Classic Movies Research Papers - Academia.edu (original) (raw)

Despite Australia being one of the most robust and progressive film industries during the early years of moving pictures, it experienced a significant decline in film production from 1915. Whether this decline was a direct result of poor government policy is something that the Royal Commission on the motion picture industry in Australia 1926–1928 investigated. Marking a significant, yet terribly neglected moment of Australian film history, the Commission surveyed a variety of issues which had stunted the development of the national Australian cinema. By surveying the early period of the Australian cinema, in this article I will discuss how the Royal Commission’s recommendations pushed for the national industry to become more active within the Hollywood world cinema model.

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- Cinema Studies, Silent Cinema, Interviews, World Cinema

- by Stephen Gaunson
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- Cinema Studies, Silent Cinema, Interviews, World Cinema

Fantasy in the cinema is created through the inherently voyeuristic mechanism that comes into play here more strongly than in the other arts. A Freudian psychoanalytic term, voyeurism refers to the erotic gratification of watching someone without being seen oneself, i.e. the activity of the Peeping Tom. Exhibitionism refers in psychoanalysis to the sensual gratification derived from showing one's body - or part of it - to another person, as in the pleasure of being seen, or seeing oneself on the screen. Voyeurism is an active perversion, practiced primarily by men with the female body as the object of the gaze, while exhibitionism is its passive counterpart

- by Irfan Iftekhar
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- Sociology, Feminist Theory, Eroticism, Romantic Films

This paper focuses on Lars Von Trier΄s Melancholia in a double relation, with his previous filmography and with disaster film genre, investigating how Melancholia stands apart from both series of film, both Trier΄s and the apocalyptic... more

- by Andrei Simut
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- Ekphrasis, Cinema Studies, World Cinema, Filmmakers
- by Deirdre Barrett
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- History, Neuroscience, Media Sociology, Psychology

Deep analysis of marathi movie fandry directed by Nagraj Manjule

- by Mitesh Take
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- Marathi, Classic Movies, Nagraj Manjule, Fandry
- by William Yarrow
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- Film Studies, Cinema Studies, Movie, Interviews
- by Özgür Yaren
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- Cinema Studies, Interviews, World Cinema, Filmmakers
- by Nicolás Gómez
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- Análisis del Discurso, Movies, Classic Movies
- by Gonzalo Pavés
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- American History, Film Studies, Film Music And Sound, Sexuality
- by Wendell Marcel Costa
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- Classic Movies, Filmic analysis

Through the coreography of musical cinema, Hollywood has expressed with fineness the feelings that flowed between the main characters. The songs and dance gave to the public a particular visión of Love that was intimately linked to the romantic concept the Western Culture has created since the nineteen century. But also the musical numbers of the genre were used by the filmmakers to depict and hint aspects of love that, if they were represents in an explicit manner, could be considered innaceptable by the Hays Code. With the analysis of some sequences from the films Top Hat, An American in Paris and Grease, the author of this article describe not only the mise-en-scene of the romantic courtship in the genre but the way its representation has developed throughout the history of Hollywood musicals.

- by GONZALO PAVÉS BORGES
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- American History, Film Studies, Film Music And Sound, Sexuality

Dziga Vertov is a filmmaker of a rare breed. Unlike Hollywood’s classic silent film, that romanticizes American history and values, Vertov looks forward and promotes a new, industrial era. Unlike German expressionism, dedicating camerawork to conveying emotion, he conveys motion and speed. Even unlike his Russian contemporaries perfecting montage to carry fiction narrative, Vertov’s kino-eye does not try to fit into a film genre but creates its own. Man with a Movie Camera embodies Vertov’s visions of pure enchantment with the invention of film, while serving to the ideals of the social revolution.

- by Denisa Kraus
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- Film Studies, Film Theory, Propaganda, Documentary (Film Studies)
- by Deirdre Barrett
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- Neuroscience, Cultural Studies, Media Sociology, Psychology

Fedorov, Alexander. Western World in the Soviet and Russian Screen: From Epoch of Ideological Confrontation (1946-1991) to Modern Time (1992-2016). Moscow: ICO Information for All, 2016, 153 p.
This monograph analyzed the image of Western world and Western people in the Soviet and Russian screen: from epoch of ideological confrontation (1946-1991) to modern time (1992-2016). For scholars, universities professors and students.

- by Alexander Fedorov
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- Russian Studies, Media Studies, Film Studies, Soviet History

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
Animals encounter supernormal stimuli mostly when experimenters build them. Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

- by Deirdre Barrett
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- Evolutionary Biology, Neuroscience, Ethology, Sociology
- by Diego Baratto
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- French Cinema, European Cinema, Film Noir, Cinema

'Art' still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don't know what 'art' is, and you think it's all about 'classical fine crafting', then you are missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of 'art' – taking a huge hint from the concept of 'arthouse cinema'-is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration-through various available media-of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself.

