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Research on film screening in interwar Lithuania was inspired by the final thesis written in 1937 by V. Alseika, a student of Faculty of Law at Vytautas Magnus University. During his studies he worked as a member of the editorial board of “Kinas” magazine from 1934 to 1935. It is not surprising, then, that Alseika supervised film screening. This article is the first attempt to conduct both a legal review and an historical review of film screening in Lithuania. However, the value of this artilce is enhanced by its relying on the archives of the Kaunas County Press and Associations’ Department, some of which were destroyed in 1954. Thus, this article has become the only source of relevant documents illustrating censorship of film screening in Lithuania and beyond. The article is mainly based on documents found in the Department of Manuscripts of Vilnius University Library and the Central State Archives of Lithuania.
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Interview with Vlado Kerošević by Nikola Šimić Tonin
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Film is one of the media which, due to their accessibility and popularity, can be easily used in today’s world as a tool supporting integration and the process of integration into a foreign culture, which is often very distant (geographically and mentally). The paper is based on the assumption that a foreign culture cannot be learned, but that one can get to know it and to learn as much as possible “about it”. The aim of the text is to indicate which criteria should be taken into account when selecting films intended for immigrants and refugees, and how these films may support the process of adaptation to the Polish culture.
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In the recent years, several Bulgarian cinematic works have put into the space frame some kind of new artistic enactment with many different and even unrecognised identities, along with their visible stereotypes, patterns and models of representation: the well-known Bulgarian identity starts dialogising through screen with Far East (in general plan) cultures and unfamiliar Asian characters. This is definitely something absolutely new to the national cinema, i.e. to realize original themes and stories on the Bulgarian-Asian axis, to introduce totally unused, even attractive personages, often even in an absolutely non-Bulgarian cultural environment. In fact, these films are exactly in these two directions: the first variant of realisation explores the confrontation between the Bulgarian and the Asian identities in the context of our contemporary and post-totalitarian reality. The second variant of realization is the unprecedented deep immersion in the distant Asian territories with other aesthetic conventions, where the worldviews and behaviours are far from the European and Western values, and of course, in their compendium generate other, supranational and categorically universal meanings and messages. The proposed paper analyses the second cinematic trend, where the young Bulgarian female director Yana Lekarska works. The research focus is totally on her shorts, filmed in the Republic of Korea – the feature films Bridge (2016), November will be May (2017), Here and Now (2018) and the documentary Nam nam buk nyeo (2016). Yana Lekarska's entire work in terms of worldview and architectonics is much more Korean in style, than representative of the typical Bulgarian cinema.
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Perhaps theatre is the most able of all arts to talk about the body and its modification. The history of theatre and its present shows so many images with hypostases of the human body (real and virtual, in various movements and positions, painted, technologized). The human body is a fascination for theatre and is definitely its object of work. It becomes even more fascinating when playing the main role, but especially when it goes through a process of technology.
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1995 is the year of the release of the DOGMA 95 Manifesto and the THE VOW OF CHASTITY. This is represented by ten rules that shook the film world. The method and spirit of DOGMA are achieved when the director subjects himself to these rules. DOGMA made its mark on the Danish cinema and the international film world as well, by focusing the directors to be spontaneous.In July 2001 I have written the CONCESSION Manifesto. The 13 rules of the CONCESSION Manifesto have resulted from obstacles that I have assumed and not from their enforcement. The CONCESIA Manifesto is not an unworthy copy of the THE VOW OF CHASTITY but the result of a Romanian experience in the making of my first long feature film, WATCH IT! (3 PĂZEȘTE), a totally independent project.The PROMISSUM Cultural Manifesto was published in 2013. This Manifesto aims at discovering new links in the Romanian culture chain that can carry on the huge cultural heritage of this nation. Therefore, supporting this manifesto, a project was created – the independent feature film THE LAST INCUBUS (ULTIMUL ZBURĂTOR), a film whose story reflects all the main points of the manifesto.
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„Chicago” (2002) directed by Rob Marshall and choreographed by Bob Fosse and Rob Marshall will remain in the collective memory as a prime example of musical filmmaking in each of its departments, considered to be a near perfect film by both specialists in the field and the general public.Starting with dramaturgy, music, choreography, scenography, costumes, makeup, actors, Rob Marshall's directing unites all departments in a whole worthy of all admiration, as it reaches one of the highest peaks of expressivity in this area. We do not know, for example, whether Rob Marshall's sequence with the inmates of Cook Prison could have been further perfected in its entirety. We do not know whether there is a better thought-out and more focused sequence than the one in which the lawyer (Richard Gere puppeteers the entire meeting with the reporters, including his client and the public opinion in Chicago.The choreography, created by Bob Fosse, taken and adapted for film by Rob Marshall, was inspired from classical and neoclassical dance, moving through modern dance, jazz, cabaret, towards varieté and to the expressive stage movement characteristic of each character. We cannot say that the choreographer followed a specific dance code. It would be too little... But what we can say, without mistake, is that he built his own, unique code, tailored for this theme, this world, these characters. Any exceptional choreographer adapts his own style to the extremely important variables of each story, to its unique world, to its characters in question. And Rob Marshall belongs to that category of choreographers-directors that know how to approach a choreography of great complexity.
