Film Exhibition Research Articles

Commingled Art and Commingled Culture

From 1896, when the first Kinetoscope was brought to Japan, to the early 1920s, all film screenings were accompanied by a live Japanese narrator called the benshi.Benshi stood to the left of the film screen and—speaking in melodious rhythms—provided narration, character impersonation, explanation of western exotica, and offered general commentary and critique for the then silent films. In late ninteenth-century Japan, film was not seen as an autonomous medium but rather as "commingled” media, comprised of vocal storytelling and projected motion pictures. This was in part due to long-standing Japanese theatrical traditions such as temple and itinerant etoki, the Japanese Buddhist practice in which monks use picture scrolls to expound Buddhist principles.4 Benshi performers drew upon such theatrical heritage to describe the foreign film apparatus, thereby fragmenting the filmic system of representation and instilling a distinct culture of critical independence in Japanese silent film audiences. This essay contributes to scholarly debates regarding “commingled” media, the juxtaposition of heterogeneous media, which is reflective of unique Japanese artistic culture. It provides a case study of Benshi Tokugawa Musei’s performance of the 1920 silent film The Cabinet of Dr. Caligari (Robert Wiene) recorded at the Kinokuniya Hall in Tokyo in 1968.7 This remaining work by Tokugawa Musei, a renowned benshi of the silent film era, offers insight into interactions between the benshi and silent film as it relates to Japanese traditions of “commingled” media.

Contemporary music improvisation for silent film

This article explores how contemporary music improvisation for silent film both evokes and challenges the jazz canon by pushing the boundaries of genre, instrumentation, techniques, and collaboration while also engaging with the narrative and cultural contexts of the films. It draws from my practice-led research over the last twenty years, which has consisted of performing free improvised music in response to the screening of silent film, as a solo performer or as part of a jazz ensemble. The corpus of films used in the research spans animated shorts by Dutch director Gerrit van Dijk, surrealist shorts by Man Ray, German expressionist feature film by Fritz Lang and F. W. Murnau, French feminist film by Germaine Dulac, and documentary and amateur archive film of the North West Film Archive in Manchester and the Media Archive for Central England in Lincoln. In the performances, while jazz is taken as primary influence, musicians often incorporate elements of other musics, make use of a broader range of instruments and of non-traditional sound sources beyond the typical jazz ensemble, and employ experimental techniques and unconventional playing methods that challenge and evoke the conventional improvisational norms of jazz. Musicians might opt to follow or contradict the narrative and emotional cues of the film, which can result in processes of music making that prioritize the exploration of the boundaries of storytelling over traditional jazz forms and structures. Across this research, I have observed how silent film improvisation has been attracting diverse audiences. This cross-pollination of audiences can introduce jazz to new fans and challenge preconceived notions about who jazz is for.

Anti-hero, Anti-drama and Surreal ——On the Poetic Presentation of Jia Zhangke's Films

Jia Zhangke, a prominent figure among the sixth generation of directors, is known for his works that embody strong poetic aesthetic qualities. His films are rooted in realistic documentation, while poetic expression serves as the hallmark of his cinematic style. This paper aims to analyze and synthesize the methods of poetic depiction employed in Jia Zhangke's oeuvre. Through meticulous film screenings and literature reviews, several recurring features have been identified. Firstly, his narratives often revolve around anti-heroic, marginal characters, observing the lives of various beings amidst shifting times. Secondly, he eschews the conventional "four-act" narrative structure, exhibiting an anti-dramatic tendency, and employs block narration. By steering away from suspenseful plot devices and softening the logical coherence of his film stories, he cultivates a poetic narrative akin to prose poetry. Lastly, Jia Zhangke incorporates open-ended conclusions and surreal scenes laden with poetic metaphors into his films, thereby constructing narratives with symbolic implications. This approach elicits empathy from viewers, imbuing Jia Zhangke's films with a profound sense of poetry and offering inspiration for filmmakers seeking to incorporate poetic elements into their creations.

