Nordic Genre Film Gustafsson, Tommy; Kääpä, Pietari; Hakola, Outi ...
05/2015
eBook, Book
A transnational comparative approach to contemporary popular Nordic genre film. Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It ...discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia to high concept 'video generation' productions such as Iron Sky . Other contributions focus on road movies, the horror film, autobiographical films, historical epics and pornography. These are contextualized by discussion of their position in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, the book combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as comes to production, distribution and reception of popular contemporary genre film.
Contemporary Disney Animation: Genre, Gender and Hollywood is the first in-depth study of Disney's latest animated output from the perspective of genre theory. Analysing a decade in Disney's history ...(2008-2018), Benhamou examines the multifaceted interactions between animated films, Disney properties such as Pixar and Marvel, and popular genres including the romantic comedy, the superhero film and the cop buddy film. Through this extensive critical lens, combined with a focus on gender, she provides illuminating and original insights on films such as Tangled, Frozen and Moana. Informed by wider discourses on contemporary Hollywood and post-feminism, this book challenges conventional approaches to Disney, and foregrounds the importance of animation in understandings of film genres.
Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films ...documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post-Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator's typical denial or partial confession, this extraordinary form of "duel" documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment. Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors' moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag's analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator.
The monograph summarizes the results of scientific research by leading specialists of the Kharkiv State Academy of Culture in the field of cultural studies and art history. The first section of the ...monograph "Applied cultural studies" highlights the modern achievements of scientists regarding the content of complex processes of culturation and acculturation as key trends in the formation of the personality culture of modern youth, identifies the features of current cultural practices and the newest means of culture creation, reveals their possibilities for the prevention of post-war social alienation. The results of the study of visual frames of the Russian-Ukrainian war, which combined the stereotypes of media coverage of Russian aggression with the mental features of traditional Ukrainian culture, are original. The second section of the monograph "Actual problems of modern art history" highlights the historical transformations of art-oriental studies, film education and film art, features of the formation of auteur theater schools in Ukraine. The introduction into scientific circulation of unique biographical and factual information about little-known aspects of the development of various types of art is of indisputable value. The monograph is intended for scientists, students, graduate students, teachers who are interested in the problems and directions of development of Ukrainian humanitarian studies, cultural studies and art studies.
Horror is one of the most enduringly popular genres in cinema. The term “horror film" was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, ...and supernatural and horrific themes have been popular with American audiences since the emergence of novelty kinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term “horror film." Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since.
Questo volume fa seguito al International Festival Japan Contemporary Arts in Venice, The Aesthetics of Emptiness, organizzato nel 2022 dal Conservatorio di Musica Benedetto Marcello, dal ...Dipartimento di Studi sull’Asia e sull’Africa Mediterranea dell’Università Ca’ Foscari e dall’Accademia di Belle Arti di Venezia. La struttura del volume è pensata per far rivivere al lettore l’esperienza del Festival, anche attraverso contenuti multimediali, e condurlo ad approfondire alcuni dei temi emersi. Questo lavoro – fatto di suoni, silenzi, vuoti, pieni, presenze, assenze – è dedicato alla memoria di Bonaventura Ruperti.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit "a NULL"www.luminosoa.org to learn ...more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.
Leaning on the notions of transnationalism of cinema or Cinema of Small States, this article sets out to evaluate early cinema in the Northwestern Krai of the late 1800s–early 1900s Russian Empire ...and the region’s largest city, Vilnius, thematically, rather than chronologically, through the layers of the formation of film culture and the transformation of cinema into an aesthetic object. Such an approach presents a culturally new possibility of finding commonalities, allowing one to see early cinema in the provinces not necessarily as an always-late phenomenon that highlights the provinciality of the provinces, but on the contrary, as part of the overall European film tradition. This is argued from several aspects. Firstly, by showing how the perception of cinema has changed (and how this change coincided with Western trends) from cinema of attractions to narrative cinema; and secondly, by identifying changes in the repertoire of cinemas and in the established preferences of the early cinema audiences.
