National Cinemas

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

This book takes a comparative approach to contemporary Irish and Spanish cinema in order to examine the ways in which the films produced have been marked by Ireland and Spain’s distinctive encounters with modernity. In successive chapters, the book explores the representation of gender, sexuality, space and history within contemporary Irish and Spanish film, arguing that these representations should be read in relation to the particular process of modernisation which occurred within Ireland and Spain, whereby an insular, conservative national culture was supplanted within a short period of time by an urbanised, European secularism. Within these representations, it argues, can be uncovered attempts to reconstruct a national narrative within this new cultural context. It traces these cultural shifts through a detailed analysis of the aesthetic strategies and thematic concerns of the films which have emerged from Ireland and Spain over the last fifteen years.

By establishing specific idiosyncratic features shared by Irish and Spanish films, this book places Ireland’s cultural and cinematic development firmly within a European context. By concentrating on genre films, it illustrates how films which are not specifically concerned with issues of nation are nevertheless marked by their national context. Furthermore, it argues for the importance of reinstating the nation as an interpretative category, one which allows the assertion of a politicised national identity within an increasingly globalised entertainment cinema.

following the second intifada (Palestinian uprising, 2000-2004), Israeli cinema entered a face of introspection and restraint adopting an Aesthetic of Disengagement, intimately connected with the social and political endorsement of disengagement and unilateralism as policy of the new Israeli consensus. The article analyses the cases of "The Band's Visit", "Beaufort", "My Father, my Lord", "Strangers", "Restless" and "Lemon Tree".

In this book, Deborah A. Starr recuperates the work of Togo Mizrahi, a pioneer of Egyptian cinema. Mizrahi, an Egyptian Jew with Italian nationality, established himself as a prolific director of popular comedies and musicals in the 1930s and 1940s. As a studio owner and
producer, Mizrahi promoted the idea that developing a local cinema industry was a project of national importance. Togo Mizrahi and the Making of Egyptian Cinema integrates film analysis with film history to tease out the cultural and political implications of Mizrahi’s work. His movies, Starr argues, subvert dominant notions of race, gender, and nationality through their playful—and queer—use of masquerade and mistaken identity. Taken together, Mizrahi’s films offer a hopeful vision of a pluralist Egypt. By reevaluating Mizrahi’s contributions to Egyptian culture, Starr challenges readers to reconsider the debates over who is Egyptian and what constitutes national cinema.

Available open access at: https://www.ucpress.edu/book/9780520366206/togo-mizrahi-and-the-making-of-egyptian-cinema

Digital storytelling is a co-creative media practice developed in California in the early 1990s in which ‘ordinary’ people are taught to create short, usually autobiographical ‘digital stories’. This article focuses on arguably the most famous digital storytelling project – the BBC’s ‘Capture Wales’ programme – to argue that not only are these digital stories, which are produced in workshop settings by non-professionals and exhibited primarily on the Internet in digital archives, ‘cinema’ but, moreover, that they collectively constitute a kind of ‘national cinema’. Crofts has, for example, argued that ‘[l]ocal cultural traditions and their articulation through film’ have ‘underpinned the best-known’ national cinema ‘movements’, which have tended to emerge at ‘historical moments when nationalism connects with genuinely populist movements to produce specifically national films that can claim a cultural authenticity or rootedness’ (4). This is the reading of Capture Wales – as, in fact, a co-creative national cinema – that this article offers.

"In the following article, some films produced with the support of Bord Scannán na hÉireann (The Irish Film Board) since its reconstitution in 1993 are examined in light of the work of global anthropologist Arjun Appadurai and his theory of global cultural flows. The article suggests that cinema, primarily of Hollywood origin, has had a notable influence on the development of Irish society and Irish film. Contemporary Irish film itself also reflects the failure of Irish history to excite the imagination of Ireland's youth as effectively as the seductive depictions of America's past as mediated through the Western and gangster films. Indeed, films made in Ireland today reflect the influence of both these genres. However, as the key to the Hollywood continuity style of film-making is its own self-effacement, this has sometimes been reflected in the effacement of people, politics and place in contemporary Irish film as film-makers endeavor to attract a global audience for their work. Films considered include The Boy From Mercury (Martin Duffy, 1996), Nora (Pat Murphy, 1999), Circle of Friends (Pat O'Connor, 1993), Dancing at Lughnasa (Pat O'Connor, 1998), Saltwater (Conor McPherson, 1999), Ailsa (Paddy Breathnach, 1993), I Went Down (Paddy Breathnach, 1997), The Disappearance of Finbar (Sue Clayton, 1994/95), When Brendan Met Trudy (Kieron Walsh, 2000), High Boot Benny (Joe Comerford, 1993), Broken Harvest (Maurice O’Callaghan, 1993), The Boxer (Jim Sheridan, 1998), Some Mother’s Son (Terry George, 1996), Nothing Personal (Thaddeus
O’Sullivan, 1994/95), and Sweety Barrett (Stephen Bradley, 1998)."