왜 영화를 트는가? - 동시대 비제도권 시네클럽 연구

This study aims to examine non-institutional cinè-clubs that screen films in the context of the increasingly individualised way of watching movies. Cinè-clubs in Korea, which have existed in various forms, have had a significant impact on the film viewing experience and the formation of cinephilia, which has been shaped by the military dictatorship, democratisation movement, and media changes of video and internet. This study analyses the activities and programming processes of non-institutional cinè-clubs in Seoul through a qualitative research methodology to discover the role and significance of cinè-clubs. Cine club operators born in the mid-90s to early 00s have embraced cinema in a variety of different ways. From this experience, their cinè-clubs represent a cross-section of contemporary cinèphilia, with activities that straddle the boundaries between legal and illegal, and programming that does not follow the canon, in the realm of the non-institutional. The university space and interaction in online communities are important conditions for the operation of these cinè-clubs. In addition, non-institutional cinè-clubs, which were formed as a result of the film movement in the 1990s, contribute to the diversity of film culture and the formation of new communities by discovering and screening films that have been marginalised by the Korean film institutions such as film festivals, film schools, and cinèmathèques. In the current stagnant Korean film culture, non-institutional cinè-clubs become a cultural space to discover lost vitality.

Screening of Polysaccharide Films Consisting of pH-Dependent Systems in Combination with Microbial Decomposition-Dependent Systems to Determine the Appropriate Coating for Colonic Drug Delivery

Screening of Polysaccharide Films Consisting of pH-Dependent Systems in Combination with Microbial Decomposition-Dependent Systems to Determine the Appropriate Coating for Colonic Drug Delivery

Gifting books, bribing elites, reaching the masses: Italian fascist propaganda in Turkey, 1923–38

This article explores Fascist Italy’s attempts in the interwar era to influence Turkish perceptions of fascism and Italy. The techniques to be reviewed include interviews by diplomatic personnel, the gifting of books, film screenings, the sending of photographs and captions to Turkish outlets, and the use of intermediaries. The article will focus on Yunus Nadi’s [Abalıoğlu] financial entanglement with the fascist regime in 1931 and 1932. It will throw light on how documents in the Italian state archives illustrate that Cumhuriyet’s coverage of fascism was influenced by financial considerations. The discussion will also seek to highlight the Turkish service of Radio Bari, the Arabic broadcasting of which dominated discussions in the literature. The conclusion will review the methods and consider why some, such as the use of local ‘fascist’ groups, proved unsuccessful in Turkey, whereas others, like radio, offered much promise in reaching out to the wider public.

PVC-Based Ultraviolet Screening Films Modified by Chitosan Capped ZnO–Hydroxyapatite

PVC-Based Ultraviolet Screening Films Modified by Chitosan Capped ZnO–Hydroxyapatite

Making Space for Film with Film Geographies

In this article I will argue that the online filmmaking and screening initiative Film Geographies is shaping (and has been shaped by) our understanding of what a geographical film is. It has achieved this by opening up a previously unavailable space for geographers to make and screen films allowing the creation and curation of a growing archive of work that is a significant contribution not just to filmic geographies as a sub field but to the discipline more widely. Film Geographies was established in 2016 as an online digital platform for the making and screening of films by geographers and/or about geography. In the last eight years it has amassed an archive of over 200 short films and over 1200 subscribers from around the world. Film Geographies also collaborates with other disciplines with joint calls highlighting the importance of building networks for film practitioners and researchers within and without the academy. The mostly short films are collected via two annual calls attached to major geography conferences. The online platform screens film online and in cinemas and organises filmmaking training workshops. I argue that the origins of the platform on the margins of the discipline, and diverse elements of the Film Geographies platform, have created much needed accessible film space for geographers to make films, watch films and debate film and filmmaking, enabling participants to shape and influence a range of film-focused and practice-led contributions to the discipline.

