Cinema Studies

Instigated by Chantal Akerman's admission in an interview with Nicole Brenez that she would ask her mother to repeat "Bonne nuit, Chantal," "Goodnight, Chantal," until she had found the right tone for it, "Goodnight, Chantal" investigates Akerman's use of the dislocation of voice as consolation. "The acousmatic [off-screen] voice is so powerful because it cannot be neutralised within the framework of the visible," writes philosopher Mladen Dolar, "and it makes the visible itself redoubled and enigmatic." Joining Dolar's voice-writing with Akerman's complex relationship to images is a look at her deep understanding of Chaplin as his own audience (Duras) and to the terms of night and day as unfixed environs for art-making and answerability.

Why is it that we then all go to dark rooms to collectively commune over empathizing with fictional characters, as we do when watching films? Specifically, there have been few cultural touchstones to cause as much discussion and communing in the past ten years as Marvels' Avengers series and the film industry as a whole!

The role of food in literature, art and film has been receiving a lot of critical attention lately. Food is not just a matter for the sustenance of life and its cultural and sociological significance is often discussed. Recently numerous studies have scrutinized texts to read meaning into the instances of eating and drinking in art. In the creative circle, food is frequently laden with a symbolic role and has a rhetorical function to perform. So often has this been practiced that it has resulted in a film food genre. Chocolat directed by Lasse Hallstrom is a film belonging to this genre. Chocolate, here, is more than an item of food. It is the exotic 'other'. It is the consummation of sin. It mediates the struggle between conventions and forces of change. The richness of Vianne's chocolates lends the movie its sumptuous richness. This paper intends to examine how chocolate breaks down the Catholic fortress to bend to the winds of change.

Ce mémoire propose d’étudier la relation qu’entretient la série télévisée Fargo (FX 2014) avec le film éponyme dont elle est inspirée (Coen 1996). Il naît du constat que les études sur ce nouveau phénomène – les adaptations de films en séries – sont isolées et peu nombreuses. L’objectif de cette recherche est d’interroger les modalités de penser les contacts transfictionnels et les transformations opérées par la circulation de contenus entre les médias en proposant une approche spatiale. L’espace conçu en tant qu’abstraction ou matière permettra de compléter les méthodes d’analyse des séries télévisées présentant le temps comme matière principale soumise à la dilatation et entrera en dialogue avec les nouvelles réflexions concernant la notion d'espace au cinéma. Simultanément, l’espace sera la pierre angulaire méthodologique d’une réflexion qui vise à organiser et visualiser les mécanisme complexes d’un phénomène non linéaire. Sur la piste d’une sensation de familier, le mémoire porte une attention particulière aux notions d’itération, de variation et de continuité, centrales dans les études télévisuelles.

This thesis analyzes the relationship between the TV show Fargo (FX, 2014—) and the eponymous film that inspired the series (Coen, 1996), and is a starting point to answering to the lack of studies on this phenomenon – the adaptation of films into TV series. The goal of this research is to examine the modalities of thinking transfictional connections and transformations that emerge from the circulation of contents across distinct media, from a spatial approach. The notion of space conceived as an abstraction or as a material component of the series will add to the existing methods of analysis of TV series. In fact, current methods generally consider time as the main element involved in seriality: this thesis suggest another way to study TV series, dialoguing with the recent reflections based on the notion of space in cinema. Simultaneously, space will act as the methodological cornerstone of an analysis that intends to organize and make the complex mechanisms of a non-linear phenomenon visible. Following a sensation of familiarity experienced during the viewing of the show, this thesis pays particular attention to the ideas of iteration, variation, and continuity, which are essential to Television Studies.

Edited by Rimgaila Salys

The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.

Learn more & purchase: https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader

Despite Australia being one of the most robust and progressive film industries during the early years of moving pictures, it experienced a significant decline in film production from 1915. Whether this decline was a direct result of poor government policy is something that the Royal Commission on the motion picture industry in Australia 1926–1928 investigated. Marking a significant, yet terribly neglected moment of Australian film history, the Commission surveyed a variety of issues which had stunted the development of the national Australian cinema. By surveying the early period of the Australian cinema, in this article I will discuss how the Royal Commission’s recommendations pushed for the national industry to become more active within the Hollywood world cinema model.