Sport annually mobilizes millions of people across Europe: as practitioners in a wide variety of competitive, educational, or recreational contexts, and as spectators, who are physically present or following events through the mass media. This book presents original research into modern sport funded by the Irish Research Council for the Humanities and Social Sciences. Its aim is to examine the distinctive contribution made by this complex phenomenon to the construction of European identities. Attention is focused on sport's social significance, as a set of mass-mediated practices and spectacles giving rise to a network of images, symbols, and discourses. The book seeks to explore, and ultimately to explain, the processes of representation and mediation involved in the sporting construction, and subsequent renegotiation, of local, national, and, increasingly, global identities. It offers a survey of key developments in sporting Europe - from the mid-nineteenth century to the present, and from the Atlantic to the Urals - presenting findings by acknowledged international experts and emerging scholars at the level of individuals, communities, regions, nation-states, and Europe as a whole, in both its geographical and political incarnations. Its focus on representation offers a broadly conceived, and consciously inclusive, approach to issues of 'Europeanness' in modern and contemporary sport.

Desarrollo una propuesta teórica y analítica sobre el funcionamiento de las lecturas intersticiales que produce cierto tipo de cinematografía que he nombrado intercultural porque construye intersticios que dislocan al espectador como sujeto negociante. Esta dislocación produce un efecto de opinión que exhibe los diferentes lugares a partir de los cuales se piensa la otredad en función de uno mismo. Las lecturas intersticiales son parte de un tercer espacio en disputa que enriquece al espectador de cine como sujeto político. Tomo como caso el análisis de la película argentina de 2015, titulada La Patota de Santiago Mitre.

"Lo (trans)nacional como eje del circuito de festivales de cine. Una aproximación histórica al diálogo Europa-América Latina", en Imagofagia, número 17, 2018, pp. 11-40 > http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/1441


Resumo: Este trabalho analisa, a partir de uma perspectiva histórica, os usos e atualizações que as categorias do " nacional " e do " regional/transnacional " têm tido nos festivais de cinemas. Em alguns momentos houve, nesse contexto, mudanças substanciais que alteraram as relações entre as cinematografias do mundo e o circuito de festivais, assim como as dinâmicas e mecanismos de seleção desses eventos. Entretanto, os festivais seguem sujeitos a categorias geopolíticas, mantendo vigentes as etiquetas nacionais e regionais. A partir do diálogo que existe entre o cinema da América Latina e os festivais internacionais e temáticos, veremos como o uso contemporâneo das ditas categorias é manifestado nos próprios nomes da seções nas quais se organizam os filmes programados, e como essas nomenclaturas contribuem, ao mesmo tempo, para delimitar a extensão e o corpus das categorias geopolíticas referidas. Palavras-chave: festivais de cinema, cinema latino-americano, cinemas nacionais, cinema transnacional, coproduções, Cannes 1968.

Abstract: From an historical perspective, this article analyses how the categories “national” and “regional/transnational” have been used and updated in the arena of film festivals since 1930s. At some point there were significant changes which seriously affected the relationships among cinemas of the world and film festivals that at the same time modified the procedures of programming that take place in these film events. However, film festivals are still under the influence of geopolitical categories, keeping alive the 'national' and 'regional' labels above mentioned. This article analyses these phenomena focusing on the dialogue between Latin American cinema and festivals which are defined as international and themed events. With this main objective, this work studies how the use of these categories is highly relevant for naming the different sections where films are organised in each festival. At the same time, this article analyses how the section's names contribute to delimitate the geopolitical categories of national and regional cinema: by defining their geographical borders and the canonical films of each division. Key words: film festivals, Latin American cinema, national cinemas, transnational cinema, coproductions, Cannes 1968.

