Geography teaching has been problematized in recent years and new methodological approaches have been proposed in the light of overcoming traditional teaching methodologies. Aiming to fill a gap in ...the theory that involves the methodologies of geography teaching, this paper seeks to propose the use of film language to understand the concept of territory from the animation "The Lion King". Film language, added to the understanding of the concept of territory, presents itself as a possibility to the teaching of geography, as it is able to bring the conceptual - which often seems distant from the students - closer to concrete reality. Thus, it is believed that this proposal is capable of providing the development of skills and competences regarding this learning field, mainly because it allows the theoretical complexity of the concept territory to be unveiled from an interactive and pleasant language such as language. Even though it is easily accessible, it still has some obstacles in the field of education, especially with regard to planning difficulties.
In the article, the language of some Uzbek films shot during the period of independence was selected as a research object and examined from the aspect of morphological norms. During the inspection, ...it was found that the language of the films also needs to be checked in terms of morphological standards. Both normative and non-normative cases of morphological means were observed in the language of motion pictures. The conclusions based on the observations were presented in diagrams and tables. It was noted that the morphological norm, like other literary language norms, is important in the formation and development of any literary language. It was proven based on examples that the language of movies plays a leading role in this. Conclusions were given that the future elimination of the shortcomings indicated in the examples can contribute to the development of literary language.
► Suggests that the way a film ‘speaks’ to its audience helps shape the place image. ► Shows the relationship of film language, tourists’ imaginaries & place reconstruction. ► Introduces film ...language and its interpretation in a Chinese setting to the literature.
The link between films and destination promotion has been well established. Less well examined is the role of ‘film language’ in the subsequent reconstruction of tourist destinations. This paper suggests that the way a film ‘speaks’ to its audience helps both shape tourists’ imaginaries of place, and the ways a place is reconstructed to meet tourist perceptions. For film tourism, ‘film language’ acts as a guidebook describing first the spaces where the film plots happened, second, shaping images of the places in an audience’s mind, and third, serving as a blueprint for the physical reconstruction of spaces to replicate the place representation shown in the film. This both meets and reinforces the perceptions held by audiences. Therefore, this paper suggests interpretation of ‘film language’ is a key to the promotion of destination image and transformation of a place. Based on the case study of the Chinese film Hibiscus Town (Xie Jin, 1986), some key parts of its ‘film language’ are interpreted with reference to the visual, and a relationship between film language and place reconstruction is discussed.
Las relaciones entre fotografía y cine se ubican en una intersección interdisciplinar de los lenguajes artísticos de ambos medios, a la vez, opuestos y complementarios. En este trabajo, nos acercamos ...a la fotografía como recurso fílmico vinculado a la detención del tiempo y la creación de la memoria individual y colectiva en el discurso cinematográfico. En concreto, se examina la vinculación entre fotografía y cine en la obra de Wes Anderson, tomando su última película, La Crónica Francesa (2021), como caso de estudio. A partir de los trabajos previos de otros autores se ha elaborado una plantilla de análisis, la cual nos ha permitido distinguir la consideración de la fotografía como esencia constitutiva del filme a través de la detención de los elementos profílmicos de la puesta en escena. Del análisis se extrae que el empleo de la fotografía es un recurso narrativo frecuente en el cine de Wes Anderson como parte de las puestas en abismo y la autoconsciencia de la representación, a la vez que presenta implicaciones semióticas en relación con la memoria y el paso del tiempo.
The impact of French film critic André Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his ...lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with André Bazin offers an entirely original interpretation of major concepts from Bazin’s legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin’s methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.
Since the 1920’s there have been two ways of considering film editing: first, as a basic set of rules of putting fragments of film together (Lev Kuleshov) and, second, film editing as means of film ...directing (Dziga Vertov, Vsevolod Pudovkin, Sergei Eisenstein, etc.). The absence of a systematic approach to the differentiation of editing tools, as well as the lack of any rational experience perception in the interpretation of cinema art lead to the point where, to this day, there is no clear system of teaching film editing. The article offers a way of perceiving film editing as theoretically sound, based on neurophysiological and psychological researches of the film-goers’ perception of film art, forming, as such, an ever evolving hierarchical system. The new classification creates the opportunity to set up priorities, both in the film editing teaching process as well as in the film directing practice. It also sets a strict division of the editing phenomenon and breaks it down into forms, types, laws, rules and techniques. Such way of viewing film editing laid the foundation of the study program for the discipline “Theory and Practice of Film Editing” in the Russian State Institute of Performing Arts and, in the last five years, it has been producing positive results in the students’ practical assimilation of the editing language.
The article is devoted to the problem of national cinematograph in the conditions of the dominance of mass cinema products at the market, especially the American film industry. Paradigms and criteria ...in the definition of national (ethnic) cinema are presented. The aim of the article is to confirm its working hypothesis, which is that the development of national cinematograph becomes significant only when, reproducing by filming their own narratives, imbued with national mind-set, the authors create cinematographic artifacts with their own manner, style, language, which is able to develop and enrich the film language. The descriptive and analytical methodology used in conjunction with the historical and genetic method allows us to come to certain conclusions. These findings consist in the position that such national cinematograph becomes pervasive, which is permeated by the national mind-set and at the same time responds to both ethnic and world cultural challenges, creates national narratives that due to their relevance become meta-ethnic narratives. An analysis of the existing definitions and properties of what should be understood as national cinematograph allows one to discuss the topic of what the essence of national cinema is: in the local and regional desire to establish itself as having a right to exist, or in the meta-ethnic aspect, which allows national cinema to become a direction in cinema. Thus, the necessary property of national cinematograph for its equal existence among others, the author singles out such a feature as the situation of passionarity in which the nation lives. Its mind-set creates its own national narrative, and therefore its own cinema language. The article is the part of a fundamental study on the theory of cinema, in which the main points are categories such as "film narrative", "conventionality of cinematograph" and "film language".
Once digitization had been standardized in the process of audiovisual creation, there has been an improvement over the last decades in the efficiency of storage, coding and transfer systems, an ...integration of editing and compositing procedures, an increased potential for real-time image and sound manipulation and an increase in the mediation of software and its interface in creative processes. On the basis of both a representative work – Chelovek S Kino-Apparatom (Man with a Movie Camera, Dziga Vertov, 1929) − and the considerations of Lev Manovich, one of the leading theorists on the subject, this essay is intended as a starting point for addressing issues related to the mutations produced in the traditional concept of film editing as a consequence of the digitization process described above. For this purpose, the authors summarize the results of practical research based on the real-time filmic reinterpretation of the film’s editing.
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