Film Theory and Practice

Gus Van Sant's Elephant (2003) is based on the 1999 Columbine High School massacre, and the way it represents the crime is unique among contemporary true crime narratives: it does not appeal to a documentary, observational narrative to increase authenticity to the story, but rather uses fictional, stylistic, and sensorial techniques to involve the audience effectively. This paper investigates how such a fictional and sensorial approach interrupts the audience from arriving at presumptive conclusions about the massacre. I argue that this film provides the audience with a rich multi-sensory experience, which makes them torn between feeling related to and distanced from the characters in a dialectic way. Thus, this film invites the audience to acknowledge the importance and difficulty of responding to violence critically (being aware of the complex nature of the causes of the massacre) and ethically (being respectful of the trauma of the victims).

Gastronomically, Hindi cinema deals with its culinary "Otherness" by either denying its presence, or by relegating it to the "off-screen" spaceaway and beyond the examining gaze of the camera and the spectatorship. The cinematic aesthetics of the erasure of meat

This paper sifts through the affective connotations and methodological issues that crop up during conversations about caste with dominant caste (savarna) women working in the Malayalam language film industry in Kerala, India, in the context of a heightened focus on gender in the post #MeToo era. Drawing on arguments from critical whiteness and critical race theories, it argues that caste ought to be viewed not just as an ontological entity but as an epistemological framework which shapes how knowledge about the world and selves are produced and transferred. It also explores the methodological challenges in broaching the topic of caste with women occupying powerful social locations and how in failing to explore caste in seemingly gender-focused studies, the researcher contributes to an epistemology of ignorance, rendering invisible a crucial power differential.

What have we learnt? In the first place, in the long note on cinematic time, the timely time, clocktime and the time able to be measured by reference to the points articulating it, in cinema, on film, replaced any idea of time we might have from Bergson. This was the difficulty in understanding Bergson, reading him today. We can't get at the thing he's best for because, I think, the mysterious aura of the cinematic image, the moving image, eclipses it.

En los ultimos treinta anos muchas publicaciones han aparecido en Francia para analizar la novela libertina francesa bajo un nuevo enfoque. A pesar de que estas novelas son poco conocidas por la critica francesa, se hicieron en Espana algunos estudios interesantes que se enfocan en la literatura libertina francesa del siglo XVIII. Los criticos contemporaneos, sin embargo, tratan de rehabilitar la literatura libertina insertandola en la historia de las ideas y de las corrientes literarias de la Ilustracion. La produccion libertina se olvido por mucho tiempo porque la grafica narrativa se fijaba mas en el cuerpo y en las unidades del cuento. Aunque varios investigadores franceses, sin duda, han aportado la mayor contribucion a la recuperacion y difusion de la literatura francesa libertina del siglo XVIII, es importante subrayar el enfoque critico de los investigadores espanoles que, en retrospectiva, han estudiado tambien la literatura libertina en su totalidad, teniendo en cuenta por...

This paper will look at the installation My Head is my Only Home Unless It Rains done at Carpentarias de São Lázaro in the summer of 2022. It will look at the questions it attempted to address, and its structure was devised to present this work to an audience. It will look at questions regarding the relationship between documentary maker and their subjects. Specifically, regarding editorial control and how this effects how subjects feel about the work. It will look at this work used multi-screen technology and digital programming to create a finished piece with an open-ended narrative format.

Dramaturgy is a practice and also an academic discipline. As the latter, it is a sub-discipline of aesthetics, which "is a particular historical regime of thinking about art and an idea of thought according to which things of art are things of thinking" (Rancière 2011, 5). Etymologically, dramaturgy is defined as the "science of the composition and production of plays", or more simply, as "making drama work" (Hay 1983, 75). Dramaturgical knowledge forms the conceptual basis for the organisation of structure, the design of the sujet [suzhet ], the development of the story [fabula], as well as the corresponding character design-particularly the relation of character(s) in space and time in a narrative-performative artwork-and the design of the audiovisual narrative, among other aspects. One can describe dramaturgy as the art of thoughtful comprehension and logical abstraction of pattern passed on through time. It reflects on and presents models and correspondent possibilities for action, expressing an embedded, implied meaning, implicit theme, or aim. In the sense of being a regime of thinking, and thus a philosophical approach, dramaturgy applies to all elements of the aesthetic composition of a narrative-performative work in all its complexity-and more specifically to screenwriting, not only but starting from a concept, treatment, or screenplay. It can be characterised as a "practice-theory" and, as such, also as a "a reflective K. Stutterheim (B)