2321 Therapeutic use of film screenings for care home residents: a scoping review

Abstract Introduction Symptoms of depression and anxiety, with and without dementia, are common in older care home residents. It is postulated that that watching films can help residents to share emotions, enhance social connectedness and engage in reminiscence. As such, films can ameliorate depression and promote well-being. This scoping review summarises the evidence for the therapeutic benefits of film-based interventions in care homes. Methods Electronic databases MEDLINE, Embase, EMCare and CINAHL were searched for quantitative and qualitative studies in English including adults aged 65 years and older in years 2005–2023. The search terms were: older adults, dementia, depression, carers, caregivers, care homes, and film. Results Five studies met our criteria: Campbell-Sills, 2006, USA; Kim, 2014, Korea; Davison et al., 2016, Australia; Bjornskov et al., 2018, Denmark; and Breckenridge et al., 2020, UK. All subjects were care home residents except for Bjornskov et al., who included 63 institutional caregivers. The number of study participants ranged from 11 to 120. There was a female predominance throughout the studies, and all residents had dementia of varying severity. Study designs included: direct comparison of participants with mood/anxiety disorder versus controls (Campbell-Sills); non-equivalent control group pretest/posttest (Kim); randomised single-blind crossover (Davison); qualitative focus-group caregiver interviews (Bjornskov); and cross-sectional observation (Breckenridge). Observation/follow up periods ranged from 6–10 weeks. Findings were as follows Campbell-Sills: residents with mood/anxiety disorders were identified by suppressing negative emotions induced by films; Kim: group reminiscence therapy using cinema increased ego integrity and reduced depression severity; Davison et al: using a personal computer platform that included films resulted in reductions in anxiety, depression and agitation; Bjornskov et al.: caregivers reported that films can evoke reminiscence; Breckenridge et al.: small-group film viewing enhanced social connectivity. Conclusions Film screenings for ageing care home residents have the potential for improving mood and encouraging social connections.

Qualification Methodology for the Double Side Printed Substrate for Hybrid Microcircuits Application

Hybrid Microcircuits (HMCs) are always preferred over discrete versions due to small size, less weight, better performance and high reliability for space applications. Double side printed substrates realized using Thick film screen printing and Printed Through Hole (PTH) processes are being used in HMCs in order to achieve further miniaturization. This article details the newly developed innovative Thick film process technology involving drilling of holes and filling the through hole with gold conductive paste to connect the front and rear side of conductor patterns on an alumina substrate. The biggest challenge in the realization of double side printed substrates is creating multiple via holes and filling them with conductor paste. In addition, the limited ability to achieve substrate integration and uniformity pose additional challenges that require optimization of process parameters. A comprehensive test plan created to qualify this innovative method in terms of quality and reliability suitable for the aerospace industry is also presented.

Visual Representation of Photography on the Cover of Fiction Novels

As a visual sign, photography is considered to be the right medium to represent an object with all its resemblance with the reality. The reality embedded in a photography is in line with the reliability of its audience who adhere to "seeing is believing" or believing in seeing. On the other hand, carefully structured verbal signs in a storyline appear in a narrative medium, one of which is a novel. Most novels that are considered popular are then often adapted to the story of a big screen film and then the cover of the original novel is replaced with a photo work that is considered as a representation of the story in a film. This research will examine how photography becomes an instrument of visual representation in conveying the message of the content of fiction novels and finding out the imagery relationships constructed by both verbal and pictorial texts on the cover of novels. This study used descriptive qualitative methods that would describe the aspects and characteristics of a particular message through empirical interpretation. It is hoped that the results of this study will add to the discourse on the visual representation of photography that can effectively deliver the message of the story by representing the entire narrative in the novel with just one frame in the form of a novel cover.

