Movie Screen Research Articles

Aesthetic Grounds and Practice of Screen Adaptations of Theatrical Productions in the Light of Film and Television Language in the 1970s

The aesthetic grounds and methods of screen adaptation of theatrical performances in the context of film and television art in the USSR in the 1970s are investigated in the article as well as the influence of film and television technologies on the theatrical genre, the peculiarities of the adaptation of stage performances to the cinematographic and television environment. Attention is also paid to the revealing the peculiarities of cinematographic art as a synthetic phenomenon and its interaction with the theatrical tradition. These issues are considered in the context of the cultural and political realities of the USSR of that period, highlighting the relationship between aesthetic searches and ideological attitudes of the era. In general, a deep and systematic understanding of the process of film adaptation of theatrical performances within the framework of Soviet cinema and television art of the 1970s is submitted in the article. Since the films of this period become a time of development of existential problems of human life. The typical life of a Soviet person recedes into the background, instead, the basis of the plot becomes the search for peace of the soul, its urges for freedom, which usually unfolds against the background of something insignificant. Unlike the adaptations of literary works, when ”current ideological content” is imposed on classical original sources, adaptations of the best plays of leading Ukrainian theaters have offered perfect art, introduced a wide audience to the achievements of stage masters. But the screen adaptation of the performance is a fixation of one staging, which, of course, is shown unchanged on movie screens. The play cannot remain as it is conceived from the very beginning, and therefore gradually it has started to transform itself according to the requirements of television. However, such transformations are not always successful either. This is the beginning of the creation of a kind of the average genre between cinema and theater, which wished for better, because the aesthetic content of such a specific genre has remained opened.

Ousmane Sembene's Camp De Thiaroye in the Context of Anticolonial African Literature

Almost all of the countries on the African continent have been under the domination of European powers for a certain period of time throughout their history. As a result, many books have been written on the continent, adopting an anti-colonial rhetoric. Numerous authors have analyzed European colonialism and offered suggestions for getting rid of it. Senegalese Ousmane Sembene is an anti-colonial writer and director. In a way, his films can be considered as a version of anticolonial literature transferred to the movie screen. Sembene is an extremely important name for African cinema. He is the first person directed a feature film (La Noire de…, 1966) in Sub-Saharan Africa. His political stance has been a major factor in shaping the identity of the cinema not only of his country Senegal, but of the entire African continent. He has influenced a significant number of directors from the African continent and is very important in the context of political. His pan-Africanist personality and view of cinema as a tool of social transformation allow his films to be evaluated in the context of anticolonialist literature. Anticolonial themes are seen in Sembene's films both in terms of content and mode of production. The movie Camp de Thiaroye (1988) also has an important place in this context. In this film, he exhibited the ways in which colonialism produced symbolic and physical violence. He also revealed the stages of Africans gaining consciousness on their way to independence. In this study, Sembene's Camp de Thiaroye is analyzed in order to reveal the relationship between anticolonialist African literature and African cinema. As a result of the study, it was seen that Sembene produced a strong anticolonial discourse through his cinema and brought up many issues mentioned by the anticolonial literature.

Cinema Exhibition on a Cultural Basis in Europe: Reflecting on the Contributions of the Nordic Model for Portuguese Local Cinema Policies

This paper addresses the need for local cultural policies targeting cinema exhibition. Portugal evidences extreme dependency upon the central government, including for local movie screening, thus expressing the Portuguese high territorial asymmetry. Our research discusses the importance of noncommercial exhibition for countering this situation, as it is implemented by local agents (not only film societies) with a wider cultural intervention. When reflecting on the European countries policies for cinema and acknowledging the big socioeconomic and historical differences between Portugal and the Nordic countries, the regional-local initiatives of the latter emerged as an important issue for decentralization, especially the Norwegian scheme.

