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Circular Causality of Emotions in Moving Pictures Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Mircea Valeriu Deaca
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
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Silence as a Metaphor in the Polish Radio Reportages during the COVID-19 Pandemic Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Aneta Wójciszyn-Wasil
Abstract Silence became one of the important aspects of the lockdown during the COVID-19 pandemic. This article discusses how this social experience was presented in radio reportages, for which silence is not only a topic but also an element of the construction of the message. The reports of the Polish Radio, produced in lockdown conditions, document silence in a double perspective: the transformation
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The Role of Experimenting with the Human Voice in Film Music in the Representation of the Human/Alien Divide: the Case of Arrival (2016) Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Nicolás Medina,Miklós Kiss
Abstract This article focuses on the musical dimension of experimentation in the creative space of science fiction film, concerning its uncanny, new and fantastic places, and otherworldly encounters within fictional, but possible worlds. The aim is to consider the function and potential of the audible – to examine how sound is used in the filmic exploration of the boundaries between the human and the
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Game of Thrones as a Gothic Horror in Quality Television Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Amanda Rutherford,Sarah Baker
Abstract Quality television at its heart is designed to reward sustained viewing and involvement on the part of the audience. It has distinctive visual styles, serial characters and storylines and a filmic quality, all of which is evident in Game of Thrones (2011–2019). This article discusses how the scale and cinematic production values of quality television, adds value to the Game of Thrones series
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Non-Normative Gender Performances Fat Video Game Characters Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Agata Waszkiewicz
Abstract While video games unquestionably became more diverse and inclusive in the past decade, there is still a striking underrepresentation of characters whose bodies do not conform to the heterosexist concept of normativity, including those perceived as fat. My article begins with the introduction of fat studies as the interdisciplinary field concerned with the ways media construct fat people as
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Body, Telephone, Voice: Black Christmas (1974) and Monstrous Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Morten Feldtfos Thomsen
Abstract This article investigates the role of the telephone as both an engine of suspense and a metaphorical double of cinema in Black Christmas directed by Bob Clark (1974). Employing Michel Chion’s concept of acousmatic voice, the article first explores the role of the telephone in creating both narrative suspense and diegetic cohesion. It then investigates how the film implicitly establishes a
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Considering Eye-tracking as a Validation Tool in Cinema Research Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Giorgos Dimitriadis
Abstract The use of eye-tracking in data collection, when accompanied by the proper research questions and methodology, is a powerful tool that may provide invaluable insights into the way viewers perceive and experience movies. Film theory can use eye-tracking to test and verify research hypotheses not only with unprecedented accuracy, but also with the ability to address a significant variety of
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A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Fátima Chinita
Abstract This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining
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The Soundtrack of the Sinister Trailer Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-11-01 Nick Redfern
Abstract In this article, I analyse the soundtrack of the green band trailer for Sinister (Scott Derrickson, 2012), combining quantitative methods to analyse the soundtrack with formal analysis. I show that, even though Sinister is a narrative about a demon who lives in images, the horror in the soundtrack of this trailer is articulated through the sound design. I describe the structure of the soundtrack
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Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Ioannis Paraskevopoulos
Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis
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Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Dániel Nagy
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
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“Show the Clichés:” the Appearance of Happiness in Agnès Varda’s Le Bonheur Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Susan Felleman
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
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Voiceless Screams: Pictorialism as Narrative Strategy in Horror Silent Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Delia Enyedi
Abstract As a complementary condition to narrative, the notion of pictorialism in film is rooted in the first decades of the medium. In their quest to demonstrate the capturing and restoring of images with various devices, early filmmakers selected views with pictorial qualities in the long-standing tradition of painting, transferring them on film in the form of non-narrative shots. The evolution of
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Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Ivo Blom
Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special
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Ephemeral Social Media Visuals and Their Picturesque Design: Interaction and User Experience in Instagram Stories Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Balca Arda
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
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Screens of the Picturesque: Aesthetics, Technology, Economy Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 György Fogarasi
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
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Decoding Tableaux Vivants: the Metareferential Potential of Painterly References in Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Cristian Eduard Drăgan
Abstract The article focuses on the intermedial relationship between cinema and painting, viewed as a self-referential process, and tries to determine various ways in which this type of signifying process can be used to “encode” various messages (within the work itself), or become an integral part of this (meta)communicative operation. Starting from a broad definition of intermedial references and
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The Tableau Vivant and Social Media Culture Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Maria Männig
Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival
