Acta Universitatis Sapientiae-Film and Media Studies最新文献_第4页

A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation 一个声音与愤怒的故事，象征着一切:阿根廷探戈电影是一种复杂的自我反思创作

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0015

Fátima Chinita

引用次数: 0

The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016) 电影音乐中人声实验在人类/外星人分裂表现中的作用:以《降临》为例(2016)

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0011

N. Medina, M. Kiss

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Circular Causality of Emotions in Moving Pictures 动态画面中情绪的循环因果关系

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0016

M. Deaca

{"title":"Circular Causality of Emotions in Moving Pictures","authors":"M. Deaca","doi":"10.2478/ausfm-2021-0016","DOIUrl":"https://doi.org/10.2478/ausfm-2021-0016","url":null,"abstract":"Abstract In the framework of predictive coding, as explained by Giovanni Pezzulo in his article Why do you fear the bogeyman? An embodied predictive coding model of perceptual inference (2014), humans construct instances of emotions by a double arrow of explanation of stimuli. Top-down cognitive models explain in a predictive fashion the emotional value of stimuli. At the same time, feelings and emotions depend on the perception of internal changes in the body. When confronted with uncertain auditory and visual information, a multimodal internal state assigns more weight to interoceptive information (rather than auditory and visual information) like visceral and autonomic states as hunger or thirst (motivational conditions). In short, an emotional mood can constrain the construction of a particular instance of emotion. This observation suggests that the dynamics of generative processes of Bayesian inference contain a mechanism of bidirectional link between perceptual and cognitive inference and feelings and emotions. In other words, “subjective feeling states and emotions influence perceptual and cognitive inference, which in turn produce new subjective feeling states and emotions” as a self-fulfilling prophecy (Pezzulo 2014, 908). This article focuses on the short introductory scene from Steven Spielberg’s Jaws (1975), claiming that the construction / emergence of the fear and sadness emotions are created out of the circular causal coupling instantiated between cinematic bottom-up mood cues and top-down cognitive explanations.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75826226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Instrumentalization of the Border Zone. Environment and Ideology in the Educational Films Made between 1955 and 1989 by the Hungarian Ministry of Interior’s Film Studio 边区的工具化。匈牙利内政部电影制片厂1955年至1989年间制作的教育片中的环境和意识形态

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0019

L. Strausz

引用次数: 0

The Soundtrack of the Sinister Trailer 险恶预告片的配乐

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0013

Nick Redfern

引用次数: 2

Game of Thrones as a Gothic Horror in Quality Television 《权力的游戏》是一部高质量的哥特式恐怖片

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI: 10.2478/ausfm-2021-0017

Amanda Rutherford, S. Baker

引用次数: 0

Screens of the Picturesque: Aesthetics, Technology, Economy 风景如画的银幕:美学、技术、经济

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-03-01 DOI: 10.2478/ausfm-2021-0003

George Fogarasi

{"title":"Screens of the Picturesque: Aesthetics, Technology, Economy","authors":"George Fogarasi","doi":"10.2478/ausfm-2021-0003","DOIUrl":"https://doi.org/10.2478/ausfm-2021-0003","url":null,"abstract":"Abstract The 18th-century notion of the picturesque is somewhat lesser known as compared to the more celebrated categories of the beautiful and the sublime, even though it may not only help us critically reflect upon modern perceptions of the landscape, but it may also provide us a unique way to link the field of aesthetic speculation with questions of technology and economy. The article will focus on two of the major theoreticians of the picturesque (William Gilpin and Uvedale Price) and will examine their ideas in relation to Edmund Burke’s aesthetics on the one hand, and contemporary tendencies in landscape gardening (as represented by Lancelot “Capability” Brown and Humphry Repton) on the other. Such an investigation may shed light on the multiple shifts in the perception of nature and the sense of naturalness during the long 18th century, as well as on the pictorial and theatrical aspects of landscape design. But examples of the Claude glass, the ha-ha, and Humphry Repton’s Red Books may also indicate the role of technological innovations and economic interests, and thereby the relevancy of the very discourse of the picturesque to more modern or even postmodern artistic, cultural, and medial developments.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74336734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ephemeral Social Media Visuals and Their Picturesque Design: Interaction and User Experience in Instagram Stories 短暂的社交媒体视觉效果及其风景如画的设计:Instagram故事中的交互和用户体验

