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The history of World War II and the Third Reich enjoy unfading interest of filmmakers who not only include certain threads of those historical realities into their productions but make them the theme determining a course of a story. The Jojo Rabbit film directed by Taika Waititi is without a doubt much more than just an interesting story of a boy who wanted to become a Nazi. Waititi (New Zealand based) painted a satirical and ambivalent picture of national socialism; this time around viewers could watch it from the perspective of a child imbued with this ideology. The plot of the film contains references to anti-Semitism, Aryan racial superiority and ways of controlling society. The viewer’s doubts may be raised by the fact that all these elements are presented in a satirical form. The aim of this study is not only the attempt to evaluate this picture with consideration to historical realities, but also a look into the choice of media used by the director.
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Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an interesting musical material. Selected Walt Disney films were analyzed – their soundtracks as well as articles and reviews, blogs about the studio’s musical productions. In the considerations, a lot of attention was devoted to the song, which is the carrier of the main content of the film and the most frequently played element of the film image. Some attempts were made to indicate its functions in intercultural education, but also the ways of its use in child education.
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The article aims to indicate different perspectives of film education. According to the author, three possible strategies can be identified: education to film (“film studies” strategy), education in film (“anthropological” strategy) and education through film (“hermeneutic” strategy). In traditional conceptions of cultural education, film education was treated as part of aesthetic education which highlighted the aspect of preparing the viewer as an “expert” with knowledge of the art discipline, corresponding to the “film studies’ strategy”. In the “anthropological strategy”, film is treated as a reflection of society, its fears, and dominant narratives. The viewer’s expectations are different and moreover the competence of the art theorist is replaced by knowledge of culture and society and the changes taking place within it. From an educational point of view, however, the most interesting perspective is the “hermeneutic” one that treats film as a partner in dialogue, when the educational potential of a film text is determined not by its “content” but by the “biographical capital” of the viewer.
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The present article is the second part of a study that explores, from a cultural studies perspective, the way in which the Danube has inspired the music of its riparian countries across the ages. The first part, which will appear in another publication, analyses significant works composed in the other nine European countries crossed by the river, while this second part focuses on folklore, urban songs, operetta, and film music composed in Romania – the land of the delta. As chance will have it, the first part will be published later than the second. Starting from the physical and metaphysical kinship between water and sound waves, this article shows how the Danube has constantly loomed large in the musical creation on its Romanian banks, reflecting the way of life of the inhabitants, their customs and traditions, their mentalities and philosophies, also preserving information about long-gone local places and conferring immortality (or at least an afterlife) to ephemeral generations. Stressing the river’s function as border meant both to separate and to unite lands and peoples and to bring into bold relief both their similarities and differences, the study underlines another paradoxical duality of the Danube: its versatility and its individuality. Analysing a selection of folk songs, Ioan Ivanovici’s famous waltz “Danube Waves”, George Grigoriu’s eponymous operetta, and four films from the perspective of their soundtrack, the article concludes that it is opportune to tackle the great shapeshifting river through music – a language that needs no translation and a journey that knows no borders – in order to capture one more facet of its cultural significance.
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The nightmare does not only appear at night, but it can also be present during the day. And then it’s even harder to endure because it does not cease tomanifest itself. The daytime nightmare never ends. From the point of view of theauthor of this text, it is what happens to the hero of Manchester by the Sea (2016),directed by Kenneth Lonergan. Crushed by pain and guilt, by loss and grief, LeeChandler cannot escape the scene of his own life, having to face the nightmare inevery conscious moment. The suicide solution, experienced in the midst of thetrauma, fails and he only repeats it under disguised forms that do not lead to theunconsciously desired result. If we refer to Freud’s Mourning and Melancholia, itis difficult for us to determine whether it is melancholy or a pathological mourning.The trauma, however, for our hero, seems to be insurmountable and it is the stakeof the entire movie. An atypical movie for the American cinema.
