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Относно фантастичното в китайския филм „Легенда за котката демон“

Относно фантастичното в китайския филм „Легенда за котката демон“

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 1/2019

The study traces several different narratives – historical and fictional – related to the tragic affair between the Chinese concubine Yang Guifei and the Tang emperor Li Longji – a storyline which has been repeatedly interpreted in both the Chinese and the Japanese cultural environment. Chen Kaige’s “The Legend of the Demon Cat” interprets and re-reads the famous plot in a way which is completely different from the one in previous screen productions. The film is an adaptation of the contemporary novel “Samana Kukai” written by the Japanese writer Yoneyama Mineo. The director Chen, an emblematic figure of the Fifth Generation of Chinese cinema, constructs the fantastic, relying on the genre traditions in Chinese literature and Screen arts.The paper makes a first analytic attempt at “The Legend of the Demon Cat”, placing the research subject in the broad framework of Film and Culture Studies.

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The Postnormal Condition and the Politics of Migration in Biyi Bandele’s Half of a Yellow Sun

The Postnormal Condition and the Politics of Migration in Biyi Bandele’s Half of a Yellow Sun

Author(s): Stephen Ogheneruro Okpadah / Language(s): English Issue: 1/2019

Civil wars, political chaos, ecological revolutions, separatist agitations, ethnic conflicts and religious clashes form part of the larger body of what, following Ziauddin Sardar, we will define as “postnormal times.” The representation of borders in migration is a salient feature of African films and films on Africa, such as Hotel Rwanda, Blood Diamond, Half of a Yellow Sun, Tears of the Sun and Somewhere in Africa: The Cries of Humanity. These cinematic productions are rooted in the culture of migration, displacement, liberation and survival. The present article considers postcolonial African cinema and argues that filming migration, especially forced migration, is intricately related to the postnormal condition characteristic of African societies. Postnormality in that part of the world is largely produced by armed conflicts whose aftermath stages spectacular waves of human migration. The Boko Haram conflict, the Herdsmen crisis and the Niger Delta crisis of resource control in Nigeria and the Al Shabab terrorist group in Somalia and Eastern Africa are some of the instances ofviolent self-location that have necessitated discussions of refugeeism, migration and postnormality in Nigerian and African film studies. This article focuses on Biyi Bandele’s film Half of a Yellow Sun which is read in contextual juxtaposition with other films about crisis and migration. Sardar’s theory of postnormality is used in the analytical discussion of the film, which demonstrates that African cinema succeeds in representing the complexities, contradictions and chaos of voluntary and involuntary migration and provides an adequate response to the anti-oppressive reforms on that continent.

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Вазов в българското кино

Вазов в българското кино

Author(s): Vladimir Donev / Language(s): Bulgarian Issue: 2/2021

The article analyzes the artistic features of the best film adaptations of several works by Ivan Vazov – the novel Under the Yoke and the novellas Characters and Outcasts. It also examines the dialogue between the literary original and the scripts, the cinematic means of expression and the literary techniques. The paper also discusses the director’s concepts and acting achievements in the respective film adaptations.

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Intermediality in contemporary avant-garde cinema: Blurring media boundaries in Jean-Luc Godard’s films

Intermediality in contemporary avant-garde cinema: Blurring media boundaries in Jean-Luc Godard’s films

Author(s): Loukia Kostopoulou / Language(s): English Issue: 1/2023

Drawing on the premises of avant-garde cinema (experimentation, transformation, liminality), this paper seeks to examine how intermediality functions as a form of experimentation in contemporary avant-garde cinema. It also bring new insights regarding the nature of the medium and the impact on the spectator. Examples will be drawn from Jean-Luc Godard’s films First Name: Carmen (1983) and Film Socialisme (2010).

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INSTRUIREA ON-LINE: AVANTAJE ȘI DEZAVANTAJE

Author(s): Claudia Crăciun / Language(s): Romanian Issue: 2 (43)/2022

The COVID-19 pandemic has influenced all areas of human activity, including the training process. We urgently resorted to forms of training that exclude direct contact between individuals. Thus, higher institutions switched to online training. In this article, we try to identify the advantages and disadvantages of this form of training within the Academy of Music, Theater and Fine Arts.

