"La selección de términos que recogemos en el Diccionario de conceptos y términos audiovisuales, necesariamente sesgada y parcial, se articula en torno a una serie de perspectivas conceptuales diferenciadas, aunque complementarias entre sí: conceptos y términos relacionados con las teorías del
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cine y las metodologías de análisis del texto filmico; conceptos y expresiones relativos a las corrientes estéticas, movimientos cinematográficos y a la historia del medio filmico; conceptos y términos relacionados con el estudio del cine desde el punto de vista industrial y de la economía del cine, lo que se conoce como el negocio del cine; conceptos y términos relacionados con la producción cinematográfica, incluyendo aspectos como los oficios del cine y la organización de la producción; conceptos y términos relacionados con el campo de la tecnología del cine, del vídeo y del sonido, considerando que el medio cinematográfico se encuentra subsumido actualmente en el mundo del vídeo digital; conceptos y términos relacionados con la enunciación filmica, que permiten asociar la práctica fílmica a sus bases de conocimiento; conceptos y términos relativos a los recursos expresivos y narrativos ligados al lenguaje audiovisual y al lenguaje filmico, desde el tratamiento del profílmico y los elementos filmográficos hasta la cadena sintagmática, esto es, el montaje y el espacio y tiempo fílmicos; finalmente, conceptos y términos relacionados con las hibridaciones y transmutaciones del cine por la imagen digital, siempre relacionados de forma directa e indirecta con el medio fílmico, desde el punto de vista de las relaciones entre el cine y la televisión, entre el cine y la publicidad, y entre el cine, los videojuegos e Internet. Por razones prácticas, todas las entradas del diccionario, más allá de la perspectiva conceptual de que se trate, están ordenadas alfabéticamente, y su extensión varía entre 500 y 1.500 palabras, aproximadamente. Buen número de estas entradas hacen referencia a otros términos cuya relevancia es menor, y que hemos definido como "secundarios" con entradas de breve definición." (Introducción, página 12-13)
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"This timely study is based on detailed interviews with Chinese documentary makers rarely available in English, and insights gained by the author while working as a journalist in Beijing. It considers the relationship between independent documentaries and China’s official film and television secto
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rs, exploring the ways in which independent films probe, question and challenge the dominant ideas and narratives circulating in the state-sanctioned public sphere. Detailed analyses of key contemporary documentaries reveal a sustained attempt to forge an alternative public sphere where the views and experiences of petitioners, AIDS sufferers, dispossessed farmers and the victims of Mao’s repression can be publicly aired for a small, but steadily growing, public." (Publisher description)
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"This book explores how human rights developed as a language located in history, space and time, and how the festivals continue with this tradition by adapting it for local audiences. The tensions produced by human rights' search for universality and the located-ness of the festivals are explored in
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detail through two case studies: one located in Buenos Aires, South America; the other in New York, North America, which was the first human rights film festival worldwide." (Back cover)
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"Tracing the history of Africa's relationship to film festivals and exploring the festivals' impact on the various types of people who attend festivals (the festival experts, the ordinary festival audiences, and the filmmakers), Dovey reveals what turns something called a "festival" into a "festival
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experience" for these groups." (Publisher description)
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"Der Beitrag analysiert den Zusammenhang von Dekolonisation und Film. Durch die Synthese vorhandener Literatur werden in einem ersten Schritt Kontinuitäten in der Filmproduktion und in Filminhalten vom Kolonialzeitalter bis in die Gegenwart nachgezeichnet. Daran anschließend werden mit der Dekolon
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isierung in den 1960er Jahren einhergehende Veränderungen in beiden Bereichen aufgezeigt. Herausgearbeitet wird, dass im Film die alltägliche Gewalt kolonialer Herrschaft sichtbar wurde und die ehemals „passiven“ und „stummen“ Kolonisierten begannen, aktiv zu handeln und zu sprechen. Im dritten Schritt wird ein Analyseraster skizziert, um diesen Wandel tiefergehend zu untersuchen. Hervorgehoben werden dabei fünf Aspekte: 1.) die Entstehung postkolonialer Länder schuf neue Möglichkeiten der Filmproduktion und -distribution, 2.) die Entstehung des “Dritten Kinos” mit seinen Impulsen aus Lateinamerika, 3.) gesellschaftliche Wandlungsprozesse in Westeuropa, die Resonanzräume für kolonialkritische Filme schufen, 4.) die Ausdifferenzierung des Mediensystems, das den Meinungspluralismus förderte und 5.) der Ost-West-Konflikt und die Filmförderung sowie -produktion der sozialistischen Länder." (Abstract)
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"This text is a review of some changes that have recently taken place in literary creation and script writing in TV programs for children 0-6; a complex set of different influences has triggered changes on children conception; a new image of the child has emerged, different from the old behaviorist
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one; new quality criteria have emerged for production and exhibition of socio-emotional TV programs." (Abstract)
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"Contemporary anthropology is done in a world where social and digital media are playing an increasingly significant role, where anthropological and arts practices are often intertwined in museum and public intervention contexts, and where anthropologists are encouraged to engage with mass media. Be
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cause anthropologists are often expected and inspired to ensure their work engages with public issues, these opportunities to disseminate work in new ways and to new publics simultaneously create challenges as anthropologists move their practice into unfamiliar collaborative domains and expose their research to new forms of scrutiny. In this volume, contributors question whether a fresh public anthropology is emerging through these new practices." (Publisher description)