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Screening Landscapes: Film between the Picturesque and the Painterly Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2021-03-01 Steven Jacobs
Abstract Inherently connected to movement and to a sequential spatial experience in time, the picturesque has been considered as a precursor of the cinematic. In addition, the idea of the picturesque is closely connected to Heinrich Wölfflin’s notion of das Malerische or “the painterly,” which stands for a dynamic style of painting characterized by qualities of colour, stroke, and texture rather than
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The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Zoltán Szabó
Abstract The link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question
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Angry Old Men in Post-Crisis European Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 György Kalmár
Abstract The paper explores the representation of ageing white men in 21st-century European art cinema in the socio-cultural context of the series of crises that European societies had to face in the first decades of the new millennium. In Europe ageing is a growing concern, which already influences economic productivity and further endangers the welfare system. Ageing white men, who used to belong
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Distressed Glamour. Genres and Political-Social Context in Hungarian Cinema of the 1930s and 1940s Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Zsolt Pápai
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”
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Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Hajnal Király
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
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Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s Lolita in Fanfiction Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Anastasiia Drozdova,Vladimir Petrov
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
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Sights and Sounds of Big Data: Ryoji Ikeda’s Immersive Installations Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Mihály Lakatos
Abstract The Japanese multimedia artist Ryoji Ikeda’s work can be interpreted as a contact between mediums, but also as a contact between disciplines. Most of his video installations are based on concepts borrowed from the field of mathematics, physics or information technology. In this paper I will examine Ikeda’s audiovisual installations by presenting these multimedial installations as possible
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The Representation of Women and Female Mobility in Hungarian Films between 1931 and 1944 Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2020-10-01 Györgyi Vajdovich
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
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VR as a Narcissistic Medium Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Ágnes Karolina Bakk
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From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Judit Pieldner
Abstract Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the
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Performativity and Worldmaking Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Ágnes Karolina Bakk
The VR installation Hamlet Encounters is part of a larger project in which we try to find out what we can do with new technologies in live performances. In the case of Hamlet Encounters we are experimenting with virtual reality and motion capture. We try to combine these technologies, wondering what we can do with these and what these can do with us. In our practice as research project we primarily
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Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Andrea Virginás
Abstract The paper discusses pertinent aspects of the screen as a device of framing and re-ordering. Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström’s extracommunicational
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In-Betweenness and Interactional Presence in Adrian Sitaru’s VR Play, Illegitimate Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Otília Ármeán
Abstract This paper will present the role of the loops and the peculiarities of the mixed reality experience in the case of the performance of Illegitimate (stage adaptation by Adrian Sitaru, based on an original text by Adrian Sitaru and Alina Grigore). The author argues that the loops, defined by Manovich as “a new narrative form appropriate for the computer age” are also the key for the possible
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Shakespeare and the Accumulation of Cultural Prestige in Video Games Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Andrei Nae
Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content
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Intermediality of Screens in Post-Media Assemblages Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Charu Maithani
Abstract In contemporary artworks of so-called post-media assemblage, screens can be argued to emphasize, interconnect and rearticulate relationships between various parts in various modalities of image-making and display. They can be understood to produce gesturality that maintains conditions of mediality, which is the sustenance of relations between different parts of the media ensemble. This paper
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Sending Shivers Down the Spine. VR Productions as Seamed Media Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Ágnes Karolina Bakk
Abstract According to Rebecca Rouse’s concept of “media of attraction” (2016), the mediums of virtual reality have four characteristics: they are participatory, interdisciplinary, unassimilated and seamed. The author’s hypothesis is that even though 360-degree films and virtual reality experiences as seamed mediums are remediating the medium of film, they have the characteristics of the medium of live
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In-Between Images: Where is the Ground? Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-10-01 Andrea Thoma
Abstract Joan Jonas’s large survey exhibition at Tate Modern (2018) highlighted the contemporary relevance of this pioneer of performance art in her juxtapositions of analogue and virtual methods. Her process often relies on a ground or stage where physical remnants of her performances are tangible. Drawing from these insights and exploring figure-ground relations through a selection of works by various
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Haptic Transgression. The Horror of Materiality in Kurt Kren’s Films Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Bori Máté
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
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German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Christina Stojanova
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
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The Experiences of Women Professionals in the Film Industry in Turkey: A Gender-Based Study Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Hasan Gürkan
