Economics, Econometrics and Finance › Economics and Econometrics

Cinema and Media Studies

Works Count: 134943

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This cluster of papers explores the economics, market dynamics, and cultural impact of the film industry, including the influence of movie critics, box office performance, transnational cinema, documentary films, and the success factors for cinematic productions. It delves into the interplay between star power, budgeting, and critical reviews on movie revenues, as well as the implications of cultural globalization on the dominance of American films in foreign markets.

Keywords

Film Industry; Box Office; Movie Critics; Cinematic Success; Market Dynamics; Transnational Cinema; Documentary Film; Hollywood; Movie Revenues; Cultural Globalization

Entertainment industry economics: a guide for financial analysis

2007-10-01

Harold L. Vogel

Part I. Introduction: 1. Economic perspectives Part II. Media-Dependent Entertainment: 2. Movie macroeconomics 3. Making and marketing movies 4. Financial accounting in movies and television 5. Music 6. Broadcasting 7. … Part I. Introduction: 1. Economic perspectives Part II. Media-Dependent Entertainment: 2. Movie macroeconomics 3. Making and marketing movies 4. Financial accounting in movies and television 5. Music 6. Broadcasting 7. Cable 8. Publishing and New Media 9. Toys and Games Part III. Live Entertainment: 10. Gaming and wagering 11. Sports 12. Performing arts and culture 13. Amusement/theme parks Part IV. Roundup: 14. Epilogue.

Hard core: power, pleasure, and "the frenzy of the visible"

1990-09-01

Linda Williams

In this unprecedented and brilliant study, Linda Williams moves beyond the impasse of anti-porn/anti-censorship position-taking to analyze what hard-core film pornography is and does - as a genre with a … In this unprecedented and brilliant study, Linda Williams moves beyond the impasse of anti-porn/anti-censorship position-taking to analyze what hard-core film pornography is and does - as a genre with a history, as a specific cinematic form, and as part of contemporary discourse on sexuality. Working against tendencies to oversimplify hard core - either as pure abusive power or pure liberatory pleasure - Williams sees the form as inherently contradictory. Hard core claims to speak confessional and involuntary 'truths' of sex. However, analysis of its forms (including its spectacular 'money shots' and sexual 'numbers' parallel to those in musicals) reveals that sex in the sense of a natural, visible 'doing what comes naturally' is in fact the supreme and deeply contradictory fiction of the genre. Gender, the social construction of the relation between the sexes, is what determines this fiction. For most of its history, pornography has been for men and about women. Yet in hard core's attempt to solve the riddles of sex with more, different, or better sex, the monolith of masculine pleasure breaks down and the possibility of women using pornography for their own purposes begins to emerge. To this end, Williams traces the roots of contemporary hard core's quest to see the 'truth' of sex back to the origins of cinema itself - in motion studies of women's bodily movements. She then follows the generic development of hard core through its silent, primitive stag form and into feature-length narratives like Deep Throat and Behind the Green Door, up to its recent sadomasochistic and 'couples market' permutations - showing how the form has begun to respond and react to changing gender relations. Neither a defense of what pornography has been nor a utopian dream of what it should be, this daring book refuses simply to scapegoat the form as the cause of all our ills. Instead, Williams utilizes the insights of recent studies of mass culture to show that hard core is a discourse, a genre, and a rhetoric that can only be understood through comparison with, rather than separation from, other forms.

Home is where the heart is: studies in melodrama and the woman's film

1988-12-01

Christine Gledhill

Since the early 70s, film theory has focused on melodrama as a particularly challenging genre. Feminism, in particular, has claimed a stake in re-examination of the form, raising many critical … Since the early 70s, film theory has focused on melodrama as a particularly challenging genre. Feminism, in particular, has claimed a stake in re-examination of the form, raising many critical questions about the relation between gender and culture. This collection contains the most exciting contributions from nearly two decades of critical endeavor to come to terms with these questions. Christine Gledhill's overview precedes essays that range from classics by Thomas Elsaesser, Laura Mulvey, and Geoffrey Nowell-Smith to newly commissioned perspectives covering Hollywood's output from the early 20s to the 60s. Home is Where the Heart Is constitutes invaluable reading for anyone interested in the role of melodrama in the history of cinema, feminist film criticism, and analyses of popular culture.