Los olvidados, Cría cuervos, Le Labyrinthe de Pan, L'Orphelinat... De Buñuel et Saura jusqu'aux ci-néastes d'aujourd'hui, le cinéma hispanique n'a cessé de produire des figures d'enfants et d'adolescents, qui hantent la mémoire de tout cinéphile, et recueillent les plus hautes récompenses dans les festivals. Cet ouvrage propose une étude de ce véritable phénomène culturel, invite à l'analyser et à en chercher les causes dans l'Histoire refoulée des pays concernés. Il montre comment certains films ont créé des figures mythiques (celle de l'enfant-victime, celle de l'enfant-bourreau et celle de l'enfant oublié) reprises et déclinées ensuite par plusieurs générations de cinéastes. Il s'intéresse également aux cinéastes qui ont fait de l'enfance la clef de voûte de leur oeuvre : des entretiens inédits avec trois d'entre eux nous éclairent sur cette obsession. Il se penche enfin sur le devenir des enfants-acteurs qui ont poursuivi une carrière cinématographique à l'âge adulte, et sur la mémoire du cinéma que leur image nous renvoie. Bénédicte Brémard est professeur d'espagnol à l'Université de Bourgogne. Ses travaux portent sur le cinéma espagnol et hispano-américain. Elle a collaboré avec des revues comme Archivos de la Filmoteca, L'Avant-scène Cinéma, Cinémac-tion, Eclipses. Ouvrage disponible en librairie, sur la boutique en ligne des EUD : http://eud.u-bourgogne.fr/ ou par retour du bon de commande ci-dessous.

GORA is a product of the new televisual production regime in
Turkey. GORA represents the coming together of two products of
television in Turkey: the technical excellence of the television infrastructure and the new, popular television talent. The year 1999 was a turning point for cinema in Turkey as digital post-production facilities came in line with their American counterparts in terms of quality.

Tijelo kao film | Body as Film | Body and Sexuality in Short Feature Film; Retrospective at Croatian Film Days 2015 curated by Željko Luketić. Featuring works from Ante Babaja, Miroslav Mikuljan, Mišo Budisavljević, Neven Korda, Tomislav Gotovac, Dasen Štambuk, etc.

This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979), Nostalghia (1983), and The Sacrifice (1986).

These films were chosen as they represent the deepest periods of two directors’ engagements with the possible death of God and the subsequent loss of intrinsic existential meaning—topics with which this thesis is principally concerned.

As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith.

The directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith.

Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.

El presente libro es una selección del 30% de las aportaciones seleccionadas por el Comité Científico para ser presentadas al IV Workshop Internacional de Investigación en Género, Estética y Cultura Audiovisual "Representaciones de (nuevas) masculinidades por la igualdad: corporalidad, violencia y construcción de la igualdad" (es decir, 9 de 30 ponencias) y un call for papers específico, del que se seleccionó únicamente un 20% de las propuestas recibidas. Tanto los textos provenientes del congreso como los de la selección del call for papers fueron sometidos a revisión y evaluación bajo el sistema de doble evaluación ciega por pares (peer review). Además, la edición ha sido financiada, en parte, gracias a fondos de proyecto competitivo del Instituto de la Mujer del Gobierno de España y del Fondo Social Europeo (PACUI 2012 3/AC18).

This article examines the relationship between costume and character, self and appearance in Luca Guadagnino’s film, I Am Love (Io Sono l'Amore, Guadagnino: 2009). As played by Tilda Swinton, Emma Recchi is a woman whose dress reveals a meticulous record of her emotional journey, providing an almost text-book case of costume performing emotional exteriority. Complicating any straightforward analysis of costume design in I Am Love, however, is a deep fashion consciousness that pervades the film and goes beyond the widely publicized association with fashion houses, Jil Sander, Fendi and Hermès, to a recognition of fashion as a complex discourse able to canvas multiple, even contradictory, interpretations. Just as Guadagnino draws on other narratives and other films to tell his story, Swinton’s off-screen life and on-screen personae shadow her portrayal of Emma, constructing a character who is both the unique individual of ‘I Am Love’ and the hollow image of fashion that is the Emma of ‘I Am Style.’

