Продуктовото позициониране в киното - добър модел или дразнеща реклама

Author(s): Isidor Karadimov / Language(s): Bulgarian Issue: 3/2021

Product placement is one of the forms of financing in cinema. This is a legal form for realizing hidden advertising. Adherence to strict rules when implementing a product in the final version of the film for advertising purposes is a good tool, both to fill the budget and purely plot. In American film production, product positioning is intended to add a few percent to the film's budget. In Bulgarian cinema, product positioning is used as the main source of funding for the creation of an independent film outside those funded by the National film center (NFC).

„Неблагонадеждни“ истории – архивен прочит на досиета на „опозиционни“ служители в ДП „Българска кинематография“ в периода 1948–1958

Author(s): Irina Kitova / Language(s): Bulgarian Issue: 2/2024

The political change that occurred in Bulgaria in the middle of the 20th century had a serious impact on administrative practices for personnel selection in various professional fields. In culture and the arts, it becomes especially important to attract people with appropriate political views and behavior corresponding to the imposed party criteria, goals and values. At the same time, the totalitarian machine worked mercilessly against any form of difference, whether it is a matter of lifestyle, character traits or simple expression of disagreement. Diverse information is duly collected for anyone who starts work in important spheres for the new government, such as cinema. By studying the personnel files of candidates for certain positions or employees who are inconvenient to the authorities, trends can be discovered in the way personnel are selected in the Bulgarian cinematography. This would allow for inferences to be made about the practices of enforcing the new political doctrine on the 'cultural front' by minimizing or eliminating opportunities for divergent thinking, individualism, innovation or cultural pluralism. The effects of this ideological and cultural recoding have a tangible impact on entire cultural and professional fields, but also on the development of cultural industries in Bulgaria and their ability to adapt to subsequent changes. Мoreover, studying and rationalizing the past could help us make visible causality obscured by historical time in order to find more effective solutions to some problems of the present.

Çağrı (1976) Filminde Hristiyan ve Yahudiler: İnşa Edilen Anlamlar ve Dinler Arası Diyaloğun İzleri

Author(s): Mustafa Sarmış,Ali Kuşcalı / Language(s): Turkish Issue: 2/2023

In this article, the way Christians and Jews are handled in The Message (1976), directed by Mustafa Akkad, is analyzed by making a detailed comparison with Islamic historical sources. In line with this purpose, interrogations are made in the article through the historical film criticism method. In this context, the topics are explored in a triple order in the article: First, it is revealed in general how Muslim-Christian and Muslim-Jewish relations are mentioned on in the sources of Islamic history. Secondly, how Christians and Jews are portrayed in the film is described by making a content analysis. Then, comparisons between these two situations are made and the harmony between the historical sources and the film is analyzed. Finally, the differences between historical realities and the film are determined and these differences are evaluated through discourse analysis and semiotic methods. Thus, it is tried to examine what kind of meanings are constructed in the film. As a result of the issues questioned in this context, it is seen that Christians and Jews are presented in the film The Message with a content that is incompatible with Islamic historical sources. When examined carefully, it is understood that these differences are presented to the audience with a content that supports the interfaith dialogue approach. It seems possible to attribute the reason for such an approach to the Hollywood film industry, which is dominated by the Jewish lobby and the Christian environment, and to the reactions of Western audiences who will watch the film.

“Göçen Hayatlar” Kısa Filmi Bağlamında Göçün Sosyolojik Analizi

Author(s): Mehmet Kul / Language(s): Turkish Issue: 2/2023

Artistic activity has continued its existence by changing and developing in every period. Therefore, art and artist are social products. Social scientists have been able to gather important information about social reality from artists and their artwork. Cinema, as a form of art, has had a profound impact on audiences since its inception. As technology has advanced, numerous artistic productions, including short films, have been created within the realm of cinema, and the production of short films continues today. One of these short films is “Immigrant Women” by produced Dilek Turk, which won the third prize in the short film competition on “Migration and Women” organized by the Kadem Art Association in 2021. This study utilized the open-source version of the film available on the association's website for analysis. The film was examined using the methodologies of art sociology and semiotics. The introduction of the short film and its content were presented, followed by an attempt to establish connections between the themes presented in the film and the existing migration literature. Based on the findings, it becomes evident that female immigrants who were forced to migrate due to push factors, such as the Syrian war, had to struggle with other push factors in the country they migrated to.