From The Emancipated Spectator

2025-01-21

Jacques Rancière , Gregory Elliott

Among leftist cultural critics, it often believed that workers and intellectuals are natural allies in the fight for social change. Philosopher Jacques Rancière has been one of the most outspoken … Among leftist cultural critics, it often believed that workers and intellectuals are natural allies in the fight for social change. Philosopher Jacques Rancière has been one of the most outspoken critics of this view, suggesting that the Marxist philosophers construct a romanticized notion of the working class as in need of emancipation by enlightened intellectuals. The counterargument— that the intelligentsia should not speak for and presume to know what's best for the masses—runs through much of Rancière's work, from The Philosopher and His Poor (1983) to The Ignorant Schoolmaster (1991). In The Emancipated Spectator (2008), the philosopher extends this principle to theatre, arguing that the artist should not presume to know what the spectator needs. Contrary to Bertolt Brecht (see chapter 35), Augusto Boal (see chapter 39), and others who draw an opposition between individual spectatorship and communal participation, Rancière argues that individual spectatorship "is not some passive condition that we should transform into activity. It is our normal condition" (321). A truly progressive theatre, then, is one that respects the individual spectator's ability to think for his or herself.

Television And Everyday Life

2003-09-02

Roger Silverstone

1. Television, Ontology and the Transitional Object 2. Television and a Place Called Home 3. The Suburbanization of the Public Sphere 4. The Tele-Technological System 5. Television and Consumption 6. … 1. Television, Ontology and the Transitional Object 2. Television and a Place Called Home 3. The Suburbanization of the Public Sphere 4. The Tele-Technological System 5. Television and Consumption 6. On the Audience 7. Television, Technology and Everyday Life References

Jacks of All Trades and Masters of None: Audiences' Reactions to Spanning Genres in Feature Film Production

2006-09-01

Greta Hsu

Through analyses of audience reception of U.S.-produced feature film projects from the period 2000–2003, I develop insight into the trade-off assumed in organizational ecology theory between an organization's niche width … Through analyses of audience reception of U.S.-produced feature film projects from the period 2000–2003, I develop insight into the trade-off assumed in organizational ecology theory between an organization's niche width and its fitness. This assumption, termed the principle of allocation, holds that the greater the diversity in regions of resource space targeted by an organization, the lower the organization's capacity to perform well within them. Using data at both the professional critic and consumer levels, I demonstrate the empirical validity of this principle: films targeting more genres attract larger audiences but are less appealing to those audience members. Moreover, I find that audiences' perceptions of a film's fit with targeted genres drive this trade-off, as multi-genre films are difficult for audiences to make sense of, leading to poor fit with tastes and lowered appeal. These findings highlight the key role audiences' perceptions play in the trade-offs associated with different niche strategies.

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The Classical Hollywood Cinema: Film Style & Mode of Production to 1960

1986-01-01

David Bordwell , Janet Staiger , Kristin Thompson

Shows that Hollywood films operate within a set of assumptions, shared by different genres, directors and studios, about how a film should look and sound. Details how these conventions came … Shows that Hollywood films operate within a set of assumptions, shared by different genres, directors and studios, about how a film should look and sound. Details how these conventions came to standardize the whole filmmaking process itself.

Death 24x a Second: Stillness and the Moving Image

2007-01-01

Margaret Doane

With the advent of the digital and the consequent perception of a new malleability in representation and information, attention has shifted in film studies to the photographic base of cinema … With the advent of the digital and the consequent perception of a new malleability in representation and information, attention has shifted in film studies to the photographic base of cinema – its material distinctiveness and the specific nature of cinema's cultural intervention in the twentieth century. Following the marginalization of Bazin's work that accompanied the analysis of the ideological complicity of realism in 1970s film theory, the emphasis for many years had been on the optical (Renaissance perspective) rather than the chemical aspect of cinema, and on space (mise-en-scene, the frame) rather than temporality. However, in an age of intermediality a new engagement with notions of cinematic specificity has emerged. This is not a commitment to an essence or ontology of film, but rather a closer examination of film's materiality and its historical promise that ultimately returns to Bazin and to the indexicality of the medium.1 At stake is our understanding of cinema's relation to temporality and historicity.

The Imaginary Signifier: Psychoanalysis and the Cinema

1983-01-01

Philip Rosen , Christian Metz , Celia Britton +3 more

Film Bodies: Gender, Genre, and Excess

1991-01-01

Linda Williams

Research Article| July 01 1991 Film Bodies: Gender, Genre, and Excess Linda Williams Linda Williams Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly … Research Article| July 01 1991 Film Bodies: Gender, Genre, and Excess Linda Williams Linda Williams Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1991) 44 (4): 2–13. https://doi.org/10.2307/1212758 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Linda Williams; Film Bodies: Gender, Genre, and Excess. Film Quarterly 1 July 1991; 44 (4): 2–13. doi: https://doi.org/10.2307/1212758 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1991 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Studies in Entertainment: Critical Approaches to Mass Culture