What remains of the North American avant-garde of the 1960s and ‘70s? Certainly many more films than filmmakers, but a paper trail as well. Housed in museums, university libraries, film archives, and personal collections across the United States and Canada, a decentralized and ever-expanding set of documents and ephemera is shaping and informing numerous research-based projects in curation, academic scholarship, and film restoration. And yet, in contrast to this contemporary trend, the collected papers of Michael Snow at the Art Gallery of Ontario in Toronto have yet to be explored in depth. A notable exception is Elizabeth Legge's monograph on Snow's Wavelength (1967), which cites some of the notes he kept during the film's conceptualization and production.2 Because the analysis of those notes was not one of Legge's primary objectives, however, her book reproduces only three of the pages in Snow's Wavelength file.
The occasion of Snow's recent passing will doubtless be met by various forms of retrospection, and this small contribution to that extended moment of reflection makes available in print a greater number of the Wavelength files than have previously been published. They represent a rare instance of a canonical avant-garde film's being accompanied by a significant corpus of scribblings, illustrations, and diagrams. This selection, comprising twenty-four pages taken from the filmmaker's unbound notes, introduces some of the themes and questions that Snow was putting to paper during the project's year of gestation. Below, I offer a few remarks on those pages. They are admittedly somewhat arbitrary, but they are intended to bring to light some of the archive's lesser-known revelations.

Recent upheavals in the media landscape raise two major issues. First, how is new media changing the cinematographic dispositif1 in its primordial dimensions: architectural (the conditions for image projection), technological (production, transmission and distribution) and discursive (cutting, editing, etc.)? How does experimentation in the field create new shifts or deviations with respect to the institutional mode of representation? Unlike the dominant cinema, some films reshape cinema’s dispositif by multiplying screens, exploring other durations and intensities, changing the architecture of the screening room or entering into other relations with spectators. In fact, cinema’s dispositif underwent variations such as these during three particular moments of film history, as we will discuss here: the cinema of attractions, expanded cinema and cinema of exhibition,2 whose differences will be analyzed through the notion of dispositif. While technological transformations are obvious i...

Narrative films have, or are, “worlds” in three primary senses: fictional (rather than factual); virtual (rather than actual); and artifactual/aesthetic, that is, intentionally and artistically created (rather than natural). Accordingly, films possess certain transmedial functions and values belonging to these world types, but also those that arise from their powerful combination in cinema. In this essay, I will offer some general observations on these worlds and associated salutary uses and values. The latter, as falling into several overlapping categories, doubtlessly intersect with those discussed elsewhere in this volume under the heading of the axiological 'good' that cinema provides. My hope is that their (re-)framing in the global terms of worlds, environments, and atmospheres offers a distinctive and productive take on the topic.

Nossa pesquisa dedica-se a trilha sonora do cinema documentario. Nossa abordagem privilegiou uma perspectiva panorâmica que percorre a producao documentaria em momentos-chave de sua tradicao desde os anos 1920 ate os anos 1960. Perpassamos pelas producoes dos anos 1920 e 1930 que comecaram a solidificar o campo do cinema documental, pelas escolas britânica, norte-americana e canadense de documentario entre os anos 1930 e 1950 e pelo "free cinema", cinema direto, cinema verdade e cinema do vivido nas decadas de 1950 e 1960. Nesse trilho, e na visita aos seus arredores, empreendemos nossos esforcos em entender as principais configuracoes sob as quais a trilha sonora do cinema documentario se estabeleceu e se transformou. Abstract

