key qualities of Pre-Raphaelite poetics; these were mainly reflected in the principle of fidelity to detail that the Pre-Raphaelites embraced and also in the use of light and color in their poems. The next part of the article shows the innovative ap-proach which involved the active use of material-oriented and visual imagery not only in static genres but also in narrative ones, such as the ballad. The third part illustrates how pictorial imagery was modeled in A.C.Swinburne’s ballad The King’s Daughter, and what functions it fulfilled. The result of the study is the conclusion that the pictorial mode of representation manifests itself in the Swinburne’s ballad despite the fact that the author himself was not an artist. It is manifested not only on the lexical but also on grammatical and syntactical levels. Such a model of a visual image transmission performs several important functions, partici-pating both in the compositional organization of the work and in the plot development and character building.

The Core of Dance Works' Protection in Chinese Copyright Law

There is no such kind of art which is interpreted by public, is judged emotionally and is explained mysteriously [1]. The issue about how to protect dance work by copyright law triggers many people to discuss. Some Chinese scholars responded this questions with their own opinions like protecting the records of choreography work, protecting the whole things on the stage, protecting the design of actions. The explanation of dance work in many countries' legislation and in Chinese judicial judgments are different dramatically, which reveals the veil that the connotation of choreography work is complicated. The combination of theater and dance makes dance art become an independent art category. At the same time, it also makes the dancing performance space is still limited in a special area. Network technology has brought new impacts to the dance works' copyright protection. So it is first to protect design of the action and it is also need to contain other elements that are some necessary materials, like lights, costumes, props and so on. The former is the soul of dance work and the later may be show the author's originality at sometimes.

ПОЛИФОНИЯ, МИМИКРИЯ И МНОГОГОЛОСИЕ - К ВОПРОСУ О ТВОРЧЕСКОМ МЕТОДЕ Ф.М. ДОСТОЕВСКОГО

Since Mikhail Bakhtin coined the term “polyphonic novel,” polyphony understood as a complex combination of equal voices has become a cliché of Dostoevsky studies. However, the eras of Dostoevsky and Bakhtin are at least fifty years apart, and those five decades saw a radical change in conceptualizing various kinds of art, including music. Yet the question of what these two eras took polyphony to mean and whether these two polyphonies are identical has been raised only recently. This article will consider Dostoevsky’s creative method through the lens of two terms: mimicry and layered voicing. Mimicry is Dostoevsky’s main principle of handling ideas: his antiheroes’ false ideas mimic true ones, Dostoevsky’s ideologues pretend to be what they are not. Layered voicing is Dostoevsky’s special narrative technique of combining several voices in a single statement. This technique is particularly relevant when interpreting quotations, both directly attributed and hidden ones, that Dostoevsky uses in his works. By distinguishing these voices, readers can arrive at the true idea that antiheroes’ false ideas mimic.

Николай Соловьев как критик эстетической теории Н. Чернышевского

Dissertation of Nikolay Chernyshevsky “The Aesthetic Relationship of Art to Reality” (1855) is one of the most controversial works in the history of humanitarian sciences. Even during the author’s life, it was estimated ambiguous (and also sharply negative). Among the early responses to this work, a prominent place is occupied by the critical cycle of Nikolay Ivanovich Solovyov (1831–1874) “The Art Issue” (1865). The critic analyzes Chernyshevsky’s concepts of the beautiful, the sublime, the tragic and comes to the conclusion that his definitions are untenable. Solovyov also finds little solidity in Chernyshevsky’s judgments about certain kinds of art, noting this tendency to emphasize the imperfection of artistic works in comparison with nature. Solovyov’s main conclusions are as follows: Chernyshevsky’s “theory of reproduction” is an attempt to revive the theory of imitation of nature, while the appearance of novelty is created by pointing to “real direction of thoughts” of the author Chernyshevsky very vaguely characterizes the beautiful; grossly simplifies the tasks of art (“reproduction”); discredits the creative imagination and the artist’s craving for the ideal; seeks to lower the high status of art in the range of human interests. Solovyov’s analysis is distinguished by consistency, respect for the convictions of his opponent, as well as his own view of the issues raised by Chernyshevsky. In “The Art Issue” and other articles Solovyov defended his belief that Chernyshevsky’s “theory of reproduction” was the prototype of the utilitarian and nihilistic views on art in journalism of the 1860s. This article presents for the first time a detailed analysis of Nikolay Solovyov’ s views on art in comparison with Chernyshevsky’s aesthetic theory.

Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)

The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.