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-03-01 DOI: 10.2478/ausfm-2021-0010

Balca Arda

{"title":"Ephemeral Social Media Visuals and Their Picturesque Design: Interaction and User Experience in Instagram Stories","authors":"Balca Arda","doi":"10.2478/ausfm-2021-0010","DOIUrl":"https://doi.org/10.2478/ausfm-2021-0010","url":null,"abstract":"Abstract This article examines the temporality of ephemeral visual posts to social media with an emphasis on Instagram stories. Drawing on theories of the spectacle, it is my contention that interaction and user-experience design, as it pertains to social media platforms, highlights the contemporary conditions and motivations in our society of abundant visual consumption. This article investigates what it means for a social media user to attend to such time-related visual experience. Throughout this piece, I critically survey the relationship between ephemeral Instagram stories’ popularity and the high speed temporality of the social media sphere with emphasis on the digital “picturesque.” Perishable daily sharing on social media reflects a contemplative glimpse into a personal lifespan presented as an object of mass appreciation. I examine how ephemerality as a component of design impacts online sociality through the picturesque visual mode. Contemporary boredom and competitive engagement in high-technological communication networks inform how we might direct digital publics to find alternative pathways to sociality.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79284711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“Show the Clichés:” the Appearance of Happiness in Agnès Varda’s Le Bonheur “展示出那些令人不快的东西:”agn<s:1> Varda的《Bonheur》中幸福的出现

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-03-01 DOI: 10.2478/ausfm-2021-0002

Susan Felleman

{"title":"“Show the Clichés:” the Appearance of Happiness in Agnès Varda’s Le Bonheur","authors":"Susan Felleman","doi":"10.2478/ausfm-2021-0002","DOIUrl":"https://doi.org/10.2478/ausfm-2021-0002","url":null,"abstract":"Abstract Le Bonheur, perhaps Agnès Varda’s most beautiful film, is also her most perplexing. The film’s insistently idyllic surface qualities, overtly beautiful imagery, and psychologically impenetrable, improbably content characters mystify and confuse. Of late, feminist scholars have clarified the situation, noting Varda’s incorporation of advertising and pop cultural visual rhetoric to implicate the social forces framing the picture and those insistently “happy” people: more like advertising ciphers than dramatic characters. Varda herself referenced Impressionist painting as a source of the film’s aesthetics. The purposes of this vivid, chromatic intertextual and intermedial source, in relation to the rhetoric of commercial and popular culture, demand attention. Varda studied art history and connected the milieu of Le Bonheur, the Parisian exurbs, their petit-bourgeois and working-class populace, and bucolic leisure, artisanal and industrial settings, to the modernity of 19th-century Impressionism. Le Bonheur uses an Impressionist picturesque dialectically, in relation to a pop contemporaneity, to observe and critique an ideological genealogy of capitalism and its oppression of women.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81876139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger Velázquez，瓦格纳和红骷髅。《美国队长:第一个复仇者》特定场景中的中介性和意义起源

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-03-01 DOI: 10.2478/ausfm-2021-0008

D. Nagy

{"title":"Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger","authors":"D. Nagy","doi":"10.2478/ausfm-2021-0008","DOIUrl":"https://doi.org/10.2478/ausfm-2021-0008","url":null,"abstract":"Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to his plans. During the conversation a portrait is being painted of the Red Skull, but we cannot see his face, only that the artist uses a huge amount of red paint. In the background, excerpts of Wagner’s operas are being played, which is very unusual in a Marvel movie. The question is, should the viewer recognize the diegetic music and notice the possible reference to the painting Las Meninas by Velázquez? How the detection of these intermedial references and the awareness of the act of trespassing media borders would affect the semiotic processes of interpretation? And also, how would the more precise identification of the cited materials change the semiotic modality of intermediality here? The article tries to answer these questions by interpreting the scene and the role of the references in question within the entire film through the prism of intermedial semiotics.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79076484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0