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"Set in ancient Egypt and loosely based on the story of Moses, “The Ten Commandments” is billed as Brazil’s first biblical soap opera. Swathed in Egyptian robes and sporting lapis lazuli jewelry and Cleopatra wigs, some of the characters are based on biblical or other historic figures, while o
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thers are invented. The soap is taking the country by storm. It’s helped propel the Rede Record television network, owned by the founder of Brazil’s main Pentecostal church, the Universal Church of the Kingdom of God, into a showdown with top broadcaster Globo, which for decades has had a lock on prime-time soaps, known as novelas." (Introduction)
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"Lisa Marie Gadatsch liefert mit dieser Künstlermonographie eine erste umfassende Studie des filmischen Gesamtwerks der indisch-amerikanischen Regisseurin Mira Nair. Nairs Filme changieren zwischen Arthousekino, Hollywood und Weltkino und reflektieren den vielschichtigen kulturellen Hintergrund der
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Ausnahmeregisseurin. Die Autorin stellt die kulturellen Kontraste, Referenzen und Ambivalenzen als integralen Bestandteil Nairs postkolonialer Filmkunst heraus und erkennt in ihrem Kino eine transkulturelle Filmpoesie, die paradigmatisch für eine Generation junger und global inspirierter Filmschaffender ist." (Verlagsbeschreibung)
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"Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of
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filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners." (Publisher description)
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"Talvez este seja o momento de voltarmos os nossos olhos para a cinematografia em Cabo Verde, país que conta com apenas duas salas de cinema, pois, mesmo olhando de longe, eu venho observando desde o Brasil, há algumas tantas ações que demonstram um esforço para implantação e consolidação d
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a sétima arte no país, e todos sabemos o enorme esforço necessário para, às vezes, conquistar pequenos resultados. De qualquer forma vale ressaltar algumas destas iniciativas, tanto oficiais, quanto particulares: festivais, associações, escolas de cinema, entre outros." (Resumo)
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"A produção cinematográfica em Moçambique depende de um sistema de produção muito frágil ancorado em apoios externos. A deficiente rede de distribuição e de difusão, e a escassez de salas, não permitem que o cinema moçambicano tenha grande visibilidade. Fora dos circuitos dos festivais,
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dos congressos e das universidades, este cinema é praticamente desconhecido. Divulgar o trabalho dos cineastas moçambicanos, compreender o contexto e as condições em que filmam, e refletir acerca do olhar destes sobre o mundo que os rodeia, são os principais objetivos desta apresentação. Neste sentido, pretende-se, por isso, fazer uma leitura transversal da história do cinema contemporâneo em Moçambique, convocando para a discussão os realizadores Licínio Azevedo, Sol de Carvalho, José Cardoso, João Ribeiro, Pipas Forjaz e Mikey Fonseca." (Resumo)
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"O fomento à produção cinematográfica em regime de coprodução tem sido uma saída para os países latinoamericanos que pressionados em sua cadeia produtiva pela hegemônica indústria cinematográfica norte americana têm dificuldades em desenvolver suas cinematografias. Desde da década de 19
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90, essa modalidade de realização fílmica tem sido sistematizada de forma mais consistente entre esses países, Portugal e Espanha através do Programa Ibermedia. Ao que pesem as controvérsias, este programa tem tentado cumprir o papel de promover um espaço de interação audiovisual na chamada Iberoamérica. Esse artigo tem por objetivo apresentar minha proposta de pesquisa de doutorado, que buscará avaliar a relação investimento/retorno das coproduções realizadas pelo Ibermedia nos seus últimos dez anos (2003-3013), tomando para estudo de caso 32 coproduções brasileiras realizadas com apoio do fundo, durante esse período." (Resumo)
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"This report gives forecasts for online video spend and consumption, where available, for 40 markets in which online video is at varying stages of development. From markets such as Singapore, where 85% of the population claims to access online video (according to GlobalWebIndex, 2014), to countries
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where online video is still in its early stages of growth, what we see is that online video consumption has risen sharply over the past few years and has begun to attract budget-switching from TV advertising. TV remains, of course, the world’s most popular advertising channel, and will be so for some years yet. Nevertheless, networks and studios are having to adapt to the new importance of digital." (Introduction, page 1)
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"Small Cinemas in Global Markets addresses aspects such as identity, revisiting the past, internationalized genres, new forms of experimental cinema, markets and production, as well as technological developments of alternative small screens that open new perspectives into small cinema possibilities.
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Small and big markets for small industries reveal an unimagined diversification of the cultural product and consequently the need to analyze the impact at local, regional, and global levels. Much needed to continue and expand the existing scholarship in the field, this volume is based on research by authors who approach their subject from Western theoretical perspectives with a professional (mostly native) knowledge of the language, cultural realities, and film industry practices. It covers aspects from fifteen different countries, including Bolivia, Brazil, China (Hong Kong), Croatia, East Africa (Kenya, Tanzania, and Uganda), Greece, Indonesia, Lithuania, Bulgaria, Poland, Romania, Morocco, and the United States. Since both film and documentary distribution from certain areas of the globe on international markets remains problematic, it is important for the academic field to discuss and circulate them as much as possible, and to create the basis for further exploration." (Publisher description)
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