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The TV series "Born Again," aired on Türkiye Radyo Televizyon Kurumu (TRT) in 1987, holds great significance as it was filmed during the ongoing immigration from Bulgaria to Turkey. The series garnered attention by addressing this delicate issue concurrently with its historical occurrence, which lasted until 1989. The unique nature of "Born Again" affected the communication between the two countries. However, the series was not broadcasted in exchange for the release of Aysel Ozgur, whose family's story was one of the three narratives included in the show. This study reevaluates the historical aspect of migration within the framework of "Born Again" and emphasizes the reminder role of visual media in historical contexts. The methodology involves semiotic analysis of the series, exploring how the characters were portrayed, and conducting text analysis of the dialogue in the script.
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Family is a socially constructed phenomenon in terms of relations dependent on kinship, friendship, or closeness. This article aims to scrutinize an example of a transnational family in the Oscar winner movie “Everything Everywhere All at Once (2022)”. The descriptive-analytic research method with a qualitative approach was applied as the research methodology in this study. Network, family discourse, and time are found as the main contributors to the formation of a family. The network is the most powerful force multiplier for resolving conflicts in family, whether it be intrinsic or extrinsic. Additionally; heterarchical relationships are less prevalent than hierarchical ones, the primary factors in the development of family habits are cultural background and prior experiences, and the social construction of families can be prevented by the use of various languages and dialects. In the end, one of the fundamental principles underlying the social architecture of the family is time.
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The use of social media tools has gained significant power on the establishment the relations between the organizations and the target groups of that organizations whether the organizations are commercial or public. The Turkish Radio and Television Corporation, TRT, is the public broadcasting organization of Türkiye. Therefore, the broadcasting decisions of TRT differ from the commercial broadcasting companies. One of these differentiations is realized through the foundation of the thematic channels, which do not put ratings above the other broadcasting decisions. The documentary television channel, which was founded in 2009, TRT Belgesel (TRT Documentary), is one of these thematic channels. The study aims to draw a profile on how the documentary program type, a type which aims to inform and educate, by revealing the ways of using Instagram. Within the scope of the study, two factors were decisive in the examination of TRT Belgesel's Instagram account. The first of these is that Instagram is the most used social media platform in Türkiye in 2023. The other reason is that parallel to the first, TRT Belgesel has the most followers on Instagram among its social media accounts. In the study, the Instagram usage patterns of the TRT Belgesel channel were evaluated within the framework of the public broadcasting approach and the informative/educational purpose of the documentary program type. In this context, the posts were analyzed in detail by using the quantitative content analysis method in the study. The analysis concluded that the TRT Belgesel channel shared the most video content in line with Instagram usage patterns, shared information about the program to be broadcast on the channel, and informed users by sharing information containing explanations.
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The shadows symbolising animals in the animated film Amy (KarlijnScholten Animation, 2011) represent evil emotions and actions of adults, such as violence, child abuse and rape. This study examines Amy as an example of the symbolic and digital expression of shadows to reflect the inner world of individuals. The film is analysed through mise-en-scène analysis, focusing on light and shadow. Based on the example of the film Amy, it is revealed that the use of light and shadow as aesthetic elements in today's world, where digital computer technology has developed, is more than the natural and artificial lighting possibilities in the history of art; thanks to the use of digital light that allows the creation of dark and shadowy areas, it has become easier to represent the characters with expressionist projection. In addition, the distribution of the film on an online video platform such as YouTube, the most widely used online video platform in the world, brings social-cultural issues, such as child abuse and violence, which are both local and global, to a transnational level with its aesthetic similarity to the German Expressionism of the early twentieth century.
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The purpose of the article is to define the artistic and aesthetic toolkit of frame design in the visual culture of auteur film directing. Research methodology. In developing the topic, an integrated approach was applied, in particular, the methods of systematisation, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were aimed to consider the art historical aspect of the problem. The scientific novelty of the research is that the director's creativity is studied in the context of the visual culture of frame design and for the first time became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis has been conducted and the features of frame design in the author's film work have been revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing.