Review disagreements, cultural capital, and cultural discount on imported hollywood movies in China

Within the context of mounting competition faced by Hollywood movies in the global cinema market, particularly in emerging markets, this paper examines the influence of review disagreements and cultural capital on the cultural discount of imported Hollywood blockbusters in China's movie market. Using a dataset of 652 movies from the U.S. spanning 1994–2019, we find that review disagreements between U.S. and Chinese consumers exacerbate the cultural discount on imported Hollywood movies in China. However, cultural capital, measured by the accumulated revenue of specific imported movie genres in China, effectively mitigates this discount. We also observe a reduction in the discount for movie genres with fewer language barriers. Accounting for endogeneity due to reverse causality and selection bias, we identify a significant structural break in 2012. In the post-2012 era, collaboration involving China's censorship, quota rules, and film-production laws has improved the market mechanism and cultural capital accumulation, enhancing the performance of imported Hollywood movies in China. Minority movies, characterized by being less mainstream and commercial, are more sensitive to review disagreements, while cultural capital plays a greater role in mitigating the discount for mainstream Hollywood movies. These findings have significant implications for professionals involved in the distribution and screening of Hollywood movies in China.

Beyaz Perdeden Mobil Ekranlara: Değişen Ekran Kullanımlarının İzleyici Üzerindeki Etkileri

All the technological innovations that took place after the first meeting of cinema with society had various effects on the audience and changed its interaction with the content. By means of the developing technological opportunities, the usual viewing trends have changed and a new audience culture has emerged. The proliferation of digital platforms had an impact on both audience culture and the tools used in the act of watching. Due to the viewing action carried from the movie screen to the mobile screens in the course of time, it becomes possible to talk about changing psychological and sociological structures. For this reason, it was considered necessary to investigate the sociological and psychological effects of changing the use of screens on the audience. Despite various research which were conducted on the international scale related to the issue research, we don’t observe enough studies in Turkey about the aforementioned issue. In this study, the audience-content interaction in the new audience culture was questioned, taking into account the changing viewing trends in Turkey, and the effects of changing screen usage were discussed by interpreting the data obtained through the semi-structured in-depth interview method. It has been observed that young generations want to consume content without leaving the comfort of their homes, and it has been found that they generally want to watch content on the largest screen possible. Although young generations tend to execute mobile and individual watching activities, it was found that movie theatres are still the places that provide the best viewing experience.

Pelatihan Pembuatan Film pada Siswa SD dan SMP Taruna Islam Pekanbaru

Students in Taruna Islam's elementary and junior high schools, whose ages ranged from twelve to thirteen, were chosen as community service partners. The students on average come from middle to lower-economic families. This school is managed by the Islamic Taruna Foundation by employing twenty-four teachers, most of whom are honorary teachers. All teachers have not received certification. The facilities offered by this school are not many, however, the school's accreditation is very good with a grade of A. Based on daring investigations, there is little information about this school, such as student achievements and school activities. Responding to this condition can be interpreted that there are not many innovations for students that are carried out by this school, and this has an impact on the growth and development of children's creativity. In addition, with current technological developments, many children only use technology passively, rarely using technology to create positively and innovatively. The existing technology at home and school is less able to accommodate children's creativity. From this situation, we took the initiative to create activities to explore children's creativity in the form of film-making training. This service aims to make the film a medium that can be used as a space for students' creative aspirations and expressions by prioritizing Islamic values in their work. To achieve this goal, it is necessary to carry out a series of activities including (1) enrichment classes; (2) shooting (recording); (3) post-production; (4) movie screening.

Real earnings management in the motion picture industry: strengthening the inferences from academic research

AbstractThe Gong, Young, and Zhou (GYZ) (Gong et al. 2023) paper examines potential earnings management by movie studio companies. Using a large sample of 3094 US-produced English-language movies released between 1997 and 2019, they find that movie studio companies, when faced with a below expected US box office revenue yield from their movies in a specific quarter, move up the release dates of movies with high expected revenues. This “move-up” release is an example of what the accounting research literature calls real earnings management. This commentary on GYZ (Gong et al. 2023) adds more structure to the decision-making context in which movie release dates are set, placing greater emphasis on the role of movie screening companies, which have the final say on the release dates for the movies they show on their screens. It also highlights the rich information setting that exists in the motion picture industry, which can be further exploited to probe the reliability of the earnings management findings reported by GYZ (Gong et al. 2023). This rich information includes security analyst reports and screen days available to quarter-end for each movie released. The commentary has relevance for other research in specific industries where the institutional domain has the potential to provide insight into real earnings management.