1987-01-01

Clem Robyns , Tania Modleski

Foreword Introduction I. Traditions of Mass Culture Criticism 1. An Interview with Raymond Williams Stephen Heath and Gillian Skirrow 2. Theodor Adorno Meets the Cadillacs Bernard Gendron II. Studies in … Foreword Introduction I. Traditions of Mass Culture Criticism 1. An Interview with Raymond Williams Stephen Heath and Gillian Skirrow 2. Theodor Adorno Meets the Cadillacs Bernard Gendron II. Studies in Television 3. Television/Sound Rick Altman 4. The Television News Personality and Credibility: Reflections on the News in Transition Margaret Morse 5. Situation Comedy, Feminism, and Freud: Discourses of Gracie and Lucy Patricia Mellencamp III. Feminist Studies in Entertainment 6. Woman Is an Island: Femininity and Colonization Judith Williamson 7. The Incorporation of Women: A Comparison of North American and Mexican Popular Narrative Jean Franco 8. Fragments of a Fashionable Discourse Kaja Silverman IV. Redrawing the Boundaries Between Art and Entertainment 9. The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory Tania Modleski 10. Brief Encounters: Mass Culture and the Evacuation of Sense Dana Polan 11. Mass Culture as Woman: ModernismOs Other Andreas Huyssen Contributors

Film and the Masquerade: Theorising the Female Spectator

1982-09-01

Margaret Doane

Journal Article Film and the Masquerade: Theorising the Female Spectator Get access Mary Ann Doane Mary Ann Doane Search for other works by this author on: Oxford Academic Google Scholar … Journal Article Film and the Masquerade: Theorising the Female Spectator Get access Mary Ann Doane Mary Ann Doane Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 23, Issue 3-4, Sep/Oct 1982, Pages 74–88, https://doi.org/10.1093/screen/23.3-4.74 Published: 01 September 1982

Visual Pleasure and Narrative Cinema

1975-09-01

Laura Mulvey

Visual Pleasure and Narrative Cinema Get access Laura Mulvey Laura Mulvey Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 16, Issue 3, Autumn 1975, … Visual Pleasure and Narrative Cinema Get access Laura Mulvey Laura Mulvey Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 16, Issue 3, Autumn 1975, Pages 6–18, https://doi.org/10.1093/screen/16.3.6 Published: 01 October 1975

Cinema 1: The Movement-Image

1987-10-01

Mohammad Kowsar , Gilles Deleuze , Hugh Tomlison +1 more

The Empire Strikes Back: A Posttranssexual Manifesto

1992-05-01

Sandy Stone

Research Article| May 01 1992 The Empire Strikes Back: A Posttranssexual Manifesto Sandy Stone Sandy Stone Search for other works by this author on: This Site Google Camera Obscura (1992) … Research Article| May 01 1992 The Empire Strikes Back: A Posttranssexual Manifesto Sandy Stone Sandy Stone Search for other works by this author on: This Site Google Camera Obscura (1992) 10 (2 (29)): 150–176. https://doi.org/10.1215/02705346-10-2_29-150 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Sandy Stone; The Empire Strikes Back: A Posttranssexual Manifesto. Camera Obscura 1 May 1992; 10 (2 (29)): 150–176. doi: https://doi.org/10.1215/02705346-10-2_29-150 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsCamera Obscura Search Advanced Search The text of this article is only available as a PDF. Copyright © 1992 by Indiana University Press1992 Article PDF first page preview Close Modal You do not currently have access to this content.

Bodies That Matter

2011-04-01

Judith Butler

In Bodies That Matter, renowned theorist and philosopher Judith Butler argues that theories of gender need to return to the most material dimension of sex and sexuality: the body. Butler … In Bodies That Matter, renowned theorist and philosopher Judith Butler argues that theories of gender need to return to the most material dimension of sex and sexuality: the body. Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing,  and short stories by Willa Cather.

Star gazing: Hollywood cinema and female spectatorship

1995-01-01

Jackie Stacey

In a historical investigation of the pleasures of cinema, Star Gazing puts female spectators back into theories of spectatorship. Combining film theory with a rich body of ethnographic research, Jackie … In a historical investigation of the pleasures of cinema, Star Gazing puts female spectators back into theories of spectatorship. Combining film theory with a rich body of ethnographic research, Jackie Stacey investigates how female spectators understood Hollywood stars in the 1940's and 1950's. Her study challenges the universalism of psychoanalytic theories of female spectatorship which have dominated the feminist agenda within film studies for over two decades. Drawing on letters and questionnaires from over three hundred keen cinema-goers, Stacey investigates the significance of certain Hollywood stars in women's memories of wartime and postwar Britain. Three key processes of spectatorship - escapism, identification and consumption - are explored in detail in terms of their multiple and changing meanings for female spectators at this time. Star Gazing demonstrates the importance of cultural and national location for the meanings of female spectatorship, giving a new direction to questions of popular culture and female desire.

