Alternate Title: Geografías fílmicas: audiovisual, material-incorporado. (Spanish)
La géographie filmique: audio-visuelle, matérielle-incarnée. (French)

المؤلفون: Ernwein, Marion

المصدر: Social & Cultural Geography; Jul2022, Vol. 23 Issue 6, p779-796, 18p

مصطلحات موضوعية: GEOGRAPHY, HUMAN geography, CULTURAL geography, MOTION picture screenings, PARTICIPANT observation, HUMAN research subjects

Abstract (English): Although conventionally described as a 'visual' method, film-making is also increasingly used within research on embodiment. However, much remains to be said about the ability of filmic methods to enhance researchers' capacity to think and research through the body. Drawing on my experience of making four research films, in this paper, I attempt to advance this agenda in three steps. First, I introduce anthropological work on the filming body to shed light on the technologically-mediated encounters that enfold around a camera and discuss how they might inform geographical thinking. Second, I describe the corporeally-mediated object ecologies that take shape within the filming setting and highlight how a camera might make objects 'speak'. Finally, I discuss the affective dimension of screening research films to research participants and the contribution of such intense events to the articulation of collective matters of concerns. Through these three themes, I make the case for understanding knowledge production as located not merely in encounters with filmed audio-visual content, but also in the embodied-material encounters of bodies and objects around the filming and screening apparatus. I finally discuss the implications of these reflections for conceptualising the 'body' within embodied methods in social and cultural geography. [ABSTRACT FROM AUTHOR]

Abstract (Spanish): Aunque se describe convencionalmente como un método 'visual', la realización de películas también se utiliza cada vez más en la investigación sobre la incorporación. Sin embargo, queda mucho por decir sobre la capacidad de los métodos fílmicos para mejorar la capacidad de los investigadores para pensar e investigar a través del cuerpo. Basándome en mi experiencia haciendo cuatro películas de investigación, en este artículo intento avanzar una agenda en tres pasos. Primero, presento el trabajo antropológico sobre el cuerpo que filma para arrojar luz sobre los encuentros mediados tecnológicamente que se envuelven alrededor de una cámara y discutir cómo podrían informar el pensamiento geográfico. En segundo lugar, describo las ecologías de objetos mediadas corporalmente que toman forma dentro del escenario de la filmación y destaco cómo una cámara puede hacer que los objetos 'hablen'. Finalmente, discuto la dimensión afectiva de proyectar películas de investigación a los participantes de la investigación y la contribución de eventos tan intensos a la articulación de asuntos de preocupación colectiva. A través de estos tres temas, propongo que la producción de conocimiento está localizada no solo en los encuentros con el contenido audiovisual filmado, sino también en los encuentros materializados de cuerpos y objetos alrededor del aparato de filmación y proyección. Finalmente, analizo las implicaciones de estas reflexiones para conceptualizar el 'cuerpo' dentro de los métodos incorporados en la geografía social y cultural. [ABSTRACT FROM AUTHOR]

Abstract (French): Bien qu'elle soit conventionnellement décrite comme une méthode « visuelle », la réalisation de films est aussi de plus en plus utilisée dans la recherche sur la corporéité. Il reste néanmoins beaucoup de choses à dire sur l'aptitude que possèdent les formes cinématographiques à amplifier la capacité des chercheurs à rechercher à travers le corps. Puisant dans mon expérience de réalisation de quatre films de recherche, j'essaye dans cette communication de faire progresser cette question en trois étapes. Premièrement, je présente les travaux anthropologiques sur le corps filmant pour mettre en lumière les rencontres médiatisées par la technologie qui se déploient autour d'une caméra. J'examine comment elles peuvent guider la pensée géographique. Deuxièmement, je décris les écologies d'objet qui prennent forme pendant la réalisation du film et je souligne la façon dont la caméra peut faire « parler » les objets. Finalement, j'aborde la dimension affective de la projection des films aux participants à la recherche et la contribution de ce genre d'événement intense à l'articulation collective de préoccupations. Au travers de ces trois thèmes, je soutiens que la production de savoir n'est pas seulement située dans les rencontres avec le contenu audiovisuel des films, mais aussi dans les rencontres matérielles et incarnées des corps et des objets autour de l'équipement de tournage et de la projection. Je termine en discutant les implications qui découlent de ces réflexions pour conceptualiser le « corps » dans les méthodes dites incarnées en géographie sociale et culturelle. [ABSTRACT FROM AUTHOR]

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المؤلفون: Jarvis, Robert M.

