Acta Universitatis Sapientiae-Film and Media Studies最新文献_第9页

Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films 感知历史。论东欧原片中特定噪声的使用

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0008

Melinda Blos-Jáni

引用次数: 1

An Uncanny Cinema, a Cinema of the Uncanny. The Trope of the Doll in the Films of Manoel de Oliveira 怪诞电影，怪诞电影。马诺埃尔·德·奥利维拉电影中的玩偶比喻

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0002

Hajnal Király

引用次数: 1

A Good Concept Should Be both Very Concrete and Very Abstract.” 一个好的概念应该既具体又抽象。”

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0011

Ágnes Pethő

引用次数: 1

”Let Man Remain Dead:” The Posthuman Ecology of Tale of Tales 《让人类继续死亡:故事中的故事的后人类生态学》

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0003

Francesco Sticchi

引用次数: 0

Gestural Intermediality in Jean-Luc Godard’s First Name: Carmen (1983) 手势Intermediality让-吕克·戈达尔的名字:卡门(1983)

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0007

F. Giraud

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引用次数: 0

The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi’s Films 软禁中的摄像机。贾法尔·帕纳西电影中的非电影策略

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0006

Judit Pieldner

{"title":"The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi’s Films","authors":"Judit Pieldner","doi":"10.1515/ausfm-2018-0006","DOIUrl":"https://doi.org/10.1515/ausfm-2018-0006","url":null,"abstract":"Abstract In close intratextual connection with earlier pieces of Jafar Panahi’s oeuvre, pre-eminently The Mirror (Ayneh, 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film (In film nist, Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain (Pardeh, Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the “real,” defying the limitations of filmmaking in astounding ways. The paper addresses the issue of non-cinema, pertaining to those instances of cinematic “impurity” in which “the medium disregards its own limits in order to politically interfere with the other arts and life itself” (Nagib 2016, 132). Panahi’s overtly confrontational (non-)cinematic discourse is an eminent example of “accented cinema” (Naficy 2001). His artisanal and secret use of the camera in deterritorialized conditions and extreme limitations as regards profilmic space – house arrest, fake taxi interior – gives way for multilayered reflexivity, incorporating non-actorial presence, performative self-filming and theatricality as subversive gestures, with a special emphasis on the off-screen and remediated video-orality performed in front of, or directly addressed to the camera. The paper explores the ways in which the filmmaker’s tactics become powerful gestures of “politicized immediacy” (Naficy 2001, 6) that call for the (inter)medial as an also indispensably political act ((Schröter 2010).","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85129625","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 Use of Other Media within Film as a Passage to Material Reality.” “在电影中使用其他媒介作为通往物质现实的通道”。

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/AUSFM-2018-0012

Ágnes Pethő

引用次数: 0

Roy Andersson’s Tableau Aesthetic: A Cinematic Social Space Between Painting and Theatre 罗伊·安德森的画面美学:绘画与戏剧之间的电影社会空间

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0004

Fátima Chinita

{"title":"Roy Andersson’s Tableau Aesthetic: A Cinematic Social Space Between Painting and Theatre","authors":"Fátima Chinita","doi":"10.1515/ausfm-2018-0004","DOIUrl":"https://doi.org/10.1515/ausfm-2018-0004","url":null,"abstract":"Abstract The article examines three films by Roy Andersson, Songs from the Second Floor (Sånger från andra våningen, 2000), You, the Living (Du levande, 2007), and A Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88149364","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

Tableaux Vivants, Early Cinema, and Beauty-as-Attraction 真人秀、早期电影和美即吸引力

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0001

Dan Wiegand

引用次数: 1

Approaches to Studying Intermediality in Contemporary Cinema 当代电影的中间性研究方法

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Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2018-10-01 DOI: 10.1515/ausfm-2018-0009

Ágnes Pethő

引用次数: 5