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A semiotic analysis of representations of maids in Greek movies of the 1950s and 60s

A semiotic analysis of representations of maids in Greek movies of the 1950s and 60s

Author(s): Thomas Bardakis / Language(s): English Issue: 1/2023

A variety of semiotic codes, for example, proxemics, kinesics, dress code, verbal code, usually construct specific representations in audiovisual culture. This paper explores the semiotic systems in synergy which seem to lead to consolidation of the social representations of maids in pop culture texts, such as Greek movies in the 1950s and 60s (the old Greek cinema era). The research questions explore the social representations which have been constructed and the ways in which the verbal and non-verbal signs of the maids can lead to the consolidation of their social image or even to a myth construction based on specific ideological perspectives. So, how do maids act in Greek movies in the 1950s and 60s? What does their performance signify? A semiotic analysis will examine all these questions through semiotic codes in those multimodal texts (Greek movies), selected from the field of the historically Greek pop culture texts. These verbal and non-verbal codes work coherently to translate the depiction of Greek society and culture and to convey connotative meanings.

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Analysis of “Mercedes mon Amour” Movie According to Significance Quest Theory

Analysis of “Mercedes mon Amour” Movie According to Significance Quest Theory

Author(s): Ekrem Sedat Şahin / Language(s): English Issue: Suppl. 1/2022

The aim of this study is to analyse and embody Significance Quest Theory and notions of it. Significance quest is a human-specific motivation and can be the cause of good or misdeeds, shame or pride. The primary factor driving one to quest for significance is personal or collective significance loss as a result of exclusion or humiliation of self or one’s group. Any threat of significance loss apart from the suffered significance loss is also drive one to quest for significance. Opportunities for gaining significance also motivate one to quest for significance. “Mercedes mon Amour” movie directed by Tunç Okan was analysed in terms of different notions of the significance quest. The document analysis method of qualitative research designs was adopted within this study. Notions of significance quest, significance loss, threat of significance loss, opportunity for significance gain, personal and collective significance loss were tried to be embodied by analysing some specified scenes of the movie based on the incidents of them.

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Film fabularny jako przestrzeń edukacyjna w profilaktyce przemocy w rodzinie adresowanej do uczniów szkół średnich, realizowanej przez Komendę Powiatową Policji w Garwolinie

Film fabularny jako przestrzeń edukacyjna w profilaktyce przemocy w rodzinie adresowanej do uczniów szkół średnich, realizowanej przez Komendę Powiatową Policji w Garwolinie

Author(s): Danuta KALINOWSKA / Language(s): Polish Issue: 2/2021

The aim of the presentation is to present preventive measures and preventive measures being taken by the Polish Police in the area of domestic violence, using the feature films e.g. Pręgi and Plac Zbawicela. In this article, the following issues will be shown: existence of domestic violence with its psychological, emotional, social and religious determinants and long-term consequences for the victim as well. It is also appropriate to discuss socio-psychological context of violence. Firstly, we will show the sustainability of pathological conditions of the situations. Secondly, we will consider reasons for lack of defence activities. At the very end we will present negation attitudes and behaviour of the offender and the factors causing enslavement of the victims (affection and dependency in terms of social functioning in family, marriage or in concubinage). In order to present the whole problem included in the title of this presentation, we ought to point the regulations and the legal basis for all actions that have to eliminate this phenomenon (the Constitution, the Universal Declaration of Human Rights, the Criminal Code, the Law on prevention of domestic violence, the procedure NK). The practical part of the discussed issues will be the analysis of specific forms of violence: threats punishable with art.190 of the Penal Code, stalking with art. 190a of the Penal Code, coercion with art.191 of the Penal Code, domestic violence with art. 207 of the Penal Code, pimping of art. 204 of the Penal Code, paedophilia and pornography presenting people with Article minors. 200 of the Penal Code, the Penal Code 200a, 200b of the Penal Code, trafficking in human beings (so called – Abdomen for rent) and human organs; trafficking for prostitution. Another issue there will be linguistic and rhetorical analysis of prophylactic actions regarding to its stylistics e.g. an visual imagery, comparisons and a paraphrase. As far as working tools are concerned, it should be stressed that beyond the previously parsed spoken word, it is reasonable to discuss the role of the merits of a multimedia presentation, as also to analyze and highlight the role of the feature film. It is worth stating that films graphically and emotionally relate to the presented issues using the depicted history and the ensuing timeless content. What is more, they help to enhance the acquisition and consolidation of the meeting’s theme and they enable to sensitize on identical pathological phenomena that occur in the real environment of each of the participants. The last but not least is the fact that films encourage to protect themselves and others and they teach how to maximize the effectiveness of preventive actions. At the very end, there is a place for the conclusions that follow our analysis of forms and methods of work in crime prevention in domestic violence. First of all, they will give opportunities for a better impact on the recipient as well as they will help to improve further action in this regard.