A filmografia concede acesso a mundos distantes, e, por vezes, imaginários e desconhecidos. O cinema de terror tem vindo a evoluir numa trajetória paralela à pop culture, traçando contos e mitos perdidos no curso da história, e que levantam temáticas interessantes, para as quais o público não está consciente. Midsommar é um desses filmes, onde o folclore medieval nórdico é explorado na sua essência mais crua, e são levantadas morais transponíveis para o mundo contemporâneo. O conhecimento que se detém sobre estas culturas encontra-se num núcleo demasiado reservado, quer seja ao nível dos connaisseurs, ou das fontes historiográficas, que, na maior parte dos casos, se reduz a sagas, cuja linearidade histórica é incerta, ou a mitos que remanescem em manuscritos tardios, e após séculos de tradição oral. O cinema, acaba por ser uma fonte, que para além de contemporânea, nos permite analisar estas culturas com outro olhar, e acessibilidade. Do século XVI em diante, iniciaram-se estudos e compilações sobre a «Idade das Trevas», fazendo transcrições, e interpretações de cultos provenientes de mundos sobre os quais pouco ou nada se sabia, principalmente, naquele período em específico.

In this book, Nariman Skakov explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from 'Ivan's Childhood' (1962) to 'Sacrifice' (1986). He argues that dreams, visions, mirages, memories, revelations, reveries, and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and, in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that was discussed extensively by the filmmaker in his main theoretical treatise 'Sculpting in Time,' as well as in a number of interviews and public lectures.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.

Il Marvel Cinematic Universe è il più vasto e coraggioso esperimento narrativo seriale dell’intera storia del cinema: un enorme affresco, più ampio persino di Star Wars, basato sulle avventure dei supereroi della casa editrice americana Marvel Comics e composto, al momento, da ben ventitré film realizzati lungo un periodo di dodici anni, tra il 2008 e il 2019, con un’unica maxi-trama che li unisce di capitolo in capitolo e, al tempo stesso, li lancia già verso il futuro. Ai film, in questo decennio abbondante, si sono affiancate tredici serie televisive, programmate dai network tradizionali o da piattaforme streaming come Netflix, ma anche webseries e “one shot” inediti per le versioni home video dei lungometraggi. Con un approccio al tempo stesso scientifico e divulgativo, nel suo saggio Diego Del Pozzo analizza questo fenomeno audiovisivo unico ripercorrendone le radici, lo sviluppo e la definitiva consacrazione, mettendone in evidenza le peculiari caratteristiche linguistiche e culturali.

Despite Australia being one of the most robust and progressive film industries during the early years of moving pictures, it experienced a significant decline in film production from 1915. Whether this decline was a direct result of poor government policy is something that the Royal Commission on the motion picture industry in Australia 1926–1928 investigated. Marking a significant, yet terribly neglected moment of Australian film history, the Commission surveyed a variety of issues which had stunted the development of the national Australian cinema. By surveying the early period of the Australian cinema, in this article I will discuss how the Royal Commission’s recommendations pushed for the national industry to become more active within the Hollywood world cinema model.

Este libro nace con el propósito de realizar una aproximación al cine español realizado durante el periodo de la transición democrática, desde una perspectiva de género. Se trata de una etapa en la historia de nuestro país, repleta de cambios sociales, políticos y culturales, que supone un momento de gran interés en lo referente a la cinematografía y su modo de reflejar lo que acontecía por aquel entonces en España. Y, en especial, la manera en que se plasmó el tránsito hacia la democracia de las mujeres, que habían sido duramente sometidas y privadas de sus libertades durante el régimen franquista.