How Critical are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets

2003-10-01

Suman Basuroy , Subimal Chatterjee , S. Abraham Ravid

The authors investigate how critics affect the box office performance of films and how the effects may be moderated by stars and budgets. The authors examine the process through which … The authors investigate how critics affect the box office performance of films and how the effects may be moderated by stars and budgets. The authors examine the process through which critics affect box office revenue, that is, whether they influence the decision of the film going public (their role as influencers), merely predict the decision (their role as predictors), or do both. They find that both positive and negative reviews are correlated with weekly box office revenue over an eight-week period, suggesting that critics play a dual role: They can influence and predict box office revenue. However, the authors find the impact of negative reviews (but not positive reviews) to diminish over time, a pattern that is more consistent with critics’ role as influencers. The authors then compare the positive impact of good reviews with the negative impact of bad reviews to find that film reviews evidence a negativity bias; that is, negative reviews hurt performance more than positive reviews help performance, but only during the first week of a film's run. Finally, the authors examine two key moderators of critical reviews, stars and budgets, and find that popular stars and big budgets enhance box office revenue for films that receive more negative critical reviews than positive critical reviews but do little for films that receive more positive reviews than negative reviews. Taken together, the findings not only replicate and extend prior research on critical reviews and box office performance but also offer insight into how film studios can strategically manage the review process to enhance box office revenue.

Introduction to documentary

2002-05-01

This new edition of Bill Nichols's bestselling text provides an up-to-date introduction to the most important issues in documentary history and criticism. Designed for students in any field that makes … This new edition of Bill Nichols's bestselling text provides an up-to-date introduction to the most important issues in documentary history and criticism. Designed for students in any field that makes use of visual evidence and persuasive strategies, Introduction to Documentary identifies the distinguishing qualities of documentary and teaches the viewer how to read documentary film. Each chapter takes up a discrete question, from How did documentary filmmaking get started? to Why are ethical issues central to documentary filmmaking? Carefully revised to take account of new work and trends, this volume includes information on more than 100 documentaries released since the first edition, an expanded treatment of the six documentary modes, new still images, and a greatly expanded list of distributors.

The Other Question…

1983-11-01

Homi Κ. Bhabha

Journal Article The Other Question… Get access Homi K Bhabha Homi K Bhabha Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 24, Issue 6, … Journal Article The Other Question… Get access Homi K Bhabha Homi K Bhabha Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 24, Issue 6, Nov-Dec 1983, Pages 18–36, https://doi.org/10.1093/screen/24.6.18 Published: 01 November 1983

The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema

1989-01-01

Marcia Butzel , Kaja Silverman

Acknowledgements Preface [1] Lost Objects and Mistaken Subjects: A Prologue [2] Body Talk [3] The Fantasy of the Maternal Voice: Paranoia and Compensation [4] The Fantasy of the Maternal Voice: … Acknowledgements Preface [1] Lost Objects and Mistaken Subjects: A Prologue [2] Body Talk [3] The Fantasy of the Maternal Voice: Paranoia and Compensation [4] The Fantasy of the Maternal Voice: Female Subjectivity and the Negative Oedipus Complex [5] Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity [6] The Female Authorial Voice Notes Index

Film Critics: Influencers or Predictors?

1997-04-01

Jehoshua Eliashberg , Steven M. Shugan

Critics and their reviews pervade many industries and are particularly important in the entertainment industry. Few marketing scholars, however, have considered the relationship between the market performance of entertainment services … Critics and their reviews pervade many industries and are particularly important in the entertainment industry. Few marketing scholars, however, have considered the relationship between the market performance of entertainment services and the role of critics. The authors do so here. They show empirically that critical reviews correlate with late and cumulative box office receipts but do not have a significant correlation with early box office receipts. Although still far from any definitive conclusion, this finding suggests that critics, at least from an aggregate-level perspective, appear to act more as leading indicators than as opinion leaders.

Psychoanalysis and Cinema

1982-01-01

Christian Metz

The Classical Hollywood Cinema

2003-09-02

David Bordwell , Janet Staiger , Kristin Thompson

White Privilege: Unpacking the Invisible Knapsack (1989) 1

2019-07-04

Peggy McIntosh

Enjoy your symptom!: Jacques Lacan in Hollywood and out

1993-06-01

Visual Pleasure and Narrative Cinema

1989-01-01

Laura Mulvey

An Accented Cinema

2001-12-31

Hamid Naficy

The Skin of the Film

2000-01-01

Laura U. Marks

Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can … Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada. The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

Critically Queer

1993-11-01

Judith Butler

Cinema I

1986-01-01

Gilles Deleuze

Representing reality: issues and concepts in documentary

1992-07-01

Bill Nichols

Representing Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means … Representing Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image.