OSMIŠLJAVANJE CRNE ARIJEL IZ FILMA MALA SIRENA MEĐU RAZLIČITIM BELIM PUBLIKAMA

Author(s): Nevena Mijatović / Language(s): Serbian Issue: 1/2024

The film The Little Mermaid and the series Rings of Power and House of the Dragon drew public attention in 2022 to the trend of increasing racial diversity among the main protagonists in films and TV series over the past decade. What is common to these productions is that they are all new adaptations of globally popular book-toscreen adaptations, and in all three, the main protagonists were Black compared to the original adaptations featuring a White cast. After the audience noticed the changes in the cast, various discourses were promoted in the public sphere, some of which welcomed the changes while others viewed them as unscrupulous revisionism that should be boycotted. In order to contribute to the public debate on this topic, this paper will utilise psychological theories and empirical evidence to support the thesis that a diverse cast can contribute to a moderate reduction in average racial prejudices in a global White audience. According to the vicarious contact hypothesis, the White audience, based on observing the positive intergroup contacts that Black Ariel makes with White characters, can conceptualize the possibilities of establishing better intergroup contacts in their own lives. According to the mere exposure effect, it is beneficial for the White audience to be simply exposed to Black actors, and according to the parasocial contact hypothesis, what’s beneficial is the intense, hours-long relationship with specific actors or characters mediated through the screen. One obstacle to the claim that the aformentioned studies support the thesis is that in registered average reductions in prejudices, there are always participants who show a significantly greater shift than the average, as well as those for whom there is no change. The thesis is futher supported with situated understanding of narrow White publics that can use the Black Ariel to meaningfully shape their intergroup experiences beyond the screen. I have considered two possible audiences. The first audience is immersed in the meanings of woke culture, which offers a certain number of discourses through which they can position themselves regarding the Black Ariel. I argued that this audience will not conceptualize a diverse cast as a resource to improve their intergroup contacts, only to possition themselves in the discourse of structural rasicm. The second audience will consume these revised contents merely as traditional cultural elements, even as common-sense elements of natural reality, making it easier for Black Ariel to subsequently become an implicit or explicit symbolic resource for the audience to shape better intergroup experiences beyond the screen.

Bycie jako przetrwanie. V Międzynarodowa Konferencja Naukowa z cyklu „Filozofia bycia i przetrwania w ego-dokumentach pisarzy, malarzy i filmowców ukraińskich (od czasów Orlika do współczesności)”

Author(s): Martyna Frątczak,Kamila Brodowska,Dawid Bzorek / Language(s): Polish Issue: 11/2024

Managing Language Development in Film Production: Leveraging the Metaverse and VR for Enhanced English Proficiency and Workforce Efficiency

Author(s): Orathai Piayura,Thidarat Boonmas,Niyom Wongphongkham,Phongthanat Sae-joo,Wanichcha Narongchai,Ahbabur Rahman Ahbab / Language(s): English Issue: 7/2024

This study investigates the potential of Virtual Reality as an instructional tool for improving English language skills in the Thai film industry. The research gauges the effectiveness of the "EngLab for Film" VR-based learning application, evaluating its impact on student engagement, motivation, and independent learning. As a result of the global shift to digital education due to COVID-19, this study investigates how immersive technologies like VR can support language development and workforce efficiency. Insights gathered and analysed from feedback provided by 100 participants revealing that VR can significantly boosts language proficiency, learner motivation, and workforce efficiency. Moreover, further improvements in technical and content design are necessary for optimal outcomes.

