Film Distribution Research Papers - Academia.edu (original) (raw)

2025, CenRaPS Journal of Social Sciences

Film conveys a country's ideology and culture to its citizens, and the value of the film industry may be demonstrated by an in-depth analysis of films. It is not unreasonable to believe that our considerations and opinions on a variety of controversial topics are influenced by knowledge gained through film. Film conveys a country's ideology and culture to its citizens, and the value of the film industry may be demonstrated by an in-depth analysis of films. It is not unreasonable to believe that our considerations and opinions on a variety of controversial topics are influenced by knowledge gained through film. It has received multiple international awards for the distinctiveness of Bangladeshi films, but due to a lack of specialized assistance, the film has been left behind in Bangladesh. Bangladesh's film industry isn't solely focused on its work, which causes unrest among the local population. The establishment of a legal film city studio with adequate offices will...

2025

„Wie stabil ist die wahrgenommene Qualität eines Films und der Wunsch
ihn zu sehen, bei wiederholtem Konsum des Trailers?“
Thesen: Die wahrgenommene Qualität des Films steigt bei wiederholten Kontakt mit dem Trailer.
Der Wunsch den Film im Kino zu sehen, steigt bei wiederholten Kontakt mit
dem Trailer.
Der Wunsch den Film überhaupt zu sehen, steigt bei wiederholten Kontakt mit dem Trailer.

2025, Film International

African Intellectuals have long proposed that a shared sense of a broadly conceived African identity is a prerequisite to true independence for the continent. African philosophers, political visionaries and artists have devoted political doctrines and movements to various conceptualizations of pan-Africanism, Afrocentrism and Negritude. While these philosophies differed in particulars, they shared a concern with transcending self-conceptions based either on localized tribal identities or the national boundaries imposed by European colonizers. Since its inception at the end of the nineteenth century, the idea of a cultural pan-Africanism was vexed by the continent's cornucopia of cultures, languages and religions. While a certain sense of unity could be evoked from the shared experience of colonial domination and the struggle for independence, the poets of Negritude and the philosophers of pan-Africanism longed to discover and cultivate a common cultural core. They sought a deep and distinctively African rhythm that would resonate in the hearts of people from Dakar to Nairobi, providing the backbeat for a cultural poetics that could ring as true in a Congo village as on the streets of Johannesburg.

2025, Seminar Nasional Desain dan Arsitektur (SENADA)

The film industry in Indonesia has entered a good period. After going through a phase of ups and downs with diverse film themes in the archipelago, slowly, film education qualifications increase to lead to a self-reliant industry. Indonesia is not only geographically and culturally diverse. Here, Indonesia has become very diverse from existing film ideas. Time passed and there was an increase in the film industry focused on one point / area which happened to be the center of Indonesian government, Jakarta. After becoming an industry reference accompanied by a lot of film education, Jakarta became a role model. Trends are emerging in the Jakartasentris area. All started from the center. But somehow, Bali, despite having a relief movement, is still unable to industrialize cinematographic works like Jakarta. In this paper, we will further review the picture of the film industry in Bali and the rotation of the economic value in the film industry in Bali. The aim of this research is to find out more about the relationship between the concept of working sincerely (ngayah) and the development of Balinese film, which in turn creates new movements with various characteristics sporadically and representing a certain period of time. The research method used is descriptive qualitative research method. Where this method is based on the philosophy of postpositivism, it is used to examine the condition of natural objects, and researchers are the key instruments. Data collection techniques are triangulated, data analysis is inductive or qualitative, and the results emphasize meaning rather than generalization. This research ultimately reveals structured movements in a personal way (according to each movement's container) in the development of Balinese film which has a similar pattern, sincere working (ngayah).

2025, Participations

This paper presents the results of an exploratory research arrangement on the relationship between video-on-demand (VoD) services, the modulation of knowledge of viewers about countries that are different than the country of their origin and media context. Our main aim is to gather preliminary findings on how VoD services/OTT, such as Netflix, influence viewers with regard to their knowledge from other cultural contexts. For the study, we showed the first episode of the quality Turkish TV series Bir Başkadır to seven people living in Germany. We conducted a group discussion trying to find out how the series would generate reception and discussion about their knowledge of cultures from Turkey. The exploratory research made it visible that the question of national differences is discussed through cultural differences.