Antes de começar qualquer debate sobre o processo de significação que realmente produz sentido para nós, aqui no sul da América em um país chamado hoje "emergente", é interessante levarmos em conta que a noção de avanço não parece querer dizer, como muitos tendem a pensar, um progresso-e mesmo no país na pragmática desse termo moderno, os EUA. Lá mesmo a noção de avanço tecnológico, visto como algo bem mais corriqueiro que para nosso deslumbramento, o permanente tecnological advance deve-se a uma atmosfera de competição mundial já consolidada, e de certa forma até levada com certa ludicidade pela esfera comunicacional, entre designers e publicitários, imposta por um ritmo de modernização de outros países distantes da América, que levam a industrialização muito mais a sério, como Alemanha e Japão-os tais "perdedores" da segunda guerra mundial. Avanço, então, possui teor competitivo global-a sofisticação tem referências não só na realidade da nação, na materialidade econômica inerente aos cálculos feitos por especialistas em finanças. Principalmente o Japão, nessa luta pelo avanço houve algo de sobrevivência e honra, após o exemplo histórico do fim da segunda guerra, e principalmente depois da guerra da Coréia: As cidades de Hiroshima e Nagasaki foram ambas destruídas por uma única bomba atômica. Um grande número de cidades japonesas, com as conhecidas exceções de Kyoto e Nara, antigas capitais do Japão, sofreram com bombardeios: nas 119 cidades bombardeadas, 2,2 milhões de casas (cerca de 20%) foram destruídas e 9 milhões de pessoas ficaram sem lar. (HAYASHI, 1990, p.6) Hoje, no século seguinte a esse contexto, a sociedade mundial se diz globalizada, segundo os administradores norte-americanos, e os concorrentes não são apenas internos.

English 2270 explores the relationship between film and literature and the processes of adaptation. This semester we will examine film adaptations of plays, novels, short stories, children's books, comic books, and graphic novels. This is a challenging and rewarding course that introduces you to adaptation studies and also tests your writing skills and your ability to present ideas in a large group setting.

В статье, представляющей собой программное предисловие к книге, посвященной консервативной кинокритике, формулируется русский консервативный взгляд на историю отечественного кино, обозначаются базовые принципы консерватизма и пути их применимости к консервативному идеологическому анализу современного кинематографа.

This review covers two instalments in the Currency Press / National Film and Sound Archive's 'Australian Screen Classics' monograph series. Tina Kaufman's teleological study of WAKE IN FRIGHT (Ted Kotcheff, 1971) and Andrew Frost's more fragmented assessment of THE BOYS (Rowan Woods, 1998) each survey a film that taps into an unremittingly dark, violent masculine malevolence buried deep within the Australian national psyche.

Moroccan post-colonial cinema has suffered from the lack of adequate channels of domestic and international distribution and exhibition for most of its relatively short history. Despite the existence of a burgeoning distribution business and a wide network of cinemas across the country, distributors were broadly not interested in investing in national films until the 1990s. Up until that point in time, local films were not deemed interesting or lucrative enough in comparison with high-grossing Hollywood and Bollywood movies , which, due to their mass production scale, cost many times less per copy than local productions. However, things began to change in the early 1990s when a lone investor decided to distribute Abdelkader Lagtaâ's H UB FI D AR AL-BEIDA ("A LOVE AFFAIR IN CASABLANCA " 1991). The film was an instant box office hit and, in the process, proved beyond doubt that the distribution and exhibition of national films could make a profit. Distribution has subsequently played a crucial role in the growth of Moroccan cinema in both quantitative and qualitative terms. However, national cinema today faces new distribution and exhibition challenges, in particular the decline of cinema theatres and the emergence of film piracy. The latter is said to have seriously undermined the economic profitability of the legal distribution economy. In this essay, I want to argue against the grain of the pessimism characterizing the dominant discourse about the future of Moroccan cinema in the face of these two challenges. My argument is that film theatre closures and the prevalence of online and offline piracy are not in themselves life-threatening to Moroccan cinema. Instead, they are indicators of how a post-colonial cinema is adapting to the challenges of globalization and the digital revolution. Moroccan films are increasingly watched at home or on mobile devices rather than on big screens in dark rooms. In the same vein, the proliferation of online and CD-based piracy is not proven to have discouraged people from going to the cinemas to watch Moroccan films. The decline of filmgoing culture has other, much deeper social, demographic, and technological causes. The rise of new forms of circulation and consumption of Moroccan cinema in the twenty-first century is a sign of the emergence of novel and dynamic forms of “popular” film distribution and viewership.

En 1936, pocos meses antes de que comenzara la Guerra Civil, se estrenó la película Morena Clara, con un rotundo éxito de taquilla. Se trata de un musical protagonizado por Imperio Argentina y que podríamos encuadrar en el género de la españolada. Algunos años más tarde, ya en pleno franquismo, se realizaría un remake de este largometraje, esta vez con Lola Flores como intérprete principal. Ambos trabajos se basan, a su vez, en la misma obra de teatro escrita por Antonio Quintero y Pascual Guillén, que se estrenó en el Teatro Cómico de Madrid en 1935.
En esta comunicación buscamos estudiar la cinematografía como instrumento de construcción nacional, analizando la imagen de España que se dibuja en estas dos películas y, lo que es aún más interesante, rastreando los cambios relevantes que se puedan dar en esta imagen desde la década de los treinta hasta la de los cincuenta. Se trata, por lo tanto, de un trabajo comparativo interesado en la relación entre imagen cinematográfica y nacionalismo español, así como en los cambios que aquella experimenta en el tiempo, prestando especial atención al contexto histórico en que se producen los films: República y dictadura franquista.