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
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Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Gerald Saul, Chrystene Ells
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
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From Weimar to Winnipeg: German Expressionism and Guy Maddin Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Andrew Burke
Abstract The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to
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Rhythms of Images and Sounds in Two Films by Robert Bresson Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Luíza Alvim
Abstract Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson’s films as examples of the style centred “parametric mode of narration.” More than that, after Jean-Louis Provoyeur (2003)
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Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Leanne Groeneveld
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
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Human-Alien Encounters in Science Fiction: A Postcolonial Perspective Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Borbála Bökös
Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993)
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German Expressionism in Context: the First World War and the European Avant-Garde Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Ian Germani
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
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Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2019-08-01 Steven Willemsen, Miklós Kiss
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
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”Film Studies Always Need the Wider Approach of Intermediality.” Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Ágnes Pethő
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”The Use of Other Media within Film as a Passage to Material Reality.” Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Ágnes Pethő
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”Let Man Remain Dead:” The Posthuman Ecology of Tale of Tales Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Francesco Sticchi
Abstract In this essay I analyse Matteo Garrone’s Tale of Tales (2015) within the perspective of embodied cognition. I consider film experience as an affective-conceptual phenomenon based on the viewer’s embodiment of the visual structures. Baruch Spinoza stands at the foundation of my analytical approach since his thought was based on the absolute parallelism between the body and the mind. This paradigm
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Approaches to Studying Intermediality in Contemporary Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Ágnes Pethő
Abstract The article attempts a brief overview and evaluation of the main theoretical approaches that have emerged in the study of cinematic intermediality in the last decades since intermediality has become an established research term in media studies. It distinguishes three major paradigms in theorizing intermedia phenomena and outlines some of the directions of change in the intermedial strategies
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Three Interviews with Scholars who Defined the Field Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Ágnes Pethő
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
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An Uncanny Cinema, a Cinema of the Uncanny. The Trope of the Doll in the Films of Manoel de Oliveira Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Hajnal Király
Abstract I argue that the trope of the doll, recurrent throughout the films of Manoel de Oliveira, is a visual figure that beyond narrative becomes a discourse on modernity and modernism, stillness and movement, life and death. Accordingly, I propose an overview of occurences of dolls and of “dollness” throughout the work of Oliveira – from Aniki Bobó (1942) to The Strange Case of Angelica (2010) –
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On the Role of Diegetic Electronic Screens in Contemporary European Films Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Andrea Virginás
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
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Gestural Intermediality in Jean-Luc Godard’s First Name: Carmen (1983) Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 François Giraud
Abstract Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings
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The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi’s Films Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Judit Pieldner
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
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A Good Concept Should Be both Very Concrete and Very Abstract.” Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Ágnes Pethő
You are Professor of Comparative Literature at the Linnaeus University in Sweden with an impressive research output, comprising several books, edited books, articles and book chapters written both in English and Swedish, some also translated into Portuguese and several other languages (listed in detail on the webpage of the university: https://lnu.se/en/staff/lars.ellestrom/). Besides several important
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Tableaux Vivants, Early Cinema, and Beauty-as-Attraction Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Daniel Wiegand
Abstract This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates processes of intermedial exchange not only at the level of form but also at the level of modes of address and reception. More specifically, the study is concerned with how bourgeois notions of beauty were transferred to the film image
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Roy Andersson’s Tableau Aesthetic: A Cinematic Social Space Between Painting and Theatre Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2018-10-01 Fátima Chinita
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
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Film and Media as a Site for Memory in Contemporary Art Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Domingo Martinez Rosario
Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many
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The Great War: Cinema, Propaganda, and The Emancipation of Film Language Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Christina Stojanova
Abstract The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of
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The Flux of Transmigrant Identities in Thomas Arslan’s Brothers and Sisters Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Anna Bátori
Abstract The paper investigates Brothers and Sisters (Geschwister-Kardeşler, 1995), the first piece of Thomas Arslan’s Berlin-trilogy. While putting the film into the socio-historical context of the newly united German Republic, the study aims to highlight the characters’ struggle and constant shift between their Turkish and German identity. Through the narrative and textual analysis of Brothers and