Filmmakers 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

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 Robert Dassanowsky
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- Film Studies, Classical Hollywood, Billy Wilder, Filmmakers

En este libro se describe la biografía teniendo en cuenta su producción filmográfica respecto a su papel de director. También se describe las pautas de comportamiento del cineasta en el proceso de producción filmica. Se expone asimismo los elementos preferentes de lenguaje cinematográfico del cineasta. Por último, analizamos la conciencia ética del cineasta reflejada en su filmografía hasta Mi amigo el Gigante (2016). Editorial ACCI, Madrid. (2017).
Editorial ACCI indice de calidad en página de ACCI en dos de sus apartados: Publica en ACCI y Sobre ACCI. Consta de varias colecciones dirigidas por profesores con rango académico alto o muy alto en las que se publica a académicos supervisado por comités científicos. Otro indicio de calidad es la organización de eventos por parte de una editorial. Se difunde en Google books y Amazon con propios filtros de calidad.
Este libro contiene más de 100 visitas en el perfil de la autora en la plataforma académica Research Gate
https://www.researchgate.net/publication/318722155_La_humanidad_de_Steven_Spielberg

- by Beatriz Peña Acuña
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- Film Studies, Literature and cinema, Cinema, Cinema Studies
- 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 Samar Salim Karama
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- Egypt, Filmmakers

A conversation with Colombian-Belgian filmmaker Juanita Onzaga about her experimental documentary short Our Song to War (2018). Invoking the lost souls of the dead killed in the crossfire between guerillas and state-sanctioned paramilitary forces in the town of Bojayá, Our Song evokes a haunting vision of a town seeking peace in the wake of war. Fulton and Onzaga touch on themes of memory and the politics of mourning, Afro-colombian resistance and syncretic rituals that assume responsibility for the dead of the Colombian armed conflict.

- by Gwynne Fulton
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- Water, Colombia, Conflict, Dialogue
- by Julia Leyda
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- Queer Studies, Avant-Garde Cinema, Feminist Theory, Film Theory and Practice

Industri film Indonesia telah mengalami pasang surutnya sejak periode awal kemerdekaan hingga momen puncaknya adalah mati suri film Indonesia di tahun 90an hingga 2000an. Selama masa krisis itu, beragam profesi termasuk penulis skenario mengalami imbas yang berkelanjutan. Perlunya mengembalikan kepercayaan penonton terhadap film Indonesia dengan berbagai cara dilakukan, produksi film pasca-reformasi yang tadinya sangat minim, perlahan mulai naik seiring meningkatnya kualitas film-film dalam negeri. Bangkitnya perfilman Indonesia tidak semerta-merta membuat masalah yang ada di penulis skenario Indonesia hilang begitu saja. Masih banyak hal-hal yang menjadi permasalahan utama bagi para penulis skenario Indonesia yang harus dikaji dan dituntaskan secara bertahap.

- by Daffa Amrullah
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- Film Industries, Cinema Studies, Sinema, Film Education

Hong Kong’s “modern new wave” cinematic movement emerged during the late 1970s and early 1980s. According to Abbas (1997), there was a shift in the style and images of film, from the typical Kung-Fu action films, that were popular in USA, to a cinema that responds to a specific historical situation. In 1997, Hong Kong entered a phase of uncertainty after the handover of sovereignty from UK to China (Chan, 2004), which caused a lot of confusion and instability among citizens of Hong Kong. Though they were glad to be part of Mainland China, their motherland, still the future for them was vague and unclear due to the appearance of endless possibilities, for example there were fears of less freedom of expression, major changes in the lifestyle and negative effects on the economy (Chan, 2004). Thus, Hong Kong, being a state with no past, became situated within a state of constant motion (Usen, 2013), moving towards nothingness, “a place removed from time, striving for a collective history that will never achieve” (Usen, 2013). The new wave marks the beginning of defining what it is to live in Hong Kong and highlighting the nation as a spatial subject, rather than just a collection of physical aspects (Wypkema, 2005). Among the filmmakers who emerged at that time was the internationally acclaimed director Wong Kar-wai, whose efforts was to preserve Hong Kong’s identity from being lost (Usen, 2013). The aim in this article is to experience Hong Kong’s real life through one of Wong’s critically acclaimed films “Chungking Express (1994)”, where we are immersed in the middle of a chaotic, confusing and an unclear environmental setting, reflecting a certain social and political turning point that was about to hit the nation in a couple of years. Through the film’s fractures images, the characters and the physical settings, I tend to clarify and analyze Wong’s intention when he said in an interview “It’s a movie about Hong Kong. It reflects the way people felt at that time”.