Este paper se expuso en el congreso "Territorios de la memoria" celebrado en la Universidad de Valladolid.

Casablanca dans WWW : What a Wonderful World (2007) et Tétouan dans Mort à vendre (2013) sont représentées comme des villes fermées qui emprisonnent les personnages, ceux-ci n’ayant aucune prise sur elles. Plus qu’à l’enfermement, Bensaïdi s’intéresse au fort désir de changement et d’action de ses personnages. Se crée ainsi une tension entre, d’un côté, cet élan qui les anime et, de l’autre, la nature de leur monde, inaccessible et impénétrable. De cette tension découle une subtile évolution au sein même de situations tout à fait sans issue, une évolution qui touche l’intériorité des personnages mais aussi les villes qu’ils habitent, un devenir mutuel et réciproque.

Pour citer cet article :
Mariam El Ajraoui,« Le devenir cinéma de la ville chez Faouzi Bensaïdi, Casablanca dans WWW : What a Wonderful World et Tétouan dans Mort à vendre » in José Quaresma (coordination), Chiado, Carmo, metropolis et u-topie. Les arts dans la sphère publique. Lisbonne, éditions Associação dos Arqueólogos Portugueses, 2016.  pp 173-183.

ÖZET

        Sinema, güzel sanatların dalı olarak, yansıtılmaya uygun olan filmleri gerçekleştirme ve yaratma sanatıdır. (TDK, 1998, s.1987) Literatüre “sanat sineması” terimi 1930’larla birlikte girmiş ve bu başlık altında değerlendirilebilecek filmlerin sayısı her geçen gün artan bir ivme izlemiştir. Bir filmin oluşması içinde en önemli görev yönetmene düşmektedir özellikle bu bir sanat filmiyse. Auteur yönetmenlerden olan Ömer Kavur, mesleğinin gereklerini incelikle yerine getiren, özgünlüğü ve unutulmaz filmleriyle sinema tarihimizde inci gibi parlayan önemli bir sinemacıdır. Yaşadığı dönemde ve sonrasında da kitleler tarafından takdir edilmeyen, maddi anlamda desteklenmeyen ama buna rağmen çizgisini bir gün bile bozmayan bu yönetmenin ismi gerek sinema tarihinde gerek araştırmalarda oldukça az geçmektedir. Onun karakteristik oluşunun en önemli nedenlerinden biri ele aldığı temalar ve özellikle zamana yaptığı vurgudur. Bu nedenle bu çalışmada ilk olarak auteur teorisinden ve yönetmenin hayatından bahsedilerek, yönetmenin zaman teması etrafında filmleri kategorize edilecek ve zaman açısından benzer yanları dolayısıyla beş filmi kısaca incelenmeye çalışılacaktır.

The 1990’s became a crucial time for British films. It enjoyed somewhat of a renaissance after the bleak nadir of the 1980’s. At the beginning of 1990, the British film industry was in a crisis, when in the previous year only 30 films had been made, which was the lowest total recorded since 1914. But as we have time and again seen, from a time of major crisis a golden period is born. The foremost example is the French New Wave, which as Steve Neale notes in his essay “Art cinema as Institution” when he says, “it should be noted that the late 1950’s (the period of emergence of the new wave), was a period of crisis, with a sharp decline in cinema attendance from 1957 on, the New Wave was partly a product of this crisis.” Same is the case with British Cinema, just with a little difference. When British screenwriter Colin Welland won his Oscar at the 1982 Academy Awards for Original screenplay for the film ‘Chariots of Fire’ (1981), which also went ahead and won the best picture, he declared triumphantly that ‘The British are coming’. The world waited for a new dawn of British cinema, which was nowhere near. Though it should be noted that the following year one of the greatest directors in Britain, Richard Attenborough released his film ‘Gandhi’ (1982) which also won the coveted best picture award, but Welland’s optimistic prediction proved to be a false down, in he 1980’s not only did the British not come, but the British film industry was lost into oblivion. It went on to suffer its worst decade on records in terms of film production and film attendance. I believe phases like these are important with respect to the film industry of a particular nation, though still there is no British film industry, like the Hollywood or the Hindi Film industry, we can still say that films made in Britain at this time took a serious cultural turn and also set out the harboring grounds for making it’s national cinema have a popular and international edge.