Se observará la influencia producida por dichos filmes en la construcción de la nueva identidad femenina de la España democrática, tratando de de comprender el proceso mediante el cual el discurso fílmico contribuyó a la configuración de la realidad social de la mujer española y a la modelación de su identidad y su memoria colectiva, al interactuar con los valores, creencias y opiniones de las espectadoras. Debido al vasto corpus de obras que conforman esta década del cine español, que contó con casi un millar de producciones, el estudio abarca solo una selección y presta mayor atención a determinadas cintas que pueden ofrecer ejemplos característicos de representaciones femeninas. También se ha tenido en cuenta su fecha de producción, incluyendo largometrajes pertenecientes a cada uno de los años que componen la etapa analizada. Otro factor determinante en la elección de los títulos, así como la mayor motivación a la hora de afrontar este trabajo, ha sido la posibilidad de aportar una relectura de algunos textos fílmicos claves en nuestra cinematografía desde una perspectiva de género.

El presente estudio está estructurado en cuatro capítulos. En el primero se ofrece una visión general del panorama cinematográfico durante los años de la transición democrática en España dividida en dos etapas: el tardofranquismo (1973-1976) y la reforma política (1977-1982). Se trata de uno de los periodos de mayor producción en la historia del cine español, en el que conviven nuevos modelos cinematográficos con algunos que habían tenido éxito en los años anteriores. Sin embargo, pese a la transformación social profunda del país, no se produjo el alumbramiento de nuevos planteamientos narrativos y estéticos como sucedió con el neorrealismo italiano o los nuevos cines que dieron lugar al discurso cinematográfico moderno. No existió un afán por encontrar fórmulas expresivas novedosas ni por romper moldes establecidos y las propuestas de mayor riesgo tendrán lugar en el cine más izquierdista. En general, coexisten una gran variedad de géneros, opciones ideológicas y prácticas fílmicas y aflorarán lo originalidad y la imaginación para tratar de nombrar lo indecible. Todo ello dará lugar a obras de una riqueza inestimable, no siempre reflejada en el acabado formal de las mismas debido a la crisis que experimentó el sector. La situación de la mujer en aquellos años constituye otro de los epígrafes que se abordan en esta primera parte, finalizando con un recorrido por la trayectoria profesional de las tres únicas realizadoras de nuestro país durante la Transición: Josefina Molina, Pilar Miró y Cecilia Bartolomé.

El segundo capítulo incluye un análisis del cine metafórico que se produjo en España durante los años del tardofranquismo, cuando la censura impedía abordar directamente la realidad sociopolítica y se buscaron fórmulas de expresión encubiertas que denunciaran la represión enfermiza de la sociedad española bajo la dictadura. Consta de tres partes: la primera está dedicada al estudio de tres películas que eligen como punto de vista la mirada de una niña: Cría cuervos (Carlos Saura, 1975), El espíritu de la colmena (1973) y El Sur (1983), las dos últimas de Víctor Erice. Las tres cintas, dirigidas por hombres, eligen una protagonista femenina que funciona en dos de ellas como narradora de sus vivencias infantiles. El papel determinante en el que sitúan a la mujer dentro de la estructura narrativa, muy escaso en el periodo analizado, les concede gran relevancia desde la perspectiva de género. Además, ofrecen una variedad de personajes femeninos definidos en función del lugar que ocupaba la mujer en la sociedad española de entonces, lo que les otorga gran valor. El Sur servirá también para tratar uno de los temas más abundantes en el cine metafórico: el complejo de Edipo, que se abordará en la segunda parte.

La tercera parte de este capítulo, “Libertad versus madre patria”, dirige la atención hacia la manera en que la representación femenina es elaborada a modo de símbolo ideológico. Para ello se ha elegido dos largometrajes realizados por Carlos Saura, director considerado como el máximo exponente del cine metafórico: Ana y los lobos (1972) y Mamá cumple cien años (1979). Ambos filmes, rodados con siete años de diferencia, comparten personajes y ofrecen una muestra de la evolución del país desde la perspectiva de este autor. En el tercer capítulo del trabajo, que lleva por título “De la educación al mundo laboral”, se examina el conflicto que supuso para las mujeres españolas educadas bajo el franquismo la introducción de nuevos valores sociales y formas de consumo en la sociedad de estos años. El fuerte choque generacional y las contradicciones que produjeron los cambios en unos ciudadanos asfixiados por el nacionalcatolicismo tendrán su reflejo en la concepción de la posición femenina.

