"In this article, I discuss that quality TV for the specific children audience can be described with some new quality indicators afforded by child neuroscience and child epigenetic development; there is a reappreciation of the ludic and emotional genetic abilities of child brain to enjoy and compreh
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end ludic narrative fiction. But also, from a systemic view of the TV communication process; quality on children’s TV depends not only on the program content but on the broadcast and on the reception. A review of children's TV channels, and a few dozen of the new programs broadcast, allows us to find several new criteria regarding the quality of children's TV and audio-visual content." (Abstract)
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"Katholische Filmarbeit dient der kirchlichen Gemeinschaft und dem Dialog zwischen Kirche und Gesellschaft. Sie ist in vielen Segmenten der Filmbranche und Kreativwirtschaft engagiert: in der Herstellung von Filmen bzw. Bewegtbildformaten und ihrer Verbreitung durch Vertrieb und Verleih, in der film
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kulturellen Bildung und der Film-Publizistik, in der Jury-Arbeit bei deutschen und internationalen Festivals. Eine wesentliche Rolle spielt der Einsatz für den Jugend-(Medien-)Schutz. Die vorliegende Arbeitshilfe versteht sich als Feldbeschreibung dessen, was katholische Filmarbeit leistet. Die Beiträge richten sich insbesondere an Fachpublikum und Multiplikatoren sowie an interessierte Laien. Das Heft stellt Reflexionen zum Zusammenhang zwischen Film und Theologie, zur pastoralen Bedeutung des Films, zur Entwicklung, Kriteriologie sowie zu digitaler Kontextualisierung katholischer Filmarbeit bereit. Die Differenzierung des Engagements katholischer Filmarbeit wird im Teil „Arbeitsbereiche“ ersichtlich, filmkulturelle Statements bilden den Abschluss." (https://www.dbk-shop.de)
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"Through carefully curated essays, Salazkina and Fibla-Gutiérrez bring wider meaning and significance to the discipline through their study of alternative cinema in new territories, fueled by different historical and political circumstances, innovative technologies, and ambitious practitioners. The
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essays in this volume work to realize the radical societal democratization that shows up in amateur cinema around the world. In particular, diverse contributors highlight the significance of amateur filmmaking, the exhibition of amateur films, the uses and availability of film technologies, and the inventive and creative approaches of filmmakers and advocates of amateur film." (Publisher description)
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"For the first time, a complete mapping of the film and audiovisual industry in 54 States of the African continent is available, including quantitative and qualitative data and an analysis of their strengths and weaknesses at the continental and regional levels. The report proposes strategic recomme
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ndations for the development of the film and audiovisual sectors in Africa and invites policymakers, professional organizations, firms, filmmakers and artists to implement them in a concerted manner. The film and audiovisual industry in Africa has the potential to create over 20 million jobs and generate US$20 billion in revenues per year." (Short summary, page 2)
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"Als sich Ende der 1920er Jahre in den USA und Europa der Tonfilm durchsetzte, erkannten ägyptische Geschäftsleute dessen Potenzial für die arabische Welt. Sie erwarben innovative Tontechnik aus Deutschland und schickten ägyptische Stipendiaten zur Ausbildung nach Berlin und Paris. Nach ihrer R
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ckkehr schufen diese gemeinsam mit europäischen Filmschaffenden eine Traumfabrik nach dem Vorbild Hollywoods. In diesem Umfeld entstanden die ersten ägyptischen Tonfilme, die ab Mitte der 1930er Jahre weltweit zirkulierten. Manche dieser Spielfilme gelten in Ägypten als Klassiker, während sie in den europäischen Filmgeschichtsbüchern selten Erwähnung finden. Ausgehend von diesem Missverhältnis untersucht die Autorin die Entstehung, Verwertung und Rezeption dreier ägyptischer Tonfilme der 1930er bis 1950er Jahre aus transnationaler Perspektive. Ihre historisch fundierten Analysen zeigen, dass besonders die auf Zelluloid gebannten orientalischen Klänge für europäische Ohren befremdend wirkten, während sie in Ägypten maßgeblich zum Erfolg beitrugen. Um die von einander abweichende Wahrnehmung zu beleuchten, macht die Autorin den Begriff der «Atmosphäre» für ihre transnationale Rezeptionsstudie fruchtbar. Erstmals rücken damit Filme in den Blick, die dem Goldenen Zeitalter des ägyptischen Films der 1950er Jahre den Weg bereiteten, in Europa bislang aber kaum gewürdigt wurden. Im Mittelpunkt der Analyse stehen die Filme Wedad (Wedad the Slave, 1936, Lashin (Verräter am Nil), 1938 und Raya w Sekina (Der Frauenwürger von Kairo),1953." (Verlagsbeschreibung)
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"[Der Autor] skizziert die Filmgeschichte in 13 Kapiteln, die jeweils eine Dekade beleuchten. Pro Kapitel legt er das Hauptaugenmerk auf filmgeschichtliche Besonderheiten aus den USA, Europa und Deutschland. Auch auf globale Phänomene geht er ein, etwa aus Asien, Südamerika oder Afrika. Wichtige f
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ilmwissenschaftliche Begriffe aus den Dekaden erklärt er am Kapitelende. Dort finden sich auch Tipps zu sehenswerten Filmen aus der Zeit." (Buchrücken)