A detailed history and analysis of the film Hard Core Logo (1996) by Bruce McDonald, this book considers the film in relation to Canadian cinema and music, the road movie, and the study of masculinity. Part of the Canadian Cinema series from the University of Toronto Press.
http://www.amazon.com/Bruce-McDonalds-Hard-Canadian-Cinema/dp/1442612738

Resumen: En el presente trabajo se propone sumar otra perspectiva a la copiosa bibliografía existente sobre la película El beso de la mujer araña desde el análisis de su anclaje nacional. Repaso los aspectos formales y estilísticos de la novela de Manuel Puig para establecer los cambios efectuados por Héctor Babenco y cómo estas modificaciones alteran la visión de la nación presente en la novela. Una vez identificadas las alteraciones, ofrezco algunas de sus posibles causas y analizo el modo en que el cineasta complejiza el texto original. Finalmente, rastreo las características principales del cine brasileño a partir de la década de los sesenta para fundamentar el arraigo que Babenco tiene en esta tradición. Palabras clave: cine brasileño, cine nacional, cine transnacional, El beso de la mujer araña, adaptación cinematográfica.

Do romance nacional ao filme transnacional. O processo de adaptação de O Beijo da Mulher Aranha, de Héctor Babenco Resumo: O presente trabalho propõe acrescentar outra perspectiva à vasta bibliografia sobre o filme O Beijo da Mulher-Aranha, mediante uma análise de sua ancoragem nacional. Reviso os aspectos formais e estilísticos do romance de Manuel Puig, a fim de estabelecer as mudanças feitas por Héctor Babenco e como essas modificações alteram a visão de nação presente no romance. Após identificar tais alterações, apresento algumas de suas possíveis causas e analiso a maneira pela qual o cineasta expande o texto original. Por fim, delineio as características do cinema brasileiro dos anos sessenta para fundamentar as raízes de Babenco nessa tradição. Palavras-chave: cinema brasileiro, cinema nacional, cinema transnacional, O Beijo da Mulher-Aranha, adaptação cinematográfica.

From national novel to transnational film. The adaptation process of The Kiss of the Spider Woman, by Héctor Babenco Abstract: This article complements the rich research on The Kiss of the Spider Woman by providing an analysis of the film's national anchorage. A review of the formal and stylistic aspects of Manuel Puig's novel to establish the changes made by Héctor Babenco, especially in terms of the way the adaptation modifies the

This course explores the post-war period in American cinema from approximately 1946 to 1965. In this course we will examine how film interacted with history and culture during the "Cold War" period, a time that promoted economic abundance and population expansion, but also harbored deep anxieties over the bomb, Communist infiltration, the Civil Rights movement, and renegotiated gender roles. We'll explore how the film industry began to implode in the 1950s, unsure how to transition from a vertical monopoly model and wary of their ability to compete with the new medium of television.

Resumen: TRABAJO DE FIN DE GRADO DE CRISTINA MARTÍNEZ GARÍN. Análisis textual fílmico en el que se analizan dos de las obras del director griego Yorgos Lanthimos, destacado por la creación de mundos distópicos, en los que la represión sexual y la tiranía encuentran su lugar provocado por un miedo imperante en la sociedad que obliga a los individuos a actuar de manera atípica.

The last decade was an exceptional period for the Icelandic cinema. The films produced during this time have won many prestigious awards at international festivals. Cinematic images of Iceland eclectically interlace myths, stereotypes and postmodern means of expression. At first glance, the local films obsessively repeat the same themes which might be incomprehensible for a foreign viewer. However, academic research on the most interesting motion pictures creates an opportunity to study the birth and development of small, but energetic and ambitious cinematography. Such an experience also allows analyzing problems related to the system of film production in this sparsely populated country and helps identify challenges during the process of introducing a local culture abroad. Finally, studying Icelandic cinema gives a chance to go on the audiovisual journey through the fascinating culture and unique landscapes.

The author of the book analyses popular topics and narrative strategies in Icelandic films. The research covers local versions of black comedies, road movies and crime stories as well as different figures connected with the motif of struggle between tradition and modernity.

The sports film has become one of commercial cinema's most recognizable genres. From classic boxing films such as Raging Bull (1980) to soccer-themed box-office successes like Bend it Like Beckham (2002), the sports film stands at the interface of two of our most important cultural forms. This book examines the social, historical and ideological significance of representations of sport in film internationally, an essential guide for all students and enthusiasts of sport, film, media and culture.

