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Film as a Media Transfer of the Director's Aesthetic Experience in Shaping Community Culture
Film as a Media Transfer of the Director's Aesthetic Experience in Shaping Community Culture, 2023
Film is a work of art in which there are many collections of branches of art, namely visual, sound, artistic and acting. Film is also a vehicle for expression for some artists to present ideas and ideas that they cannot interpret directly. The film will never be separated from the presence of the director. The director is a person who plays an important role in the running of the creative process in filmmaking, in which in the filmmaking process, of course there is a transfer of aesthetic experience that occurs. The aesthetic experience contained in the film will become a collection of messages that can later be absorbed by humans, of course this will become a culture in society. This study discusses how the process of the conceptual framework of the director's aesthetic experience as outlined in the film is able to shape culture in society. This study uses a qualitative method to collect data, referring to a lot of existing literature and current practices regarding film phenomena that are able to shape culture in society. The results of the research are in the form of knowledge and packaging of concepts in filmmaking, as well as the proper distribution of films, in order to be able to provide relevant shows to society during the current era of very broad technological and cultural developments. However, it cannot be separated from the elements of art produced by the director's creative process in representing his experiences in the films.
TRIVALENT/ත්රිසංයුජ: Journal of Archaeology, Tourism & Anthropology, Department of Archaeology, University of Kelaniya , 2020
'Community film' is an attractive new term that has been emerged over the past few years. Though Sri Lankans are familiar with 'Community radio', the phrase 'Community film' is still a novel idea. But, it has been recognized by the world that community filmmaking is a broad concept that can be understood and produced in different ways, such as participatory community filmmaking and non-participatory community filmmaking. This study focuses on 'participatory community filmmaking' and tries to understand how it works, why it is made, what the benefits are, and how we can use it as a tool to achieve something positive. Under the qualitative research approach, an ethnographic study was performed. Films have been classified under various criteria, and it helps to understand what type of film it is. Primary and secondary data were collected. Preliminary data was collected through participatory observation and interview methods. Since the film, 'Walapane Satana' was the only film found from Sri Lanka and easily fit into the criteria to call it a community film, it was used for the study. The research revealed a solid sociocultural background behind the making of this film. This particular community film has influenced the development of the place and individuals of this village in many ways. Almost all the villagers have participated in this film to attend and make, teach, learn, present, promote, judge, support, and span many artistic disciplines. Most importantly, some people have given up their lifelong bad habits to become a part of this film, and at the end of the film, they have entirely dumped those habits and have started effectively leading their lives. Furthermore, being a part of this film has added value to their lives, and it has empowered and educated them to become worthy citizens. These findings led the researcher to conclude the study with a strong opinion on community filmmaking as a powerful driver for social change.
Third-world cinema: Creating People and Resistance
Journal of Philosophy, Culture and Religion, 2018
Cinema has introduced new approaches of expression for contemporary philosophy, that is inherited by Nietzsche, by departing from philosophy to meet the non-philosophic. Going to graphic museums or to cinema is a pivotal moment in order to encounter a particular concept; cinematic signs express ideas not only in the form of scenes, colours, lines of drawing, but also in the form of musical sounds. To understand a concept is no more and no less easy than watching a film, as a result, we will try through this article to address the importance of cinematic discourse and the relationship with the other , through the cinema of the Third World. In other words, how can cinematic art draw a new relationship with the other, opening up this relationship to what the self and the closed circles of identity are?. And how to address the subject of the other in international cinema. Keywords : Philosophy, third-world cinema, the Other, Liberation
An Analysis of the Contemporary Use of Film as A Medium for Investigating Social Issues
La Ogi is English Language Journal, 2024
The study reveals that movies that address social issues can increase awareness and spark discussion among viewers. This can lead to increased empathy towards marginalised communities and a greater understanding of complex societal problems. Furthermore, these films have the potential to inspire individuals to take action and advocate for change in their communities. In this way, cinema serves as a powerful tool for social change and activism. Films can influence audiences and bring about social change, expediting justice and encouraging action against issues like farmers' and environmental problems. The success of films like
Life at the other end: participatory film-making, power and the 'common third
Social Work Education, 2017