Esta comunicação pretende investigar "Foge" ("Get Out", 2017), escrito e realizado por Jordan Peele, focando-se no processo de produção do filme da escrita do argumento à finalização da obra para o ecrã. A persecução deste objectivo implica uma análise do guião completo e anotado, publicado dois anos depois da estreia de "Foge" em sala, comparando-o com o filme. Um aspecto fundamental deste estudo passa pela dissecação do estilo fílmico meticuloso e complexo de Peele. Tal requer considerar o cineasta como autor de cinema, como argumentista e realizador que assume uma perspectiva negra. Peele surgiu no contexto da afirmação de artistas negros no cinema de terror americano. Foi aclamado como autor pela crítica de cinema na Europa, em publicações como a revista Cahiérs du cinema. Foi reconhecido pela indústria americana através das nomeações para os Óscares da Academia de Artes e Ciências Cinematográficas para o melhor argumento original, que ganhou, e a melhor realização. Quando dirigiu "Foge", Peele era conhecido principalmente devido à série televisiva de comédia "Key & Peele" (2012-2015). O filme mantém elementos cómicos, sem deixar de ser um projecto de baixo orçamento da Blumbouse Productions, companhia especializada em cinema de terror. O comentário social que esta obra constrói baseia-se na sátira e na sua ligação ao afro-pessimismo, uma abordagem crítica que expõe e investiga os efeitos contínuos do racismo, do colonialismo e dos processos históricos de escravatura nos EUA.

Film noir is one of American cinema’s most renowned and well-studied phenomena. It is a cycle of films made during the 1940s and 1950s, mostly produced as B-movies, i.e., cheaper films presented as part of a double feature. This is one of the most important reasons why it took such a long time for American film scholars to address the importance of film noir. The first monograph on film noir, Panorama du film noir américain, was published in France in 1955, and this work by Borde and Chaumeton remains one of the most valuable studies covering this important cycle. Generally speaking, French film scholars are those most responsible for highlighting the value of American, and especially Hollywood, film while significant American contributions to the study of film noir only began in the 1970s. Like few American films that preceded it, The Killers presented a completely dark world filled with hapless protagonists, where the only location that evokes even a glimmer of happiness is a terr...

El dominio creciente de las técnicas de animación 3D a comienzos de la década de 2000 ha provocado un interesante cambio dentro del canon artístico de los largometrajes comerciales de animación estadounidenses. Aunque la animación 2D hollywoodiense siempre ha coqueteado con el estilo fotorrealista, esta tendencia visual se ha estandarizado en la producción de animación gracias a las posibilidades del paradigma digital. El artículo considera el estreno de Wall•E (Andrew Stanton, 2008), una de las obras visualmente más impactantes en la filmografía Disney/Pixar, como un momento crucial dentro de este proceso estético, ya que marca la primera colaboración entre el director de fotografía Roger Deakins y un estudio de animación. El artículo analiza los primeros diez minutos del largometraje para establecer si la labor de asesoría visual de Deakins pueden considerarse un hito que abrió nuevos caminos a la dirección de fotografía digital de imagen real. 

The primary intention of this paper is to map the relationships between subordinates and superiors, as well as the issue of human right violations in the film Dogville, by Lars von Trier. The paper will show which identities are shared by the inhabitants of this fictional city, with special reference to the mechanisms by which they gain or lose them. The re-examination of relations: male-female, zoe-bios, slave-camper inmate aims to determine how and in what circumstances a free female person can become private property.