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"One key aspect of Filipino cinema during its 100-year history is its attempt at self-reflexivity. Films that revolve around films have been made repeatedly, exploring the morality of the industry, the highs and lows of actors, or the passions of fans. Fandom, in particular, is depicted at length in
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films like Bona (Lino Brocka, 1980), Bituing Walang Ningning [Lackluster Star] (Emmanuel Borlaza, 1985), Konorang Itim [Black Crown] (Jose Mari Avellana, 1994), and Fangirl Fanboy (Barry Gonzalez, 2017). Each features a narrative centered on the life of a fan in relation to a film or a music idol. Do such movies value and appreciate their highest patrons? In what ways are representations of fan practices and behaviors in such movies affirming or contesting of fan stereotypes? How do fan representations affect the movie industry’s attitude, more broadly, toward its audiences? These are only some of the questions the paper shall address in order to identify an iconographic understanding of fans, based on movies that directly recognize their existence and narrate their experiences." (Absract)
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"In this book, Patrick Colm Hogan sets out through close analysis and explication of culturally particular information about Indian history, Hindu metaphysics, Islamic spirituality, Sanskrit aesthetics, and other Indian traditions to provide necessary cultural contexts for understanding Indian films
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. Hogan analyzes eleven important films, using them as the focus to explore the topics of plot, theme, emotion, sound, and visual style in Indian cinema. These films draw on a wide range of South Asian cultural traditions and are representative of the greater whole of Indian cinema. By learning to interpret these examples with the tools Hogan provides, the reader will be able to take these skills and apply them to other Indian films. But this study is not simply culturalist. Hogan also takes up key principles from cognitive neuroscience to illustrate that all cultures share perceptual, cognitive, and emotional elements that, when properly interpreted, can help to bridge gaps between seemingly disparate societies. Hogan locates the specificity of Indian culture in relation to human universals, and illustrates this cultural-cognitive synthesis through his detailed interpretations of these films." (Publisher description)
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"El objetivo de este libro colectivo es ofrecer una perspectiva panorámica acerca de la investigación profesional sobre los estudios cinematográficos que se está produciendo en siete países de América Latina: Argentina, Bolivia, Brasil, Colombia, Chile, México y Perú. En cada uno de los cap
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tulos de este volumen se ofrece un puntual registro de la producción bibliográfica nacional y la ponderación de estos materiales desde una perspectiva especializada. En las primeras dos décadas del nuevo siglo se observa un crecimiento exponencial de los estudios sobre cine en la región latinoamericana. Es de esperarse que esta tendencia se mantenga y que propicie un diálogo internacional para la creación de redes de cooperación académica, videotecas compartidas y publicaciones conjuntas. La investigación sobre cine producida en América Latina se encuentra en un momento de crecimiento y efervescencia, y este impulso podrá llevar a la producción de modelos teóricos de alcance universal. Esperamos que la presentación de estos materiales contribuya a la consolidación y el crecimiento de este terreno emergente de la investigación interdisciplinaria." (Resumen)
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"Depuis leur apparition apres les independances politiques, les films realises par les Africains originaires des anciennes colonies françaises subsahariennes ont ete tres peu diffuses dans les salles de l'ancienne metropole. A de tres rares exceptions pres, ils ont egalement tres peu ete vus par le
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public français. L'image de « film de festival» qui leur a ete accolee a joue un role negatif non negligeable, confirmant leur mise a l'ecart dans un ghetto pour inities. Les quelques titres cites rituellement ont piege leurs locuteurs, qui se trouvaient reduits a ces lieux et a ces histoires qu'ils racontaient, et la realite d'un autre phenomene genant s'en est trouvee occultee: le rejet massif de ces cinematographies par les instances de legitimation du Nord, accompagne d'une condescendance melee a la culpabilite post-coloniale. Si la France a bien ete le lieu de naissance de nombreux films du Sud, elle en a de facto ete egalement le cimetiere, principal lieu de diffusion et d'existence materielle et symbolique, notamment aupres d'une frange de la critique, mais sans susciter l'interet des Français ni permettre a ces films d'acceder a la reconnaissance internationale." (Resume)
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"Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School
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, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online." (Abstract)
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"The factors that led to the overall unsatisfactory assessment of the project can be summarised as follows:
• The project was not anchored in any overarching reference framework. Accordingly, neither its contributions to the strategic objectives of the German development cooperation nor to any oth
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er national or international development agenda were specified. While this has nothing to do with the actual quality of the project, as already outlined in the introduction, it leaves the question of whether the OECD/DAC criteria were suitable to evaluate it.