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Cinema, which made its first public screenings in the early twentieth century, came to the fore as the art form that influenced the masses the most in social and artistic terms. Functioning as a work of art and a means of entertainment, cinema, unlike other branches of art, has followed certain visual rules and guided the masses. Despite certain physical constraints such as frame ratio, cinema has created its own style and this frame ratio has changed throughout history. In Turkish cinema, the frame ratio of 1.33:1 was used as the standard for many years. However, after television and then digital screening media changed the frame ratios in order to adapt to widescreen formats, this led to image loss in some films. This study examines the effect of digital film restoration on the cinematic style of Turkish cinema and director Metin Erksan's film The Revenge of the Snakes. The study first discusses the technical aspects, justifications and ethical dimension of digital film restoration, and then compares the original and restored copies of the film The Revenge of the Snakes and tries to reveal the effect of cutting the frame ratio on mise-en-scene and composition. As a result of the examination, it has been determined that the cut in the frame ratio as a result of the digital restoration made in the film The Revenge of the Snakes has an effect that directly affects the meaning of the film and completely changes the mise-en-scene and composition intended by the director.
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The purpose of the article is to identify the problems of creativity of auteur directors who have realised their artistic potential both in auteur cinema and in the field of stage art and to define scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of the film author in the performing arts. Research methodology. Methods of scientific analysis, comparison, generalisation, and self-analysis of the artist were used in the study. In addition, analytical and systematic methods were applied in their unity, which is necessary for the study of the art historical aspect of the problem. The scientific novelty of the study is to define the universality of directing as a specific type of artistic and aesthetic activity; to clarify the mutual influence of stage and screen arts in the use of expressive means; to determine the peculiarities of the film author's activity in the stage space through the adaptation of screen means in theatrical productions, which for the first time became the subject of a special study; in highlighting the universal activities of auteur directors who reformed the cinematic language and the language of stage staging; in identifying original principles of film construction and specific means of cinematic expression that were not only directly embodied in films and contributed to the emergence of outstanding auteur cinematic works, but also had a significant impact on auteur theatre directing, which was distinguished by the search for visualisation of stage images. Conclusions. It is proved that the stage work of film directors-authors questions the theoretical postulates about the harmfulness of the invasion of theatre culture on the screen. It is found that the visual and expressive means that provide the chronology of image creation (long shots, intra-frame editing, acoustic, light and shadow effects), the use of which is considered a high degree of skill in cinema, have their origins in the stage art.
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In the construction of a contemporary choreographic vision, multimedia is also used as a second parallel action – for example, A la recherche de Don Juan by Maurice Béjart or A’propos Medea by Margarita Gradechlieva. Sometimes it marks the hero’s dreams (in Matthew Bourne’s Swan Lake). Or, emphasis is placed on the place of action (in Alice’s Adventures in Wonderland by Christopher Wheeldon). Rarely do video projections gain autono-my and tell a story that differs from what happens on stage, as in Adoration and Violence – variations on the theme Don Giovanni (by Boryana Sechanova). But the impact is stronger when choreographers design the plot in the field of dance. In Snow White and the hip-hop group “The Dwarves”, Tonika Todor-ova uses multimedia both as a décor (the dance halls of Snow White and the Stepmother), as a video link (when the dwarves call the Prince), or when Stepmom finds Snow White’s video lessons on TV. Film art is increasingly becoming a source of stories for choreographers.
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Along with the developing technology, digital twin applications, which have become more popular with Industry 4.0 technologies, have become frequently used in many sectors. Offering faster, flexible, quality and personalized products, the digital twin also saves time for businesses and institutions in subjects such as evaluation, estimation, learning, analysis and development, minimizing the margin of error and increasing the profit rate. The digital twin, which is used in almost all branches of engineering from health to public inspection, from education to transportation, from the aviation sector, has also started to be used in the sinema industry. Although the usage rate of the digital twin, which is among the innovations brought by artificial intelligence to the cinema, is not very high compared to other sectors in the cinema sector, discussions on the subject continue intensely in the sector. The purpose of this article is to discuss the ethical violations that will be created by the digital twin application, which has increased in importance with Industry 4.0. Throughout the study, John is Awful and (Ally Pankiw, 2023) Beyond the Sea (John Crowley, 2023 ) episodes of the Black mirror series on the Netflix platform analysed within the framework of violation of values such as the right to privacy, the right to protect personal data, the right not to be tarnished in digital media, and social ethics. It is seen that the creation of a human's digital twin brings along many ethical problems. While this study provides information about digital twin applications, it is among the pioneering studies focusing on the way the application takes place in the cinema.