2025, Sešit pro umění, teorii a příbuzné zóny

This study, using the example of Radek Pilař, summarizes a specific type of video artists’ involvement at the time of the Czechoslovak political “normalization” of the 1980s. It focuses on the difference between positions of artists within official and unofficial art, related institutions, technological and creative limitations. From this perspective, using the example of the video industry, the SČVU [Union of Czech Visual Artists], and the production unit Supraphon Music Video, the author describes negotiating strategies in the promotion of video art as a creative discipline within state cultural organizations. The study discusses Radek Pilař as an artist introducing current themes of contemporary art into the beginning of normalization, but soon successfully establishing himself in the field of art for children. Thanks to his quickly acquired reputation in this area, he became an ambivalent actor who could negotiate effectively with state authorities, but at the same time did not always fulfill his own creative emancipation.

2025, 1895: revue d'histoire du cinéma

Resenha do livro "O negócio do filme: a distribuição cinematográfica no Brasil, 1907-1915", publicada na revista 1895, n.99, primavera de 2023 Compte rendu du livre « L'industrie cinématographique : la distribution cinématographique au... more

Resenha do livro "O negócio do filme: a distribuição cinematográfica no Brasil, 1907-1915", publicada na revista 1895, n.99, primavera de 2023
Compte rendu du livre « L'industrie cinématographique : la distribution cinématographique au Brésil, 1907-1915 », publié dans la revue 1895, n°99, printemps 2023

2025, Telos Cuadernos De Comunicacion E Innovacion

2025, Múltunk

A budapesti mozik üzemeltetésért a rendszerváltás előtt több évtizeden át a Fővárosi Filmforgalmazási és Moziüzemi Vállalat, ismertebb nevén FŐMO felelt. A cég története kiválóan alkalmas arra, hogy segítségével a mozgóképek terjesztésével kapcsolatos politikai elképzeléseket, valamint a mozihálózatot mint jellegzetes városi teret bemutassuk. A vállalat egyrészt maga is a szocialista kultúrpolitika sajátos terméke volt, amelynek jelenléte a piac demokratikus viszonyoktól eltérő működését mutatta, másrészt a budapesti társadalmi változások érzékeny indikátoraként funkcionált. Műsorpolitikájával speciális kurátori gyakorlatot valósított meg, amely egyszerre képviselte a szocialista kultúrairányítás elveit, de a jegyeladás szempontját sem hagyta figyelmen kívül. Tanulmányom ezt a gyakorlatot tárja fel, és a klasszikus, egy-egy intézményre fókuszáló mozitörténet helyett egyfajta keresztmetszeti elemzést valósít meg, amely az átfogó irányításért felelős cég tevékenységén keresztül a nagyvárosi mozikultúra dinamikáját, a FŐMO szervezeti működését és mozipolitikájának fontosabb elveit vizsgálja 1954 és 1987 között.

2025, What Ought to Scare You

Front cover images: Christopher Lee as Count Dracula in Horror of Dracula (1958 UK) aka Dracula (Universal Pictures/Photofest); camera(© ledokolua/Shutterstock)

2025, HAMBRE

Continuando con el ejercicio de desenpolvar carpetas, y en la búsqueda de trazar un recorrido de las interven- ciones audiovisuales en el espacio público en nuestros países, ponemos en sus manos una serie de diálogos generados entre 2013 y 2014 con artistxs mexicanxs, en las que se plasman sus concepciones y/o estrategias de acción en relación con esta praxis como nuevo modo de ejercicio estético-político.
Un intento más de abrir la atención y el entendimiento sobre este tipo de prácticas.
Que siga agrietando la luz.

2025

State aid law is one of the most important categories of the competition law in the European Union. The state as such has an unprecedented advantage compared to other competitors: the state disposes of a huge amount of funds which could be easily distributed in favor of the privileged undertakings. The risk of the distorting effect on competition is high; thus, strict rules are necessary. The thesis is divided into five parts: introduction, the part focusing on international treaties, the general part, specific provisions and the conclusion. Part two of this thesis deals with the respective international treaties relevant for the aid schemes. There are three groups of such international treaties: the Agreement on Subsidies and Countervailing Measures adopted in the WTO system, the anti-aid measures in the European Economic Area and the anti- subsidies mechanism towards the third countries (i.e. non-members of EEA or WTO). This part describes these three mechanisms and their common p...