My paper makes a comparison between one possible definition of empathy and the spectator's experience in VR with the aim of assessing whether these two structures are compatible in a more rigorous way. Following the phenomenological works of Maurice Merleau-Ponty and Vittorio Gallese's writings on embodied simulation, I will define empathy in the VR context as the result of four different conditions: 1) the VR user and the VR character must share the same ontological structure, for the other is a "second self", therefore 2) the character must be directly accessible in an intersubjective and reversible relation. Furthermore, 3) it is necessary for the VR user to understand the object of the character's emotion to strengthen the empathetic response provided by the embodied simulation, but 4) this does not ever mean that empathy leads to a total correspondence of state of minds, as the character's suffering is always different from what the spectator feels while seeing that suffering. Keeping these four conditions in mind, I then apply them to the analysis of the VR documentary Clouds over Sidra (Milk, Arora, 2017), which follows the story of Sidra, a refugee child displaced in the Za'atari refugee camp. My conclusion is that VR engenders an occasion of emotional contagion, which is the quite literal infection of the character's feeling to the VR user.

The genocide perpetrated by the Young Turk regime against its Ottoman Armenian citizens during World War I had a lasting and debilitating effect on the survivors of that horrendous calamity, as documented by many oral histories conducted during the 1970s and 1980s with survivors as well as by written accounts by the survivors themselves. What is less known is how the genocide affected the offspring of these survivors. From my own interviews with members of the Armenian-American “second generation,” many of whom are now in their 80s and 90s (those born in the 1920s and 1930s), and my examination of the few scholarly articles that have delved into this issue, I argue that there was indeed a transfer of trauma from one generation to the next. In addition, I argue that the extensive scholarship within the Jewish community, both in Israel and in the Jewish diaspora, on how the Holocaust has impacted the offspring of that genocide, can teach us much about the transgenerational passing of ...

Discovering content and stories in movies is one of the most important concepts in multimedia content research studies. Network models have proven to be an efficient choice for this purpose. When an audience watches a movie, they usually compare the characters and the relationships between them. For this reason, most of the modelsdeveloped so far are based on social networks analysis. They focus essentially on the characters at play. By analyzing characters interactions, we can obtain a broad picture of the narration’s content. Other works have proposed to exploit semantic elements such as scenes, dialogues,etc.. However, they are always captured from a single facet. Motivated by these limitations, we introduce in this work a multilayer network model to capture the narration of a movie based on its script, its subtitles, and the movie content. After introducing the model and the extraction process from the raw data, weperform a comparative analysis of the whole 6-movie cycle of the ...

გუმბათს შუა საუკუნეების ქართულ ხუროთმოძღვრებაში ადრეული პერიოდიდანვე ჰქონდა განსაკუთრებული მნიშვნელობა. ქართული გუმბათიანი არქიტექტურის პრინციპი კვადრატზე დამყარებულ ყელიან და სარკმლებიან გუმბათს გულისხმობს. მის მნიშვნელობას სხვადასხვა მხატვრული ხერხით გამოყოფდნენ, რომელიც საუკუნეთა მანძილზე ყალიბდებოდა, იცვლებოდა და გარკვეულ სახეს იღებდა. ნაშრომში განხილულია  V-XI საუკუნეების გუმბათიანი ტაძრები, საკუთრივ გუმბათის ძირითადი გეგმისმიერი, კონსტრუქციული, ფორმისმიერი და მხატვრული მახასიათებლები. გამოყოფილია გუმბათის წილი მნიშვნელობა ტაძრის დაგეგმარებაში, მისი კონსტრუქციული ელემენტები, გუმბათის ყელის ფორმირების საკითხი. ნაშრომში განსაკუთრებული აქცენტი გუმბათის ყელის გარე სახის მორთულობაზე დაისვა, სადაც განხილულია: ქვედა სარტყელის, სარკმლების, გუმბათის დეკორის სისტემის განსაკუთრებული ელემენტის - დეკორატიული თაღნარის ჩამოყალიბება განვითარების ხაზის, ქვის ფერის, როგორც მხატვრული აქცენტის, კარნიზის და რელიეფის, განსაკუთრებით ფიგურული რელიეფის, მნიშვნელობა. ეს ყველაფერი მოქცეულია ქრონოლოგიურ ჩარჩოებში, რომელიც მოიცავს V-VII საუკუნეების გუმბათიან ტაძრებს, შემდგომ ე.წ. გარდამავალი ხანის VIII-IX საუკუნეების მაგალითებს და სრულდება X-XI საკუნეების ნიმუშებით.
გუმბათიანი ტაძრის დამაგვირგვინებელ ნაწილს, გუმბათს, რომელიც ნაგებობის სივრცითი  და გარეგანი  სტრუქტურის მნიშვნელოვანი მაფორმირებელია, რომელმაც გარშემო შემოიკრიბა არაერთი მამკობი ელემენტი, ადრეული ხანიდან მოყოლებული ენიჭებოდა მნიშვნელოვანი ყურადღება და ეპოქებისდა მიხედვით იცვლებოდა მისი ფორმა, ზომა, დეკორის სისტემა, რომელიც მშენებელ-ოსტატთა განსხვავებულ მიდგომასა და ამოცანას უკავშირდებოდა. 
From the Early Christian period, a dome had a particular meaning in Georgian medieval architecture. The principle of Georgian domed architecture presupposes a drummed dome with windows resting on a square. Its significance has been expressed through various artistic means which were formed, changed, and evolved in a particular way during centuries.
The work surveys the domed churches of the 5th-11th centuries focusing on the characteristics of the main plan, construction, form, and artistic solution of the dome itself. The attention is given to the importance of the dome in the planning of the church, as well as to its constructional elements and the issue of the formation of the drum of the dome. A special emphasis is put on the exterior décor of the drum by discussing the importance of the lower zone, windows, also the line of formation and development of decorative arcade which is a special element of the dome décor system; the importance of stone color as an artistic accent, cornice and relief, especially, figurative low relief. All these features are set within the chronological framework which includes the 5th-7th centuries domed churches, followed by the patterns of the so-called transitional period (the 8th-9th centuries), and ended by the examples of the 10th-11th centuries.
From the early time to the dome had been given considerable attention, as a crowning part of the domed church, an important shaper of spatial and external structure, which exhibits many embellishing elements. Its form, size, décor system reflecting various treatments and objectives of master builders, varied throughout centuries.