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РЕЖИСЕРСЬКІ МОДЕЛІ АВТОРСЬКОГО КІНО В КОНТЕКСТІ МІЖКУЛЬТУРНОГО ДІАЛОГУ

РЕЖИСЕРСЬКІ МОДЕЛІ АВТОРСЬКОГО КІНО В КОНТЕКСТІ МІЖКУЛЬТУРНОГО ДІАЛОГУ

Author(s): Galyna Petrivna Pogrebnіak / Language(s): Ukrainian Issue: 2/2022

The purposeof the article is to identify the problems of intercultural cooperation within the framework of supporting international programs, funds, and agreements in the process of production and global distribution of films directed by auteur models and to determine scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of Ukrainian auteur cinema in an intercultural environment. Research methodology. Analytical method was used in the development of the topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the researcher has used the methods of systematisation and generalisation, which came in handy for arguing the originality of the phenomenon of auteur cinematography, its place in modern culture-creating processes, as well as the determination of objective regularities that characterise auteur cinematographic practices in modern intercultural space. A cross-cultural method has also been applied, which contributed to the identification of the peculiarities of the production and distribution of films of directorial models of auteur cinema in the system of international cooperation. The cultural approach conditioned the generalised socio-cultural orientation of the research of the author's cinematography of the culture of the postmodern and post-postmodern era. The scientific novelty of the research lies in the fact that the problem of intercultural cooperation in the production and global distribution of original cinema in Ukraine and abroad in the context of the functioning of international support programs became the subject of a special study for the first time; the work of Ukrainian filmmakers-authors, whose films were created as international projects with the support of international programs and funds, is highlighted and characterised; the expediency of using the system method in studying the peculiarities of the international film production and distribution process has been proven. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge regarding the specifics of the production and distribution of films by directorial models of auteur cinema within the framework of intercultural projects and enables their use in educational courses on the theory and history of cinema and directing.

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Търновските кинопанорами, заснети през 1904 и 1905 г. – всред първите филми, осъществявани някога в България

Търновските кинопанорами, заснети през 1904 и 1905 г. – всред първите филми, осъществявани някога в България

Author(s): Petar Kardzhilov / Language(s): English,Bulgarian Issue: 3/2021

In 1904, the English cinematographer Charles Rider Noble visited Bulgaria, where he shot 21 short chronicle-documentary films (lasting from 1 to 4 minutes). They were not preserved to present days, but their annotations have survived in the catalogues of the Charles Urban Trading Company (London), the company, which sent Noble in Bulgaria. They also describe the view ‟Railroad Panorama of the Pass of Tirnovo”. In 1905 the city was re-photographed – this time by the Scotsman John Mackenzie. From his footage and those of Noble, the American producer Charles Urban created (with the help of editing) the substantive film ‟Tirnova: The Ancient Capital of Bulgaria”, which successfully travelled the world…

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Pôvodná televízna tvorba pre deti v kontexte rozvoja mediálnej gramotnosti žiakov primárneho vzdelávania

Pôvodná televízna tvorba pre deti v kontexte rozvoja mediálnej gramotnosti žiakov primárneho vzdelávania

Author(s): Lenka Regrutová / Language(s): Slovak,English Issue: 3/2021

The paper deals with the possibilities of developing media literacy in the field of original television drama for children. Drama television production for children has a long tradition in Slovakia and reached its peak (production of a number of titles of various genres), especially in the 70s and 80s of the 20th century. In the first part, we will present selected genre-diverse titles (especially bedtime stories and feature series), which have achieved success in the international context, and even today, several of them are part of the RTVS program structure. Media literacy includes a combination of skills and abilities in four basic areas: approach, assessment / critical attitude, analysis and creativity. In this paper, we focus our attention mainly on critical attitude and analysis. The second part of the paper will present the results of work with primary education students (research will take place within the Prešov Children‘s University 2020), which will present selected titles of television production for children in order to develop their media literacy based on joint evaluation and analysis.