- by Taher Abdel-Ghani
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- Film Analysis, Identity (Culture), Politics, China

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 Gary Bettinson
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- Film Theory and Practice, Film Studies, Film Theory, China

My novel "The Templar’s Sword" (ISBN 978-618-84874-4-4) was published from Nikas publications in my country in Greek language.
I'm looking for a literary agent to promote my novel and get an agreed-upon commission on every contract that he books with abroad publishers.
Publishing rights will still belong to me.
EXCERPT FROM THE BOOK
My name in Hebrew means "Gift of God" or "God was generous". I served as a Knight Templar in the Kingdom of Jerusalem. I traveled to the ends of the earth; I met wizards and fairies, dwarves and elves, ladies and kings. With Templar's sword in my hand I fought the subterranean Nephilim, the troglodyte keepers, the Canines, the Reptilians, and scattered death in my path. I crossed the world of shadows and fear, where mortals do not dare to approach. I killed the Sleeping Dragon and I bathed in his blood. I have passed through the kingdom of Hades; I am invulnerable; I am almost immortal. I have in my possession the mighty ring of King Solomon. I can summon spirits, make exorcisms, and know what others are unaware of. I fight evil and injustice, not religions, dogmas and cultures. I loved and was loved with passion. I bear the title of "Guardian of the Treasures" of the Order of the Temple of Solomon. I am the former knight-monk John the Brave and I swore to serve the Light. I am a holy sinner and if you do not have a problem with it you can read all the memorabilia from my strange journey that starts from the Holy Land!

- by Giannis Nikolaidis
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- Fiction Writing, Medieval History, English Novel, Medieval France
- by Diego Baratto
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- French Cinema, European Cinema, Film Noir, Cinema

Ida Lupino is positioned both within and outside the world of Italian-American artistic and cultural production. Before exploring the ways that Lupino's Emerald/Filmmakers' films problematize ethnic assimilation in the 1950s, this essay... more

Les dissensions qui ont opposé les différentes communautés libanaises durant la guerre civile n’ont jamais permis le consensus historique. Malgré les accords de Taëf qui, au début des années 1990, ont imposé la paix entre les confessions, il n’existe pas encore d’histoire unifiée au-delà de 1945. Le rapport à la mémoire est encore très problématique, et les témoignages de la guerre souvent contradictoires. Parler de la guerre civile au Liban amène ainsi à soulever le problème de sa dénomination : les termes varient à l’envi, tant dans l’échelle attribuée (« événements », « guerres », « rounds ») que dans la responsabilité assumée dans le conflit (« la guerre des autres », « la guerre de tous contre tous »). La difficulté manifeste à nommer la période 1975-1990 ne fait que traduire une incapacité à cerner tous les aspects d’une guerre qui, en quinze ans, a revêtu des formes très différentes.
Face à une telle impasse, que peut le cinéma ? S’intéresser au travail de Jocelyne Saab, qui à travers reportages, essais documentaires ou films de fiction, a couvert les quinze années de la guerre civile libanaise, permet de questionner la pertinence de l’analyse filmique pour une écriture de la « mémoire historique ». Sa large filmographie propose une poétique historique du désastre, vécu de l’intérieur par une cinéaste armée d’un solide bagage politique sur les enjeux qui sous-tendent les conflits. Suivre son parcours permet désormais, avec le recul dont nous bénéficions aujourd’hui, de nous aider à penser la complexité de ces séries de conflits qui marquent encore profondément un peuple libanais en mal de mémoire.