2025

Rigorózní práce Praha 2010 prostředky, ale i z hlediska eventuálního narušení hospodářské soutěže. Proto je zapotřebí, aby stát byl v tomto ohledu podroben kontrole. Na druhou stranu je ale třeba brát v úvahu, že ne každá podpora ze státních prostředků může vést k narušení hospodářské soutěže. Je to konečně i samotná Unie, která disponuje rozsáhlými dotačními fondy, zejména pak v oblasti zemědělství. I z tohoto důvodu je zapotřebí, aby problematika veřejné podpory měla pravidla, která budou definovat, jaká podpora je legální a která nikoliv. Není nezajímavé, že termín nelegální veřejná podpora není hojně využíván; kritériem legality je slučitelnost veřejné podpory se společným trhem. Právo veřejné podpory je integrální součástí ochrany hospodářské soutěže. 2 Přesto je mu v české odborné literatuře věnována mnohem menší pozornost, než například kontrole spojování soutěžitelů. Důvod může spočívat v jisté odtažitosti právní úpravy, která vychází z předpisů Unie, jež jsou více či méně zdařile implementovány do právního řádu členských zemí. Přitom se jedná o úpravu, která v praxi nachází široké uplatnění, a bohatá rozhodovací praxe Komise i Soudního dvora Evropské unie je toho důkazem. Důležitou skutečností je i to, že komunitární právo je, co se týká veřejné podpory, poněkud roztříštěné. Je-li základ právní úpravy položen v článcích 107 až 109 Smlouvy o fungování Evropské unie (dále také "Smlouva"), pak těžiště praktických otázek se nachází v různých oznámeních Komise. Orientace v předpisech není snadná, byť v poslední době lze vidět snahu Komise právní úpravu učinit -když ne srozumitelnější -alespoň přehlednější. Přesto na mnoho otázek nedávají předpisy jasnou odpověď. Jedná se zejména o otázky definiční: Co je veřejná podpora, kdy je chování státu již neslučitelné se společným trhem, kde je hranice mezi podporou a cíleným opatřením konkrétnímu sektoru směřujícím např. k sociálnímu smíru?

2025

Este projeto, financiado pela Fundação Calouste
Gulbenkian, enquadrou-se nas iniciativas do
Grupo de investigação “Correntes artísticas e
movimentos intelectuais” do Centro de Estudos
Interdisciplinares do Século XX (CEIS20) da
Universidade de Coimbra ao longo do ano de
2019. Tal grupo tem reconhecida atuação no
campo dos estudos fílmicos, nomeadamente
no campo da história do cinema, onde o
presente projeto se inseriu. A linha geral do
grupo “orienta as suas investigações para as
condições de afirmação de correntes artísticas
e de movimentos intelectuais, implicados em
processos de produção de imaginários políticos
e de reconfiguração social. O Grupo valoriza
as ocorrências portuguesas do século xx e
já agora também do século xxi, acompanha
as transformações conceituais e políticas da
cultura, analisa as redes de intercâmbios com
correntes artísticas e movimentos intelectuais
de outras proveniências, estuda a inscrição
das circunstâncias portuguesas nas grandes
mutações contemporâneas e desenvolve o
trabalho teórico necessário para pensar a inatualidade do presente.”

2025, VANITY FAIR & LIBÉRATION

VANITY FAIR - "Gens de l'ombre Maria Giménez Cavallo, l'Américaine qui murmurait à l'oreille d'Abdellatif Kechiche" by Norine Raja LIBÉRATION - «Dans un Kechiche, chaque séquence se travaille comme un long métrage autonome» by Anne... more

2025

Essai ini akan mengeksplorasi bagaimana otonomi seni terancam oleh tekanan ekonomi dan sosial dalam masyarakat kapitalistik. Sebuah pertimbangan bagaimana film, sebagai cabang seni yang relatif muda, berinteraksi dengan konsep otonomi ini... more

2025, Séquences : La revue de cinéma

Tous droits réservés © La revue Séquences Inc., 2000 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