Sport and Film traces the history of the sports film, from the beginnings of cinema in the 1890s, its consolidation as a distinct fiction genre in the mid 1920s in Hollywood films such as Harold Lloyd’s The Freshman (1925), to its contemporary manifestation in Oscar-winning films such as Million Dollar Baby (2004) and The Fighter (2010). Drawing on an extensive range of films as source material, the book explores key issues in the study of sport, film and wider society, including race, social class, gender and the legacy of 9/11. It also offers an invaluable guide to 'reading' the sports film as well as an analysis of the place of the genre within national cinemas, including case studies of the British, Australian and Indian sports film.

This paper aims to outline the historical and regional context of Bangladeshi cinema, exploring its different integral aspects, such as production value, style, cultural content, representation, nation state policies, distribution and exhibition practices, transnational connections and other industrial factors. At the same time, this paper examines the role of film in the formation of Bangladeshi national culture and the analytical approaches and complexities revolving around the concept of national cinema in Bangladesh. The concept of ‘national cinema’ has been commonly linked to the sociological thinking of the nation and its national identity, and it is also rooted within the geopolitical and cultural boundaries of a nation state. Again the idea of national cinema is not perennial like the idea of nation. National cinema has been a negotiated and changing concept, shaped by both the inward contemporary cultural specificity of a nation state and the outward cultural influence gained through its transnational encounter. Therefore, in order to study the concept of national cinema of Bangladesh in this paper, I address and discuss a series of issues: the concept of Bangladeshi nationalism, its relation to Bangladeshi film culture, a brief context and the conditions of contemporary film industry, the transnational affects and effects of rapidly changing mediascape on Bangladeshi film culture.

En este Trabajo de Fin de Grado nos queremos centrar en el cambio de vida que desean muchas de las mujeres en sus películas. Casi todas ellas necesitan buscar formas para poder cambiar, evolucionar o escapar de la vida que llevan, o que se buscan a sí mismas en situaciones de descontento. Estos sentimientos de opresión son aquellos que le sirven para que estas mujeres puedan mejorar sus situaciones. De hecho, en la mayoría de sus films, las mujeres son las principales protagonistas, adquiriendo los hombres un rol secundario. Ahora bien, la mayor parte de las protagonistas femeninas, viven pendiente de algún personaje masculino y suelen vivir oprimidas por ellos, directa o indirectamente

A thesis submitted in partial fulfilment of the requirements of Bachelor of Arts (Honours) Film Studies at UNSW Sydney

Final thesis mark: 89/100 (Honours Class 1)

Philippine cinema has a rich history of engaging with national politics and discourse, beginning with the golden age of Philippine cinema during Ferdinand Marcos’ era of martial law (1972-1981). From Lino Brocka to Mike de Leon, these directors have scrutinised ideas of the nation and national identity through depictions of presidential corruption and state-sanctioned violence. This thesis recognises that this political engagement has continued in contemporary Philippine cinema of the last decade — from retrospective films meditating on the post-Marcosian state, and allusions to a national massacre during Gloria Macapagal-Arroyo’s term, to the current reign of Rodrigo Duterte and his so-called “War on Drugs.”

In recognising this, I investigate how a selection of films produced during the last decade communicate past and present corruption in the Philippines, by analysing how these directors represent nationalism and national identity through a variety of formal, generic, and stylistic approaches. I argue that contemporary Philippine cinema exposes the “myth” of a fair and democratic unified nation through confronting scenes of immorality, unlawfulness, and authoritarian violence. Drawing on the works of several film theorists to support my analysis, I focus on scenes of violence and immorality that are reflective of the nationalist violence instigated by presidential dictators who instil the false promise of a national democracy across the Philippines. These debates and discussions will be generated through a formal and thematic analysis of the following films — Norte, the End of History (Lav Diaz, 2013), Birdshot (Mikhail Red, 2016), and Fan Girl (Antoinette Jadaone, 2020).

Nuri Bilge Ceylan’ın Haziran 2018’de gösterime giren, Türkiye’de beklenen ilgiyi pek bulamadığı söylense de film puanlama sistemi olan IMDB’de 8.7 puan alarak değerini belli eden dokuzuncu filmi Ahlat Ağacı, birçok tartışmayı beraberinde getiren bir yapıya sahiptir. Gösterime girdiği günden bu yana hem sinematografik teknikler açısından hem Türkiyeli sinemacıların yurtiçinde ve yurtdışında gösterdikleri performans açısından hem de psikoloji, sosyoloji, felsefe, mitoloji ve din sistemleri gibi birçok disiplinin bakış açısından eleştirilere maruz kalan film, çok katmanlı yapısı ile seyircileri zorlayacak cinsten bir filmdir. Bu yazıda ise filmin bazı dikkat çeken sahneleri özellikle sosyal psikolojik ve sosyolojik perspektifler merkeze alınarak değerlendirilmeye çalışılmıştır.

