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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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”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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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
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Paradoxes of Visibility Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 László Tarnay
Abstract The paper investigates two possible critical arguments following the pictorial turn. The first is formulated within ocularcentrism, the dominance of sight, and starts with the right to visibility as a general principle that governs today’s digital culture but gets twisted in special cases like the Auschwitz photos of the Shoa, the Abu Ghraib prison videos, or recently the website called Yolocaust
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The Postcolonial Self and the Other in Béla Tarr’s Werckmeister Harmonies Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Lucian Tion
Abstract This work sets off to offer a polemical response to postcolonialist theories advanced by Homi Bhabha in his seminal work The Location of Culture, particularly to Bhabha’s famous notions of ambivalence and mimicry purportedly used as methods of struggle against colonialism. Reading Béla Tarr’s film Werckmeister Harmonies (Werckmeister harmóniák, 2000) as an allegory for the colonization of
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Multiple Revolutions. Remediating and Re-enacting the Romanian Events of 1989 Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Mónika Dánél
Abstract This study proposes a twofold analysis: the presumable strategies of the December 1989 events in Romania and their complexity as it appears in later filmic re-enactments. These re-enactments as theatrical “translations” offer a rhetorical reading of past events, and can also be seen as practices of memories inscribed in the body. The events are interpreted in the duality of the archival image
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Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Natalie Gravenor
Abstract Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over
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Collective Cultural Memory as a TV Guide: “Living” History and Nostalgia on the Digital Television Platform Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2017-12-01 Berber Hagedoorn
Abstract Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and
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Hypertheatre or Media Entanglement in the Theatre of Jay Scheib Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Mircea Valeriu Deaca
Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that
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Immersion at the Intersection of Technology, Subjectivity and Culture: An Analysis of Silent Hill 2 Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Andrei Nae
Abstract This paper inspects the concept of immersion in video games as a gradient category resulting from the degrees of interactivity and immediacy. By factoring in the objective technological affordances of media, as well as the subjective impression that these affordances help create, and the culturally constructed nature of gameplay experience, I argue that high degrees of interactivity and immediacy
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Paul Leni’s Waxworks: Writing Images from Silence, through Media and Philosophy Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Ciro Inácio Marcondes
Abstract The so-called German Weimar Cinema encompasses a profusion of films that used frame narratives. In the case of Paul Leni’s Waxworks (Das Wachsfigurenkabinett, 1924), as the framing stems from a literary act (the stories are framed by the act of narration), the film proposes the mise-en-abyme technique as a sort of immersion into the intermedial when it deals with notions like speaking, writing
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Subjects and Objects of the Embodied Gaze: Abbas Kiarostami and the Real of the Individual Perspective Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Zsolt Gyenge
Abstract It is widely accepted that Abbas Kiarostami’s cinema revolves around the representation of the gaze. Many critics argue that he should be considered a late modernist who repeats the self-reflexive gestures of modernist European cinema decades after they were first introduced. The present paper will contradict this assertion by investigating the problematic of the Kiarostamian gaze and analyzing
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The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Teréz Vincze
Abstract The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable
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The Intermedial and the Transmedial across Samuel Beckett’s Artistic Practices Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Aténé Mendelyté
Abstract The essay offers a brief overview of famous Irish playwright Samuel Beckett’s intermedial practices. By exploring a number of artistic media (drama, theatre, novel, television play, film) the artist tried to get at the essentials of each medium by virtue of his minimalist and media-conscious aesthetics. As a result of this gesture he uncovered certain transmedial properties such as musical
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Ken Jacobs and the Perverted Archival Image Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-12-01 Pablo Gonçalo
Abstract This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images
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When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s No (2012) Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Francesco Zucconi
Abstract Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988
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Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’s Tetsuo: The Iron Man (1989) Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Mark Player
Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he
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The Impression of Reality and the Awareness of the Medium in Alexander Sokurov’s Family Trilogy Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Malgorzata Bugaj
Abstract Drawing on Brigitte Peucker’s question – “in cinematic experience, what promotes the impression of reality, and when does medium awareness come into play?” – I examine how Sokurov’s family trilogy constitutes a certain oscillation between the immediate and the constructed. The films under discussion connect with the sensual, physical-biological and socio-political reality, while, simultaneously
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Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Judit Pieldner
Abstract The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization
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Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer’s The Lady and the Duke Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Giacomo Tagliani
Abstract In The Lady and the Duke (2001), Eric Rohmer provides an unusual and “conservative” account of the French Revolution by recurring to classical and yet “revolutionary” means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in
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Indexicality or Technological Intermediate? Moving Image Representation, Materiality, and the Real Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 James Verdon
Abstract Drawing on the application of C. S. Peirce’s notion of indexicality, this paper argues that iterative imaging technologies modulate the manner in which moving images represent reality and determine how they are traced back to that referent. Rather than subscribing to the canonical divergence between analogue and digital technologies, the paper argues that current moving image theories do not
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Art and Reality in The Arbor (2010) Acta Universitatis Sapientiae, Film and Media Studies Pub Date : 2016-09-01 Cecília Mello
Abstract This article offers an in-depth analysis of 2010 British film The Arbor by Clio Barnard. The director’s debut feature is a groundbreaking work dedicated to the lives of playwright Andrea Dunbar and her eldest daughter Lorraine. Dunbar grew up in the Buttershaw Estate in Bradford and drew on her own experiences to write her first play The Arbor at the age of 15, followed by Rita, Sue and Bob