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Acta Universitatis Sapientiae-Film and Media Studies最新文献

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German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches 荣格主义与后荣格主义视角下的德国电影表现主义
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0003
Christina Stojanova
{"title":"German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches","authors":"Christina Stojanova","doi":"10.2478/ausfm-2019-0003","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0003","url":null,"abstract":"Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924).","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"29 1","pages":"35 - 58"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82042717","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
The Experiences of Women Professionals in the Film Industry in Turkey: A Gender-Based Study 土耳其电影行业女性专业人员的经验:一项基于性别的研究
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0011
Hasan Gürkan
{"title":"The Experiences of Women Professionals in the Film Industry in Turkey: A Gender-Based Study","authors":"Hasan Gürkan","doi":"10.2478/ausfm-2019-0011","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0011","url":null,"abstract":"Abstract The article is based on 20 in-depth interviews with women professionals conducted for a more comprehensive study focusing on gender roles within the film and television industry in Turkey. This study examines the career possibilities for women, the experience of being a woman working in television and cinema, and the working environment, including work-life balance issues, experiences of discrimination and experiences of sexism. The hypothesis of this study is that film industry is male-dominated, and women have to struggle to be able to prove themselves in this industry in the 21st century in Turkey, where the position of women is made even more difficult by the gender role codes and the structure of Turkish society.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"19 1","pages":"205 - 219"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79118145","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: 8
Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices 阴影照亮。从当代电影制作实践的角度理解德国表现主义电影
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0006
Gerald Saul, Chrystene Ells
{"title":"Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices","authors":"Gerald Saul, Chrystene Ells","doi":"10.2478/ausfm-2019-0006","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0006","url":null,"abstract":"Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"120 1","pages":"103 - 126"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77149704","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: 2
Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight 现代主义、中世纪主义与表现主义道德剧:乔治·凯泽的《从早到晚》
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0005
Leanne Groeneveld
{"title":"Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight","authors":"Leanne Groeneveld","doi":"10.2478/ausfm-2019-0005","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0005","url":null,"abstract":"Abstract This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"90 1","pages":"101 - 81"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77903321","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
Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities 去年在穆赫兰道:模糊的框架和框架的模糊性
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0007
Steven Willemsen, M. Kiss
{"title":"Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities","authors":"Steven Willemsen, M. Kiss","doi":"10.2478/ausfm-2019-0007","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0007","url":null,"abstract":"Abstract This article proposes a cognitive-narratological perspective on David Lynch’s Mulholland Drive (2001) and the numerous contrasting interpretations that this film has generated. Rather than offering an(other) interpretation of the film, we aim to investigate some of the reasons why Lynch’s highly complex narrative has gained a cult – if not classic – status in recent film history. To explain the striking variety of (often conflicting) interpretations and responses that the film has evoked, we analyse its complex narrative in terms of its cognitive effects. Our hypothesis is that part of Mulholland Drive’s attractiveness arises from a cognitive oscillation that the film allows between profoundly differing, but potentially equally valid interpretive framings of its enigmatic story: as a perplexing but enticing puzzle, sustained by (post-)classical cues in its narration, and as an art-cinematic experience that builds on elements from experimental, surrealist, or other film- and art-historical traditions. The urge to narrativize Mulholland Drive, we argue, is driven by a distinct cognitive hesitation between these conflicting arrays of meaning making. As such, the film has been trailblazing with regards to contemporary cinema, setting stage for the current trend of what critics and scholars have called complex cinema or puzzle films.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"1 1","pages":"129 - 152"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82980426","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
Haptic Transgression. The Horror of Materiality in Kurt Kren’s Films 触觉的过犯。库尔特·克伦电影中的物质恐怖
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0008
Bori Máté
{"title":"Haptic Transgression. The Horror of Materiality in Kurt Kren’s Films","authors":"Bori Máté","doi":"10.2478/ausfm-2019-0008","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0008","url":null,"abstract":"Abstract The article investigates two seemingly conflicting critical approaches of haptic and transgressive cinema, which emerged along with the corporeal turn in film studies, in the late 1990s and early 2000s. While haptics operates with undistinguishable figures and demands extreme closeness and an active caressing gaze, transgression is usually seen from a distance and subverts the social, political and ethical order. The paper attempts an examination of the Austrian avant-garde filmmaker Kurt Kren’s Actionist films and enlightens how these two opposing strategies can be present together. Giving a detailed analysis of the films, the article describes an expanded definition of Linda Williams’s body genres, in order to create a new category of horror: the horror of materiality.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"6 1","pages":"153 - 172"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90070852","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