2025

Cilem prvni casti výzkumne zpravy je vysvětlit (a) význam principu teritoriality pro fungovani obchodnich modelů audiovizualniho průmyslu na malem trhu, resp. vysvětlit význam siřeni audiovizualnich (převažně filmových) děl na zakladě prodeje exkluzivnich teri¬torialnich licenci; (b) význam zeměpisneho blokovani přistupu k obsahu nabizenemu audiovi¬zualnimi online službami (tzv. geoblokace) pro uchovani hodnoty teritorialni licence v online prostředi. Cilem druhe casti zpravy je posoudit dopady odlisných pravnich ramců– utvařejicich zakladni mechanismy fungovani audiovizualniho trhu – na pro¬dukci a distribuci audiovizualnich děl na ceskem trhu. K tomuto cili jsou využita empiricka zjis¬těni z prvni casti.

2025, Kepemimpinan Adaptif & Agile dari Angga Dwimas Sasongko

Angga dikenal sebagai salah satu sineas muda berbakat Indonesia. Tapi lebih dari sekadar pembuat film, ia juga seorang creative entrepreneur yang membangun Visinema sebagai rumah produksi multi-platform yang menjangkau film, musik, animasi, bahkan teknologi distribusi. Didirikan di usia muda, Visinema berkembang menjadi studio film independen yang kuat dan berdaya saing tinggi. Angga memimpin perusahaan ini tidak hanya sebagai CEO, tapi juga sebagai visionary storyteller yang menentukan arah kreatif sekaligus bisnis. Angga tidak hanya membuat film, tapi juga menciptakan ekosistem seperti Visinema Music, Visinema Content, Visinema Studios dan platform OTT seperti Bioskop Online. Ia mengintegrasikan berbagai lini kreatif menjadi satu ekosistem yang saling menguatkan yang merupakan contoh nyata dari kepemimpinan adaptif dan agile.

2025, 1895 - Mille huit cent quatre-vingt-quinze, 99

Revue de l'association française de recherche sur l'histoire du cinéma 99 | 2023 Sibirskaïa-Ciboulette-Cinémonde-Dalmouth-Marey-Mareuil Chroniques Notes de lecture

2025, The Harvard University Archives

This paper explores the transformation of world cinema through the rise of global streaming platforms such as Netflix and MUBI. It examines how these services challenge traditional distinctions between independent and mainstream cinema, and how their algorithmic models, licensing structures, and content curation are reshaping the very definition of national identity in film. The study evaluates both the cultural and legal implications of this collapse of cinematic borders, analyzing the tension between democratization and homogenization in an age of algorithmic distribution.

2025

If space is rather a simultaneity of stories-sofar, then places are collections of those stories, articulations within the wider powergeometries of space. Their character will be a product of these intersections within that wider setting, and of what is made of them. And, too, of the non-meetings-up, the disconnections and the relations not established, the exclusions. All this contributes to the specificity of place. Doreen Massey, For Space

2025, Imago

A quasi vent'anni dalle prime serie pay italiane, il contributo mira a ricostruire le principali riflessioni critiche e storiografiche sulla serialità premium in Italia e a presentare, in un'ottica comparativa rispetto all'intera produzione scripted nazionale, le evidenze emerse da un lavoro di monitoraggio della sua offerta. Alla luce di alcune esistenti linee di ricerca e della presenza di nuove basi informative, il tentativo è di isolare specificità e sviluppi di questi contenuti, in particolar modo dal 2020 al 2023, anni nei quali si è assistito a una crescita considerevole dello scripted premium, tale forse da metterne in crisi identità dominanti e richiederne nuove tassonomie. Parole-chiave. Serialità premium; Sky Italia; Netflix; Fiction italiana; Scripted, Ventesimo anniversario; Produzione originale Almost two decades after the debut of the first Italian pay series, the paper aims both to reconstruct the main critical and historiographical reflections on Italian pay seriality and to present, in comparison with the entire national scripted landscape, the main findings emerging from a monitoring activity of its offering. Considering existing research lines and the presence of new sources, the goal is to isolate features and developments of these contents, especially from 2020 to 2023, years in which Italian premium scripted production has experienced a significant growth, perhaps to the point of challenging its own identity and thus requiring new taxonomies.