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Filmowość języka poetyckiego Czesława Miłosza

Filmowość języka poetyckiego Czesława Miłosza

Author(s): Zbigniew Kaźmierczyk / Language(s): Polish Issue: 28/2021

The paper develops the thesis on the movielike nature of Czesław Miłosz’s early poetry. It includes the premises of the thesis in contrast to innovative currents of the epoch. The paper discusses applying terms from the language of film as adequate when compared to the Nobel Prize winner’s synecdochic technique of imaging which is shown as the structural algorithm of the world of poetic multivoiceness. The paper displays the relation between ethics, philosophy and theology with the imaging of a poem. It proves that the advancement of the synecdochic-film technique, from figurativeness to the fluency of a take, is connected with balancing the Gnostic aversion of the poet towards the reality of body and matter. The balance between the feeling of terror of existence and its affirmation was favourable for creating fluent series: partes pro toto derived from the coming together of a name and a respected item, as well as accepting beings which are transcendent in their nature. The author of the paper states that through comparing the language of poetry and the language of film it was possible to show the poetic nature of Miłosz’s poems.

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FROM NOVEL TO FILM: THE ROLE OF MUSICAL INSERTS IN TOMASI DI LAMPEDUSA’S THE LEOPARD

FROM NOVEL TO FILM: THE ROLE OF MUSICAL INSERTS IN TOMASI DI LAMPEDUSA’S THE LEOPARD

Author(s): Anamaria Milonean / Language(s): Romanian Issue: 16/2019

If we can talk about additional significance in the case of a filmic text as compared to that of a novel, this is mainly due to the former’s multi-code nature. There are various codes-ranging from visual-iconic to linguistic and sound representations-that underpin the meaning of a filmic text, as form of a complex creative expression, conferring it a highly synergic character in comparison with the verbal text. The written text does indeed feature references to signifying structures belonging to codes other than the linguistic one; however, these are also textually updated by means of words. While the reading of a verbal text involves a syntagmatic reception of messages originating from various semiotic systems, the audio-visual flow of the filmic text allows for a simultaneous reception similar to a real-life situation. In light of these premises, our article emphasizes the importance of musical structures in Giuseppe Tomasi di Lampedusaʼs ʽThe Leopardʼ, as well as in the homonymous film directed by Luchino Visconti. After a concise presentation of the typology of sounds and their support in shaping the specificity of cinematographic language, we will highlight the role of musical inserts in both novels and films. Thus, we will compare their functions and valences in outlining the overall textual meaning for two distinct signifying objects which nevertheless interact through a fruitful intertextual dialogue.

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Kroonika

Kroonika

Author(s): Not Specified Author / Language(s): Estonian Issue: 01+02/2023

The chronicle of events

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“THE ACTOR AND THE SAVAGES” – BRAIDING A DESTINY WITH FICTION

“THE ACTOR AND THE SAVAGES” – BRAIDING A DESTINY WITH FICTION

Author(s): Ioana Ilisei / Language(s): Romanian Issue: 19/2019

In Romania, in the communist period before 1989, censorship was one of the most important weapons against culture. It was strict and massacred not only the texts of the writers and poets, but also the cinematographic and theatrical productions. Thus, the producers and writers of the Romanian films had to resort to a wide range of subterfuges, using the irony and sarcasm that they thought not to be accessible to all.In the film “The Actor and the savages”, an analogy was drawn with the life of the great actor Constantin Tănase, recognized for his career in the Romanian magazine theater. Even if the action takes place in another period, the producers tried to capture the reality as much as it was useful to convey an important message: the struggle for the ideal and the public are the most important for an artist, and censorship cannot suppress the laugh.

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Scénografie v počátcích Divadla D

Scénografie v počátcích Divadla D

Author(s): Pavlína Vojtová / Language(s): Czech Issue: 1/2021

The study is focused on work and cooperation of five young stage designers/architects with director E. F. Burian in the avant-garde theatre of Divadlo D in its beginnings in early 1930s, namely César Grimmich, Miroslav Kouřil, Jiří Novotný, Karel Poličanský, and Josef Raban, and then mainly the trio KNR. The main part depands on presentation theirs working methods and themes, which reflect new techniques of visual art, focused on light experiments, photography, film and raw materials. Their methods are also confronted with work and experiments of László Moholy-Nagy

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«Куба - любовь моя»: символизм мужского и женского в советских репрезентациях Острова свободы

Author(s): Liudmila L. Kleshchenko,Tatjana Borisovna Riabova / Language(s): Russian Issue: 4/2022

The article based on an analysis of Soviet mass culture of the 1960s (feature films, documentaries, popular songs) examines the representations of Cuban masculinity and femininity in the context of the Cold war during the 1960s. The authors conclude that the images of men and women, masculinity and femininity have become a noticeable component of Soviet representations of the Cuban Revolution. Female images were used to explain the just nature of the revolution, to demonstrate that only socialism can provide a solution to women’s issues. Representations of revolutionary Cuban masculinity made it possible to show the ability of Fidel Castro and his associates to defend the cause of the revolution, as well as the invincibility of the revolutionary movement in the world. The attraction of male and female symbolism contributed to the creation of the enemy image, portraying him as immoral, inhuman, cruel, and cowardly, in demonstrating that he poses a threat to humanity. The function of the defender of Cuba as a woman was one of the main ones in the representations of Cuban masculinity. These images were also used in the politics of Soviet identity. Emphasizing the youth of revolutionary masculinity Barbudos was included in the demonstration of the youth of the USSR as a country aspiring to the future together with all progressive humanity. It created an opportunity to carry out a kind of rebranding of the October Revolution, to show that its work continues.