Coda and Catharsis: Exploring the Emotional Challenges and Coping of Junior Palliative Physicians Through Cinematic Reflection.

Background: There has been little research on reflective tools for junior doctors, whom may have encountered challenges working in palliative care whereby grief and losses are high. This is a qualitative study aiming to firstly explore the emotional challenges of junior doctors and secondly whether the movie is an effective reflective tool. Setting/participants: 32 junior doctors rotating through the palliative care unit were recruited and underwent a combined movie screening with a focus group discussion after. Results: Emotional challenges highlighted were (1) lifting the veil of death (2) impeded call of action (3) manifesting inner fatigue. Majority found the movie relatable to their clinical practice and felt that the focus group discussion was helpful. Conclusion: Junior doctors do have certain emotional challenges during their palliative care posting. Having a movie session combined with a focus group discussion is a reasonable method to help them reflect about their challenges.

Bacterial Flora on Mist Outlet Surfaces in 4D Theaters and Suspended Particle Concentration Characteristics during 4D Movie Screenings.

In this study, we measured suspended particle concentrations during the screening of 4D movies (3 screens and 15 movies) and 2D movies (9 screens and 9 movies) in 3 movie theaters to obtain a more detailed understanding of the situation of suspended particle concentrations and adherent bacterial flora in 4D movie theaters, which have been introduced in increasing numbers in recent years. The adherent bacterial flora on the floor and mist outlet surfaces in the 4D movie theaters were collected and analyzed. During the movie showings, the concentrations of suspended particles in 4D movie theaters were significantly higher than those in 2D movie theaters (p < 0.001). A significant increase in suspended particle concentrations due to 4D movie effects was also observed. The results of the α-diversity and β-diversity analyses indicate that the bacterial flora on the surfaces of mist outlets in 4D movie theaters are similar. Moreover, there are many closely related species, and the bacterial flora are rich and contain rare bacterial species. Many of the bacterial genera that are dominant in 4D theaters are suited to aqueous environments, and bacteria in the water supply system may have an impact on the indoor environment.

“Screen on the Chum”: Social Reconstruction and Mobile Film Propaganda in the North of the Ob region in the 1930s

Drawing on the example of agitation and propaganda campaigns carried out in the north of the Ob region in the 1930s among the indigenous population, a specific tool of the Soviet ideological indoctrination of the Great Break period — a mobile cinema (installations designed to screen silent and sound films to a small audience in open areas and in premises not equipped with stationary film projectors) — has been comprehensively studied. The mobile cinema is considered as one of the varieties of cultural management technologies that are equally characteristic of all states and empires of the modern era, including the USSR, where, due to the existence of state ideology and low literacy of the population, it was even more important than other cultural technologies. The management supported and strengthened the centralized power, serving as a complement to force and coercion. Based on the materials of the State Archive of the Socio-Political History of the Tyumen Region, it has been es-tablished that the first mobile cinema in the north of the Ob region was created under the auspices of the Commit-tee of the North under the All-Russian Central Executive Committee of the USSR, but it reached its fullest flou-rishing in the area during the period when the region came under the jurisdiction of the Chief Directorate of the Northern Sea Route (1935–1938). The repertoire of a mobile cinema was compiled centrally, and it included popular science and feature films, united by a common goal, which was the ideological indoctrination of the audi-ence. For representatives of the indigenous peoples of the North, movie screening itself was the most important experience of joining a new life, akin to the rite of initiation. Indigenous peoples were most interested in movies that narrated about their own daily life: hunting, fishing, travelling. Mobile cinemas were moved around the north by sled and specially equipped boats. The work of a mobile cinema in the north of the Ob region was associated with constant overcoming of a number of problems: the shortage of films, frequent breakdowns of movie cameras, and the lack of qualified projectionists. Nevertheless, mobile cinemas made significant contribution to the mo-dernization of everyday life and worldview of the indigenous peoples of the Ob North.