German Expressionism in Context: the First World War and the European Avant-Garde 语境中的德国表现主义:第一次世界大战与欧洲先锋派
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/AUSFM-2019-0002
I. Germani
{"title":"German Expressionism in Context: the First World War and the European Avant-Garde","authors":"I. Germani","doi":"10.2478/AUSFM-2019-0002","DOIUrl":"https://doi.org/10.2478/AUSFM-2019-0002","url":null,"abstract":"Abstract German Expressionism, although often viewed as a uniquely German phenomenon, was part of a broader crisis affecting the European avant-garde at the time of the First World War. The experience of modernity, so proudly displayed at events like the Universal Exposition of 1900, inspired both hopes and fears which were reflected in the works of artists, writers and musicians throughout Europe. The outbreak of the war was welcomed by many exponents of the avant-garde as the cathartic crisis they had anticipated. The letters and diaries of artists who hastened to enlist, however, reflected their rapid disillusionment. The war had the effect of severing cultural ties that had been forged prior to 1914. This did not prevent a parallel process of cultural evolution on both sides of the conflict. Those who survived the war, of diverse nationalities and artistic affiliations, produced works reflecting a common perception that modern civilization had resulted in humanity becoming a slave to its own machines.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"46 1","pages":"11 - 34"},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79727424","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
”Film Studies Always Need the Wider Approach of Intermediality.” “电影研究总是需要更广泛的中间性方法。”
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0013
Ágnes Pethő
{"title":"”Film Studies Always Need the Wider Approach of Intermediality.”","authors":"Ágnes Pethő","doi":"10.1515/ausfm-2018-0013","DOIUrl":"https://doi.org/10.1515/ausfm-2018-0013","url":null,"abstract":"","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"365 1","pages":"229 - 246"},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74013520","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: 2
Three Interviews with Scholars who Defined the Field 对定义该领域的学者的三次采访
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0010
Ágnes Pethő
{"title":"Three Interviews with Scholars who Defined the Field","authors":"Ágnes Pethő","doi":"10.1515/ausfm-2018-0010","DOIUrl":"https://doi.org/10.1515/ausfm-2018-0010","url":null,"abstract":"Beginning from the 1990s, intermediality has not only been a highly productive concept that generated a great deal of analyses and theoretical writings that contributed to the understanding of media hybridity and interart connections, but has also proved to be a somewhat nebulous term that semiotics and media studies repeatedly attempted to define and categorize once and for all, or quite the contrary, that was “opened up” through different philosophical approaches. Moreover, our immersive experiences within an environment dominated by digital media, as well as discourses regarding media archaeology, convergence, the interconnectedness of humans and technology, art and life, etc., continually shift our vantage points and challenge us to rethink intermedia or interart relations in the context of the complex new relationships that define our contemporary culture. The aim of this series of in-depth interviews is to perform a kind of informal “archaeology” of researches connected to questions of intermediality through presenting trajectories of thought that lead to the diversity in the state of the art in intermediality studies today. In each of these interviews, I would like to present different methodologies and topical issues that have been addressed by researchers working in various places of the world. I have asked three of the most renowned scholars (Lars Elleström, Lúcia Nagib and Joachim Paech), whose works have had a wide-reaching impact in the field, to explain what drew them to the study of intermedial phenomena in the first place and how they see the relevance of intermediality and its most important questions today. I also wanted to find out how their different cultural or theoretical backgrounds have informed their work.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"38 1","pages":"189 - 189"},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76343659","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
On the Role of Diegetic Electronic Screens in Contemporary European Films 论叙事电子屏幕在当代欧洲电影中的作用
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0005
A. Virginás
{"title":"On the Role of Diegetic Electronic Screens in Contemporary European Films","authors":"A. Virginás","doi":"10.1515/ausfm-2018-0005","DOIUrl":"https://doi.org/10.1515/ausfm-2018-0005","url":null,"abstract":"Abstract Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (Odin 2016), while focusing, in a hypnotic manner, the viewers’ attention (Chateau 2016) on traumatic memories related to usually female characters, and consequently to the collectivities they represent in the respective diegetic worlds. These electronic screens force the viewer to constantly shift between the actual cinematic screen conventions and the mental screen (Odin 2016) of smaller formats, training the film viewers for experiences of expanded and fragmented cinema (Gaudreault and Marion 2015).","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":"86 1","pages":"102 - 87"},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90528723","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: 2
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