El cuarto y último capítulo plantea dos cuestiones. La primera está centrada en la búsqueda de modelos femeninos dotados de un fuerte valor simbólico e incorporados al imaginario social a través de su representación cinematográfica. El objetivo es dejar al descubierto la ideología patriarcal subyacente en estos textos fílmicos. Se busca su deconstrucción para despojarlos de la naturalidad pretendida en cuanto al erotismo y la sexualidad bajo el que se codifican, siguiendo el método estructuralista.  Las figuras recurrentes de la enfermera, la criada, la prostituta y la tía serán sometidas a examen siguiendo las pautas enunciadas anteriormente.

En la segunda parte del capitulo se analizan algunas de las realizaciones más destacadas de la Transición que plantearon la temática de la identidad sexual. Veremos cómo se representan las minorías sexuales en el cine de aquellos años. Tras la desaparición de la censura, proliferan obras que tienen  como protagonistas a aquellos que hasta entonces habían permanecido silenciados y eran castigados por el franquismo: homosexuales, travestis, transexuales, etc.

INDICE

INTRODUCCIÓN

1. PANORAMA CINEMATOGRÁFICO Y CUESTIÓN DE GÉNERO EN EL CINE ESPAÑOL DE LA TRANSICIÓN DEMOCRÁTICA (1975-1982)
1.1 La producción cinematográfica de la Transición: posfranquismo (1973-1976) y reforma política (1977-19822)
1.2 La situación de la mujer. Un breve recorrido histórico
1.3 Directoras: narrativas en femenino

2. CINE METAFÓRICO
2.1 La mirada femenina a través de los ojos de una niña
2.2 El Edipo
2.3 Libertad versus madre patria

3. DE LA EDUCACIÓN AL MUNDO LABORAL
3.1 Educación y nuevos valores
3.2 La modernización controlada. Mujer profesional e identidad femenina

4. MUJER Y SEXUALIDAD
4.1 Arquetipos femeninos sexuales en el cine de la Transición
4.2 Identidad de género

CONCLUSIONES

BIBLIOGRAFÍA
FILMOGRAFÍA

Philosophie, so pflegte der Philosoph Hermann Lübbe in seinen Seminaren zu sagen, ist alles, was unter diesem Namen auftritt. Dies gilt, so könnte man hinzufügen, auch für die Filmphilosophie.
Da die Zugehörigkeit der Filmphilosophie zum weiteren Feld der Philosophie damit gesichert ist, lässt sich die weiterführende Frage, was denn genau unter diesem Namen auftritt, unter Rückgriff auf Verfahren klären, die in der Philosophie, wie sie unter diesem Namen als Fach auftritt, gängig sind.
Mit Wittgenstein könnte man sich auf die Kraft des Beispiels stützen und sagen, dass die hier versammelten Texte auf eine jeweils eigene und durchaus programmatische Weise, die nicht ohne Rest unter eine große Oberkategorie subsumiert werden kann, exemplifizieren, was ‚Filmphilosophie‘ ist. Die vier Beiträge wären demnach vier verschiedene Gesten des Zeigens: „Das ist Filmphilosophie. So wird es gemacht.“ Um die Beruhigung im Transzendentalen, die von großen Oberkategorien immer ausgeht, wäre es damit aber vorerst einmal geschehen.
Will man hingegen den alten Ehrgeiz der Philosophie nicht so ohne weiteres preisgeben, den Dingen an den Erscheinungen vorbei auf den Grund und damit nachträglich vorauszugehen, dann lässt sich die Frage nach dem ‚Was‘ der Filmphilosophie auch schulmäßig beantworten: Indem man den Begriff zunächst einmal in historischer und systematischer Perspektive erläutert.