Anahtar Kelimeler: Ahlat Ağacı, Edebiyat, Nuri Bilge Ceylan, Psikoloji, Sinema

The award-winning art film Hana-Bi, the stoic gangster elegy Sonatine, the surfer romance A Scene at the Sea, the absurdist comedy Getting Any?, the entertainment samurai spectacle Zatoichi—very different films made under one name, Kitano Takeshi. Who is Kitano Takeshi?—an artistic auteur in the traditional sense or a new kind of star who manages multiple identities, strategically changing them from film to film and situation to situation? This book explores issues of auteurship and stardom in the films of Kitano Takeshi, especially as they relate to problems of personal and national identity in a Japan confronting an age of globalization. Aaron Gerow combines a detailed account of Japanese film and criticism with unique close analyses of Kitano's films from Violent Cop to Takeshis'.

RESUMEN:
El antecedente de este trabajo, además de toda su obra cinematográfica, es que durante largos años de estudio y de conversaciones con antropólogos Ruiz se internó en el mundo de los cuentos folklóricos. Después de esa experiencia descubrió que en muchas ocasiones el folklore de cada país tiene elementos comunes con el de otros. "Hay mitos vikingos -dice- que son parecidos a los chilenos. Los cuentos folklóricos unen más que separan".

En "La Recta Provincia", nombre con que se autodenominaban los "brujos" de Chiloé, están las claves del cine de Ruiz: una mezcla del presente y del pasado, de los vivos y los muertos, de lo real y su reflejo, de la vigilia y del sueño, de la realidad y los espejos.

Desde el punto de vista narrativo la historia se afirma en las convicciones de siempre del realizador. Tal como lo señala en su libro "Poética del Cine", algunas de ellas provienen de su crítica a la "teoría del conflicto central" elaborada por el cine norteamericano que "es el único país del mundo -afirma Ruiz- en el que el cine haya desarrollado desde temprano una teoría narrativa y dramática global (...) que se ha vuelto palabra de ley."

En el texto evoca el primer enunciado de esa teoría: "una historia tiene lugar cuando alguien quiere algo y otro no quiere que lo obtenga. A partir de ese momento (...) todo los elementos de la historia se ordenan alrededor de ese conflicto central". El precio de esto, agrega, es que ella "nos obliga a eliminar todas aquellas otras (acciones) que no incluyen ninguna confrontación".

Esto sería un "concepto depredador: un sistema de ideas que devoran toda otra idea" acerca de cómo narrar una historia. El punto es que de este modo, tal como sostiene Ruiz, no hay equivalencia entre el conflicto central y la vida de todos los días, que tantas veces tiene que ver con decisiones inconscientes y accidentales de la vida cotidiana.

Me parece que la hegemonía de la teoría del conflicto central, que nos tiene absolutamente domesticados, nos priva de otras posibilidades narrativas muchos más amplias y a menudo más enriquecedoras. La receta narrativa del cine norteamericano a la que alude Ruiz hace que las películas inspiradas en ella sean tan predecibles y, por eso, aburridas.

Volviendo a Ruiz, en "Poética del Cine", refiriéndose a la receta en que se traduce la teoría del conflicto central, señala que "nuestros raptores nos hacen prisioneros de la voluntad del protagonista; y al final de la película somos entregados a nosotros mismos, sólo que más tristes que antes y sin otra idea que la de embarcarnos en otra historia igual."

Pasando a otro tema, les cuento que además de la serie para TV se realizó el largometraje de "La Recta Provincia" que hace poco fue seleccionado por el Festival Internacional de Cine de Roma  para su estreno mundial. Allí también se exhibirá, en un acontecimiento inédito, una retrospectiva de 51 películas de Ruiz. Por si eso fuera poco, se le entregará el mítico premio Maestro del Cine, que antes recibieron Hitchcok, Godard y otros cineastas destacados.

Netflix is considered as a global business invested in strategies of diversification, localisation and personalisation in light of several discourses about the streaming service. One presents Netflix as an evil corporation encouraging binge-watching and reducing individuals to data. A utopian discourse proclaims the democratising potential of digital media technologies, including Netflix's claims about its personalised, on-demand service. An industry discourse laments Netflix's disruption of the film and television business. Finally, a scholarly discourse maps the political economy and cultural impact of Netflix. Each discourse attaches a particular cultural value to Netflix. Some offer 'antidotes', including the niche streamers, with their 'curated' collections of specialised content. Both types of streamer are in fact gatekeepers regulating access to cultural experiences and promoting particular ideas of taste and diversity. Netflix's strategies of cust...

