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Keywords (33)

  • Sten'ka Razin (1)
  • Action movie (1)
  • Adventure film (1)
  • Black and White Film (1)
  • Cheslav Sabinsky (1)
  • Colour film (1)
  • Comedy (1)
  • Crime story (1)
  • Disaster Movie (1)
  • Fantasy (1)
  • Feature film (1)
  • Horror (1)
  • Melodrama (1)
  • Popular movie (1)
  • Pyotr Chardynin (1)
  • Science fiction film (1)
  • Silent Film (1)
  • Silent film (1)
  • Sound film (1)
  • Thriller (1)
  • Trash (1)
  • Vasily Goncharov (1)
  • Vera Kholodnaya (1)
  • Vladimir Romashkov (1)
  • Vyacheslav Viskovsky (1)
  • Western (1)
  • Yakov Protazanov (1)
  • Yevgeni Bauer (1)
  • black and white film (1)
  • melodrama (1)
  • russian film (1)
  • Film Analysis (1)
  • Film analysis (1)
  • More...

Subjects (3)

  • Fine Arts / Performing Arts (2)
  • Film / Cinema / Cinematography (2)
  • Sociology of Art (1)

Authors (2)

  • Jenő Király (1)
  • Anna Varga (1)

Languages

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  • Article
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  • Open Access

Publisher: Eszmélet Sajtó Alapítvány

Result 1-2 of 2
The Symbolism of the Film Today
30.00 €

The Symbolism of the Film Today

A mai film szimbolikája

Author(s): Jenő Király / Language(s): Hungarian

Keywords: Film Analysis; Popular movie; Feature film; Silent Film; Sound film; Black and White Film; Colour film; Melodrama; Comedy; Adventure film; Science fiction film; Fantasy; Horror; Western; Action movie; Disaster Movie; Crime story; Thriller; Trash

A New book by the Béla Balázs- and Arnold Hauser award-winning author. The Symbolism of the Film Today wishes to explore how the psychological and social problems of today’s people are represented generally in typical and some more significant films made recently. Films often depict psychological coldness, indifference, spiritual cynicism, narcissism, the growing power of addictive disorders, the dissolution of gender roles, the crises of marriages, the distortion of childhood, and infantilism as its normal consequence more sensitively than the social sciences following in their footsteps. The book gives detailed analyses of outstanding films, which made great advances towards the way of expression and experience today. For example, of Hitchcock’s Psycho, highlighting its historic significance by explaining that in the film sublime is surpassed by horror and melodrama by thriller. The author pays special attention to Pasolini’s Salo or the 120 Days of Sodom, in which love is surpassed by crude sexuality. Verhoeven’s films say farewell to the classic mythology of heroism and happiness, which is shown by discussing the film entitled Turks Fruit as the last important tragic romance. In a final overview, the mythology of happiness is surpassed by the mythology of horror and lust, which takes place in the second half of the 20th century. The present book is the subsequent volume in the series: Jenő Király: The Symbolism of the Film, volumes 1-8.

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The Silent Movie Culture of the Russian Films in the 1910s. The excessively human tragicomedy of Russia preceding the revolution.
20.00 €

The Silent Movie Culture of the Russian Films in the 1910s. The excessively human tragicomedy of Russia preceding the revolution.

Az 1910-es évek orosz némafilm-kultúrája. A forradalom előtti Oroszország túlságosan is emberi tragikomédiája

Author(s): Anna Varga / Language(s): Hungarian

Keywords: Film analysis; Silent film; black and white film; melodrama; russian film; Yevgeni Bauer; Pyotr Chardynin; Vasily Goncharov; Yakov Protazanov; Vladimir Romashkov; Cheslav Sabinsky; Vyacheslav Viskovsky; Vera Kholodnaya; Sten'ka Razin

American melodrama targets eternity, while Russian melodrama targets nothing. In this respect it can be stated, that the Russian silent movie in the 1910s was remarkably modern. The concentration of the motives of unbearable existence, scandals, being betrayed, and collapse result in an aesthetic vacuum. By the end of the films we get to experience the exhaustion of time: "time stops". In this vacuum, for the rebellion of life the only possible way to return to time is found in the question "What shall we do?" The young motion picture demands time in motion. According to the author, the particular situation of the "sacred" and "demonic" Russia one hundred years anticipated the universal situation of humankind today. In the long disappeared artistic golden age we can find the alternatives of today and tomorrow. The analyses of the films, whose modernity will never die, are a variation on the theme by Walter Benjamin: future exists as long as the present finds its mission in regaining derailed futures embedded in the past. Our totally corrupt world needs to be redeemed. The Russian silent movie was already a far cry in the 1910s, but not the silent cry of fear, like in German expressionism, but the cry of rage.

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Result 1-2 of 2

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