Peningkatan Kreatifitas Siswa Melalui Kegiatan Lomba Mewarnai dan Sosialisasi dengan Film Bullying di SD Negeri Sindon 1

Real Work Lecture (KKN) activities are carried out outside campus with the aim of increasing the relevance of higher education to development and society's need for science, technology and art to carry out development which is increasing, where students' perceptions of the relevance of the curriculum studied on campus with the reality of development in society. Where the aim of the Real Work Lecture is to guide and direct students in increasing creativity through coloring competition activities and socialization through bullying films at Sindon 1 State Elementary School. This research uses a qualitative type of research in this activity, coloring picture competitions with plant and animal themes for grades 1-3 and screening of films about bullying for grades 4-6. The implementation method approach uses two types, namely the student education approach with the student companion model, while the data collection process is carried out using participant observation techniques and literature study using the Miles and Huberman analysis model but supplemented with data triangulation tests. The results of the activity showed that students' creativity with the picture coloring competition and socialization through showing films about bullying went according to expectations, as evidenced by the participation of all students in grades 1-3 and grades 4-6. The level of enthusiasm is high due to their participation in delivering material and practical activities and students are able to understand the theory and knowledge related to the process of coloring pictures and there is awareness among students to live in harmony, respect and help each other and not carry out bullying which is detrimental to friends.

The many-faced film quality

For a film to be created and established as a social phenomenon, it must, to a certain extent, satisfy the needs of not only viewers, but also its authors, distributors, film exhibitors, investors and society. Hence the diverse quality of a film – spectator, aesthetic, commercial and cultural-ideological. From the complex of these qualities and the arrangement of value priorities in him, his integral social quality is formed.

Christian martyrdom and Yusin censorship's conundrum: the 1977 screening suspension of Toward the High Place (1977–1981)

ABSTRACT This article focuses on the unconventional censorship case of Toward the High Place (1977), a religious film that dramatized the life of Reverend Ju Gi-cheol. Despite passing censorship with ease, even selected as a ‘superior film’ by the state, Toward the High Place's screening was delayed multiple times and ultimately prohibited, only to be shown after the collapse of Park Chung Hee regime. Given the Protestant Church's crucial role in the state's diplomatic relations with the United States, the decision to prohibit the film's screening was highly unusual. Through a close reading of the film's censorship file and other archival documents, I reconstruct the various censorship processes that came to constitute the film's visual grammar. As an instance of unofficial censorship, I argue that Toward the High Place demonstrates how censorship practices, socio-political conditions, and the changing status of organized religion influenced cinematic representation, while also revealing the limits of official censorship procedures.

Class Bias in Indonesian’s Post-Reformation Film Revival

This paper describes how the Indonesian film industry has experienced a revival to counter Hollywood dominance since the beginning of the Reformation Era in the 2000s. However, conditions that hinder the growth of the Indonesian film industry are mainly due to the concentration of movie theatres and film screens in big cities. Indonesian films are predominantly consumed by groups from the upper socioeconomic levels and ignored by the middle and lower economic strata. This article seeks to portray whether the movement against Hollywood dominance would be effective if Indonesian films were only directed at this particular audience segment. To analyse the development of the Indonesian film industry in the post-reformation era (2000-current), the authors used a nationwide survey from Saiful Mujani Research and Consulting, conducted from August 31 to September 9, 2019, shortly before the COVID-19 Pandemic hit globally. To corroborate the survey's findings, the authors also distributed a closed questionnaire to 100 students at Undergraduate Program in Communication, Universitas Indonesia, and followed this with in-depth interviews with several students. The authors seek to study the revival of Indonesian films despite the decade-long dominance of Hollywood films and, recently, South Korean films. The research question proposed in this paper is: Can Indonesia break away from Hollywood's dominance? For this reason, this research focuses on the availability and modality of Indonesian market-targeted millennial and post-millennial film audiences to support the revival of the national film industry to compete with the dominance of Hollywood films. Keywords: Class bias, Indonesian films’ revival, taste culture, movie theaters, Hollywood films.