India where it won the 2nd place as the best film on disability (up to 60 min category). The film can be watched on Youtube here: http://bit.ly/1O8zEqp). The film followed a group of experts-byexperience who are members in a Social Work Inclusion Group (SWIG) (SWIG or Social Work Inclusion Group is affiliated to the University of Portsmouth. For more details about SWIG please see here: http://swig. uk.net/) affiliated to the Division of Social Work at the University of Portsmouth. The film followed the group during a process of writing and performing a play based on their personal experiences in the social care system. The production process will be explored as a case study for the application of the 'common third' approach. The case will highlight some of the approach's strengths and will describe the circumstances in which it failed (This article is in memory of Andrew Chappell who chaired SWIG, took a central part in the play and film discussed here and passed away on 23 July 2016). This article will analyse the process of producing a documentary film, in which the first author was the film's director and the second author was a participant and co-editor. While our approach is influenced by Nelson's (2013) 'practice as research' , we have treated the process of producing the film also as ethnographic fieldwork which has allowed us to carefully explore the power relations between those involved in the production process, the interactions between them and the decisions they made. These will be the focus of our analysis which we will consider on the background of the wider context-of-production in which this film was created. A growing number of artistic projects in different disciplines either result from or attempt to enhance the collaboration and partnership between marginalised groups and artists,
Cinema Of Poverty: Independence And Simplicity In An Age Of Abundance And Complexity
2010
Over the past 25 years of writing, producing and directing, my aspirations as a creative artist in film have shifted from a paradigm in which the scale and scope of financial and human resources shaped not only the creative intentions of a project, but the very definition of what made something ‘cinematic’, to a new paradigm in which poverty - both in terms of resources and, more philosophically, in terms of artistic expression - has become one of the defining features of my artistic aspiration and my understanding of a new cinema. This development has interacted with parallel developments in technologies of production, distribution and exhibition, of a kind and scale I never envisaged when first embarking on a career in film, and has, for me, led to a kind of creative liberation which I am only now beginning to fully understand. Traditionally, human and financial resources have been considered essential for the production of quality, creative narrative films. In this article, I sha...
Film Theory, Subject and Community: How Does Film Theory Relate to the Idea of Community Building?
2017
In my paper I will discuss the relation between film theory, subject and the idea of community building. I will give a detailed understanding of how both theoretical perspectives in film studies as well as artistic practice of film making try to rethink new ways of possibility of being together. I will argue that the final approach of contemporary political film studies is to rebuild the concept of subject and community building that was either deconstructed, mistaken or wrongly rejected by the Modern and Postmodern theorists. In my studies I will not only rethink the possible political and philosophical approach to new theoretical studies of film from the perspective of subject and forms of community but also show how the history of film theory (or art theory in general) should be rewritten in such manner. For my methodology I will be using a combination of concepts coined by contemporary philosophers that question historical divisions of Modern/Postmodern, High Art/Popular Art, Reality/Fiction, etc. My approach is mainly inspired by the works of Jacques Ranciere, Giorgio Agamben, Gilles Deleuze, Jacques Lacan and Alain Badiou. All of them offered new theoretical approaches to study culture and although not all of them focused their work on Art, Film or Aesthetics, their works can be easily transferred into other academic fields, helping to understand how Art (Film) theories expresses political concerns about the notion of subject and community.
Theorizing Subjectivity and Community Through Film
IAFOR Journal of Media, Communication & Film, 2016
This paper discusses the relation between film theory, subject and the idea of community building. I will give a detailed understanding of how both theoretical perspectives in film studies as well as the artistic practice of film making try to rethink new ways of possibility of being together. I will argue that the current approach of contemporary political film studies is to reconstruct/redefine the concept of subject and community building that was either deconstructed, mistakenly or wrongly rejected, by the modern and postmodern theorists. In my studies I will not only rethink the possible political and philosophical approach to new theoretical studies of film from the perspective of subject and forms of community, but also show how the history of film theory (or art theory in general) should be rewritten in such a manner. For my methodology I will be using a combination of concepts coined by contemporary philosophers that question historical divisions of Modern/Postmodern, High Art/Popular Art, Reality/Fiction, etc. This paper is primarily concerned with the theories of Jacques Rancière but is also inspired by Giorgio Agamben, Gilles Deleuze, Jacques Lacan and Alain Badiou. All of these theorists have offered new approaches to understanding how art expresses political concerns about the notion of subject and community, and while not all of them focused on art, film or aesthetics, their ideas can be easily applied to this domain.