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At the end of the nineteenth and first half of the twentieth century, creators of culture often acted as opinion-makers on current events. One of them was the prominent British intellectual George Bernard Shaw, who approached the subject of the Balkan Wars in his work. The aim of the article is to present the relationship between Shaw’s anti-war comedy Arms and the man and the image of Bulgarian soldiers created on the basis of the Balkan wars of 1912 and 1913 appearing in the press coverage from the era. It also touches the matter of depicting the realities of war as well as the heroism of officers and soldiers on the battlefield.
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The text focuses on three early soundtracks by conductor-composer Andrzej Markowski (1924– 1986) for sci-fi films: Milcząca gwiazda (dir. Kurt Maetzig, 1959), Wielka, większa i największa (dir. Anna Sokołowska, 1962) and Przekładaniec (dir. Andrzej Wajda, 1968). Electroacoustic sounds were created with the help of engineers Eugeniusz Rudnik and Krzysztof Szlifirski in the Polish Radio Experimental Studio. Very physical methods and means of their production contributed greatly to the potential of embodying unreal worlds and objects. The simultaneous birth of musical avant-garde and sci-fi cinema in Poland led to the cliché of illustrating these films with electroacoustic sounds, which produce the experience of „uncanniness" in the audience. A brief portrait of Markowski and a history of his film music output are then presented in a methodological framework, relying mainly on Michel Chion's notion of rendering. In the analyses that follow much space is dedicated to the comparison between sounds in the original novels (Stanisław Lem’s Astronauts and Jerzy Broszkiewicz’s Wielka, większa i największa) and their film adaptations. In the crucial scenes from Milcząca gwiazda the mysterious "reel" from Venus is musically decrypted in a laboratory; the "insect" probes’ tones embody liveliness and multitude, and the gurgling of "lava" causes ambiguous reactions. In Wielka, większa i największa the sound effects of spaceship, soundscape of Vega planet and modulated voices or concrete sounds create the affect of Uncanny (Ernst Jentsch). Eventually, in Przekładaniec electroacoustic music is associated with madness or illness, as happened in many other films from that time. However, Markowski’s innovative use of acoustic and electronic music made these three particularly remarkable.
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The problem of the diva/the divo within Italian cinematography has – just like that of the star – already been examined several times. But the appearance of the minute stars within the media culture of the past 20 years throws a completely new light on the problem of the divine – not only in Italy. Does this phenomenon come close to that of the amateur actor in Italian neorealism, the innovation that should ensure the authenticity within the films? This question will be explored in the essay. It was Luchino Visconti (1906–1976) who made the film La terra trema (1947/48) exclusively with amateur actors, and then questioned the neo-realist filmmakers’ approach with the film Bellissima (1951). Visconti settled with the star industry in 1967 in his film La strega brucciata viva. The question of amateur actors, divas, stars is discussed on the basis of the two films and the theories of Gilles Deleuze (‘crystal imageʻ) and Ernst H. Kantorowicz (‘the king’s two bodysʻ).
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Although neglected for decades, American poet, journalist, and painter Nicholas Vachel Lindsay (1879- 1931) made a significant contribution to the rising film theory with his book The Art of The Moving Picture, the first American study of a kind, published in 1915. Having noticed the widespread popularity of silent movies among the millions of film lovers in the USA, Lindsay proposed that this new visual art form, which, according to him, represented a combination of a traditional theatre play and diverse elements of painting, sculpture, architecture and other forms of visual expression that he called photoplay, could, in due time, become a true American art brand. For that reason, he advocated the establishment of film schools, film libraries and archives, as well as the use of film for educational purposes in schools. This paper analyzes Lindsay’s key theoretical tenets of film as an important fine art as presented in his book The Art of The Moving Picture, as well as his visionary predictions regarding the later development of film (and later television) as not just lucrative, commercial products, but also an interesting field of academic study.
More...Pálffy Tiborral beszélget Köllő Kata
In recent years, Tibor Pálffy has taken on the role of director on several occasions at the Tamási Áron Theatre. In this interview, the theatre critic Kata Köllő raises the question if he has similar ambitions in film directing, too. Pálffy, also known by the nickname ”Hobo”, toys with the idea, but he is sure that the filming would take place in a theatrical setting and would focus on the actors. His experience as an actor has shown that film and theatre are very different worlds, and as a teacher he believes it would be good for students to have more opportunities to get to know the camera.
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