Public Ceremony: The Construction of Nationalism Through Mobile Film Screening Under Jiang Kai-shek’s CNP Government

The Chinese Nationalist government initiated the first national network of mobile film screenings, which subsequently had a great influence on political propaganda in Chinese cinema. Based on corpus data from Chinese archives, diaries, newspapers, periodicals, and literature archived from 1931 to 1945, this study investigates the goals, effects, and shortcomings of mobile film exhibition under Jiang Kai-shek’s Chinese Nationalist Party (CNP) government in China, focusing on the Second Sino-Japanese War. I contend that the Nationalist government regarded films as propaganda to promote cultural identity, the social state, and collectivist ideology. To some extent, such films contributed to the development of democracy and national morality before the war, persuasion during the war, and consolation after the war. However, the mobile film industry in the Jiang era also suffered from some practical problems, such as the lack of planning, inefficient management, obscure content, and chaotic viewing settings. Hence, mobile projection remained a form of public ceremony whose impact deviated from its original intent.

Scientific atheistic propaganda in the framework of the work of the Stalingrad (Volgograd) branch of the All-Union Society "Knowledge" in the 1940s and 60s.

The subject of the study is the activity of the Volgograd (Stalingrad) branch of the All-Union Society for the dissemination of political and scientific knowledge. The object of the research is the scientific atheistic propaganda carried out by the regional branch of the society in the 1940s and 60s. Special attention is paid to the methods used by the society (Q&A evenings, film screenings, literature printing, seminars, etc.). The author pays attention to statistical data (the number of lectures, brochures, etc.) for a deeper analysis of the results of scientific atheistic propaganda. The article indicates the problems that the society faced in the process of propaganda (many believers remained, lectures were sometimes poorly prepared, insufficient pamphlets were printed, etc.). The author also discusses ways to solve the problems presented above. The source base for this study was the archival documents of the Center for Documentation of the Modern History of the Volgograd Region (CDNIVO) and archival documents of the State Archive of the Russian Federation (GARF). Many regional archival documents have been introduced into scientific circulation for the first time. The principles of historicism, subjectivism, and systematic analysis of archival documents were applied in the methodology of the work. The main conclusions of the study are as follows: the regional office, like the entire Znanie society, actively worked to spread scientific atheism, the work was carried out from the first years of the organization's existence. The forms of work with the population were modern and diverse, such as film screenings, individual meetings, question and answer evenings, etc. But despite all the above factors, there were many believers, houses of worship and churches were closed reluctantly and infrequently. In the protocols, you can often see complaints about the quality of the lectures. It can be concluded that scientific atheistic propaganda remained one of the most difficult areas within the work of society. The scientific novelty of the study lies in the fact that such a study has not been conducted before, today, when the religious worldview is actively developing and spreading, it is possible to analyze the reverse process - the spread of scientific atheism, how this work went and why it turned out to be unsuccessful.

The Awakening of Female Consciousness on Asian Films Screen: A Feminist Analysis of Spring Tide, Thappad, and Kim Ji-Young, Born 1982

The Awakening of Female Consciousness on Asian Films Screen: A Feminist Analysis of Spring Tide, Thappad, and Kim Ji-Young, Born 1982

The role of Sino-Arab film collaboration on cultural diplomacy during the ‘Seventeen Years’

ABSTRACT Despite the prolific film production in the nascent People’s Republic of China (PRC) during the ‘Seventeen Years’ from 1949 to 1966, Maoist cinema received limited critical analysis. While recent scholarly attention has shifted towards examining Chinese film production and exchange within the socialist bloc, a notable gap remains in the literature concerning Sino-Arab film collaboration during this period. This paper seeks to address this gap by utilizing textual analysis and archival studies to explore the practice of Sino-Arab film weeks through the lens of cultural diplomacy. Building upon the framework of the three schools of thought on cultural diplomacy, this study posits that Sino-Arab film collaboration from the 1950s to 1960s operated within the realm of people’s diplomacy. This term denotes cultural diplomacy with distinctively Chinese attributes within the Cold War context. This paper also complements the third trend that focuses on the transcendental realm of the state by exploring the little-studied interactions between film screenings and reality in Sino-Arab film weeks. Under the common goal of anti-imperialism and nation-building, people’s diplomacy deviates from the conventional paradigm of bipolar rivalry and embodies the spirit of internationalist solidarity among Third World countries.