- by Mathilde Rouxel
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- History, Civil War, Lebanon, Women

- by Andrei Simut
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- Cinema Studies, World Cinema, Filmmakers, Classic Movies

In the spring of 1987 Sergei Paradjanov was invited from Tiflis to Erevan by the Holy See to make a film on the Treasures of Etchmiadzin. The ArmenFilm Studio was ready as were all those to assist in the shooting, including the famous cameraman Albert Yavourian. Problems and misunderstandings eventual led to exasperation on the part of Paradjanov and the project was abandoned. Paradjanov gave me the hand-written scenario he had prepared for Catholicos Vazken. I was with him daily for the five or six weeks of fruitless work and kept a journal thinking it would be interesting to record how a famous filmmaker went about his work. Only twenty years later was I able to publish the material during a tribute to him in Paris.

- by Dickran Kouymjian
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- Art History, Performing Arts, Avant-Garde Cinema, Art

Este texto expone los resultados de una intervención educativa en la asignatura Realización II: Dirección de Actores de la Licenciatura en Artes Cinematográficas y Audiovisuales de la Universidad Autónoma de Aguascalientes, a través del Making-of como recurso didáctico en un modelo de aprendizaje autónomo y colaborativo basado en la investigación artística experimental desde las necesidades creativas y el tipo de cine que desean filmar sus cineastas en formación. La propuesta reúne los hallazgos de Pat Brereton, quien comprobó que la consulta de “materiales extra” de los DVD permite un aprendizaje del cine fuera del aula, y los preceptos teóricos de Daniel Montero quien argumenta que la formación integral de artistas en las universidades se logra con la práctica experimental de la investigación artística para el desarrollo de epistemologías y metodologías propias. Por tanto, de los materiales extra elegimos al making-of porque revela el secreto técnico-metodológico de los cineastas in praxis.

- by Gary Bettinson
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- Film Studies, Film Theory, Genre, Film Analysis
- by Gary Bettinson
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- Chinese Language and Culture, Hong Kong Cinema, East Asian Cinema, Chinese Cinema

An image device – whatever it is – should resolve to adjust the psychic distance between a subject viewer and an image, which organized by the play of some plastics values. Looking an image marks the entrance of our real universe into a different space, the world of the image’s surface. Mary Helena Clark’s films performed around this legible separation between two distinct spaces: her images describe a world where reality is unusual, not hesitating to create mysterious associations that remind the dream logic. But she has more subtle by trying to put some distant from this paradigm of thinking. As result, her work appears so unpredictable. If these films work well, is that they never stop to question the perpetual strangeness of seeing like projected on a screen. How to develop a highly subjective vision of reality, knowing to take into consideration the viewer’s expectations? Maybe through a constantly magical vision which questioning our own relationship with reality. We’re thinking about After Writing (2008), a silent song for a lost abandon world, Orpheus (Outtakes) (2013) – citing Cocteau or referencing Keaton – a spectral movie with some ghosts of cinema or at least By Foot-Candle Light (2011) – a metaphor of the cinematographic device in a very subtle sense. Her woks subvert our expectations of the veracity of moving images, while she reaffirmed the vitality of a magic trick. Let us try to explore with her this fascinating world.

