Acta Universitatis Sapientiae-Film and Media Studies最新文献_第6页

Distressed Glamour. Genres and Political-Social Context in Hungarian Cinema of the 1930s and 1940s 陷入困境的魅力。20世纪三四十年代匈牙利电影的类型和政治社会语境

IF 0.1

Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0008

Z. Pápai

{"title":"Distressed Glamour. Genres and Political-Social Context in Hungarian Cinema of the 1930s and 1940s","authors":"Z. Pápai","doi":"10.2478/ausfm-2020-0008","DOIUrl":"https://doi.org/10.2478/ausfm-2020-0008","url":null,"abstract":"Abstract The article focuses on Hungarian films produced between 1939–1944 by examining how they tend to refrain from representing conflicts, and scrutinizing the political as well as social issues. However, directors started to revise this avoidance of conflicts by employing a so-called noir sensibility from the beginning of the Second World War in certain films, especially in “doomed love movies” such as Deadly Spring (Halálos tavasz, 1939), Mountain Girl (A hegyek lánya, 1942), and A Woman Looks Back (Egy assszony visszanéz, 1942), or melodramas, such as At the Crossroads (Keresztúton, 1942), Lent Life (Kölcsönadott élet, 1943), and Black Dawn (Fekete hajnal, 1943). The essay also offers a case study of the banned Hungarian movie Half a Boy (Egy fiúnak a fele, shot in 1943, but only shown in February 1946) by D. Ákos Hamza, which represented and protested against the stigmatization of Jewish people. Half a Boy is an often-cited emblematic film of its era. It is also an enigmatic one: it is a work full of social and political-historical reflections. Its humanistic point of view makes it outstanding in its era, nevertheless it is also rather ambivalent in terms of its orientation of values.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75274583","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

Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s Lolita in Fanfiction 网络环境下的现代经典:纳博科夫《洛丽塔》在同人小说中的叙事变异

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0005

Anastasiia Drozdova, V. Petrov

{"title":"Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s Lolita in Fanfiction","authors":"Anastasiia Drozdova, V. Petrov","doi":"10.2478/ausfm-2020-0005","DOIUrl":"https://doi.org/10.2478/ausfm-2020-0005","url":null,"abstract":"Abstract The main focus of this paper is on the narrative strategy used by fan writers in the process of interpretation of a modern classic. The research is based on the hypothesis that text-interpretation implements the existing yet implicit narrative lines of an original source. The discussion focuses on Vladimir Nabokov’s œuvre represented by the novel Lolita in amateur writers’ communities. The article’s hypothesis is that due to the existence of English and Russian versions of Lolita, fan texts in both corpora differ in the choice of linguistic means, but use similar narrative structures (Greimas). Whenever the narrative scheme is not oversimplified to resemble the model of a mass literature novel, it follows Humbert’s confession scheme in a way the character himself wants the fictional reader to perceive it. If the name of one of the actants is omitted or the two-actant model is expanded, the amateur text is close to the plot of the novel and its auto-citation structure. The novel, devoted to the story about an erroneous interpretation, is open to any mass-media adaptations. The original narrative strategy of Lolita is more exposed through the fan adaptations: the active reader is an obligatory participant in the artistic creation.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84602556","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

Sights and Sounds of Big Data: Ryoji Ikeda’s Immersive Installations 大数据的视觉与听觉:池田良治的沉浸式装置

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0006

Mihály Lakatos

引用次数: 1

Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema 被捕与逮捕:当代电影的中间影像与自我反思的观众

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0003

Hajnal Király

{"title":"Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema","authors":"Hajnal Király","doi":"10.2478/ausfm-2020-0003","DOIUrl":"https://doi.org/10.2478/ausfm-2020-0003","url":null,"abstract":"Abstract The paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85647418","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

The Representation of Women and Female Mobility in Hungarian Films between 1931 and 1944 1931 - 1944年匈牙利电影中女性的表现和女性的流动性

IF 0.1

Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0009

Györgyi Vajdovich

{"title":"The Representation of Women and Female Mobility in Hungarian Films between 1931 and 1944","authors":"Györgyi Vajdovich","doi":"10.2478/ausfm-2020-0009","DOIUrl":"https://doi.org/10.2478/ausfm-2020-0009","url":null,"abstract":"Abstract Györgyi Vajdovich’s article aims to describe the representation of female roles in Hungarian feature films of the period 1931 to 1944. The study is based on the analysis of the database that was created within the framework of the research project The Social History of Hungarian Cinema. Concentrating on the representation of female protagonists, this article first analyses the presence and prevalence of female figures in all Hungarian sound films (up until 2015). Then it narrows the scope of analysis to films produced between 1931 and 1944, and describes the typical professions and social and financial positions of female protagonists, as compared to those of male protagonists. The second half of the text examines the representation of female upward mobility in comedies – showing that according to the popular myths of the era, female upward mobility is principally realized through good marriage, with the narratives of the films rarely presenting the professional success of female protagonists and their possibilities of emancipation. Analysing the narrative patterns and gender roles in the films of the time, the text concludes that the narratives of female ascension, which mostly took form in comedies, reflected the desire of middle-class people to transgress the social and financial boundaries in society. As such, the films served to maintain and strengthen the patriarchal order of the era.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88156385","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

Conflict Types in Hungarian Film History 匈牙利电影史上的冲突类型

IF 0.1

Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2020-10-01 DOI: 10.2478/ausfm-2020-0007

Balázs Varga

{"title":"Conflict Types in Hungarian Film History","authors":"Balázs Varga","doi":"10.2478/ausfm-2020-0007","DOIUrl":"https://doi.org/10.2478/ausfm-2020-0007","url":null,"abstract":"Abstract The article introduces the collective research project entitled The Social History of Hungarian Cinema, 1931–2015, executed by the staff of Film Studies Department Eötvös Loránd University. This data-driven research aims to examine how and why Hungarian films have changed over time. Using the case study of conflict types in the plots of Hungarian films this study discusses the methodological problems of longitudinal explanations of change in Hungarian film history (periodization and dividing film between genre-based film and auteur films/art cinema). Based on the analysis of statistics and trends, the study presents the most important types of conflict in Hungarian film history. With respect to the political turning points and the periodization of Hungarian film history, the article states that each of the three broad periods (1931–1944, 1945–1989, 1990–2015) is characterized by its own distinctive set of prominent conflict types. The pre-1945 era is characterized by a massive number of love conflicts, the socialist period by the highest rate of political conflicts (and the lowest rates of love and crime conflicts), and the post-socialist period by a high rate of crime and generational conflicts. Furthermore, by analysing the connections between conflict types and genres, the study reveals recurring patterns and trends of shorter periods: it shows how the range of conflicts narrowed considerably over the 1970s and discusses the extent to which this is related to the dominance of auteur films in the era.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74644986","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

From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson 从典范到共生。莎莉·波特《探戈课》中的中间感觉

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0013

Judit Pieldner

引用次数: 1

Shakespeare and the Accumulation of Cultural Prestige in Video Games 莎士比亚与电子游戏中文化声望的积累

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0018

A. Nae

引用次数: 2

In-Between Images: Where is the Ground? 中间图像:地面在哪里?

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0014

Andrea Thoma

引用次数: 0

VR as a Narcissistic Medium VR作为一种自恋的媒介

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0021

Á. Bakk

引用次数: 0