El Diccionario de conceptos y términos audiovisuales, tal y como reza el subtítulo, es una herramienta conceptual, docente y práctica, orientada a su uso como consulta y, en su caso, divulgativa. Si bien el objetivo esencial es que el lector pueda navegar con seguridad en el entorno de los innumerables términos necesarios para la ejecución del análisis fílmico, no queda ahí su validez. De hecho, cada término va acompañado de bibliografía (elemental, si se quiere, pero indispensable) que permitirá con facilidad ampliar las líneas de autoformación propias de cada individuo, con especial rentabilidad para los alumnos universitarios.
No se pretende una acumulación global de conocimientos ni tampoco una visión holística, sino un anclaje de punto de partida que permita dar el salto hacia mayores capas de comprensión del universo audiovisual, incluyendo las múltiples novedades aportadas por la era digital. Para ello, se sigue la estela de los 'Keywords Reference Books' y más concretamente del excelente texto de Jacques Aumont y Michel Marie, ?Dictionnaire théorique et critique du cinéma', más orientado hacia la teoría que hacia la divulgación de los recursos expresivos y narrativos, campos ambos que aquí sí se abarcan.
Este es un texto inédito en nuestro panorama editorial y a buen seguro se ampliará y crecerá con las aportaciones críticas de los lectores y, además, se refuerza mediante ejemplos gráficos en el sitio web construido al efecto, de libre acceso, http://www.analisisfilmico.uji.es.

Cinecittà è uno di quei luoghi che hanno assicurato un'esistenza, una storia e un'identità al cinema italiano e che presumibilmente ne trasmetteranno, più di altri, la memoria. Afferma infatti Callisto Cosulich: «Se per ipotesi il cinema si ritaglierà un sia pur piccolo spazio nella memoria collettiva, […] almeno da noi in Italia, le sue vestigia non risiederanno nei frammenti di pellicola, di nastri magnetici e di videodischi, troppo caduchi per resistere all'usura dei millenni, bensì nei ruderi di Cinecittà che verranno confusi con quelli del Colosseo: un altro Colosseo, in cui si dirà lo spettacolo della morte in diretta era stato abolito, anche perché il nuovo culto, avendo sostituito la realtà con la finzione, non obbligava nessuno a morire veramente per la propria fede» 1 . Certo, Cinecittà è stata spesso oggetto di attenzione e di analisi, ma perlopiù come luogo di produzione cinematografica; l'edificio di Cinecittà in quanto tale, tra l'altro dotato di caratteristiche strutturali e architettoniche altamente significative, non sembra aver riscosso pari interesse da parte degli studiosi; o forse, semplicemente, le difficoltà nel reperire il materiale documentale necessario a ricostruire le motivazioni, le scelte stilistiche, le problematiche economiche, politiche e architettoniche che stanno alle origini degli stabilimenti cinematografici più grandi d'Europa, hanno impedito che si riuscisse a togliere gli stabilimenti di Cinecittà dall'oscurità in cui sembravano essere avvolti. La ricostruzione dei fatti e dei motivi per cui sorgono i nuovi stabilimenti di via Tuscolana -inaugurati dal Duce il 28 aprile del 1937, voluti fortemente dal Direttore generale della Cinematografia Luigi Freddi, dall'onorevole Carlo Roncoroni (proprietario degli stabilimenti Cines) e progettati dall'architetto Gino Peressutti, con l'appoggio incondizionato del Capo del Governo -rappresenta il passaggio fondamentale della ricerca. Su tali basi si prenderanno in considerazione gli avvenimenti precedenti la posa della prima pietra, con particolare riferimento ad alcuni fatti storici salienti e al coinvolgimento delle figure professionali (in particolare del progettista degli stabilimenti Gino Peressutti) e delle personalità politiche coinvolte. Infine si procederà ad analizzare gli studi preliminari dei teatri di posa europei compiuti dall'architetto e il progetto architettonico vero e proprio della Città del Cinema.