МЕДІАТИЗАЦІЯ МИСТЕЦТВА СЕРЕДИНИ XX СТОЛІТТЯ НА ПРИКЛАДІ СТАНОВЛЕННЯ КІНЕМАТОГРАФІЧНОГО НАПРЯМУ NOUVELLE VAGUE

Author(s): Anton Levchenko / Language(s): Ukrainian Issue: 2/2024

The purpose of the article is to conduct a cultural analysis of the Nouvelle Vague phenomenon in European cinema of the 1950s, which will reveal the reasons that led to the emergence of this phenomenon. The methodology of the work is based on various methods of analysis and research of the cinematic phenomenon during the twentieth and early twenty-first centuries. The comparative historical method was used to establish similarities and differences between cinema in different periods of its development. The anthropological method was used to study the impact of cinema on cultural environments and to investigate the changes that took place in these environments under the influence of cinema. The scientific novelty of the study is due to the significant relevance of cinema as a medium and a component of the creative industries, offering a comprehensive study of the emergence and evolution of the Nouvelle Vague in European cinema of the 1950s, with a special emphasis on its aesthetics and cultural context, which formed the basis for the emergence of modern cinema, which is centred on the individual with their philosophy of everyday life and lifestyle. Conclusions. This article examines the mediatisation of art in the mid-twentieth century through the formation of the Nouvelle Vague cinematic movement. The results show that the Nouvelle Vague had a significant impact on cinema, introducing innovative approaches to film production and promoting the creative autonomy of filmmakers. Thus, the Nouvelle Vague not only influenced the development of the film industry, but also became an important part of the discourse on the mediatisation of art, confirming its significance and influence on contemporary cinema.

CONFLICTING MUSIC AND DIALOGUE IN POPULAR TV SHOW SCENES THROUGH THE LENS OF MULTILEVEL GROUNDED SEMANTICS

Author(s): Anja Tošić / Language(s): English Issue: 2/2024

This paper aims at discussing the process of multimodal meaning construction called multilevel grounding, according to which meaning emerges hierarchically, through six recursive levels of constraint: formal, cross-modal, affective, conceptual, culturally rich, and individual. Given that this theory has found application in the cognitive science of meaning generation in music, language, and visual art, this study aims to investigate more thoroughly the nature of meaning construction when linguistic and musical data are cointegrated. To that end, we analyse 5 TV show scenes in which the dialogue and the tones heard in the background seem to be sending out contradictory signals on one/some of the six grounding levels this theory presupposes. By doing so, this study attempts to come one step closer to learning in what way language and music, even when they appear to communicate a conflicting message, still work together to create novel meaning. The results of the present study indicate that such linguo-musical mismatches occur on each of the five levels of interpretation, with the sixth level being excluded from the analysis on purpose due to its inherently subjective nature. The same phenomenon has been observed in each of the five analysed scenes, and we believe that its use was both intentional and necessary on the part of the shows’ creators to communicate the intended message in its entirety to the keenest of viewers. Namely, we argue that it is exactly these contrasts on each level of constraint that are responsible for the complex understanding of the scenes in question by introducing entirely new elements into the narrative, such as plot twists, which further leads to often humorous, but always non-composite, interpretations.

A szovjetizálás hatása a magyarországi filmekre (1945–1955)

Author(s): Bianka PESTALITY / Language(s): Hungarian Issue: Sp. Issue/2021

In this study, I attempt to demonstrate with the help of a number of movies the role ballroom dancing had, how these dances were reshaped and changed between 1945-1956; furthermore, I observe the effect of Sovietization on films. After the communist party came into power, the party leaders’ main task was to win the support of the people and, first of all, the youth. As a ballroom dancer I consider it important to highlight swing and other dances of American origin as well as the hostility the communist leadership demonstrated towards them. This hostility is clearly present in contemporary articles and theoretical texts. In films, although in undertones, this hostile relation is sometimes plain to see.

