Place In Cinema Research Articles

Oleksandr Dovzhenko’s Cinematic Novels within the Dramatization of Prose in the 20th Century

The emergence of cinematic novel created by O. Dovzhenko has become one of the chief achievements of Ukrainian culture in the 20th century. The demand for such innovation has been conditioned with the particular place of cinema as an alternative to theatre where the past could be represented at screen in the manner of epic and not dramatic literature. The organic unity of the features of a script and a novel has demonstrated new peculiarities and opportunities of narration. First of all, cinematic novel belongs to the general literary trend of the stream of consciousness that comes back to theatrical soliloquy and builds up a parallel to monodrama. In particular, plot as the determination of events yields to imaginary forces of subjective nature. The comparative research of O. Dovzhenko’s heritage with that of V. Woolf is substantiated with this circumstance. Secondly, it is the so called telegraph style that marks both scripts and cinematic novels coming back still to rhetoric devices of parcellation. The autonomous existence of separate things within cinematic context is presupposed with the effect of alienation ensuing from the phantoms of imagination. Textual dissociation into a series of visions of separate things results in the transformation of linear temporal succession of events into spatial corporeal images marked with multidimensionality. Third, the composition of cinematic novels as well as of other specimens of the stream of consciousness is marked with the traits of spiral narration. The new motivational forces discovered in cinema procured new opportunities for the traditional dramatic problem of fatal predetermination. The formation of cinematic novel has elucidated new interrelation between screen and scene and outlined new perspectives in their interaction.

Asta Nielsen Filmvorführungen in Istanbul

Audiences in Ottoman Istanbul first had the opportunity to watch films in 1896, after the first public film screenings circulated in the world. As a result of the implications of the Ottoman–German alliance on cultural life during World War I, documentary and feature-length films that were produced in and about the German Empire, including the films of Asta Nielsen, were screened at movie theaters in Istanbul. Although there are studies which deal with the screening of Asta Nielsen films in Europe and some parts of Asia, no study has been conducted yet on the prevalence and recognition of these films in the Ottoman Empire. This article, which aims to fill this gap, focuses on the reception of Asta Nielsen’s female characters through her two prominent films. The article evaluates the interest shown in and the comments made about Nielsen’s films, as she represented a new type of woman in the film community during her time. This article also discussed and problematizes female roles and the historical status of female spectators in Istanbul in relation to these female images. The influence of the images of modern women portrayed by Asta Nielsen on female spectators at a time when the public presence and visibility of women began to be discussed in the Ottoman Empire and the experience of female spectators who went to the movies at Péra in relation to these images give important clues about the place of cinema in the process of secularization. Therefore, the article contributes to the monography of Asta Nielsen and Ottoman/German cinema and cultural history with a focus on the screening and reception of Asta Nielsen films at Péra.

Cinema como Potência na Política Externa de Portugal

The time we live in is that of the eruption of millions of subjectivities, of territorially diffuse affective communities, geographies of affections and identity belongings that go beyond the countries’ geographical boders. The continous flows of information and communication, the transition to the digital economy accelerated by the pandemic context, transformed people’s daily lives into permanent daily contact with mobile and fixed screens, at work, in the public and in the private spaces. From the cinema room to the cell phone, the cinema language is appropriated by the disciplines of marketing, advertising business communication and organizations, media, politics and artistic practices, building appeals, standards, disputing, fragmenting and uniting communities of belonging and affections. Cinema, man’s unique look at the world constitutes itself as Elian Kazan affirmed “the dialogue of the world” ,[1]. Modern activity, art and industry, from an early age this artistic pratice contaminated and was contaminated,produced behaviors,attitudes, in a double movement of appropiation and recreation of the appropriate. It is from this empirical a priori that recognizes the contamination of the real by cinema that this article is written, which seeks to identify the place of cinema, as an actor, in the construction of the image of Portugal in the contemporary world. Is there any articulation between cinema produced with funds to support portuguese cinema and public cultural policies and between these and Portugal’s external communication?