Prevalence of Transitional Vertebra in Lumbar Disc Herniation in Bangabandhu Sheikh Mujib Medical University

Background: Lumbosacral transitional vertebrae (LSTV) occur as a congenital anomaly in the segmentation of lumbosacral spine that occur during intrauterine life. LSTV includes lumbarization and sacralization of the lumbosacral region. A transitional vertebra(TV) may have varying formations, the common feature being an atypical lumbosacral articulation between transverse process of the most inferior lumbar vertebra and the sacrum. There has been a lot of discussion regarding the prevalence of LSTV in lumbar disc herniation(LDH). Most of the studies showed increased prevalence while other studies showed TV is an incidental finding and there is no increased prevalence in LDH. LDH is a quiet common ailment encountered in neurosurgical practice. Numerous causes have been attributed to it. LSTV might have great importance in patients who clinically seem to have LDH where it’s presence in plain X-ray might provide a supportive evidence for diagnosis and it can help to counsel the patient. We will be able to recommend a plain x-ray of lumbosacral spine first, having history and clinical findings suggestive of LDH and can save the cost of MRI investigation until decision for operation. Beside this LSTV is an important entity for spinal surgeons , radiologists and also for those who do interventional procedures in the spine. For this reason the prevalence of TV in LDH should be known. This study was not carried out in our country yet. So this study will enrich our demographic information and will also help the spinal surgeons to counsel the patients about their congenital spinal morphological variation and different facts related with this. Objectives: General objective of this study is to observe the prevalence of LSTV in patients with LDH. Specific objective of this study was to identify the diathroidal joint or fusion between transverse process of last lumbar vertebra and ala of sacrum, to count the vertebral number from C2 to S1 in whole spine screening film, to identify the transitional vertebra as sacralization or lumbarization or absence of TV, to predict the future possibility of development of LDH from plain X-ray of lumbosacral spine. Methods: This study was a cross sectional type of observational study and was conducted in Department of Neurosurgery, Bangabandhu Sheikh Mujib Medical University (BSMMU). The patients (N=45) who fulfilled the selection criteria was enrolled in this study. Patient’s data were recorded in a predetermined data sheet. Patients were informed in details about the study, its merits and demerits in easy and understandable language and then informed consent was taken. Also assurance was given that all the information and records would be kept confidential and the study result would help the neurosurgeons to counsel the patients with LSTV about future possibility of development of LDH from plain X-ray of lumbosacral spine. This study was not responsible for any additional harm to the patient and study had no potential risk to the patient and no experimental drugs were used in this study. Results: A total of 45 patients of LDH were studied to see the prevalence of lumbosacral TV in LDH. Based on history and clinical findings, 100% of patients presented with low back pain, 100% of patients presented with sciatica, and 62.2% presented with gait difficulty and 02.2% of patients presented with cauda equina syndrome. Mean age of patients having LDH herniation was 38.08 ± 10.15 years. LSTV was found in 31.11% of patients with LDH. In this study, LSTV was diagnosed by plain X ray of Lumbosacral spine (A/P view) and supplemented with MRI of L/S spine with screening of whole spine (in most cases). Diagnosis of transitional vertebra was done by researcher and was further confirmed by guide and faculty members of BSMMU. In relation to gender, prevalence of LSTV in male was 25.9% and in female was 38.9% which indicated higher prevalence of TV in female but this is not statistically significant (p value 0.356).Incidence of disc herniation in patients with TV was at the space above the transition in 85.7% of cases. The most likely explanation for this is that the motion segment cephalad to the LSTV has to bear additional stresses by virtue of it being juxtaposed to a relatively non-mobile segment Conclusion: This study reveals that the prevalence of LSTV in LDH is 31.11% which is near the upper limit of its prevalence(according to literature). Association of TV with LDH can not be obtained as a control group of patient without LDH was not considered. So further study should be carried out incorporating large number of patients with control group with long study period to generalize the findings to target population. Bang. J Neurosurgery 2023; 12(2): 76-85