Kulturološka tradicija zombifikacije na Haitiju: primer filma Beli zombi

Author(s): Marina Mandić / Language(s): Serbian Issue: 2/2024

The well-known narrative of zombies, the reanimated monsters of contemporary popular culture, can be traced back to the late 1960s, or more specifically to the release of the film Night of the Living Dead (1968) by American director George A. Romero. However, at the time of the film's inception the term zombie was already widely present in American popular culture: the cinematography of voodoo zombie, created in Haiti through magic and psychoactive substances, appeared in America in 1932, with the release of the film White Zombie, based on the travelogue The Magic Island (1929), by American missionary William Seabrooke. The paper initially points to the social and historical circumstances that led to the spread of zombies in Haiti: as the first independent nation of the Western Hemisphere, Haiti at the beginning of the twentieth century became the subject of American imperialist strategies and a threat to the maintenance of hegemony, therefore in the texts of colonial travel writers it was described as a nation of savagery, black magic, powerful voodoo cults, and the reanimated dead. Cultural and racist stereotypes that were transmitted to the United States justified the American "civilizing" mission, i.e. political and economic interventions. The role of zombies in Haiti was that of a slave, a profitable workforce, used by local urban elites, voodoo sorcerers, and colonial regimes since the eighteenth century. In this regard, my analysis highlights the ways in which White Zombie reproduces the established image of Haiti as an exotic place filled with mystery and dangers, adopts the dominant American viewpoints marked by discrimination and racism, and sets cultural norms of distinguishing between the civilized and the barbaric, whereby the white color of the skin reflects the norm of the civilized. To this end, the dialectic of slavery is emphasized in the film by the zombification of a young white woman, thus manifesting the tensions that existed between the imperialist powers and their "subjects" of enslavement, and emphasizing the unequal power relations between subordinate Haitian slaves and Westerners in high positions. Finally, the changes that have taken place over the decades of the zombie monster's development are highlighted: the zombie moves away from Haiti and approaches the modern world, and becomes a reanimated, highly infectious, cannibalistic monster of consumer society, that is, a monster of the global capitalist system.

Kontekst i značenja filma Beštije Živka Nikolića

Author(s): Ivan Kovačević / Language(s): Serbian Issue: 2/2024

The course of the film describes three successive states, two states at night and one state during the day. What divides the night into two parts is the arrival of the Beauty on the island. The habitual behavior during the night consists of various types of verbal and physical violence. During these events, the Beauty lands on the island. Her appearance on the island leads to the reinforcement of the usual mischief, with her being mainly the center of events, for they mostly revolve around conflicts over her. Therefore, the night, which lasts almost the entire film, is divided into two parts: 1) before the arrival of the Beauty (the usual, normal licentious and violent behavior of the islanders) and 2) after the arrival of the Beauty (extraordinary, intensified violence). The very end of the film belongs to a bright and sunny day, and the characters are portrayed quite differently in the tranquility of family life.The key opposition in the film is the night, characterized by violence, and the day, filled with peace and harmony. The mediating function of the film itself indicates that the beasts are not some other people, but that violence and evil also reside in those who are seemingly upstanding members of the community. However, the analysis of the meaning in the film Beasts shows that there are obstacles to evil and violence found in missionary work, science and art, and even in madness.

Kafka Unchained: Returns beyond Biofiction

Author(s): Benno Wagner / Language(s): English Issue: 70/2024

Against the background of the 100th anniversary of Franz Kafka’s death, the article explores a branch of author-as-character fiction that escapes the generic restraints of biography and biofiction: unchained writer fiction. Using Steven Soderbergh’s film Kafka (1991), filmmaker Gil Kofman’s novel debut aKa (2023), and Haruki Murakami’s global bestseller Kafka on the Shore (2002/2005) as a provisional sample, different modes of unchaining Kafka from the fetters of biography and biofiction are brought to light and contrasted against each other.

ФРАЗЕОЛОГИЗМИ У НЕМАЧКОМ ФИЛМУ "ПОСЛЕДЊЕ ПОГУБЉЕЊЕ" И ЊИХОВ ПРЕВОД НА СРПСКИ ЈЕЗИК

Author(s): Biljana M. Kovac Bejin / Language(s): Serbian Issue: 83/2024

Phraseologismen stellen in jeder Art von Übersetzung eine besondere Schwierigkeit dar, einerseits wegen der formellen Eigenschaften, ander- erseits wegen der semantischen Aspekte wie Bildhaftigkeit und Expressivität. In audiovisuellen Übersetzungen, genauer in der Untertitelung, kommen zu den sonst auftretenden Schwierigkeiten auch die Charakteristika dieser Art der Übersetzung dazu, da diese nämlich räumlich und zeitlich eingeschränkt sind und dadurch die Wahl der Übersetzungsstrategien stark beeinflussen. Diese Arbeit beschäftigt sich mit der Analyse der Phraseologismen, die im deutschen Film Nahschuss vorkommen, und damit, auf welche Art und Weise diese innerhalb der Untertitel in die serbische Sprache übersetzt wurden. Dabei wurden sie in sechs Kategorien eingeteilt und zwar nach den angewandten Übersetzungsstrategien, die Labarta Postigo definiert hat. Die Analyse hat gezeigt, dass die meisten Phraseologis- men mithilfe der Strategie Explicit Meaning übersetzt wurden, und zwar 65 Prozent der Beispiele. Diese Strategie kommt aus dem Grund häufig zur Anwendung, weil sie ÜbersetzerInnen erlaubt, die explizite Bedeutung der Phraseologismen in jenen Fällen beizubehalten, in denen nicht alle Aspekte des Idioms übertragen werden können. Dadurch wurden jedoch an einigen Stellen die semantischen Besonderheiten nicht beibehalten, was die Rezeption der Zuschauer, die den Film mithilfe von der Übersetzung in Untertiteln verfolgen müssen, beeinträchtigt.

