Transitions Online_Around the Bloc-Armenian Genocide Pic Generates More Heat Than Light
Producers of Kirk Kerkorian-inspired epic say someone didn’t want the film to get made.
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Producers of Kirk Kerkorian-inspired epic say someone didn’t want the film to get made.
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The paper focuses on the function of art, music and films in teaching and developing cultural sensitivity. In this paper the author presents the standpoint, that teaching language and literature should be complemented with teaching art.
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The aim of this paper is to show the significance of nonverbal communication knowledge by production of animated films. Special attention was dedicated to kinesthetic signs which have been explained and shown at illustrations through different processes of animation. Proxemic aspect of nonverbal communication has been also explained from the point of camera use which manipulates positions and distances between the actors and audience. This is presented by drawings, too. Finally, it has been shown to what extent nonverbal communication is related to the characterization of animated heroes. All these differences have been pointed out with the discussion about signs mentioned in the fictional world.
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In the beginning motion pictures were black and white without sound, soon after film got an audio, and then color. All these elements were adding new possibilities for artistic expression. The third dimension followed, that is technology called 3D. Not so developed at the beginning, but recently very sophisticated, 3D technology brings to film a new dimension for expression. At the same time it gives it a new chance filling the theaters and perhaps announcing the new golden age of film. Not only in film, the 3D technology brings innovations in other media too, so with 3D television, use of 3D in theaters and even in advertising, we can somewhat be sure when believing that the future of visual media is developing towards tridimensional picture. Despite minor flows of this technology, the popularity of the sophisticated 3D is becoming massive. Whether we are for or against 3D technology, it is undoubtedly present in our lives, and there is a big probability that the frequency of usage of tridimensional pictures in the media will increase over time. The real question here is not whether we approve use of 3D technology in film, television, marketing etc, but rather how we can accept it?
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Long time before modern television broadcasting began, and electronic audio visual communications in particular, propaganda film was an extraordinary mean of communication and propaganda of last century. For all of books, radio and print news media which were the main channels of influence at time, film was very significant tool for mass media persuasive communication, ideal for propaganda purposes, especially in politics. Its one way audio visual communication possibilities, very high suggestibility of reality imagination, documentary look, factual language and charm of technical novelty was immediately recognized worldwide. In addition, its savor to be shown on numerous places at the same time, in the very same moment, was great advantage in propaganda business. That particular quality was able to secure transfer of uniform propaganda messages to people gathered at cinemas throughout the world, with maximum effects unknown to other mass media communications at time.
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Radi se o dramskoj režiji kao umetnosti, i to u vezi s velikim promenama i novim položajem pozorisne umetnosti u našem vremenu i u savremenoj kulturi. (1) To što se u našem vremenu raspravlja o dramskoj režiji kao o novoj umetnosti, što se pita šta je ona, ko se njome bavi i na koji način, što se tako nastoji odrediti šta, ko i kako režije, ne upućuje na neki sporni predmet, već pre na bespuće i možda čak na bezizlaznu situaciju tradicionalne pozorišne umetnosti u ovom času. Jer, dramska režija stiče i brani svoje pravo u vreme kada se pojavljuje film kao jedna nova umetnost, a zatim i drugi, do tada nepoznati mediji umetničkog komuniciranja putem radija, televizije i dr., u vreme kada tradicionalna likovna umetnost postaje samokritička disciplina, kada muzika kao autonomna umetnost dolazi do samoosvešćivanja i kada se pesništvo putem konstitutivne samorefleksije postavlja na samo sebe i samo sebe zasniva.
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Disney Corporation is one of the largest media corporations that creates children’s culture all around the world. The Disney’s images of innocence, magic and fun send to young generations massages and meanings which are strong means of socialization. They are supportive of social values that correspond to the prevailing relations of power in the society, values that should be “taken for granted”. Disney does it trough his cartoons, movies for children and family movies, in addition with highly developed marketing techniques, creating the atmosphere that children grow out in, and get accustomed with. This paper analyzes the gender stereotypes and values that are mostly presented in movies made by Disney Corporation. Ten cartoons with princesses and princes were selected for analysis. From its first cartoon “Snowwhite and the seven dwarfs”, gender roles are changing their forms, but the essence remains the same. The children are socialized with gender roles that are socially acceptable, that do not challenge the status quo and do not ask questions. System of values does not change, and its key element remains the domination of white male figure.