- by Benjamin Léon and +1
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- Film Aesthetics, Experimental Cinema, Interviews, Contemporary Visual Arts and Artists
- by Giulio Baraldi
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- Film Production, Digital Filmmaking, Filmmaking, Filmmakers

Since the beginning of time, mankind has been faced with the retelling of events so future generations will have a record of their ancestor’s lives. At first, it was word of mouth, but eventually the written word. In fact, even Judeo Christians believe God felt the need to document. And so it goes, believers might argue, that Moses was one of the first documentarians, writing what God told him, but no doubt, in his own unique style. With filmmaking, it is not too different, with each filmmaker reinterpreting events in his own way, from his own memory as well as from those of his subjects. Documentary films have undergone many changes and much scrutiny since John Grierson coined the term (1946, p.
159). Describing it as “the creative treatment of reality,” the documentary genre has been perceived, at least in part, as real people living through actual events from not only Grierson,
but others in the industry as well (as cited in Rabiger, 1998, p. 22). What has nearly always accompanied the documentary genre is the question of ethics. This includes not only the way the filmmaker interprets stories and events, but how he portrays his subject(s). This paper discusses the writer's experience while filming the documentary, A Glass House, the ethical issues he faced, and the decisions he was inevitably forced to make in reflection of his work regarding the subject, Joey Tacon, during his own spiritual path. The writer also be discusses the relevance of various theories of documentary filmmaking in regards to the documentary produced alongside this paper and also from field experience making a documentary in Italy during his role as Director of Photography.

- by Jeffrey J Hanshaw
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- Religion, Christianity, Ethics, Film Studies

The celebrated case of Madeleine Smith, the Glasgow poisoner, who was tried for murder (and absolved) in 1857, has resulted in many novels, plays, films and television series. Hollywood, during its classical period, made two updated... more

- by Carmen Guiralt Gomar
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- Film Studies, Film Analysis, Film Noir, Film History
- by Dan Browne
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- Aesthetics, Film Studies, Experimental Media Arts, Documentary (Film Studies)
- by Gary Bettinson
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- Film Theory and Practice, Film Studies, Film Theory, Film Sound

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
- by JT Velikovsky (he/him/his)
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- Screenwriting, Cultural Studies, Philosophy, Education

This is a result of The Mapping of Yogyakarta's Filmmakers 2015, a research funded by Dinas Kebudayaan Daerah Istimewa Yogyakarta (DIY) and conducted by a group of independent researchers: Kurniawan A Saputro (lead researcher), Dyna Herlina, Firly Annisa, Imam Karyadi A and Zaki Habibi. Apart from contributing in this collaborative research, I also acted as the editor of this book. You might order this free publication directly to Dinas Kebudayaan DIY (http://www.tasteofjogja.org and http://www.jogjafilm.com/id) or the co-distributor, Rumah Sinema Yogyakarta (https://twitter.com/rumah_sinema?lang=en).

- by Zaki Habibi
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- Film Studies, Film Production, Art and Independent Cinema, Film and Media Studies

“La gente está agarrada a un palo, y lo que hay que hacer es soltarse del palo. Y si te ahogas, pues te has ahogado.” Así, sin más. Esto lo dice un personaje al promediar Gente en sitios, cuando todavía nos preguntamos de qué nos está hablando esta película extrañísima que pasa sin vacilar del disparate a la política, de la ansiedad al surrealismo, del esperpento a lo kafkiano, del absurdo a la contemplación intimista, porque lo que importa es abandonar el punto fijo, esa zona de seguridad que supuestamente nos cobija y debería conducir hacia un sentido. Estamos ante una película-rizoma, un experimento que pone en marcha regímenes de signos muy distintos para que uno se anime a recombinarlos y jugar con ellos una vez superado el desconcierto inicial.

- by Carolina Giudici
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- Film Analysis, Visual Semiotics, Film Aesthetics, Filmmakers

Una historia de las cineastas en México desde inicios del siglo XX hasta los primeros años del XXI, con capítulos analíticos dedicados a la obra de Busi Cortés, Maryse Sistach, Guita Schyfter, María Novaro y Dana Rotberg. Presentación de... more

- by Elissa Rashkin
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- Mexican Cinema, Cinema Studies, Feminismo, Historia De Las Mujeres
- by Gary Bettinson
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- Film Studies, Film Theory, Film Analysis, American Cinema
- by Mario Laborem
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- Screenwriting, Gender Studies, Education, Journalism