JAPANESE ANIMATION MARKET IN ROMANIA

Author(s): Adrian Nicolae Cazacu / Language(s): English Issue: 2/2023

The study of the anime market has begun in the virtual space, the first information about this kind of animation being received by Tv or Internet. That’s why the author’s surveys were developed on the online forums of the entertainment consumers. There were a lot of studies made about this subject but of main importance are the economic and social implications. The analysis of the anime market evolving started with surveys addressed to the consumers, continued with the transformation of data into informations and finished with the interpretation of these information using different methods, like the information statistics, specialized programs, even mathematical modeling, to finding the future possibilities of this market. Using the available data, it was established significant connections between the knowledge of this culture and the purchase of its derivative products, therefore, implicitly, the evolution of the market associated with them. The research demonstrated the influence of the anime knowledge upon its market of derivate products, boosted by the surprising and interesting properties of the anime style, and all its other qualities, in the first place, its artistic side.

Съветска режисура, български сюжет: филмът „България“ (1946) между пропагандата и документалистиката

Author(s): Milena Angelova / Language(s): Bulgarian Issue: 1/2025

Creating the Eastern Bloc in the postwar era entailed an intricate process which included the transformation and adjustment of Soviet institutions and politics in the countries with new communist regimes. This article presents and analyzes the first Soviet-Bulgarian documentary about Bulgaria. In 1946 Bulgarian and Soviet cinematographers started working on the first joint film production, the documentary “Earth, Culture and Life of the Bulgarian People”. The final title of the film remained only "Bulgaria". This film was the first Soviet lesson in propaganda cinema under Soviet occupation in Bulgaria and was part of a series of similar Soviet films for the different countries in Eastern Europe at the beginning of the Cold War. In this article the film “Bulgaria” (1946) is analysed in the context of the policies of Sovietization as a significant component of the Soviet Union’s strategy in Eastern Europe after 1945 ‒ defined here as "occupation of the image".

Emergence of New Male Leads in Korean Dramas

Author(s): Bianka Francistyová,Lucia Novanská Škripcová / Language(s): English Issue: 2/2024

Korean TV production has been greatly influenced by the arrival of a wave of feminism in South Korea and the subsequent wave of anti-feminism. Moreover, writers and directors have taken the opportunity to update the main male and female characters of the series. The aim of this paper is to introduce two new types of male heroes that we notice in contemporary Korean dramas: an “underdog” and a “dream-like hero”. Through a narrative analysis that focuses on the personality development of characters within a narrative, we examine two heroes – Park Sae-ro-yi from Itaewon Class and Ryu Sun-jae from Lovely Runner. Park Sae-ro-yi introduces the character of an underdog whose life became worse after a tragedy and was left marked by the inaction of his surroundings when he entered this unfortunate situation. He can succeed despite adversity. The adversity in question can be aided by illegal practices, which is why the underdog often becomes a vigilante as well. Ryu Sun-jae embodies a dream-like hero, but he should not be understood as a person who exists solely for the heroine, and loses himself. He is a character who is mature but willing to give the heroine anything she desires. In doing so, he fulfills feminist views, sentiments and expectations of actualization that came to Korean television production after 2012. At the same time, he does not have to be a selfless character because the character may not only be positive, but may also have certain negative character traits.