A Woman's Place: Home in Cinema

This video is an essayistic exploration of ten films which feature a woman in a house at their core. The pairing of women and domestic space has a long history. "The ways in which space has been historically conceived," suggests Elizabeth Grosz, "have always functioned either to contain women or to obliterate them" (1994: 26). And yet, home is a mutable place in cinema and home in these films provides a more richly layered space than Grosz’s summary might suggest. My videographic exploration works to unpack this.

Cinematic Architecture and Place Perception: A Study on Wes Anderson's Film the Grand Budapest Hotel (2014)

Although there are many differences and innovations in creating place in cinema, virtual spaces can be created as well as using real architectural urban or physical environments. The perception of time, which is an important element that improves the narrative language of cinema, is related to creating an architectural and spatial image. Cinema and architecture, as two separate disciplines, are not independent from each other in terms of creating a cinematographic place perception. Therefore, the importance of cinema and architecture interaction in creating cinematic place is discussed in this study. The aim of the study is to examine the relationship between architecture and cinema, which are two separate art branches, through the "perception of place" and to explain the cinematographic effects of architecture through the example of Wes Anderson's "The Grand Budapest Hotel". In both areas, it has been tried to explain to what extent the place's important elements in terms of time, movement, light, color and shadow reflect the reality. While "design" is an important issue in fictional places, it is also necessary in terms of creating a space perception. In this study, it is aimed to analyze the film structure with architectural semiotic approach, especially the role of architectural and space usage in cinema, by emphasizing the processes and reference points of the interaction between both disciplines. According to the case of Wes Anderson's The Grand Budapest Hotel (2014), the specific spaces of the film, the perception of space and the role of cinematographic space designs are discussed. In line with this information, subjects such as space design and spatial density in cinema, space, balance, harmony and symmetry in architecture and cinema, construction process and its effects in cinema and the perception of space in cinema were examined. The architectural structure and the suitability of the space design to the story are also discussed in the film. The film, which is considered as an exemplary analysis within the scope of the research, was chosen as a purposeful sampling because it is an example of especially the relationship between harmony and balance in cinema and the relationship between cinema and architecture explore and sets an example. Keywords: cinema and architecture, perception of place, place design of cinematographic DOI: 10.7176/JSTR/7-04-08