MUSICAL EKPHRASIS IN THE SERBIAN NOVEL OF THE LATE 20TH – EARLY 21ST CENTURY (THE EXPERIENCE OF A. GATALICA, M. PAVIĆ, G. PETROVIĆ AND G. ĆIRJANIĆ)

The multifaceted interrelationships of the various media are now considered to be a particular productive area of comparative strategy. The generalised typology among the types of intermedia at the present stage is considered to be the most fruitful and effective, in particular, ekphrasis and intermedia – a particular manifestation of intermedia, the phenomenon of specific expressive mediation of one media in the figurative field of another. Intermediate format, developed by the interaction of different sign systems and the content encoded by them, mainly – literature and other arts with emphasis on the sign and semantic correspondence of comparisons, has significant artistic effectiveness. A way to realise the ekphrasis of the reception as a description of the case is any kind of art in the literary text. At the same time, the preferred determinant of ekphrasis as a description of a work of art in a literary text is suggested to be its relation to a specific work of authorship, although it also assumes the spread of the ekphrasis to similar or non-existent but genre conventional art variants with a pre-eminent inheritance of the corresponding art. In determining the universal common principles of organising such sovereignty of sign systems, positioned in the status of local variants of different discursive practices in the process of their syncretic interaction in the literary dimension, effective for illuminating the raised issue are primarily the tendencies of the extracurricular direction of literary criticism, initiated by Lotman's semiotic concept, initiated by the first concept, the imposition and intersection of semantic spaces capable of generating new meaning. The empirical plan of ekphrasis is vividly and convincingly actualised in the novels of famous Serbian writers A. Gatalica, M. Pavić, G. Petrović, G. Ćirjanić. Innovative creative experience of artists testifies to a special sophistication, content, accuracy of design and diversity and comprehensibility of meaningful potential, which brings the manifestations of the poetics of syncretism of arts to the organisational components of the poetics of novels in general.

Promotion and Development of Balochi Literature in Koh-e-Suleman

The purpose of this study is to discuss the development and promotion of Balochi literature in Koh-e-Suleman. Literature is a kind of art that reflects the objective reality in the form of language and words. Literature is the carrier of the image of art, so it is different from music, sculpture, painting and other art forms. Researchers and critics of Balochi literature have written a part on Balochi literature in Koh-e-Suleman, but a few perspective of Balochi literature remained untouched in Koh-e-Suleman, which contains an endless canvas and gigantic potential. Within the article beneath review, development and promotion of Balochi literature in Koh-e-Suleman", an endeavor has been made to bring forward the theoretical talks from the research and expository study about of Balochi literature (starting to date). Within the article beneath review, the development and promotion of Balochi literature in Koh-e-Suleman has been checked on from the administrations of Orientalists to modern literature in Koh-e-Suleman.

ВИВЧЕННЯ УКРАЇНСЬКОЇ ЛІТЕРАТУРИ В КУЛЬТУРОЛОГІЧНОМУ КЛЮЧІ: ВІТАЇЗМ НАЦІЇ, ВІДОБРАЖЕНИЙ У МИСТЕЦТВІ (на основі немовознавчих праць Івана Огієнка)

The study of Ukrainian literature as a kind of art, and therefore in the rich palette of national and world cultural heritage, corresponds to the trends of liter-ary and cultural education. The purpose of the article is a generalized ideological and theoretical analysis of the methodology of studying Ukrainian literature in a cultural key. According to the NUS Concept, one of the ten key competencies is awareness and self-expression in the fi eld of culture. This competence is related to the understanding of works of art, the formation of one’s own artistic tastes, the independent expression of ideas, experiences and feelings through works of art. The formation of cultural competence within school programs does not have a special targeted subject, but takes place in the synergy of infl uences on the student’s personality during the study of a number of related disciplines. Perhaps the greatest potential to form cultural competence have the disciplines of the lin-guistic and literary cycle, in particular Ukrainian literature. Lessons of Ukrainian literature, in which the cultural context is systematically involved, are able to form a full-fl edged understanding of the pupils about the cultural paradigm in the conditions of which national literature arose and developed, as well as to give pupils a holistic understanding of the place of the artistic word among other types of art. The key note of the authors of the NUS Concept is that awareness and self-expression in the fi eld of culture is based on a deep understanding of one’s own national identity. All this motivates the correctness of the complex scientifi c vec-tor of the current research, the source of which is the non-linguistic works of Ivan Ohiienko (with an emphasis on the book “Ukrainian culture. A brief history of the cultural life of the Ukrainian people”). First, the appropriateness of studying literature in the national and cultural plane is substantiated. Secondly, it was in-vestigated how Ivan Ohiienko appeals to the worldview dominants of vitalism as a thought code of the indestructibility of the Ukrainian nation in the constructed algorithm of presenting the material. Evidence of the vitality of the Ukrainian nation is precisely the unique culture, in particular literature. The formation of cultural competence by the Ohiienko’s traditions is highlighted in the article. It contributes to building a solid foundation for the national self-identifi cation of schoolchildren. Further research on the topic should be organized empirically by tracing how the teaching of Ukrainian literature in the cultural paradigm aff ects the national self-awareness of pupils and motivational mechanisms regarding the study of literature as a kind of art and an essential form of existence of the national spirit