المصدر: Franchise Law Journal; Summer2022, Vol. 42 Issue 1, p1-25, 25p, 3 Color Photographs

مصطلحات موضوعية: ARBITRATION clauses (Contracts), MOTION picture screenings, CLASS actions, SENIOR leadership teams, UNITED States census, MOTION picture theaters, BREACH of contract lawsuits

People: LEWIS, Jerry, 1926-2017

المؤلفون: Pinto de Almeida, Fernanda, Erasmus, Aidan

المصدر: History in Africa: A Journal of Method; Jun2022, Vol. 49, p39-63, 25p

مصطلحات موضوعية: MASS media use, MOTION picture screenings, POLITICAL oratory, EPISTOLARY fiction, EDUCATIONAL films, AFRICAN history, COLLOIDS

Abstract (English): In the mid-1920s, Solomon Tshekisho Plaatje toured the South African countryside showing films he brought from the Tuskegee Institute in the United States. Plaatje's cinema tours complemented his educational talks on the status of Africans in the Union of South Africa alongside the material he collected for books, speeches and political tours. Focusing on the itinerant cinema as an element of fieldwork, our article asks what can be learned from approaching Plaatje's research practices. We consider Plaatje's methods of research in relation to conventional notions of social scientific fieldwork, which also relied on modern media but were often entangled in colonial projects that projected an image of African rural life. Drawing on letters, novels, and accounts of his film screenings, our essay argues for an interdisciplinary engagement with cinema practices in African history that is attentive to the uses of mass media in research and the pedagogical valences of itinerant film screenings. Considering Plaatje's cinema alongside the value he attached to travelling and mobility, we argue that his cinema puts the field to work and inspires new practices of research in African Studies. [ABSTRACT FROM AUTHOR]

Abstract (French): Au milieu des années 1920, Solomon Tshekisho Plaatje fait une tournée dans la campagne sud-africaine pour diffuser des films qu'il a apportés de l'Institut Tuskegee aux États-Unis. Les tournées de cinéma de Plaatje complétaient ses conférences sur le statut de Africains de l'Union sud-africaine ainsi que le matériel qu'il a collecté pour ses livres, discours et tournées politiques. En mettant l'accent sur le cinéma itinérant comme élément de travail de terrain, notre article demande ce que l'on peut apprendre des pratiques de recherche de Plaatje. Nous évaluons ses méthodes de recherche par rapport à la notion de terrain en sciences sociales, qui s'appuyaient également sur les médias modernes mais étaient souvent empêtrées dans des projets coloniaux qui projetaient une certaine image de la vie rurale africaine. S'appuyant sur des lettres, des romans et des récits de ses projections de films, notre essai plaide pour un engagement interdisciplinaire avec les pratiques cinématographiques en histoire africaine qui soit attentive aux usages des médias de masse dans la recherche et aux dimensions pédagogiques des projections itinérantes de films. En évaluant le cinéma de Plaatje avec la valeur qu'il attachait au voyage et à la mobilité, nous avançons que son cinéma met le terrain à contribution et inspire de nouvelles pratiques de recherche en études africaines. [ABSTRACT FROM AUTHOR]

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المؤلفون: Burgess, Ashley, Mace, Michael, Moyes, Peter

المصدر: Studies in Australasian Cinema; Jun-Nov2022, Vol. 16 Issue 2/3, p82-92, 11p, 5 Color Photographs

مصطلحات موضوعية: FILM festivals, HISTORY of colonies, AUSTRALIAN history, MOTION picture screenings, STUDENT research

مصطلحات جغرافية: AUSTRALIA

مستخلص: Eleven Animation students from Australia and the UK spent two weeks in the Australian Outback with the Guwa-Koa Traditional Owners and co-created a five-minute stop motion animation as part of the Vision Splendid Outback Film Festival. Over the two-week intensive 'Bootcamp', the students researched, planned, created and screened the film as a creative interpretation of a Dreamtime story shared by Elder Minnie Mace. The course was designed to facilitate students' cultural inquiry and critical awareness of Australia's colonial history through open dialogue, discussion and co-production, while gaining first-hand insights into the ethics of cross-cultural co-production. It is a fundamental tenant of the course that all stories and artefacts created through the collaboration remain the property of the Guwa-Koa Traditional Owners. The students and schools maintain permission to screen the works. [ABSTRACT FROM AUTHOR]

: Copyright of Studies in Australasian Cinema is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Cunliffe, Tom, Tsang, Raymond

المصدر: Journal of Chinese Cinemas; Jun2022, Vol. 16 Issue 2, p215-230, 16p

مصطلحات موضوعية: INDEPENDENT films, SOCIAL movements, MOTION picture screenings, PERFORMANCE art, ART & society, FILM festivals