Creating Family and Community Film Testimonies: Empathetic Listening as a Learning Tool

Author(s): Arielle Friedman,Ohad Ufaz / Language(s): English Issue: 2/2024

This study examines the production of film testimonies as part of an academic course and how this structured educational process develops transformative competencies in learners. The semester-long course involves students from a variety of disciplines and backgrounds, drawn from all segments of the Israeli and Palestinian communities. Students study and experience the theoretical, pedagogical, ethical, artistic, and practical approaches of a psychiatrist and testimonial documentarist Laub and his writing partner Felman (Felman & Laub, 1992). They are also introduced to central authors in the history of documentary film. The process culminates in the students’ documentation of stories within their own families and communities and the creation of their cinematic testimonies, which they present and discuss in class. The study aims to explore how the learning process helps students acquire transformative competencies as defined in the OECD 2030 document on meaningful learning needed today. Quantitative and qualitative content analyses tools were used to analyze the products of two testimonial courses, 19 film testimonials, and 32 reflective texts written by the students about the process they had undergone. The content analysis reveals that the students acquired three key skills: (1) taking responsibility, (2) balancing tensions and dilemmas, and (3) creating new theoretical and poetic values. The results also confirm the hypothesis that the pedagogical process of producing cinematic testimonies about social and historical crises can serve as a source of inspiration and growth by promoting empathetic listening and meaningful social change.

Od crnog maga do protofeministe: recepcija opusa Kornelija Agripe kroz vekove

Author(s): Noel Putnik / Language(s): Serbian Issue: 2/2024

The Renaissance humanist Cornelius Agrippa von Netesheim (1486–1533) left a rich body of works in philosophy, theology, biblical exegesis and occultism. The disparity and internal contradictions of this opus, as well as the ambivalent position of Agrippa on the intellectual map of the epoch, caused the reception of his work to branch out in the most diverse directions. Contemporaries from clerical and Protestant circles branded him as a heretic, whereas humanists recognized his great erudition and devotion to faith. While he considered himself a reformer of Christianity, his followers regarded him as an authority in Neoplatonic, Hermetic, and Esoteric studies. On the basis of tendentious interpretations of his writings, as well as the entire tradition of apocryphal stories that developed around his personality, the church and folk tradition of the 16th and 17th centuries constructed a representation of Agrippa as a servant of the devil. Therefore, he served as a model for the character of Faust, first to Christopher Marlowe and later to Goethe. With the strong development of science and its foundations being linked with occult teachings, in the 18th and 19th centuries the image of Agrippa as a proto-scientist appeared, e.g. in Mary Shelley’s novel Frankenstein. However, for the positivist science of the late 19th and early 20th centuries, Agrippa was, at best, a representative of a barren branch of Western philosophical thought, and at worst, a mere charlatan or mentally disturbed person. Such a perception prevailed until the mid-20th century, when scholars from Warburg Institute in London developed new interpretations of Renaissance humanism, including Agrippa's role in it. Today's science views Agrippa as a representative of the vital religious component of humanism and as a link between ancient, medieval and Renaissance currents of thought. At the same time, in certain segments of New Age, his writings acquire the status of the "bible" of the occultism, and Agrippa himself the status of a kind of New Age guru. Therefore, the literary legacy of Cornelius Agrippa is of significance for the history of ideas, reception studies, imagology, and anthropology of religion as an exceptionally rich case study, and in this paper, we aim to trace the intricate paths of his reception in different epochs and cultural contexts.

“Anyway, We Delivered the Bomb”: Dredging the Disaster of the USS Indianapolis from History to Hollywood

Author(s): SEBASTIAN CROFT / Language(s): English Issue: 1/2024

“Anyway, we delivered the bomb” is an analysis of the significance of the inclusion of the critically acclaimed “Indianapolis speech” within Steven Spielberg’s Jaws, whereby the shark hunter Quint delivers a chilling first-hand recollection of the disaster of the USS during the Second World War. As Quint tells it, after transporting components of the atomic bomb to the United States air base at Tinian Island, the USS Indianapolis was torpedoed by a Japanese submarine whilst on route to the island of Leyte, leaving Quint and his surviving shipmates to fend for themselves in shark-infested waters. Contextualizing the speech within the confidence crises and “disaster” film genre cycle of 1970s America, I shall analyze how Jaws’s representation of the Indianapolis disaster posits a direct challenge to the orthodox Hiroshima narrative (that the bombing was morally justifiable on the basis that it saved American lives) by foregrounding the suffering endured by the crew of the Indianapolis at the expense of delivering it, preying upon audience fears that an America reeling from the Watergate scandal and military defeat in Vietnam was now susceptible to moral ‒ and nuclear ‒ retribution for Hiroshima thirty years later.