Sunset Pura Ulun Bali Sebagai Inspirasi Dan Aplikasi Tata Rias Face Painting

Face painting is a kind of art that use a face to be the media; it is included in the art of makeup because it changes the face of some people to get the purpose of art. For now, face painting has grown into makeup and makes a face look more glamorous in any event, such as a Halloween party, carnival, UV glow painting, and fashion art wear. Many artists or influencers in cosmetology apply new techniques to get unique makeup. One of them is the grading color technique, a color transition gradually, combining some elements of change with exciting unity. Beautiful view of nature in Dewata Bali Island, exactly the sunset at Pura Ulun Danu Bratan has no doubt anymore. Hill views distributed the typical Bali architecture of Pura, and rivers have become a source of face painting makeup. This research uses the Project Based-Learning method to produce a product in the form of face painting by applying color gradation techniques; the technique is quite simple and makes the makeup look more natural. This study’s results can motivate artists to develop face-painting makeup ideas.

ΜΑΡΙΑ ΧΑΤΖΗΚΥΡΙΑΚΙΔΟΥ, Η Ιταλία του Νίκου Εγγονόπουλου

The Italy of Nikos Eggonopoulos The presence of the Italian culture is reflected in all kinds of art with which the diverse representative of Greek surrealism Nikos Eggonopoulos dealt. «Although, […], the French fed my childhood dreams with Italy and Spain, I [only] loved Italy, and then got to know it in person» he wrote to his later wife, underlining the theoretical and experiential stimuli he received from the other side of the Adriatic coast. From the brush to the pen and vice versa, through reflections and patterns, the Italian landscape, the visual arts, the historical and literary reality and, of course, the monuments of Italy «rest his soul» and exert, as he states, a «deep and invincible» charm for him. But beyond the observations and critical thoughts about Italy as a historical and cultural entity, the Italian culture is part of the artistic ecosystem created by Eggonopoulos. He combines, seemingly incongruously, the painters and poets of Italy by placing them next to ordinary people or Greek deities while, conversely, Greek poets are depicted in his paintings with Venetian masks and renaissance attire or are described in his poems wandering in the streets of Venice. In this way he achieves multiple connections between the arts and the spaces, creating mixed forms and approaches that seem to have a common denominator: the answer to the question that concerns the origins of the Greek identity. Although in his time such a thing was treated as heretical, for Eggonopoulos these effects not only do not alter but, on the contrary, renew the cultural creation, enhancing the uniqueness, the dynamics and the universality of Greek culture.

Art and creativity at school «Innovation and creativity in education»

It is commonly accepted that using any kind of art in the classroom enhances students' attitudes toward the material and the educational experience as well as their creative abilities, critical thinking skills, and capacity for creative learning. Children who participate in the creative process are better able to understand the world around them via the use of shape, form, space, and movement. Additionally, it inspires creativity and fosters the thrill of unrestricted expression while stimulating one's intellect, psychology, and imagination. It removes the fear of rejection, and promotes involvement, collaboration and sociability. The purpose of this work is to investigate what creativity is, how it connects to art, and to emphasize the value of fostering it in the classroom. When a person thinks outside the box, approaches new areas, and produces novel, exciting outcomes, that person is being creative. The person succeeds in overcoming the habits of habit, absolute logic, and societal pressures, as well as the fear of error and the insecurity of lack of aptitude. Divergent thinking suggests a mind that is active and capable of handling challenges. Therefore, the presence of creative people in contemporary cultures is seen as crucial and vital given the present economic, social, and political circumstances.

Development of individual interests and creative capabilities through graphics programs

Conclusion based on the results of the study of the topic: Knowledge of computer technologies and their application is a prerequisite for specialists in all areas of artistic creativity. Computer graphics occupies a key place in many types of visual activity. Mastering computer technologies allows a person to form new development prospects, making him a specialist ready for the requirements and challenges of the time. In modern conditions, the development of creative abilities in all areas of art is associated with the process of computer graphics. It is a means of developing creativity. Thanks to computer graphics, work is simplified, interdisciplinary connections are created, which makes the worldview of the individual, the development and reproduction of conscious abilities faster, more efficient and larger. Intellectual perception of modern society requires great attention to computer technology. Their development introduces changes not only in the content of education, but also in the way of thinking of a person. It serves as an effective means of forming the intellectual abilities of the individual and developing aesthetic education. Therefore, computer graphics programs appear as a new kind of art, on the one hand, and on the other hand, as a working tool for a graphic designer. As a means of an effective graphic creative approach, computer technologies, in addition to the importance of aesthetic development and worldview, give a person practical skills in working with graphic tools. The freedom to choose visualization tools of a different nature makes it possible to integrate a number of areas into the process, maximizing and developing the abilities of the creator. In order to implement all this, to make it accessible to students, it is very necessary to provide classrooms with computer equipment. Their application will make working with students interesting and new. Conducting different types of lessons with the addition of new technological capabilities will create an interdisciplinary connection through the task.