Unheard melodies: narrative film music

1988-10-01

Claudia Gorbman

The abstraction of status in the experience of time and space: The movie In time

2025-06-25

Haldun İlkdoğan | Bozok journal of engineering and architecture.

This study examines the relationship between the time-space experience and social status through the movie In Time, directed by Andrew Niccol and critically examines the basic dynamics of the time-space … This study examines the relationship between the time-space experience and social status through the movie In Time, directed by Andrew Niccol and critically examines the basic dynamics of the time-space compression that urban people experience in their daily lives. In the movie, time is transformed from a mere biological phenomenon into a currency and becomes the main element that determines the place of individuals in the social hierarchy. The study analyzes how urban space is shaped within this time-based economy, the restrictions on individuals’ spatial mobility, and the abstraction of social layers through cinematographic signs. The study aims to reveal the critique of the modern capitalist system using time as a tool of power and cinematographic representations of spatial segregation through the relationship between body and space. Due to the scope of the study, firstly the theoretical issues of time-space experience, body-space relationship and time-space compression are discussed theoretically. Then, through the cinematographic space, the theoretical framework is opened to a visually perceptible description. Finally, the life motion and daily rhythm of urban individuals are examined through these evaluations, and the fundamental dynamics of time-space compression are analyzed in the context of social role, space, and status.

Brazil Filminin Kafkavari Perspektiften Felsefi Bir Analizi

2025-06-25

Umut DAĞ | SineFilozofi

Terry Gilliam’ın Brazil filmi kafkavari durumun yaşandığı bir olay örgüsü içinde iktidarın uygulayıcısı olan ve bu nedenle de muazzam güce sahip olan bürokrasiye yönelik eleştirileri ve bireyin totaliter bürokratik bir … Terry Gilliam’ın Brazil filmi kafkavari durumun yaşandığı bir olay örgüsü içinde iktidarın uygulayıcısı olan ve bu nedenle de muazzam güce sahip olan bürokrasiye yönelik eleştirileri ve bireyin totaliter bürokratik bir düzende nasıl kendisine ve topluma yabancılaştırıldığını konu edinir. Bununla beraber film bahsi geçen düzendeki bu baskıcı ve keyfi uygulamalara maruz kalan insanın bireyselliğin nasıl ortadan kaldırıldığını da sinematik imkânlar dâhilinde izleyiciye sunar. Filmin ana karakteri Sam’in yaşadıkları kafkavari bir dünyada yabancılaşan ve insandışılaştırılan bir bireyin var olma, otantik kalabilme kaygısının önemli örneklerinden biri olarak özetlenebilir. Rüyalar kadar toplumsal dayanışma ve ortak kader anlayışı etrafında buluşabilecek kişilerin mücadelesi de bir umut olarak filmde sunulur. Çalışmanın ilk bölümünde kafkavari perspektiften Kafka’da bürokrasi ve yabancılaşma sorunu analiz edilecektir. Bu analize geçmeden evvel bürokrasi ve yabancılaşma kavramlarının felsefi ve teorik arka planı bu alanda yazmış önemli düşünürlerin görüşlerine başvurularak genel hatlarıyla ortaya konacaktır. İkinci bölümde ise kafkavari perspektiften Brazil filminin analizi yapılacaktır. Sonuç kısmında ise genel bir değerlendirmeye yer verilecektir.