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

O maior dos cineastas japoneses, Akira Kurosawa, fez no outono de sua vida um filme baseado nos seus sonhos. A rica simbologia dos oito episódios do filme é um convite para conhecer o folclore e a religiosidade do Extremo Oriente. No entanto, a interpretação de "Sonhos" esbarra num obstáculo considerável: a fossa cultural que separa o Japão do Ocidente. Para transpor essa barreira foi necessário um estudo focado principalmente no budismo, xintó e a biografia do diretor para captar a profundidade dessa obra, somado a comparações com os mitos, lendas e contos de fada da África, do Brasil e da Europa. Tanto a arte como a vida onírica são temas de grande interesse apara analistas Junguianos, e a investigação psicológica desse filme traz uma contribuição valiosa para uma crítica cinematográfica que tem por base o repertório hermenêutico da psicologia analítica.

This article claims that the emergence of television in the 1950s must be interpreted as a conservative media revolution. It aims at revisiting some of the popular narratives about the emergence of television as a revolutionary moment in media history and questions the newness of television in the European mass media ensemble. Focusing on a set of privileged sites of negotiation where the tensions between the conservative and modernising agencies of the medium became most visible or explicit, the article emphasizes the ambiguous and contested nature of television as a new medium. Finally, the author pleas for an integral approach to media history that studies the intermedial relationships and interdependencies between television and other mass media.

Alfred Hitchcock'un sinemasını özgün kılan dinamikler incelendiğinde, öne çıkan motif hiç kuşkusuz uyandırdığı gerilim duygusu (suspense) olacaktır. Klasik kara film yapısında aydınlatma düzeyinde yaratılan, korku sinemasında anlatının ilerleyişini mümkün kılan bu duygu her iki durumda da filmin bütünlüğü içerisinde dağınık bir biçimde işlenir, çoğu zaman ait oldukları türün diğer karakteristik özellikleri tarafından geri plana itilir. Hitchcock filmlerinde ise, gerilim duygusu sistematikleştirilir, anlatı ve mizansen bu motif etrafında birleşir. Matematiksel bir titizlikle işlenen gerilim, filmi her yönüyle kuşatır; dolayısıyla seyircinin anlamlandırma süreçlerini yönlendirir. Sinema dilinin tüm imkanlarını kullanmayı gerektiren bu yaklaşım, görsel-işitsel düzeyde metaforik, sembolik yenilikçi denemeleri mümkün kılar. Bunun yanında, anlam yaratma kaygısıyla kurgulanan film evreni, farklı yorumları bir arada bulunduracak anlam düzeylerini engelleyerek izleyici otonomluğunu sekteye uğratma potansiyeline sahiptir. Yine de, anlam tarafından kuşatılan, farklı izlenimlere kaçışın mümkün olmadığı bu estetik yapı, karakterlerin maruz kaldığı durumun yeniden üretimini amaç edinen bilinçli bir tercih olarak da yorumlanmaya müsaittir. Söz konusu yönelimin temelleri ise, gerekli anlatısal ve görsel-işitsel elemanların arasında ilişkilerin kurulduğu başlangıç sekanslarında atılır. Hitchcock, bu sekanslarda gerilim unsurunu meydana getiren kodları bir yapboz estetiği içerisinde, seyirciyi anlatının merkezine yönlendirecek bir biçimde kurgular. Başka bir deyişle gerilim düğümü, birbirinden bağımsız niteliklere sahip görünen mizansen öğelerinin montajlanmasıyla oluşturulur. Hitchcock'un bu metodu bağlamında, Strangers on a Train filminin başlangıç sekansı kusursuz bir örnek teşkil eder. Adından da anlaşılacağı üzere, Strangers on a Train (Trendeki Yabancılar) iki yabancının trende tanışması etrafında şekillenir. Dolayısıyla, birbirini tanımayan iki insanın karşılaşmasının, anlatı pusulasını kaçınılmaz bir şekilde psikolojik gerilim ve cinayete yönlendirmesini mizansen bağlamında incelemek doğru olacaktır.