2025, Journal of Digital Media Policies

Streaming services have become the dominant medium for the transnational circulation of film, television and other scripted entertainment, as well as informative and artistic content. Whether as Subscription Video-on-Demand (SVoD) platforms like MUBI or DAFilms or as free content offered by public broadcasters such as the BBC or ZDF, streaming services both facilitate and KEYWORDS circulation of film and television SVoDs BVoDs methodology and ideology commercial vs. public providers market imbalances cinepub

2025, International Journal of Cultural Policy

**Abstract** This review examines the edited volume *Performing Sustainability in West Africa: Cultural Practices and Policies for Sustainable Development*, highlighting its central focus on how cultural expressions intersect with ideas... more

2025, International Journal of Cultural Policy

This review examines the edited volume "Performing Sustainability in West Africa: Cultural Practices and Policies for Sustainable Development", highlighting its central focus on how cultural expressions intersect with ideas of... more

2025, El espacio audiovisual en Colombia. Infraestructura y marco jurídico.

Este informe hace parte de la investigación "Impacto del video en el espacio audiovisual latinoamericano" que, coordinada por Octavio Getino de Argentina, se realizó entre 1988 y 1989 en nueve países de América Latina. Pretende dar cuenta de la infraestructura del cine, la televisión y el video a partir de la producción, distribución y exhibición, así como del marco jurídico en que se mueven estas tres actividades.

2025, Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual

Por ocasião do congresso anual da SOCINE, realizado em Fortaleza, em outubro de 2014, seis pesquisadores vinculados à Prala (Plataforma de Re- flexão sobre o Audiovisual Latino Americano) - grupo de pesquisas situado na UFF que se dedica especialmente ao desenvolvimento de estudos com- parados sobre o cinema latino - aproveitaram o encontro para entabular um diálogo com o crítico e pesquisador Paulo Antonio Paranaguá.

2025

This thesis revisits the history of the Workshop Declaration (1982-1989). Despite being a profoundly radical agreement that nurtured and produced some of the most politically provocative films ever broadcast in Britain, the impact of the... more

2025, Historical Journal of Film, Radio and Television

This article examines the distribution activities of Fugitive Cinema, a Belgian film
collective established in 1966. It argues that Fugitive Cinema, alongside other
socially engaged European film groups, extended its mission beyond film production,
aiming to reshape the existing film industry and culture more broadly. Film
distribution was a critical strategy within this endeavour. The article investigates
Fugitive Cinema’s role in the distribution of alternative cinema, emphasizing their
efforts to promote films that challenged conventional norms and were closely aligned
with the contestation movements of the 1960s and 1970s. Drawing on previously
unavailable archival materials and interviews with key witnesses, the study
highlights the collective’s broader impact on film culture and the crucial role
alternative distribution systems played in shaping an alternative cinematic landscape.

2025, Notes on the Soviet Nationalisation of the Film Industry in Ukraine (1919-21)

The article uncovers the process of Soviet nationalisation of the film industry in Ukraine during 1919-1921, unfolding against the backdrop of Ukraine's struggle for independence. Exploring the confusing legislation on film nationalisation adopted by local Bolshevik authorities, the author argues that the process of putting the Ukrainian film industry under state control had its local specifics that reflected the challenges of gaining power by the Bolsheviks in Ukraine. The decree "On the Nationalisation of the Cinema Industry", previously considered to be a starting point for Soviet film history, proved to be irrelevant for Ukraine. The nationalisation process took years to legislate and implement, and even despite that, some part of the Ukrainian film exhibition remained in private hands up to 1928.

2025, Aniki

Publicado pela AIM com o apoio do IHC, NOVA-FCSH. Financiado por fundos nacionais através da FCT-Fundação para a Ciência e Tecnologia, I.P.

2025, Cinéma & Cie Film and Media Studies Journal

Based on the theoretical studies that have been published to date regarding the Making- of Documentary — concerning intertextuality, film studies, critical theory, mass communication theory and audiovisual didactics — we explore its specificities as a meta- cinematographic practice that manifests itself when a film accounts for the process of creating another film. The article is divided into three sections: Towards a Definition of the Making-of Documentary, Meta-cinematographic Formats and Functions and Specificities of the Making-of Documentary. In the first, its contemporary definition is proposed; In the following, we establish the distinction between the Making-of Documentary and its predecessors or other contemporary practices; Lastly, we approach its discursive intentions — as a promotional object of the film which it alludes to and of its filmmakers as “authors” — and its current uses, which promote an expansion of cinephilia and self- learning in the viewers.