Blaxploitation Sinemasında “Çokluk” Shaft (1971) Filmi Örneği

2025-06-25

Serbay Çelebi | SineFilozofi

Blaxploitation sineması, 1970'lerin başında Amerika Birleşik Devletleri'nde sömürü filmleri türünde bir yenilik olarak ortaya çıkmıştır. Ana belirleyici özelliği, siyahi bir karakterin kentsel ortamlardaki deneyimlerine odaklanmasıdır. Bu tür, esas olarak dönemin … Blaxploitation sineması, 1970'lerin başında Amerika Birleşik Devletleri'nde sömürü filmleri türünde bir yenilik olarak ortaya çıkmıştır. Ana belirleyici özelliği, siyahi bir karakterin kentsel ortamlardaki deneyimlerine odaklanmasıdır. Bu tür, esas olarak dönemin sosyo-politik ortamına bağlı olarak geliştirilmiştir; esas olarak, sivil haklar hareketinin yükselişiyle damgalanmıştır. Bu siyasi ortam, güçlü Siyah başrol karakterleri ve güncel sosyal meselelerle ilgili temalar içeren filmlerin geliştirilmesine olanak sağlamıştır. Shaft'ın ve diğer çağdaşlarının siyahi izleyiciler nezdindeki başarısında baskın olan şey, heterojen bir tekilliğin yaratılmasına katkıda bulunmak olmuştur. Bu tekillik hem dönemin Hollywood hikaye geleneğine hem de sosyopolitik bağlamların altını çizen daha büyük güç yapılarına karşı anlatılar sunmaya devam etmiştir. Genel olarak, siyahi deneyim ve bakış açısını ön plana çıkaran Blaxploitation filmleri, hegemonik Hollywood anlatılarına meydan okumuş ve siyahi temsiller ve anlatılar için bir platform sağlamıştır. Hardt ve Negri'nin biyopolitik çerçevede ele aldığı, “çokluk”, tek bir birim ya da kimlik olarak birleştirilmek istemeyen çeşitli iç farklılıkları barındırır. Kavramsal olarak farklı kültürler, ırklar, etnik kökenler, cinsiyetler, cinsel yönelimler, dünya görüşleri ve arzular arasında inşa edilir. Heterojenlik ve çeşitliliğe odaklanma yönünde bir hareket söz konusudur; bu da egemen güç oluşumlarına ilişkin tekdüzeliğin tam tersidir. Dolayısıyla çokluk, birleşik, tutarlı ve homojen bir unsur değil, ifadeleri ve çıkarları farklı olan ancak iş birliği yapma kabiliyetine sahip çok sayıda tekilliğin varlığıdır. Bu nedenle bu makale, Shaft filmi aracılığıyla sunulan egemen güç yapıları içindeki çokluğu ortaya çıkarmayı ve içerdiği heterojen tekillikleri karakter ve anlatı analizi yoluyla analiz etmeyi amaçlamaktadır. Makale, filmin metinsel analizi olarak nitel içerik analizini kullanmaktadır. Hibrit kimlikler bu bağlamda, Hardt ve Negri'ye göre 'çokluğun' görsel bir örneği olarak görülebilecek John Shaft, Vic Androzzi ve Ben Buford’un belirli sekansları aracılığıyla temsil edildiği incelenmiştir.

AUTOBIOGRAPHICAL FAMILY NARRATIVES ABOUT HISTORICAL TRAUMA IN RECENT DOCUMENTARY CINEMA IN BALTIC COUNTRIES

2025-06-25

Zane Balčus | Culture Crossroads

Autobiography as a retrospective narrative authored by a real individual concerning its own existence in its literary form primarily focuses on the exploration of one’s personal life. Extending beyond literature … Autobiography as a retrospective narrative authored by a real individual concerning its own existence in its literary form primarily focuses on the exploration of one’s personal life. Extending beyond literature into visual arts and performance, the autobiography has also found a strong expression in documentary filmmaking. These autobiographical narratives are conveyed through a diverse mix of audiovisual materials from both private and public archives, as well as with documentary animation techniques. The article focuses on films from Estonia, Latvia and Lithuania, where personal memories of the filmmakers and their relatives form the foundation of the narrative about the deportations in the 1940s and Soviet occupation, presented in the first person from the perspective of the postmemory generation. The traumatic historical events of the 20th century in Estonia, Latvia and Lithuania hold particular significance for these filmmakers, and their films contribute to the broader body of work narrating the historical traumas of the region.

TEMPORAL ASSEMBLAGES: FILMMAKING AND ARCHIVAL RECONTEXTUALIZATIONIN JANUARY

2025-06-25

Samantha Bodamer | Culture Crossroads

The film by Viesturs Kairišs Janvāris / January (2022) presents a nuanced portrayal of Latvia’s independence struggle of 1991, merging personal and political narratives through the lens of Jazis, a … The film by Viesturs Kairišs Janvāris / January (2022) presents a nuanced portrayal of Latvia’s independence struggle of 1991, merging personal and political narratives through the lens of Jazis, a young aspiring filmmaker. In January, archival footage and fictional elements intertwine, creating a non-linear temporal experience that reimagines traditional cinematic storytelling. Using period-appropriate film stocks, the film blurs the line between past and present, encouraging viewers to experience history as a dynamic, evolving force. This paper explores how January recontextualizes archival material within a fictional framework, engaging viewers in a multidimensional encounter with the past. Drawing on Catherine Russell’s concept of archiveology and Gilles Deleuze’s theory of the crystal of time, this study investigates how archival fragments, when woven into contemporary narratives, transform into active agents of memory and historical reflection. Russell’s archiveology underscores the repurposing of archival images as flexible components in new contexts. At the same time, Deleuze’s crystal of time clarifies the interrelations between past and present, challenging the conventional view of time as strictly linear. In conjunction with Russell’s framework, such a perspective suggests that January invokes a reflective treatment of memory, where history is characterized by its open-ended nature. The film’s portrayal of the 1991 events in Latvia’s fight for independence moves beyond a simple historical account, critiquing imperial power and its impact on personal and collective memory. Under direction of Kairišs, archival footage comes alive in a new context, demonstrating how memory can actively shape modern perspectives through cinema.