There is a famous quotation that has been variously attributed to Mark Twain, Lenny Bruce, Carol Burnett, Steve Allen, Larry Gelbart, Mel Brooks, and a fictional character played by Alan Alda in Woody Allen's Crimes and Misdemeanors (1989). That quote is "Comedy is Tragedy + Time." Can we successfully explore this old cliché to see if it has any use-value in terms of trauma and terror? Can we (and should we) find humor in excruciating personal, national, and global catastrophes? What is the ultimate role of comedy in our lives and in our cinemas-i.e., is film comedy a positive force that provides a coping mechanism for the eternal suffering of the human species or is it just another "opiate of the masses" that conceals the true nature of reality from our eyes? These are, of course, big questions-and the jury may still be out, unless the response is "Yes, it's both!" or "It depends on the circumstances." Perhaps interrogating the issues of trauma and terror from the context of comedy will help us find a solution to a conundrum that many scholars thought had been settled, at least to their satisfaction, many years ago.

This study examines these questions in connection with Roberto Benigni's Academy Award-winning  LIFE IS BEAUTIFUL (1998)

The period which took long time before Yeşilçam was not so productive in terms of
detective movie. During the genesis of Yeşilçam period (1948-1959), five dominant
film genres (melodrama, historical, comedy, detective and village movies) got
standardized by the systematization of mass film production. The tandem of Lütfi
Akad and Osman Seden produced the detective movies in symbiotic relationship with
crime melodrama for Kemal Film, which got back to the production in this typical
context: The hybrid movies such as In the Name of the Law, Murderer, The Killing
City, They Paid with Their Blood and The Flame of Vengeance combined melodrama
and detective aesthetic around the themes of crime and adventure between 1952-
56. Beyond the Nights which was the precursor of social realist film movement is the
piece which brought a new critical image socially, politically, and economically the
detective genre stereotyped by Kemal Film, and also, modernized this genre in terms
of both content and form. By this way, the detective genre which got away from the
conventions of melodrama established a syncretic link to realism. The aim of this
article starting from the perspective of “aesthetic history” which focuses on cinema
genres as much as on form and style among the basics of movie art is to demonstrate
how Beyond the Nights renovates detective movies. It had been assessed only based
upon its social and realist representations, and even its sociological aspects by
ignoring its genre identity in Turkish cinema historiography. With which aesthetical
aspects does Beyond the Nights take place both within the detective movie and social
realist movement? How and why does this film differentiate from the tradition of
detective movie initiated by the tandem of Akad-Seden? The problematic of this
study was defined within this framework. The theoretical aspect and analytical
method is based upon the theoretical approach of Raphaëlle Moine who considers
“concept of cinematic genres” not only to be a simple taxonomy activity or labeling,
but also a “category of interpretation."

Motion picture technology developed at the dawn of the 20th century, just as the formal colonization of Africa was launched at the Berlin Conference of 1884–1885. While it took a few decades for cinema houses to spread in West Africa, by mid-century the colonial administrations began to use film as a means for conveying colonial culture to African subjects. For the British and French colonials, film was a means to shape public opinion. Both British and French colonial administrations criminalized indigenous filmmaking for fear of the subversive potential of anti-colonial messages—film communicated in one direction only. When West African nations became independent in the late 20th century, these restrictions vanished and Africans began to make films. This process played out differently in Francophone Africa than in Anglophone countries. France cultivated African filmmakers, sponsored training, and funded film projects. Talented and determined filmmakers in Anglophone Africa also struggled to produce celluloid films, but unlike their counterparts in former French colonies, they received little support from abroad. A significant number of excellent celluloid films were produced under this system, but largely in Francophone Africa. Though many of these filmmakers have gained global recognition, most remained virtually unknown in Africa outside the elite spaces of the FESPACO film festival and limited screenings at French embassies. Though West African filmmakers have produced an impressive body of high-quality work, few Africans beyond the intellectual elite know of Africa’s most famous films. This paradox of a continent with renowned filmmakers but no local film culture began to change in the 1990s when aspiring artists in Nigeria and Ghana began to make inexpensive movies using video technology. Early works were edited on VCRs, but as digital video technology advanced, this process of informal video production quickly spread to other regions. The West African video movie industry has grown to become one of the most prominent, diverse, and dynamic expressions of a pan-African popular culture in Africa and throughout the global diaspora.