2025

Nollywood mengacu kepada industri film yang berada di Nigeria, Afrika Barat. Pada umumnya, periode Nollywood dimulai sejak tahun 1990-an yang ditandai dengan munculnya film Living in Bondage (1992) sebuah film berbahasa Ibo yang disutradarai oleh Chris Obi Rapu dan diproduseri oleh Kenneth Nnebue. Model industri Nollywood sendiri dicirikan dengan biaya relatif rendah, moda produksi yang cepat, sehingga memungkinkan produsen untuk menyelesaikan sebuah film dengan biaya serendah $15.000 dalam hitungan minggu. Hal yang membedakannya dengan industri lain di Nigeria atau di negara lain ialah peran ekonomi informal dalam distribusi filmnya, yang jejaknya masih bisa dilihat hingga saat ini. Kekhasan ini kemudian membentuk ruang-ruang diskusi di dalam masyarakat yang berimplikasi pada peninjauan kembali mengenai bagaimana identitas ke-Afrika-an terkonstruksikan dan bagaimana identitas nasional di Nigeria sendiri muncul dan dianggap oleh masyarakat. Artikel ini berusaha menelaah bagaimana identitas nasional Nigeria dicapai dan diarahkan melalui Nollywood. Disimpulkan jika identitas nasional dicapai salah satunya melalui Nollywood karena ia dapat memberikan identitas baru yang lepas dari wacana kolonial dan dibentuk oleh orang Nigeria sendiri. Hal tersebut dimungkinkan dari adanya proliferasi film secara masif yang memantik diskursus mengenai identitas nasional.

2025, Questions de communication

Ce document a été généré automatiquement le 12 avril 2021. Questions de communication is licensed under CC BY-NC-ND 4.0

2025, Telos: Cuadernos de comunicación e …

2025, Сальникова Е.В. Обсуждение работы журнала «Советский экран» в 1958 году. Настроения представителей киноотрасли // Художественная культура. 2024. № 3. С. 218-259. https://doi.org/10.51678/2226-0072-2024-3-218-259\.

The article is based on the transcript of the discussion on the work of the popular illustrated magazine Sovetsky Ekran (The Soviet Screen) and the materials of the issues of 1957 and 1958. This array of texts and illustrative materials has not been previously studied and analysed in the humanities, which determines the substantial novelty of the research. The relevance of this topic is due to the need to comprehend the Soviet experience of periodicals on cinema associated with a wide range of authors — journalists, film critics, historians, and film theorists. The purpose of the article is to identify the sentiment of the meeting participants on the ideological discourse and their professional circle. The author compares the discussions with the specifics of articles and photo reports on the pages of Sovetsky Ekran, traces the development of behavioural patterns and rhetorical formulas during the meeting, and puts the issues under discussion in the context of the development of criticism, film studies, attitudes to cinematography as the ‘auteur’ film aesthetics and the entertaining, ‘light’ formats. This allows us to analyse the trends of self-positioning of film industry professionals, film critics, and film historians and to see the complexity of their relationship with the ideological system. The author notes the combination of Thaw tendencies with the speakers, their appeal to the concept of friendship, the desire to defend the interests of film professionals and the interests and values of wide circles of intelligentsia. Symbolism is associated with digressions from the official agenda of the meeting. The speeches regularly feature memories of the 1920s and the references to the topic of foreign countries and foreign cinema life. There is an obvious interest in turning the magazine into a platform for professional film studies. Conclusions are drawn about the underlying reluctance to discuss cinema and magazine business from the standpoint of ideology, about the desire of the intelligentsia to strengthen their cultural influence, and about the cinematographers’ rejection of the need to satisfy mass tastes through light, entertaining magazine materials. / Статья основана на тексте стенограммы обсуждения работы популярного иллюстрированного журнала «Советский экран» и материалах номеров этого издания за 1957-1958 годы. Данный массив текстов и иллюстративных материалов ранее не подвергался изучению и анализу в гуманитарной науке, что обусловливает содержательную новизну исследования. Актуальность темы связана с необходимостью осмысления советского опыта существования периодических изданий, посвященных кинематографу и связанных с широким кругом авторов — журналистов, кинокритиков, историков и теоретиков киноискусства. Цель статьи — выявление настроений участников заседания по отношению к идеологическому дискурсу и собственному профессиональному кругу. Автор статьи сопоставляет данные дискуссии с конкретикой статей и фоторепортажей на страницах «Советского экрана». Прослеживает развитие поведенческих паттернов и риторических формул входе заседания. А также помещает проблематику обсуждения в контекст развития критики, киноведения, отношения к киноискусству в его высокой авторской ипостаси и в развлекательных «легких» форматах. Это позволяет проанализировать тенденции самопозиционирования профессионалов киноотрасли, кинокритиков и киноведов, увидеть сложность их взаимоотношений с идеологическим аппаратом. Автор отмечает сочетание оттепельных тенденций в речах ораторов, их апелляции к концепту дружбы, стремление отстаивать интересы профессионалов кино, интересы и ценности широких кругов интеллигенции. Символические смыслы связаны с отступлениями от официальной тематики собрания. В выступлениях регулярно звучат воспоминания о 1920-х годах, обращения к теме заграницы и зарубежной жизни кинематографа. Очевидна заинтересованность в превращении журнала в площадку профессионального киноведения. Делаются выводы о подспудном нежелании обсуждать кино и журнальное дело с позиций идеологии, о стремлении интеллигенции к усилению своего культурного влияния и об отрицании кинематографистами необходимости удовлетворения массовых вкусов посредством легких развлекательных журнальных материалов.