Sparrow's Nest Feeds Body &amp; Spirit of Cancer Patients &amp; Families

Sparrow's Nest Feeds Body &amp; Spirit of Cancer Patients &amp; Families

The Place of Ukrainian National Motifs in the Art Culture of the Ukrainian SSR: 1960’s – 1970’s (the Theater and the Cinema Art Case Study)

The focus of this article is the study of the place of Ukrainian national motifs in the art culture of the Ukrainian SSR during the 60’s – 70’s of the 20th century on the example of theatre and cinema art, demonstration of protest of the Ukrainian intelligentsia against russification and denationalization of the indigenous people of Ukraine. Research methodology. During the research, such scientific methods as analytical-logical, historical-systemic, explanation, search, synthesis, comparison, complex selection were applied. The work also used the method of analysis is to find out the level of growth of national consciousness of Ukrainians. Scientific novelty. It was found that the beginning of the 1960’s was characterized by a certain rise of Ukrainian issues in art culture, however since the second half 60’s and during the 70’s of the twentieth century the Ukrainian national motives began to be actively pushed out of the movie screens and theatrical stages of the USSR etc. It is argued that the opposition of the Ukrainian creative intelligentsia to the Soviet totalitarian system resulted in cultural and artistic nonconformism. Conclusions. Despite oppression and repression by the ruling communist elite, Ukrainian artists sought to promote Ukraine’s past, reveal the multifaceted national culture of the indigenous people of the USSR, and demonstrate to the world its uniqueness and right to exist. The process of revival of the national face of Ukrainian culture, return from the depths of folk art, the relationship between national and spiritual was becoming irreversible. The spirit of free thought, moral and aesthetic innovations, struggle rights to indigenous art filled the activities of young talented Ukrainians.

Film exhibition for indigenous people in Soviet Siberia: ‘cinema-coming’ and political enlightenment in the red yurt

ABSTRACT How can we get insights into early Soviet cinema screenings for indigenous audiences in the Siberian taiga at the end of the 1920s? Preserved by the Grodekov Khabarovsk Regional Museum (Russia), the recently published diaries of Alexandra Putintseva, a cultural worker posted at the ‘Far Eastern red yurt’ from 1929 to 1932, are a valuable source to investigate the issue. Putintseva’s diaries provide a wealth of information on movie screenings within these particular Soviet institutions, as well as their reception by indigenous audiences. They show that, far from the common colonial stereotype, indigenous audience was not astonished or frightened in front of the cinematic spectacle or apparatus. Furthermore, they also offer essential information on the immediate context within which these screenings took place, an issue of equal importance in understanding what cinema as a social practice meant for indigenous audiences. Performed in a multifunctional building aiming to radically change (‘modernise’) indigenous (‘traditional’) way of life, cinema was classified as political enlightenment work. As a result, for the indigenous audience, watching films was intimately intertwined with the new Bolshevik society and its modernising endeavour. Ultimately, the diaries illustrate what I have termed ‘cinema-coming’ (when the expected audience does not go to the cinema, cinema ‘comes’ to the audience), in which film exhibition was closely linked to state ideology and the formation of modern citizens.

BUDI IN DIRECT CONFRONTATIONS PORTRAYED IN THE MALAYSIAN ANIMATION FILM BOBOIBOY: THE MOVIE (2016)

BoBoiBoy: The Movie (2016) screening in local cinemas has successfully attracted local reception partly due to its portrayal of Malaysian culture and moral values, which local audiences find relatable. Despite the film presenting a modern and futuristic world, values based on Budi's traditional Malay concept are demonstrated throughout the main protagonist’s actions. This paper employs the concept of Budi from the academic study of Lim Kim Hui and includes my attempt to argue that Budi is represented in direct confrontations portrayed by the main protagonist as a form of the deliverance of justice towards the evildoers. Additionally, I adopt Smith’s “Structure of Sympathy” to discuss the spectator’s engagement with the protagonist, which influences the spectator to agree with the actions taken. The concept of Budi suggests that traditional values are not lost in modern times, but it progresses and evolves to suit contemporary practices. Boboiboy: The Movie is one of the digital mediums that exhibits Budi as a traditional moral concept that can be sustained and disseminated particularly to younger generations, which comprises the majority of the audiences.