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U razgovorima, naročito s devojkama, o temi filma i književnosti, neizbežno se čuje pitanje: »Ah, zašto se ne snima po Dos Pasosu, on je tako film ič an ...« Baš zato, draga devojčice, niko po njemu i ne snima. Njegova filmičnost potiče iz filma. Njegovi postupci su filmski postupci, oni bi se vraćali iz druge ruke. U ratnim studentskim godinama sa mnom je studirao, na istoj godini neki Saljnikov.
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U memoarima Sergeja Ejzenštejna čitamo: >*1 moram da kažem da nikada nikoga tako nisam voleo, nisam obožavao i cenio kao svog učitelja. ( . . . ) Nisam vredan da razvezujem remenje na njegovim s andalam a.(...) I do pozne starosti sebe ću smatrati nedostojnim da Ijubim prašinu iz tragova njegovih stopa«
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Research aims to determine how the Sarajevo Film Festival affects on the tourist satisfaction of the Sarajevo as a tourism destination. One of the goals is to provide, on the basis of survey results, recommendations for a more efficient use of the Sarajevo Film Festival as a factor of event tourism in creating an authentic and recognizable tourist product of Sarajevo. The research part of the work analyzes the influence of the Sarajevo Film Festival on the tourist satisfaction of the Sarajevo as a tourism destination and the impact of the Sarajevo Film Festival on the improvement of the tourist offer of the city of Sarajevo. The contribution of this research is reflected in the promotion of enormous cultural significance of the Festival, as one of the most important tourist projects of the region and beyond and in strengthening the image of the country, in particular the city of Sarajevo.
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European film festival venues are explored in their relation to transnationalism, a “supranational sphere”, as well as with political and economic implications (Acciari, 2014). The international film festivals are seen as cosmopolitan spaces (Chan 2011, 253), yet, the new morphology of film festivals - perceived as "public spheres" or as new objects of historical research - bring a new light on film festivals and the theory of culture and visual discourse, especially with the new reconfiguration of festivals in Europe, the insertion of new technologies and new opportunities to explore local identity. The article examines the cultural determinants and the new vocabulary of visual discourse, exploring the implied questions regarding national identity vs. European identity, and the possibility of building a cultural city/ country branding. With a case study on the Transilvania International Film Festival, I attempt an inquiry of three interconnected aspects employed in exploring film festivals and their transnational dimension: the impact of the new media on the audience, the challenge of identity and the possibility to create a city/ country branding.
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Considering narratology and its relation to other analytical and methodological models within the humanities, the paper analyzes the position of the characters of the novella Albert Nobbs (1918) by Irish writer George Moore in relation to its film adaptation directed by Rodrigo Garcí (2011). Since the two different media provide different narratological insights into the story, the analysis starts with the assumption that the identity of the characters, primarily the heroine, is shaped differently in the film than in the literary text. This difference is most noticeable in the category of gender identity, male/female relationships, but also in the presence of latent homosexuality (lesbian craving), which certainly seems radical as the operation takes place in the nineteenth century. Along with the contemplations of contemporary theoreticians of gender identity, the paper will attempt to analyze two narratologically different approaches to identity formation, which leaves the impression that the identity of Alberto Nobbs is reflected in all kinds of fractures and circumstances as a perpetual quest for stability that often results in conflict with oneself, as well as the conservative society surrounding him.
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This paper questions the classification of old media in the new, informational society (the site of implosion of all boundaries and binary oppositions), and tries to show that differences between TV and film are more analogous than essential. The paper gives presumptions of ways how The Digital transforms the film : first, it offers great possibilities of manipulating the film content, second, film media is approaching to painting, third, has the possibility of direct broadcasting, fourth, the theater becomes integral part of the media, fifth, film media skips the senses and totally occupies the user.
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In our study we present fundamental elements and facts which had influenced the development of media in totalitarian state as was the national socialist Germany. We analyse the most important Nazi newspapers “Volkischer Beobachter“, its articles and other media after Hitler established the government. Except German newspapers “Volkischer Beobachter“ and “Signal“, we also analyse domestic interwar newspapers in Serbian language, such as „Dan“. We present state of affairs in film production and status of radio in totalitarian system of the Third Reich. In the study we also mention firs steps of German television with special attention on Josef Goebbels’ role. We tried to mark most important limitation of media freedom and to signify flagrant assaults on freedom of journalism.