- by Jakob Zaaiman
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- Aesthetics, Art History, Media Studies, New Media

- by Andrei Simut
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- Cinema Studies, World Cinema, Filmmakers, Classic Movies
- by Valerio Carando
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- Film Studies, Film Analysis, Film History, American Cinema

Suggests that students writing papers examine the three Hollywood films that have portrayed the mutiny on HMS Bounty in 1789 -- "Mutiny on the Bounty" starring Clark Gable and Charles Laughton (1935), "Mutiny on the Bounty" with Marlon Brando and Trevor Howard (1962), and "The Bounty" starring Mel Gibson and Anthony Hopkins (1984). The three movies are all about the same voyage, but in each version the screenplay writer chose to emphasize (or omit, or invent) some of the story. Thus each movie focuses on different themes such as cruelty and discipline, class, and culture and culture shock.

- by Donald M Bishop
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- Hollywood, Pitcairn Island, Social History of the Royal Navy, Royal Navy
- by Stewart Donovan
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- American Literature, American History, Cultural Studies, Irish Studies

Decalogue 5 appears to be overtly preoccupied with the specific political issue of capital punishment, yet it is equally concerned with the larger moral contexts which are inherently social - the Law, as the film decrees, manifests our responsibility to each other. While Kieslowski presents us with a murder paradigm which is fundamentally depersonalised, moral choice remains intimately subjective, even if the motivations of the characters are obscured here. The emphasis placed on observation and dissociation throughout Decalogue 5 implicitly critiques the emotional distances wrought between Modern subjects. From the outset, the narrative is framed as Piotr’s story, and the journey he undertakes (along with the audience) moves from an ideal of clinical objectivity - the detached moral frameworks of the Law - to the final annunciation of the personal ("I abhor it"). This article seeks to investigate that journey, highlighting the complexities of these seemingly irreconcilable positions.

- by Steve Jones
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- Ethics, Free Will, Moral Responsibility, Interpersonal Communication, Death

Ensayo de la pelicula "El nombre de la rosa" de Umberto Eco.

- by Gonzalo Agis Bueno
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- Movies, Classic Movies, El Nombre De La Rosa
- by JT Velikovsky (he/him/his)
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- Screenwriting, Cultural Studies, Philosophy, Education
- by Mario Laborem
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- Screenwriting, Gender Studies, Education, Journalism

"ABSTRACT (engl): In the present study I will deal with the reception of the famous Odessa Steps Scene from the silent movie “Battleship Potemkin” (1925) by Sergej Eisenstein. After a short historical over-view I discuss the video “Steps”... more

- by Ulrich Blanché
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- Video Art, Street Art, Chicago History, Movies

Photo Realism in 3d, without limits, what could it look like?

- by Tito Young
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- Virtual Art & Virtual Reality, Photo-Realism, Classic Movies

Kathleen Loock compares definitive Christmas classics It’s a Wonderful Life and Drei Haselnüsse für Aschenbrödel to contemporary holiday movie releases from Netflix, exploring how the streaming service is using the niche to create... more

- by Kathleen Loock
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- Cultural Memory, Holidays, Repetition, Netflix

The "thaw period" films (1956–1968) on the school/university topic can be conditionally divided into two stages: early (1956–1963) and late "thaw" (1964–1968), although, naturally, there was a somewhat diffusion between these periods. The "thaw" audiovisual texts about school and university life, according to the authorities, were to support the main course of the state policy in the educational and socio-cultural spheres of the time, that is, to show that the Soviet education and culture system is being reformed: 1) the educational process is out of the strict Stalin's framework (while retaining general communist landmarks and a rigid anti-religious orientation); 2) the relationship between teachers and students is becoming more democratic, to some extent, creative, based on the experience of Soviet educators / innovators of the 1920s; 3) there are problem zones at school and university (for example, the taboo was removed from the previous interpretation of a Soviet teacher's image as almost an ideal representative of the most educated part of the people). The first "thaw" stage was more or less characterized by a romantic reliance on the pedagogical experience of revolutionary Soviet pedagogy of the 1920s and the creation of touching lyrical stories, where, despite minor difficulties, the harmony of good teachers and, 517 sometimes, flawed and misled at the beginning, but later good students, won. In the course of the second stage of the "thaw", new tendencies began to manifest themselves more often: on the one hand, the crisis, the disappointment and fatigue on the part of teachers, and on the other, the pragmatic cynicism of students.

- by Alexander Fedorov and +1
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- Film Studies, Soviet History, Literature and cinema, Film Analysis
- by Catia Renna
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- Visual Studies, Art, Film Studies, Film Theory

Tekst był publikowany w: „Opcje” 2014, nr 3.

- by piotr zawojski
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- Film Studies, Film History, Stanley Kubrick, Classic Movies
- by Catia Renna
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- Screenwriting, Cultural Studies, Visual Studies, Education
- by Catia Renna
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- Screenwriting, Cultural Studies, Visual Studies, Education

The author studies cinematic and literary treatment of life value. Literature and cinematography coexistence and interplay are analyzed. The author traces how the literary works and films concerning treatment of life value are united... more

- by Halyna Shvets
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- Literature, Meaning of Life, Cinema Studies, Interviews