• The organisational setup of the project was inefficient. Having two intermediary organisations with separate overheads, trying unsuccessfully to change a national implementing partner, and finally needing to involve GIZ staff on the ground increased the costs and resulted in an inefficient use of financial resources.
• During the planning of the project, fundamental rules for German development cooperation projects were disregarded: there were no preceding government consultations; implementing partners were chosen without considering alternatives (particularly at political level); neither a risk assessment nor stakeholder mapping took place; and the instruments to be applied were defined beforehand. This procedure appears unusual for GIZ.
• The lack of results at impact level can partly be attributed to the fact that the project did not have a political partner. The professionalisation of an industry/economy requires support from political decision-makers as they have the ability to establish and enforce an appropriate regulatory framework. For instance, the introduction of a tax incentive for film productions could only be achieved through collaboration with the ministries for finance and culture." (Conclusions, page 45)
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"Comprised of 31 chapters authored by some of the world's leading experts in their respective fields, the book's contributors synthesize existing literature, introduce the historical and conceptual dimensions of the field, illustrate innovative methodologies and techniques, survey traditional and ne
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w technologies, reflect on ethics and moral imperatives, outline ways to work with people, objects, and tools, and shape the future agenda of the field. With a particular focus on making ethnographic film and video, as opposed to analysing or critiquing it, from a variety of methodological approaches and styles, the handbook provides both a comprehensive introduction and up-to-date survey of the field for a vast variety of audio-visual researchers, such as scholars and students in sociology, anthropology, geography, communication and media studies, education, cultural studies, film studies, visual arts and related social science and humanities. As such, it will appeal to a multidisciplinary and international audience, and features a dynamic, forward-thinking, innovative, and contemporary focus oriented toward the very latest developments in the field, as well as future possibilities." (Publisher description)
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"Postcolonial Hangups in Southeast Asian Cinema explores a geopolitically situated set of cultures negotiating unique relationships to colonial history. These particular Singaporean, Malaysian, and Indonesian identities are discussed through a variety of commercial films, art cinema, and experimenta
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l work. It discovers instances of postcoloniality that manifest stylistically through Singapore's preoccupations with space, the importance of sound to Malay culture, and the Indonesian investment in genre." (Publisher description)
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"Das Thema Suizid spielt in der Weltliteratur eine große Rolle: In Shakespeares Werk kommen 13 Freitode vor, in der Bibel sind elf Selbsttötungen zu finden. Auch der Spielfilm interessiert sich seit jeher für den Topos der Lebensmüdigkeit und Todessehnsucht: Das American Film Institute zählt an
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die 1.600 Spielfilme, in denen Suizidhandlungen vorkommen bzw. eine Rolle spielen. Neuere Untersuchungen zu den wichtigsten Suizidmotiven im Spielfilm zeigen, dass es im Film weniger psychiatrische Erkrankungen sind, die zu einem Selbstmord führen, sondern soziale Schwierigkeiten und Konflikte, wie zum Beispiel Beziehungsabbrüche, Trennungen, Eltern-Kind-Konflikte, Partnerschafts-Probleme, Geldnöte, Einsamkeit, Mobbing und zwischenmenschliche Schikanen, gesellschaftliche Vorurteile gegenüber Rasse und sexueller Orientierung, Schuld und Scham, welche Film-Protagonisten dazu bringen, sich das Leben zu nehmen. Damit fordert der Film die gängige psychiatrische Lehrmeinung heraus, dass sich 90% aller Suizidhandlungen vor dem Hintergrund einer psychischen Störung ereignen. Zumindest für die Filmfiguren stimmt diese These keinesfalls, da nur ca. 20% aller Film-Protagonisten sich aufgrund einer psychiatrischen Problematik das Leben nehmen. Dieses Buch thematisiert alle Freitod-Beweggründe in den enthaltenen Filmen in unterhaltsamen Beiträgen und fachlich fundierten Analysen. Es richtet sich sowohl an filmbegeisterte Fachleute aus Psychiatrie, Psychotherapie und Psychologie als auch an interessierte Laien, die die Beweggründe der Filmfiguren besser verstehen möchten." (Verlagsbeschreibung)
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"Over the last 20 years, the power of cultural and creative industries (CCIs) as enablers and drivers of sustainable development has been broadly recognised. They are viewed as critical to social cohesion, social and economic transformation, and political stability. For this reason, it is important
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to explore and analyse what kind of CCIs supporting strategies, programmes and projects are in place in SubSaharan Africa, how they are working and their practical impacts. Furthermore, to deeply understand these dynamics and be able to provide accurate recommendations, this research looked not only at the practical cases of programmes developed multilaterally by the EU but also those developed individually by European countries’ cultural institutions. The authors show how, where and why CCIs programmes are implemented and put forward a case for more sustainable projects with a stronger focus on local ownership." (Back cover)
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