Cinematic Timekeeper: Bertrand Tavernier and L'Horloger de Saint-Paul

Cinematic Timekeeper:Bertrand Tavernier and L'Horloger de Saint-Paul Jennifer Forrest Film scholars have interpreted Bertrand Tavernier's first feature film L'Horloger de Saint-Paul (1974) as having "clearly signalled his rejection of the nouvelle vague" in favor of a return to a more classical aesthetic reminiscent of the post-World War II Tradition of Quality (Forbes 153). One of the primary elements determining this judgement was Tavernier's co-authoring of the film script with Jean Aurenche and Pierre Bost, the writing team singled out by Cahiers du cinéma critic François Truffaut in "Une certaine tendance du cinéma français" (1954) as representing the worst of 1950s film. Fixing the tensions of the stance taken by Tavernier in terms of the opposition cinéma de papa versus Nouvelle vague, however, reveals that the director found himself in a position similar to that of his protagonist Michel Descombes, whose moral and political options appear constrained by a Solomon's choice of either a conservative or progressive response to his son's murder of a factory "policeman." The third option chosen by both Tavernier (and Descombes) is that of the iconoclast who "sera sans système, sans règles organiques, hétéroclite et vivant," to use the description of the director by his lifelong friend Volker Schlöndorff (7).1 One contemporary Claude Beylie praised Tavernier for this deft sidestepping of an inflexible and deceptive dichotomy: "[c]e film nous permet enfin de sortir de la fausse alternative vieux cinema—jeune cinéma. Il n'aurait jamais dû y avoir d'un côté le cinéma de papa, de l'autre le cinéma des fils à papa" (6). Like Descombes, who resists pressure to adopt and thereby validate a world view promoted by the various ideological forces on the right and the left, Tavernier resisted the pressure to choose either the cinema of fathers or that of sons, making his own path in choosing citizenship in the community of French film and filmmakers. [End Page 103] The film's story turns precisely on the intergenerational strain between a father and his son after the latter's criminal act, a tension that mirrors the state of French cinema in the early 1970s. Descombes will spend the duration of the film closing that gap, a rapprochement figured ironically in the concluding scenes as a prison barrier through which father and son converse with surprising ease. The director, too, will determine his professional place in cinema with the production of this first feature film by declaring solidarity with classic and post-1960s cinema. In collaborating with scriptwriters associated with classic French cinema, and in adopting the practice of literary adaptation with which they were associated, the film renews ties with French cinema's past. It reaches further back than the Tradition of Quality, however, to include films and filmmakers from the interwar period, in particular scriptwriter Jacques Prévert. In dedicating his debut film to Prévert, Tavernier signaled his allegiance to a community of purpose like the one championed by Prévert, from his finishing contribution to the script for Jean Renoir's Le Crime de Monsieur Lange (1936) to the production's collaboration with members of the Groupe Octobre, of which he was a leading force, and the ethos of the Front Populaire. If this gesture looks back into the past, it also tends to cinema present and future. Tavernier's introductory offering anticipated a career of cinematic stewardship that unfolded on multiple fronts: the direction of his own films, the promotion and rehabilitation of work by other directors (Joseph Losey and Michael Powell, for example), the production of other directors' projects, scriptwriting for other directors, film history books, documentaries, and the promotion of unrecognized talent on all levels of production from scriptwriters, directors of photography, to composers. It is perhaps because he felt keenly the period's pull of cinematic political platforms that Tavernier chose to adapt Georges Simenon's L'Horloger d'Everton (1954). The director adopted the novel's fatherson theme as well as its protagonist's framing of familial bonds of shared resistance in an idiosyncratic experience of time in order...

Sinema Perdesinde Araştırmacı Gazetecilik: "Spotlight" Filmi Üzerine Sosyolojik Bir İnceleme

Sinemada özel bir tür olarak yer edinen gazetecilik filmlerinin ilk örnekleri sinemanın erken dönemlerinde ortaya çıkmıştır. Zaman içerisinde birçok filme konu olan gazetecilik mesleği, geçirdiği dönüşüme ve dönemsel koşullara bağlı olarak çeşitli yönlerden ele alınmış ve bu türde önemli eserler üretilmiştir. Gazeteciliğin önemli bir alanı olarak kabul edilen araştırmacı gazetecilik de 1970’lerden itibaren önem kazanmış ve buna paralel olarak sinemada da ele alınmaya başlanmıştır. Araştırmacı gazeteciliğin toplumsal olanla doğrudan ilişkisi göz önüne alındığında sinemadaki temsili dikkat çekmektedir. Sinema filmleri toplumsal olanı yansıtırlar ve bu tür filmler de gazeteciliğin toplumsal rolünü ve toplumla olan ilişkisini yansıtması bakımından önem teşkil etmektedir. Bu açıdan bakıldığında, son dönemde çekilen ve araştırmacı gazeteciliği konu edinen “Spotlight (2015)” filmi incelemeye değer bulunmuştur. Çalışmanın amacı, “Spotlight” filminde araştırmacı gazeteciliğin toplumsal rolünü sosyolojik yaklaşım çerçevesinde ortaya koymaktır. Bu çalışmada, Arthur Asa Berger’in Sosyolojik Çözümleme Yöntemi kullanılarak “Spotlight” filmi analiz edilmiştir. Çalışmanın sonucunda; toplumsal anlamda araştırmacı gazeteciliğe yüklenen misyona uygun bir şekilde ışığında filmde, araştırmacı gazetecilik deneyiminin toplumsal bir rolünün olduğu ve mesleki sorumluluğu gereği gerçeği görünür kılma gayreti içinde olduğu sonucuna varılmıştır.