Écrans motiles éd. par Sylvain Campeau

Reviewed by: Écrans motiles éd. par Sylvain Campeau Catherine Gaughan Campeau, Sylvain, éd. Écrans motiles. PU de Montréal, 2021. ISBN 978-2-7606-4452-6. Pp. 278. Écrans motiles is a compelling investigation that delves into the complex nature of video projections and installations as well as the various screens and monitors associated with the art form. Written in French and divided into eleven chapters, each one focusing on a particular artist and their aesthetic approach in an attempt to better understand the creative process, the figure of the screen in their works remains the central focus of the book. With a background in poetry and art criticism, Sylvain Campeau explores video projections by well-established as well as lesser-known artists based in Quebec, the United States, and Canada, such as Mireille Baril, Stan Douglas, Milutin Gubash, and Jacynthe Carrier. Looking at the distinction between movie screens, flat screens, and TV screens and their proliferation today, the book considers the relationship between the image and the spectator and moves beyond more traditional visual studies focused on TV and cinema. Original and thought-provoking, the analyses recognize the contribution of artists like Stan Brakhage and Maya Deren while citing exhibits and examples from more contemporary works. Moreover, the stunning stills throughout offer a better understanding of the various artists and their works, particularly the elements of the mise en scène and the context of the installations, and convey the versatility of video projections as an art form. With a fascinating conclusion entitled "Le continuum-image," which highlights some of the exciting new aesthetic challenges ahead, the book reveals insight into what the future might hold for the medium. Écrans motiles will provide a keen reference point for a vastly unexplored field of study while offering insight into the diverse and dynamic nature of video projection and its wide-ranging artistic practices. [End Page 291] Catherine Gaughan Toronto Metropolitan University (Ontario, Canada) Copyright © 2023 American Association of Teachers of French

유통배급단계에서의 영화흥행예측

Most movie box office predictive models use various variables related to movie production, audience, and movie screening. However, one of the most important variables in the distribution stage when a movie is released is the movie review related to the audience, that is the subject of word of mouth. In most predictive models in which various variables have been used so far, movie reviews have been substituted into emotional indices for additional analysis. In this case, it can be said that it has a limitation in that it is difficult to specifically grasp the contents of word of mouth about the movie. In this paper, only words constituting movie reviews on online portal sites were used as independent variables in the movie box office predictive model, and the relationship with movie box office performance was identified using the LASSO model. Through this, the predictive power of movie reviews on movie box office success was evaluated, and the words in movie reviews that affect movie box office were investigated. As a result of the analysis, the LASSO regression coefficients of words had a correlation with the success of the movies. The LASSO regression coefficients increased as the words appeared in reviews of successful movies, but decreased as they appeared in reviews of unsuccessful movies. As a result, it can be said that movie box office prediction using movie reviews can be helpful for planning additional investment strategy at the distribution stage.

PS-P14-4: ACTIVITIES TO PROMOTE “ADEQUATE SALT INTAKE” IN AMAGASAKI CITY

To promote the prevention and treatment of hypertension, it is essential to educate the public. Since 2015, the city of Amagasaki, where I practice, has been conducting activities to promote health through multidisciplinary cooperation. First of all, volunteers from the Amagasaki City Medical Association gathered to form the “Amagasaki Adequate Salt Intake Promotion Committee”. Next, in a tie-up with Amagasaki City's Health Up Amagasaki Strategic Project, which has been focusing on measures against metabolic syndrome, the committee has reserved a hotel for a day to hold a hands-on forum where citizens can participate in not only lectures on health and medicine, but also a movie screening and low-sodium cooking experiences. The event has been held in a hands-on manner. In addition, active interventions have been made for a wide range of age groups, such as active intervention for particularly high-risk subjects in health checkups, health checkups by placing health checkup vehicles in convenience store parking lots for younger generations who are less likely to receive checkups, and 2.2 g salt equivalent school lunches. In particular, forums for citizens, dentists, pharmacists, nurses, dietitians, the Chamber of Commerce and Industry, universities, the Japanese Association of Hypertension, and Amagasaki City Administration have worked together to devise new approaches every year for four years, which have resulted in the participation of a large number of citizens. The key point is that we aimed to create a social environment in which salt reduction can be implemented as a matter of course in society, rather than relying solely on the efforts of individuals. Another feature of the event was that it was not targeted only at the elderly, who are highly interested in health, but was also designed to be an interactive event that young people can participate in with their children. In the future, we plan to continue our efforts with our colleagues to build a future in which “Adequate Salt Intake” is a part of daily life, while involving more industries.