Voluntary Simplicity and the Search for Meaning: Deconstructing the Film Perfect Days

2025-06-25

Ferhat Kaçar | Elektronik Cumhuriyet İletişim Dergisi

Today, in the face of increasing consumption habits and changing lifestyles, it is important for individuals to try to live by reducing their share in their lives. Voluntary simplicity means … Today, in the face of increasing consumption habits and changing lifestyles, it is important for individuals to try to live by reducing their share in their lives. Voluntary simplicity means that individuals move away from the complexity of modern life and adopt a more minimal, simple and meaningful understanding of life. This study aims to analyse the concept of voluntary simplicity in depth through Wim Wenders’ film Perfect Days (2023) and open it to discussion in this context. In the research, the effects of voluntary simplicity on the individual and the reflections of this understanding in cinema are examined, and the individual's search for inner peace and his/her stance against social pressures are tried to be understood through cinema. Using deconstruction and document analysis methods, the narrative language, character development and thematic elements in the film are discussed in detail. The film Perfect Days deeply explores how individual simplicity is signified in a cinematic narrative. The analyses question the inner anxieties and loneliness of the character Hirayama (Koji Yakusho) behind his minimalist lifestyle and provide new readings on the complex psychological effects of the pursuit of voluntary simplicity. This study aims to make an original contribution to the limited academic studies in the field by revealing the reflection and effects of voluntary simplicity in cinema.

Spectacular Silence and the Ends of Moviegoing: The Cinema as <i>A Quiet Place</i> (c. 2021)

2025-06-25

Carlo Cenciarelli | Music Sound and the Moving Image

The theatrical release of A Quiet Place Part II (AQPII) in May 2021, following months of cinema closures due to COVID-19, was dubbed a ‘referendum on the future of moviegoing’ … The theatrical release of A Quiet Place Part II (AQPII) in May 2021, following months of cinema closures due to COVID-19, was dubbed a ‘referendum on the future of moviegoing’ (Paramount). The film imagines a post-apocalyptic future where humans must remain silent to survive, and the film-makers were adamant that the much-delayed sequel, just like the first instalment, would have to be experienced in cinemas. Whereas the ‘permanent campaign for moviegoing’ (Acland) historically has tapped into the loudness of cinematic sound, the marketing campaign for AQPII showcased ‘spectacular silence’ instead of ‘spectacular sound’ (Grainge) as its unique selling point. This article argues that the franchise’s reversed sonic economy is part of a broader shift in the meanings and values of the cinema as a place for listening. By zooming in to a specific musical gesture pivotal to the film and its promotion, and examining film trailers, pre-show announcements, and audience surveys, I suggest that the Quiet Place franchise is indicative both of the increasing importance of silence in indexing the specificity of the cinematic experience and of a growing tension between traditional cinemagoing and ideals of sonic control and privatisation that are endemic to the technological interfaces of late capitalism. This article was published open access under a CC BY licence: https://creativecommons.org/licenses/by/4.0/ .

Un vínculo necesario: plataformas de distribución y festivales de cine universitarios en Europa

2025-06-25

Montserrat Jurado Martín | Palabra Clave

Las plataformas de exhibición y distribución de cine lideran actualmente el mercado de exhibición. Los certámenes a través de las plataformas posibilitan la primera valoración profesional en la que los … Las plataformas de exhibición y distribución de cine lideran actualmente el mercado de exhibición. Los certámenes a través de las plataformas posibilitan la primera valoración profesional en la que los estudiantes ponen a prueba las competencias adquiridas, ya que se exponen a la evaluación de expertos en una competición pública. Este trabajo analiza las características de los festivales de cine universitarios europeos, empleando como universo de estudio la base de datos de la plataforma de distribución FilmFreeway. El análisis es cuantitativo para la localización de certámenes, la delimitación de la muestra y la información genérica, y cualitativo para los comités de jurado y la organización de los comités y la premiación. En esta fase, se han empleado entrevistas en profundidad como refuerzo de contraste. Los primeros resultados muestran que son pocos los organizados y dirigidos exclusivamente a universitarios. Son generalistas, internacionales y de cortometrajes. Tienen dos fases de valoración: selección, en la que la organización participa activamente; y calificación, integrada por profesionales de la industria ajena al equipo.