Ulusal Sinema Hareketi Çerçevesinde Halit Refiğ Sinemasında Doğu-Batı İkilemi

Sinema ve toplum, birbirinden bağımsız olmayan hatta etkileşimli bir yapıya sahiptir. Bu etkileşimli yapı, toplumsal değişim ve dönüşümlerin de sinemada kendisini var etmesine olanak sağlar. Kendini toplumla var eden sinema, ulusal unsurlardan da etkilenir. Türk sinema tarihinde “ulusal sinema” hareketinin öncüsü olan Halit Refiğ, Türk sinemasının kendi sinema anlayışını geliştirmesi gerektiğini savunan önemli bir yönetmendir. Refiğ, “ulusal sinema” hareketinin kuramsal alt yapısını oluştururken, filmlerini de bu düşünceleri doğrultusunda hem içerik hem de biçim olarak tanımlar. Halit Refiğ, filmlerinde Doğu-Batı ikilemi bağlamında kendi sinemasında ulusal değerleri ön plana çıkararak, Türk toplumuna özgü bir sinema dili yaratma çabasını gösterir. Bu çalışmada incelenen Bir Türk’e Gönül Verdim, Fatma Bacı ve Vurun Kahpeye filmlerinden hareketle Doğu- Batı ikileminin Refiğ’ in sinemasında nasıl ele alındığı araştırılmıştır. Bu çalışmada Refiğ ’in sinema eğiliminin filmlerinde nasıl aksettirildiği, Teun A. van Dijk’ ın eleştirel söylem çözümlemesinden yola çıkılarak, sinemaya uyarlanan bir şema ile incelenmiştir. Bu çalışmada Halit Refiğ’ in Doğu- Batı ikilemini incelenen üç filmde açık ve net bir şekilde ortaya koyduğu tespit edilmiştir.

The Mystery of Lexical Coincidences in the Works of Yuri Tynianov and Osip Mandelstam

The essay explores lexical coincidences in the works of Yuri Tynianov and Osip Mandelshtam coincidences which appeared in different time periods, independently of each other.In the second half of the 1920s, Tynianov wrote the novel Death of the Vazir-Mukhtar which, while dealing with events of the 1820s, anticipated the soon-tobe disappearance of free artistic speech.Ten years later, Tynianov's anticipation became a reality reflected in Mandelstam's poem Lamarck. Freedom of creative activity did not disappear completely but became, in many respects, a thing of the past. Even if the hope for the return of free expression still existed, no one imagined when this event would take place. Loyalty to the regime and assentation were the signs of the times. Studies of Soviet artistic life in that period reveal the extreme degree of the unnatural selection aimed at creating unwavering servants of the regime. One of such servants wrote: In today's situation, genius and villainy are two compatible things: the killing of a Mozart may assist history.Such assistance to history became a Soviet norm and, according to independent Russian migr observers, led to a situation in which Soviet literature lost the position within world literature obtained by the Russian classical literature of the 19th century and acquired unmistakably provincial traits. As Shigalev declared in Dostoyevsky's Demons, All are slaves and equal in their slavery.Analogous processes were taking place in cinema, where pro-regime servilism due to cinema's ability to influence the audience more rapidly and more powerfully than literature acquired its most dangerous form. This was fully understood by the Bolshevik regime which held cinema in high regard. Creating art? No, doing what you were told to do, this was how Soviet filmmaker Leonid Trauberg later described those times.