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In a world where politics has adopted an increasingly anti-migrant rhetoric, it is important to see how these films give a voice to the otherwise disenfranchised. Avantgarde accented cinema invites audiences to reflect, together with Akerman and Hatoum on how the migrant’s liminal subjectivity comes into being. Hence, their works function as crystals of time, allowing spectators to dis/orient boundaries by seeing through the migrant’s fragmentary vision, and to experience, through the lens of the camera, the asynchronous spatio-temporal configuration of migration. In doing so, avant-garde accented films dismantle mainstream media’s metanarratives that present the migrant’s experience as one-dimensional and linear.
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The article deals with the phenomenon of migrant comedy films, framing the genre as part of the larger body of diasporic cinema. The author’s definition of migrant comedy conceives it as a very specific genre typically set in immigrant milieus, whose main themes revolve around successful social and moral accommodation of diasporic characters to the shared (in most cases western, liberal) practices and values of the receiving majority. Migrant comedies exploit dichotomous divisions and stereotypes based on pronounced cultural differences to characterize their protagonists as members of specific ethnicities. In the article, migrant comedy genre’s reliance on stereotypes is discussed in greater detail as is its multicultural ideology. In the second part of the article, the proposed genre framework is used to interrogate two films: All Three of Us (Nous trois ou rien, dir. by Kheiron, 2015) and A Spicy Kraut (Einmal Hans mit scharfer Soße,dir. by Buket Alakuş, 2013).
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In the context of the music documentary Heimatklänge (Echoes of Home) Marcy Goldberg (48) suggested speaking of dialect cinema. Dialect cinema normally maintains the visual and audio character of its place of origin. It differs from the transnational accented cinema of filmmakers in exile by Hamid Naficy. Using Goldberg’s concept, I would like to define dialect cinema as a type of filmic aesthetic and define its features. In Echoes of Home, the voice, musical origins and regional sounds are all indicators of dialect cinema. Yet, despite all differences and contrasts, several similarities between accented and dialect cinema exist; these similarities make it possible to consider a filmic migration which functions as a wandering and transcultural circulating movement. Following this hypothesis, an image emerges which, on the one hand,is a musical-regional image of the Swiss Alps and on the other – as I define it – a global yodel soundscape.In my paper I will demonstrate how this is expressed as a circulation and a wandering in Echoes of Home and how this is perceived in the audiovisual material.
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Anca Damian’s film Crulic-drumul spre dincolo (Crulic-The Path to Beyond, 2011) may be a good example of form fitting content in the context of new Romanian cinema. The film makes use of a marginal medium as collage to cinematically document a real-life story producing a truly haunting mindscape; namely that of 33-year-old Romanian Claudiu Crulic, unfairly imprisoned in Krakow under a theft accusation. Crulic’s passive resistance to transnational violence will emerge as a prolonged hunger strike with tragic consequences, and the film will show it by means of animation and collage. These are two art forms intimately associated with children that will gain a striking texture in the film through a skilled command of painting and other fine arts. This article aims to examine how traditional techniques are applied in the film to produce a compelling narrative involving the issue of migration in contemporary Europe. A comparative framework will be used to look at the film, with examples provided to clarify why Crulic deserves attention.
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This contribution overviews the transformations of Romanian cinema by analyzing three recent films, used as case studies for describing a larger, typological change happening in contemporary national cinema. La Gomera (The Whistlers, 2019) directed by Corneliu Porumboiu, Parking (2019), directed by Tudor Giurgiu and Lemonade (2019) directed by Ioana Uricaru are united by a common denominator, the fact that they are describing the experiences of Romanians living abroad from a new and personal perspective. These films are relevant for their production qualities, since they are shot entirely or partially in a foreign country, but also for their innovative contents. They are depictions of de-localized experiences which allow the viewers to establish a special relationship with the lives of their fellow countrymen living in another country. From a film criticism perspective, these productions are relevant as they clarify the conceptual distinctions between migration cinema, that is films depicting the experience of migrants at home, and diasporic cinema, productions that represent personal stories happening in a foreign social environment. These new narratives also disclose a shift not only in the national cinematic productions, as Romanian film crews are working in international contexts and the actors are using a multilingual form of expression, but also a transformation of larger cinematic forms of expression, from the vernacular to the paraphrastic and alingual forms of filmmaking.
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The modern kimono might look similar to its historical predecessor, but it has, in fact, gone through a vast array of changes. When Japan opened up to Western culture during the Meiji period, the need to distinguish the ‘ours’ from the ‘foreign’ started a process that turned the kimono into the easily recognizable symbol of ‘Japaneseness’ that it is today. Because of its long history and cultural significance, the importance of this traditional item of dress cannot be understated. Several centuries-old forms of craftsmanship are tied nowadays to its continued existence. In this article, I delve into some of the kimono’s rich history and the changes it went through both as a piece of clothing and an important element of contemporary Japan’s cultural heritage. I also address some of the criticism that has been directed at it through the ages, as well as speculate about its plausible future as a fashion item.
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This article aims to present the basic characteristics and political function of the centralized planning of film themes in PRC cinema in the so-called “seventeen years” period (1949–1966), with particular attention being paid to attempts made by filmmakers to break through this system by coming up with two distinct film genres: the thriller and the positive comedy. The author explains why the political relaxation of the Hundred Flowers Campaign in 1956 made such bold explorations possible and why they were aborted when the ideology of class struggle was raised again on the CCP political agenda in the late 1950s and again in the early 1960s. The article also examines the contribution made to Chinese cinema by filmmakers engaged in genre innovation attempts in the 1960s.
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