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Relacja z konferencji Nordic Challenges „Nordic Neighbourhoods: Affinity and Distinction in the Baltic Sea Region and Beyond”

Relacja z konferencji Nordic Challenges „Nordic Neighbourhoods: Affinity and Distinction in the Baltic Sea Region and Beyond”

Author(s): Karolina Drozdowska,Marta Grzechnik,Kazimierz Musiał / Language(s): Polish Issue: 6/2022

W dniach 1–3 czerwca 2022 r. odbyła się w Sztokholmie konferencja „Nordic Challenges”, zorganizowana przez sieć ReNEW (Reimagining Norden in an Evolving World). Organizacja ta, finansowana przez nordycki fundusz badań NordForsk, została utworzona w celu wzmocnienia współpracy na rzecz rozwoju nowych i przełomowych osiągnięć w badaniach nad regionem nordyckim w kontekście wyzwań globalnych. Partnerami ReNEW jest sześć uniwersytetów ulokowanych w regionie nordyckim: Uniwersytet Helsiński, Uniwersytet w Oslo, Uniwersytet Islandzki, Uniwersytet Södertörn, Uniwersytet w Aarhus oraz Copenhagen Business School.

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Estetik Varoluş ve Umutsuzluk: Le Feu follet

Estetik Varoluş ve Umutsuzluk: Le Feu follet

Author(s): İrfan Yalçın / Language(s): Turkish Issue: 15/2023

Aesthetic existence and despair are the basic concepts of Soren Kierkegaard's philosophy. Kierkegaard gives place to the concept of despair in his texts entitled Sickness Unto Death and the concept of aesthetic existence in his texts entitled Either/Or. Kierkegaard associates these two interrelated concepts with the daily life and self of the person. Kierkegaard defines despair in the context of the alienated person. The philosopher argues that the person in the aesthetic stage of existence is hopeless, avoiding responsibility and spending his life in a pursuit of pleasure and entertainment. The aim of this study is to analyze the film The Fire Within (Le Feu follet, Louis Malle, 1963) in the context of Soren Kierkegaard's concepts of aesthetic existence and despair. For this purpose, this study initially reveals, Kierkegaard's concepts of aesthetic existence and despair. Then, the film is analyzed with thematic analysis method. As a result of the analysis, it observed that the main character of the film is an esthete who consumes a significant part of his life in a pursuit of pleasure and entertainment. The study concludes that the main character of the film is alienated from his own self and therefore he is in a despair situation.

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Ömer Kavur’un Erken Dönem Filmleri: Varoluşçu Arayışların Sineması

Ömer Kavur’un Erken Dönem Filmleri: Varoluşçu Arayışların Sineması

Author(s): Mustafa Kemal Sancar / Language(s): Turkish Issue: 15/2023

This study, which aims to reveal the formal and content elements that make up Ömer Kavur's cinema, with an auteurist perspective, analyses the factors in question in relation to existential philosophy. For this purpose, first of all, Kavur's unique style as an auteur settlement and the common features in his films are explained. Having created his own style and thus an award-winning filmmaker in many national and international fields, Kavur is one of the first Turkish cinema artists to come to mind as an "auteur" from the creative main cast. After Yeşilçam's social realist films, he follows existential themes both in films written with original stories and in adaptation films. The inclusion of the aforementioned themes in the films is by saying elements within the film narrative or in search of all of Kavur's unique forms and contents. Two film analysis methods were used to reveal these elements. After determining the elements that make up the Kavur cinema with the method of author criticism, the meanings that carry an existential philosophy approach from these components are analysed with the method of film criticism. As a result of the analyses limited to "Yatık Emine" (1975), "Yusuf ile Kenan" (1979) and "Kırık Bir Aşk Hikâyesi" (1981), which are among the director's early films; In certain formal and contextual context factors, it is used that notions such as existence, death and alienation that existentialist philosophers deal with are covered in the scope of filmic narration.

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