New Cinemas: Film and Digital Media

This article looks at contemporary film scholarship in order to address one of the disciplines pressing questions: the place of cinema in a context of rapid technological change. Rather than simply focus on technology, however, the article calls for a broad set of criteria to define what counts as cinema today. In particular, it revisits the concept of expanded cinema and treats filmmaking as an event that combines the contexts of production and reception. Finally, the article insists on the relevance of film studies as a field that will continue to lead the debate on moving image media.

The Relation between Hollywood and the New Threat Perception of the USA after the End of the Cold War from the Perspective of Postmodernism

After the end of Cold War, the USA became the only super power and there was no threat perception from outside, in other words no enemy anymore. In fact, throughout history the USA faced different threats, that is to say, enemies. The terrorist events experienced in America after the end of Cold War brought about that the new enemy was Middle Easterners. Accordingly, the place of cinema in postmodernism is very significant as it becomes the reflection of the zeitgeist and the mindset of the era in which the film is shot.

<i>Kumar Talkies</i> (review)

Reviewed by: Kumar Talkies Ashish Chadha (bio) Kumar Talkies (1998); DVD-R distributed by First Run/Icarus Films, 2000 Kumar Talkies is a meandering documentary about the only cinema theater in Kalpi, a nondescript, inconsequential town in northern India. Kalpi lies at the forgotten margins of postcolonial India, away from the alluring metropolitan center of Indian cultural modernity. A medieval market town shorn of its premodern imminence and now a waylaid bazaar of local agrarian produce and minor industries, it is here that the rustic Indian masses that consume the affective sensorium of Hindi cinema toil and subsist. Kalpi’s historical self-imagination is represented by this popular cinema as the battlefield where the rebellious queen of Jhansi valiantly fought the British during India’s first war of independence in 1857. Immortalized in the popular Hindi film Jhansi Ki Rani (1952), Kalpi sits on the edge of the Chambal Valley, a site often featured in 1960s dacoit, or “bandit,” films. Cinema in Kalpi is a part of the everyday banality of discreet pleasure and wasted desire. Cinema is indispensable for Kalpi, but it [End Page 163] has an ambivalent relationship to its people, who watch it on cable in the privacy of their bedrooms or in the town’s only theater. Kumar Talkies is their only source of public entertainment. Audiences trot to this ramshackle theater three times a day to see soft porn movies or gratuitous B-grade Bollywood masala fare. Often abruptly interrupted by power outages or missing scenes, these fragments of discontinuous cinema are conspicuously consumed by the subaltern working class of Kalpi. Projecting scratched and faded celluloid through a rickety projector with screechy sound, Kumar Talkies is a family operation catering to the unfulfilled gratification of the town’s apathetic men folk. Director Pankaj Rishi Kumar enters this social sphere of debased pleasure and inconsequential propensity to document, almost with ethnographic acuity, the place of cinema in small-town India, far away from the glamorous enthrallment of Bombay into the dusty turgidity of northern India. Trained as an editor at the Film and Television Institute of India, Kumar began his career as an assistant editor on the celebrated film Bandit Queen (1994). Subsequently disillusioned with the mainstream Indian film industry, he made this 16mm documentary with his own money to fathom the seductive allure of the cinematic pleasures that had ensnared him. Kumar Talkies begins as a seemingly conventional documentary intervention to unobtrusively explore the role of cinema in a provincial, nonmetropolitan India, but slowly and unmindfully, the film descends into the domain of the personal. The decrepit, monkey-strutting, pigeon-infested theater was actually a gutted lentil mill that Kumar’s father inherited and, in 1969, transformed into a talkie. Kumar uses the theater as an emotional conduit to make forays into his own family history, both to examine his quirky love of cinema inherited from his father, a retired government official, and to explore the role of cinema in Kalpi during the emerging twenty-four-seven cable television onslaught of the late 1990s. Kumar adeptly excavates the pedestrian geography of his ancestral town to make a documentary that navigates his autobiography to tell a tale about cinema. In the film, his obsession with cinema, his father’s fetish with films, and Kalpi’s love for cinema all collapse into a single narrative that comments on the affective role of cinema in contemporary India. The family in Kumar Talkies provides the film with a personal locus around which the affective narrative of the documentary is woven. Kumar’s father had recently died, and Kumar uses the documentary as a memorial to his father’s fascination with cinema as well as to address his own susceptibility toward the medium. Kumar subtly ties his infective relationship to cinema as a filmmaker to the emotive bond that he shared with his father as the only one of three sons to choose cinema as a profession. The search for what cinema means to Kalpi’s inhabitants becomes a metaphor for Kumar’s own quest, mirrored in his delicate excavation of his deceased father’s eccentric obsession. The documentary is driven by a sense of poignancy—the story of a...