The aims of this research are (1) to find out the meaning of the day of the dead holiday (Día de Los Muertos) based on the movie; (2) to elaborate on the importance of the day of the dead holiday (Día de Los Muertos); and (3) to find out how to deal with a family conflict during the day of the dead holiday (Día de Los Muertos). This study uses a qualitative approach to address research problems as it enables the researcher to perform in-depth studies of a specific phenomenon. The findings or this research are (1) The meaning of the day of the dead holiday (Día de Los Muertos) based on Coco has some indicators such as symbols, heroes, and ritual (2) How the main character deals with his family conflict is that (a) The conflict which comes from the family culture is making the main character to become a rebel. Conflict is highly present in families; however, in general, the presence of conflict is not problematic by itself. (b) parents are making decisions about what they consider is ...

O artigo que nos propomos apresentar tem como objetivo expor duas das tematicas principais que se inserem na investigacao a ser realizada no ambito do Doutoramento em Ciencias da Comunicacao, denominada “Autoria Coletiva e a Comunicacao da sua Arte: A Disparidade entre a Visao Legal e Social do Cinema e da sua Industria”. Os temas selecionados foram a nocao de originalidade e de autoria no cinema, do ponto de vista legal, social e industrial, sendo levantadas algumas questoes e conclusoes que continuarao a ser investigadas. Como metodologia de investigacao, foi feita uma analise do Codigo do Direito de Autor e dos Direitos Conexos e de investigacoes feitas dentro deste dominio. Iremos focar-nos maioritariamente no sistema juridico nacional, sendo utilizado como sistema de comparacao o caso americano que se regem pelo Copyright. Serao mencionadas varias obras filmicas, nao so obras finalizadas mas tambem o processo da sua execucao (making-off), de forma a dar a conhecer que tipo de i...

A great deal of recent research on communication has been developed in the general area of narrative or narrative effects. The majority of this work has brought in older communication concepts without reconciling those concepts with what has been learned about narrative in other social sciences. This review covers some of the major points from research on narrative to help expand the knowledge base and suggest directions for additional work in the field of communication.