Pride and Prejudice Book vs. Play

Since first published in 1813, Jane Austen’s novel Pride and Prejudice has remained to be a timeless classic and has continued to inspire many adaptations in different artistic forms. The novel explores pride in Mr. Darcy’s character and prejudices in Elizabeth Bennet’s nature. In the beginning, excessive pride and prejudices prevent them from admiring each other’s virtue and beauty. As the story progresses, though, readers see both their growth and, finally, a happy ending after pride and prejudices fade. Because it tells one of the most cherished love stories in English literature, the original novel has been adapted to plays, movies, and TV series—but unfortunately, not every production is at the same level of quality. The wonderful experiences of going to the Pride &amp; Prejudice (2005) movie screening and watching BBC’s Pride and Prejudice (1995) TV series had raised my expectation for other adaptations of the novel, so I couldn’t wait to go to Aquila Theatre’s play production. However, it was a disappointment and I have since been curious to find out why I felt that it did not meet my expectation: I love the book, the movie, and the TV series, so why can’t I like Aquila Theatre’s play adaptation as well? In this paper, I will argue that I don’t think Aquila Theatre’s production is a good adaptation of the original work, based on how the play differently portrays Mr. Collins’s character and manners, Elizabeth Bennet, and her relationship with Mr. Darcy. • How did Jane Austen portray each character when writing the book? • How did Aquila Theatre differently portray each character when directing the play? • What is the message Jane Austen tries to send through her novel Pride and Prejudice? • What are some reviews of Aquila Theatre’s production of Pride and Prejudice?

Abolition of Caste and Abolition of Alcohol in Udumalai Narayanakavi Songs

Udumalai Narayanakavi is a great lyricist. Rationalist thinker. In his songs, he clearly mentioned humanity and the values of life. It is noteworthy that the ideas of social reform prevailed in his thought-provoking songs. The way he recorded his strong views on society in his songs sets him apart from other poets. From time to time, luminaries and wise men have worked hard to eradicate caste and alcoholism. Nevertheless, Periyar’s policies inspired them to abolish them and reform the people. Udumalai Narayanakavi, who followed Periyar's ideals, used his rational thoughts in his movie screen songs. Through this, he was actively engaged in removing the social weeds of caste and alcohol which had been prevalent among the people. Udumalai Narayana Kavi, a multi-faceted and socially conscious person, has been praised and appreciated for his use of his songs as a tool to make people aware of the evils of caste, alcohol, etc., and the need to eradicate them. This article narrates Udumalaiyar's impressions about caste and alcohol in the songs of the film that reach out to the people easily.

Increasing Library Usage through Fun Library Program at SMAN 1 Sedayu

This study aims to determine whether the fun library program can improve library utilization at SMAN 1 Sedayu. Theoretically, it is expected to provide insight and enrich the study of efforts to improve school libraries. The type of research is School Action Research. Data collection techniques were interview, observation, and documentation study. Data validation using triangulation. Data analysis techniques using the Miles and Huberman model. The results stated that the average percentage of library utilization in the initial state of 15.4% was in a low category. Cycle 1 actions, namely implementing a fun library program, designing a comfortable and fun library interior, adding book collections, creating interactive reading corners and providing a stage for student performances. The action increased the utilization of the school library with a percentage of 31.32% in the low category, but not yet in accordance with the success indicators set. Cycle 2 action by implementing a fun library program like cycle I by adding facilities and activities. The facilities added were a mini theater room and a showroom for student work. While the activities carried out in the form of book-writing training and movie screenings. The action increased the utilization of the school library with a percentage of 60.9.6% in the medium category and reached the set indicators. This study concluded that the fun library program could increase the utilization of the school library at SMAN 1 Sedayu.