Gilles Deleuze: cinema and philosophy

In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and Andre Bazin's film theory? What does it tell us about perceiving a world in images-indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.

Forget the Alamo: The Border as Place in John Sayles' Lone Star

Mexicans have been pejorative in the American conception and mythologizing of the Mexican American borderland. Part of that vision has been shaped by popular cinema. John Sayles' Lone Star is examined as a critical case study that undermines many of these myths about Mexicans and portrays the border as an authentic place. Assessing these contours helps us see how the border moves from stereotyped space to authentic place in cinema, and demonstrates how film can capture the dynamic cultural geographic quality of this region and its people.

Roads to Nowhere: How Basque Terrorists Cross Space and Place in Cinema

Este articulo explora la relacion entre los terroristas de ETA, la identidad vasca y el paisaje vasco por la carretera rural en peliculas espanolas. La carretera rural funciona como simbolo de transgresion tanto como del exilio de la patria vasca representada por el paisaje. El articulo utiliza ejemplos de las peliculas Dias contados y El viaje de Arian para proponer que la carretera rural significa la transgresion del terrorista individual contra ETA y, por consecuencia, contra la Euskadi por la cual ETA esta luchando. Los viajes de transgresion se convierten en viajes hacia la muerte: pero la crisis de compromiso separatista del Pais Vasco se desplaza hacia el individuo, dejando sin cuestionar el vinculo entre ETA y el paisaje vasco.

A cinema without walls: movies and culture after Vietnam

One of the sharpest and most productive analyses of our contemporaneity and the place of cinema within it and of our new historical relations as spectators to the imaginary universe on the movie screen. This is study that will be of intense interest to film theorists and historians, cultural critics, mass media analysts, and anyone concerned with the complicated place of culture in our world today.--Dana Polan, English and Film Studies, University of Pittsburgh How have modern advertising techniques, the widespread use of VCRs, conglomerate takeovers of studios and film archives, cable TV, and media coverage of the Vietnam war changed the ways we watch movies? And how, in turn, have those different habits and patterns of viewing changed the ways in which films address their viewers? Drawing on wide variety of American and European films and on many theoretical models, Timothy Corrigan investigates what he calls a cinema without walls, taking close look at particular films in order to see how we watch them differently in the post-Vietnam era. He examines cult audiences, narrative structure, genre films (road movies, in particular), and contemporary politics as they engage new models of film making and viewing. He thus provides rare, serious attempt to deal with contemporary movies. Corrigan discusses filmmakers from variety of backgrounds and cultures, including Martin Scorsese, Raoul Ruiz, Michael Cimino, Alexander Kluge, Francis Ford Coppola, Stephen Frears, and Wim Wenders. He offers detailed analyses of films such as Platoon; Full Metal Jacket; 9-1/2 Weeks; The Singing Detective; Choose Me; After Hours; Badlands; The King of Comedy; Paris, Texas; and My Beautiful Laundrette. Orchestrating this diversity, Corrigan provides critical basis for making sense of contemporary film culture and its major achievements. Timothy Corrigan is professor of English and film at Temple University. He is the author of Writing about Film and New German Film: The Displaced Image, and editor of The Films of Werner Herzog: Between Mirage and History.