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Evolucija umetnosti potvrđuje da tehnološki mehanizmi koji se koriste za vizuelno izražavanje znatno utiču na stvaralački postupak koji se upražnjava na različitim etapama tog razvitka. Otkrićem mehaničkog proizvođenja slike (fotografije, filma) taj uticaj je postao bitan za estetsko dejstvo dela ostvarenih kamerom i mikrofonom. Uzdrmavši principe tradicionalne estetike, kinematograf je radikalno izmenio shvatanje umetničkog stvaralaštva uopšte, potvrdivši da tehnologija ne mora da bude prepreka za umetničku delatnost - ukoliko se celishodno koristi i stvaralački ostvari. Kad su nemom filmu pridodati zvuk, boja, iluzija treće dimenzije i prošireno polje zbivanja (wide screen, cinemascope), postalo je jasno da će tehnologija imati sve veći udeo u oblasti umetničkog stvaralaštva za koje se donedavno smatralo da ne podnosi tehnologiju, tj. da je isključivo stvar unutarnje inspiracije stvaraoca i „proviđenja”.
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In this paper the appearance of music video, its specific form in the media and development over time is considered. Since music videos consist of music, text, tune, images and often some additional sounds, an audio-visual analysis of videos is presented. Considering the aesthetic message carried by videos, a classification with incorporated typology has been created, dividing them by their contents. Three separate traditions of music videos have been spotted: performance, narration and the conceptual approach of modern art. On the bases of interchange of these traditions, music videos could be divided into standard – that consist of all of the aforementioned traditions, narrative – where narrative course has a lead role, performative – based on a taped concert or filmed performance of musicians, and artistic, i.e. conceptual videos. Special attention is given to the influence of music videos on young viewers, questioning the possibilities of manipulation and mediation of different kinds of messages by means of videos. Music video has proven itself as an ideal product of post modernistic society, offering interesting contents to be used in broader analysis of the society in which it came into existence, just as its own multilayered influence on the public.
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The article is an attempt to show the Martin’s Luther image which can be found in today's pop culture thanks to narrative films on reformer’s life. In the first part the author tried to present closer the Catholic and Protestant image of Luther, pointing to basic differences and their possible causes. Further, synthetically discussed the history of films presenting the figure of the Father of the Reformation. In the last part of the text to a critical analysis were submitted reformer’s film creations in the light of productions Martin Luther 1953. (Dir. Irving Pichel) and Luther 2003 (Dir. Eric Till).
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The article presents the sources of comicality in “The Intouchables” by Eric Toledano and Oliver Nakache, a box office of French cinema. It suggests that the success of the film lies in choice of the actors, the contrast between them and their backgrounds, and a well-established French motif of relationship between the master and the servant.
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In Czechoslovakia of the 60s, thanks to the unique constellation of many factors a real “film miracle” could have come into being. New Wave brought primarily focus on the human being, man’s living conditions and self-fulfillment. One of the major issues undertaken by the cinema was the question of the truth. Showing the truth of life has become a kind of manifesto especially for directors like Štefan Uher, Jaromil Jireš, Miloš Forman, Ivan Passer, Jaroslav Papoušek. A great individuality was Pavel Juráček. Věra Chytilová however followed the way of the aesthetic revolt.
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This paper focuses on the cultural stereotypes and various ethnic and sexual minorities in Croatian narrative film since 1990. Because 1990 marks a crucial break in the history of the Croatian cultural identity and the ethnicities of former Yugoslavia, the representation of minorities in the context of war and the postwar setting is an important indicator of transformation in the new society, and a gauge for observing its confrontation with a conflicted national heritage. The principal thesis establishes that the new society attempts to articulate its own identity through filmic representation, by negotiating diverse minority identities, which it ultimately conceives as a threat and a non-essential component, unable to be incorporated in the new social order. However, through exploring themes that were silenced prior to 2000, contemporary films give minorities a new voice and a strong visual path to recognition, which goes far beyond the previous stereotyped portrayals. In the period since 1990, a range of Croatian films has dealt with primarily ethnic/national minorities. Two trends are visible in this regard: an ethnic minority (particularly Serbian) that struggles for recognition in the context of war (e.g. in Vinko Brešan’s 2003 film Witnesses) or other ethnic minorities in the postwar context (e.g. an Asian child in Ognjen Sviličić’s 2004 film Sorry for Kung Fu). These two aspects often entwine, like in the film Fine Dead Girls (2002) by Dalibor Matanić, where a lesbian couple fights for recognition in a postwar Zagreb saturated with intolerance and war trauma.
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