Portals and doors of residential buildings in Eastern Galicia in the late nineteenth century – first third of the twentieth century: typology, decorative features, manufacturers

In accordance with the findings obtained from field studies, the portals and doors in the structure of the entrance spaces of residential buildings in Eastern Galicia (the part of former Galicia and Lodomeria) in the late nineteenth century to the first third of the twentieth century were analysed. The doors were classified according to principles of location, decorative solution and placement of artistic decoration. Leading manufacturers whose products decorated the entrance spaces of residential buildings in Eastern Galicia in the late nineteenth century to the first third of the twentieth century were identified. The relationship between the artistic design of the entry doors and other kinds of art in the decor of the entrance spaces of residential buildings in Eastern Galicia in the late nineteenth century to the first third of the twentieth century was established. Modern restored samples in residential buildings of the specified period in the indicated area were found.

Works of Art in the Turkish Grain Board (TMO) General Directorate Building

Turkish Grain Board (TMO) General Directorate Building was designed by Vedat Özsan, Cengiz Bektaş and Oral Vural (Özsan-Bektaş-Vural Architects) in 1964 and constructed between 1964 and 1968 in Ankara. One of the significant aspects of the building is the involvement of works of art. One percent of the building cost was allocated to the works of art. Moreover, the architects get inspired by some artists during the building design. Such kind of art and architecture synthesis was common in modern architecture between 1950 and 1980 both in Turkey and in the world. However, this aspect of the TMO building is not known enough in the literature. The aim of this study is to analyze the works of art in TMO General Directorate building in terms of art and architecture synthesis. The research method was mainly based on the analysis of the building on site and the evaluations of existing artworks with the literature about art and architecture synthesis, individual writings of architect Cengiz Bektaş and some artists (Bedri Rahmi Eyüboğlu, Burhan Alkar etc.). These works of art vary from wall ceramic to stained glass, and after 1988, a monumental sculpture was added to the building via competition. Moreover, after this sculptor competition, TMO established a plastic arts application center in 1989.

Plastic Culture: an Approach to the Study and the Main Characteristics

The author discusses the phenomenon of plastic culture and art. An expanded understanding of body movement is proposed, including gestures, poses, facial expressions, expression, the involvement of the artist and the viewer in external social rhythms and in music, internal movements and rhythms of the soul. All these movements are organized within the framework of plastic culture, although they exist by themselves, they have different sources of formation and areas of functioning. The immersion of a person into an aesthetic, more broadly artistic culture that has permeated, since antiquity, even the ordinary life of a person, not to mention specialization in a particular kind of art, triggers the process of organizing human movements and rhythms. The author identifies two factors that significantly determine this organization: the conditions and requirements of the sphere of art and the artistic language, understood extremely broadly. He characterizes the sphere of art with the features of publicity, differences from ordinary life and work, art opens an outlet to another, usually attractive, reality (to gods, beauty, ideals, to another world), sets a special type of communication. Describing the artistic language, the author points out that meaningful constructions of this language perform a different task than ordinary signs: they do not set unambiguous denotations, but should introduce into artistic reality and help the viewer to construct events in this reality. On the basis of these provisions, an analysis of the formation of dance is proposed and a characteristic of plastic art and culture is given.

Cinema as (Tangible and Intangible) Cultural Heritage

This research paper will put forward innovative solutions to strengthen the protection of cinema during armed conflicts, in particular by contending that cinema could be qualified as cultural heritage, thereby falling under the protection of the relevant international Conventions. A special testimony made by artist Sergio Iovino will be first proposed, with a view to highlighting the importance to safeguard cinema and – broadly speaking – every kind of art in wartime. Moving from the current armed conflict in Ukraine, the paper will underline the need for a reassessment of the relevant international regulations. In particular, after having secured a comprehensive definition of cinema, still lacking in international law, it will propose an evolutionary interpretation of the UNESCO Convention for the Protection of the World Cultural and Natural Heritage (1972), the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) and the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005). The paper will then analyze the legal relations between International Humanitarian Law (IHL) and filmmaking, which remain nebulous. The 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict never refers to cinema, but simply mentions “objects of artistic interest” (art. 1), and already such a definition fails to accommodate cinema’s mongrel nature and complex production process. An adaption of IHL, starting from the 1949 Geneva Conventions and their Additional Protocols, will be therefore put forward in order to ensure that the art of filmmaking can enjoy legal protection in all phases of an armed conflict.