2025, Herzogenrath, B. (ed.), The Barrandov Studios: A Central European Hollywood.

In June 1989, The Prague Five (Pražská 5) was released in Czechoslovakia, quickly gaining cult status as a film openly treating the communist regime ironically. Despite being subversive, the film was indeed a product of the state-controlled industry. In line with existing scholarship, it might be tempting to posit perestroika as the explanatory framework for the existence of this politically daring film. This, however, was not the case. Its production was shaped not so much by Kremlin politics but by industry-level changes at Barrandov, the ambitions of key decision-makers, and the emergence of video. Stressing the necessity to assemble microhistories of individual films and production units situated within a macrohistory of Barrandov, the chapter illuminates the production culture at Barrandov towards the end of state-socialism, a period of the history of Czechoslovak cinema that still remains the least understood.

2025, Proplétání světů. Mezinárodní filmový festival Karlovy Vary v období studené války.

2025, Proplétání světů: Mezinárodní filmový festival Karlovy Vary v období studené války

2025, Proplétání světů. MFF Karlovy Vary v období studené války.

A first academic book on the histories of the International Film Festival Karlovy Vary during the Cold War. Edited collection that emphasizes the transnational perspectives of one of the most prominent socialist cultural institutions.

2025

O presente texto se propõe a observar dois casos de sucesso de público na cinematografia nacional: Tropa de elite 2 (2010), de José Padilha, e Cidade de Deus (2002), de Fernando Meirelles e Kátia Lund. As produções apresentam um intervalo de oito anos e caracterizam um processo de desenvolvimento do cinema no período da pós-retomada. É discutido como se dá, nos dois filmes, o diálogo com um modelo de realização gestado na indústria norte-americana: o high concept. Os aspectos analisados são: força narrativa da ideia/ conceito, presença de atores/atrizes conhecidos, e identidade visual e estilo associados ao potencial mercadológico das obras. Palavras-chave: Cinema brasileiro. High Concept. Estética. Mercado. En este trabajo se propone observar dos casos de suceso de público en la cinematografía brasileña: Tropa de elite 2 (2010) de José Padilha y Cidade de Deus (2002) de Fernando Meirelles y Katia Lund. Las producciones cuentan con una gama de ocho años y se caracteriza por un proceso de desarrollo del cine en el período de post-recuperación. Se discute como es el diálogo de las películas con un modelo de realización gestado en la industria estadounidense: el high concept. Los aspectos analizados son: la fuerza narrativa de la idea/concepto, presencia de actores/actrices conocidos, la identidad visual y el estilo asociados con el potencial de mercado de las obras.