DEAD MEN WALKING

2025-06-24

| Anthem Press eBooks

Black Elegy

2025-06-24

Abimbola Cole Kai-Lewis | Oxford University Press eBooks

Abstract In 2020, The Apollo’s Education Department coordinated school day performances and professional learning sessions spotlighting the life of Florence Mills, an acclaimed Black performer known for her appearances across … Abstract In 2020, The Apollo’s Education Department coordinated school day performances and professional learning sessions spotlighting the life of Florence Mills, an acclaimed Black performer known for her appearances across North America and Europe. Her extensive achievements were chronicled in Renee Watson and Christian Robinson’s book, Harlem’s Little Blackbird: The Story of Florence Mills (2012). Despite her extraordinary accomplishments, there are no existing audio recordings or films of Mills. However, archival photographs, library resources, musical scores, and elegiac songs can be used to investigate Mills’s lasting impact and legacy. In this chapter, I examine hybrid, in-person, and virtual learning models used in my middle school class’s study of Mills. Students opted to title our project “Black Elegy,” an amalgamation of Duke Ellington’s and Constant Lambert’s songs composed in honor of Mills’s life. Our class attended The Apollo’s “Florence Mills: The Queen of Happiness” performance in February 2020. I also participated in the preceding professional learning workshop, “Florence Mills: The Unheard Voice of a Generation,” in January 2020 to learn about Mills prior to launching our study. Between March and June 2021, my class also explored Mills’s life through the New York City Department of Education’s History by Design program, a social studies partnership with cultural institutions including the Apollo Theater and the Museum of the City of New York highlighting historical figures in New York City. I analyze our collective work using Zakiya Adair’s (2013) investigation of Mills’s activism and advocacy and Jayna Brown’s (2008) framework for examining nineteenth- and twentieth-century Black female performers, and demonstrate how Black feminist performance theories influenced our study.

Film and the Second Commandment

2025-06-24

Boaz Hagin | Oxford University Press eBooks

Abstract This chapter examines the widely held belief that following the biblical second commandment, Jews are religiously prohibited from making images. The first section explores the biblical ban and its … Abstract This chapter examines the widely held belief that following the biblical second commandment, Jews are religiously prohibited from making images. The first section explores the biblical ban and its relevance to films such as Steven Spielberg’s Raiders of the Lost Ark (1981) and to film theory, particularly in the contexts of sound studies and documentary films. The second section addresses the modern belief that the ban constitutes a comprehensive prohibition on images (Bilderverbot), rendering Jews “aniconic” or “artless,” and analyzes Spielberg’s semiautobiographical The Fabelmans (2022) as a variation on this trope. Within film studies, the ban has become a potent concept in theories of the culture industry, political aesthetics, and feminism, and it has played a central role in debates surrounding the representation of the Holocaust. Quentin Tarantino’s Inglourious Basterds (2009) is interpreted as an overt fantasy engaging with these debates. The final section examines discourse about film within the Jewish community in Palestine and the early State of Israel. It argues that the second commandment was invoked to challenge notions of Jewish exceptionalism and encourage ties between Jews and non-Jews.

Grounded Machines as Cinéma Trouvé

2025-06-24

| The MIT Press eBooks

A Nursery of Cinema:

2025-06-24

| University of Exeter Press eBooks

Documentary and Unscripted Media

2025-06-23

Daniel Marcus | Routledge eBooks

The German Stage

2025-06-23

Dieter Fuchs | Cambridge University Press eBooks

Seriality

2025-06-23

Thirza Wakefield | Cambridge University Press eBooks

Onstage in the USA

2025-06-23

Tara Stubbs | Cambridge University Press eBooks

Animation through the window: the beautiful and the sublime

2025-06-23

Caroline Case | Routledge eBooks

Poetic Language and Experimental Documentary

2025-06-23

Pablo Frasconi | Routledge eBooks

Editing the Experimental Documentary

2025-06-23

Pablo Frasconi | Routledge eBooks

Nora’s Escape from Spatial Politics and Domestic Entrapment in A Doll’s House

2025-06-22

Subrata Biswas , Abeg Dutta | Erothanatos.

From Tool to Subject: AI's Participation in Film Production

2025-06-22

Tao Xuancheng | Sustainable Development Research

Artificial intelligence (AI) has been applied to a variety of industries, and the industry is no stranger. AI was once considered a supporting actor in areas such as CGI renderings … Artificial intelligence (AI) has been applied to a variety of industries, and the industry is no stranger. AI was once considered a supporting actor in areas such as CGI renderings and modifications. However, now it becomes an active participant at all processes throughout a film. from writing the script to directing, from casting to visual effects and engaging the audience ai has gone from merely assisting, to being a part of the creative process, and in some cases even leading it. This paper examines how AI is transforming the film process and focuses on the shift for AI as more of a subject and less of an object by becoming semi-autonomous with creative collaborations. And then we look at actual applications like A.I generated scripts, machine learning based visual enhancements, virtual actors, and prediction analytics for marketing Also, we think about the philosophy and morals around an AI being involved in something usually made by humans. To give a broad sense of how the rising power of AI is altering the forces of authorship, creation, and efficiency in filmmaking arts. Conclude the study with reflections on how AI will impact filmmaking in the future. And also give advice to human filmmakers on how to cooperate with AI collaboratively.