ROZBOR FILMU / FILM ANALYSIS [English summary]

Radomír D. Kokeš (Brno: Masarykova univerzita, 2015)

The book focuses on possibilities of analyzing a film as a system. Its aim is to deal with the process of asking questions in such a way that their answers will contribute to convincing solutions of exactly formulated tasks related to the structure of a film work. It is not a broadly conceived exposé of numerous kinds of analyses of numerous types of films; it rather follows the method of in-depth study of a limited scope of issues. As such, it consists of four sections. Each of these sections offers different questions and answers, presents different findings to the reader and follows different methods of work with the explication. All sections logically follow from the others, and thus analysed topics reappear in various contexts, as well as complement and develop each other. An invariable background of the explications in the book is formed, first, by aesthetic norms of the classic Hollywood film, second, by traditions of the Czech cinema and third, by Kristin Thompson’s and David Bordwell’s neoformalist poetics.

(1) The first section is titled TO OBSERVE and it presents the basic tools for an analysis of a work of art. It sees the work as a system, where it distinguishes between basic components of narrative, style and the fictional world. It explains each of these components separately on specific examples. It gives special attention to the films: A Close Shave (GB, 1995) and Once upon a Time in the West (USA/Italy, 1968). The subject matter of the explication is a film work.

(2) In the second section, TO PLAN, the book approaches to discussion and writing about film as a way of issues-solving. It explains the importance of finding, posing, and answering question about the structure of a film. It gives examples of the films Titanic (USA, 1997) and Bloody Sunday (GB/Ireland, 2002). For a better understanding of the topic it deals with, it offers a conception of two types of theses: centripetal and centrifugal. The subject matter of the explication is the analysis as such.

(3) The third section TO WRITE AND READ / TO READ AND WRITE is the most guiding one, as it focuses on practical aspects of analytical writing, theoretical coherence and the field of recommended publication, which can help to enhance this sensibility. The subject matter of the explication is a written analytical text.

(4) The final section APPENDIX: THREE ANALYTICAL FORMATS AND A READER makes it easier to understand on a higher level the various ways of structuring analysis and its functions. It presents three formats of such texts: an analytical essay, an analytical study, and poetological study. Adaptability to analysed issues follows primarily from six case-studies of the films Who Wants to Kill Jessie? (Czechoslovakia, 1966), Arsenic and Old Lace (USA, 1944), Speed Racer (USA, 2008), Memento (USA, 2000), Smugglers of Death (Czechoslovakia, 1959) and A Tooth for a Tooth (Austria-Hungary, 1913). Each of these more or less comprehensive studies deals with a different issue, asks different questions and (intentionally) addresses readers with different levels of experience. The subject matter of the explication is a unity of approach on the one hand and a variety of issues-solving on the other hand.
The book aims to show the widest range of the explanatory possibilities of its approach, which it labels a poetics of fiction. When working with its case-studies, it repeatedly proceeds in the chapters from formally playful films (like A Close Shave, Titanic, Speed Racer or Memento) to structurally complex works (like Once Upon a Time in the West, Bloody Sunday or Smugglers of Death). This enables it to cover a wide range of challenges, which one can encounter in the process of an analysis of (not only audio-visual) works. And finally, the last chapter introduces the theme of a historiographic dimension of the book. It presents original research of the beginnings of Czech cinema.

The field of an analysis of a film authorship is rather suppressed in the explications, although it remains crucial and as such it is primarily dealt with in the second section of the book, which can thus be also seen from this perspective as an original contribution to authorial poetics and questions of a realistic effect in the work of the director Paul Greengrass.

Given the reasons stated above, Film Analysis wants to be (a) a comprehensible guide to the analytical process of a wide readership (especially students of programmes in history and theory of the arts, cinephiles and beginning critics), (b) a collection of original analyses, which explain a variety of issues related to structures of film from the perspective of the poetics of fiction, and (c) a source of helpful tools for not only film analysis, but also the analytical process as such (for example, kinds of theses or analytical formats).