مصطلحات جغرافية: HONG Kong (China)

مستخلص: This is a wide-ranging interview with Augustine Mok Chiu-yu. It focuses on topics including film exhibition in Hong Kong of political films from across the globe and the making of independent and experimental cinema in Hong Kong. This contributes to an assessment of Hong Kong left-wing cinema in the 1970s that transcends and moves beyond the limiting boundaries of the US-Soviet Union Cold War discourse. Mok discusses his own role and history in producing and screening of progressive films in Hong Kong during this period. Augustine Mok Chiu-yu was a founding member of The 70's Biweekly, an independent youth magazine first published on the first day of 1970. He was a social/political activist in The 70's but he became more a cultural activist involved in writings and cultural work in subsequent years. He moved into theatre, performance art and community cultural development work and has performed in the US, UK, Poland, Germany, Austria, Switzerland, Kathmandu, Bangla Desh, Myanmar Republic, South Korea etc. He has organized many cross-cultural projects that toured in Asia and Europe. He won the first ever Award for Theatre of the Hong Kong Arts Development Council for the year 1998 and has been a great promoter in arts and disability, community arts and community cultural development in Hong Kong. He helped to found the Hong Kong International Deaf Film Festival and has been its hearing organizer for the 12 editions of the Festival. He was the producer of the 35 mm film entitled An Open Letter to Hong Kong's Literary Youth and the documentary Black Bird - A Living Song. He has acted in Life and Times of Ng Chung Yin (Evans Chan), Ordinary Heroes (Ann Hui), Port Unknown (Mamunur Rashid), and N+N (Mo Lai). [ABSTRACT FROM AUTHOR]

: Copyright of Journal of Chinese Cinemas is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المصدر: FilAm: A Magazine for Filipino Americans in New York; Apr2024, p1-2, 2p

مصطلحات موضوعية: MOTION picture screenings, COMMUNITY-based programs, ART & society, CITY council members, AMERICAN filmmakers

مستخلص: The 13th Queens World Film Festival will be held from April 16th to 28th at the Museum of the Moving Image, Kaufman Astoria Studios. The festival will showcase 152 foreign films, including two from the Philippines. One of the Filipino films, "Surrogate," explores themes of family, identity, and unexpected connections. The other film, "Prep," is a bodybuilding film by Raymond Knudsen, an award-winning Filipino American filmmaker. The Queens World Film Festival aims to provide a platform for storytelling and the power of cinema from around the world, fostering a sense of community among filmmakers and showcasing both emerging and established talent. [Extracted from the article]

: Copyright of FilAm: A Magazine for Filipino Americans in New York is the property of A & V Media and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Shteir, Rachel

المصدر: American Scholar; Spring2024, Vol. 93 Issue 2, p122-123, 2p

مصطلحات موضوعية: MOTION picture studios, MOTION picture screenings, CHILDREN'S plays

مستخلص: "Cocktails with George and Martha: Movies, Marriage and the Making of Who's Afraid of Virginia Woolf?" by Philip Gefter is an engaging book that explores the creation of the 1966 film adaptation of Edward Albee's play. The book delves into the scandal and cultural shifts surrounding the play, as well as the daily production journals of Ernest Lehman, the novelist who wrote and produced the film. It highlights the challenges faced by director Mike Nichols and the power couple Richard Burton and Elizabeth Taylor, and ultimately, the film's success and impact. [Extracted from the article]

: Copyright of American Scholar is the property of Phi Beta Kappa Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

المؤلفون: Quinn, Patrick

المصدر: Nation (1206-2642); 8/12/2022, Vol. 29 Issue 21, p16-19, 4p

مصطلحات موضوعية: COVID-19 pandemic, MOTION picture screenings, INDIGENOUS peoples

مصطلحات جغرافية: MONTREAL (Quebec)

People: DUDEMAINE, Andre

Alternate Title: HISTORICAL AND ARTISTIC TYPES OF THE NATIONAL HERO IN UKRAINIAN CINEMA OF THE XXI CENTURY, AS A COMPONENT OF FORMATION OF PATRIOTISM OF SOLDIERS OF THE AF OF UKRAINE. (English)

المؤلفون: Т.М., Юрова

المصدر: Hileya: Scientific Bulletin / Gileya; 2022, Issue 173, p76-83, 8p

مصطلحات موضوعية: PATRIOTISM, MORALE, ARMED Forces, WAR victims, MOTION picture screenings, RUSSIA-Ukraine Conflict, 2014-, CULTURE conflict

مصطلحات جغرافية: UKRAINE

مستخلص: For a historically short period of time, only for 20 years of the XXI century, the image of the nation- al screen hero of Ukraine has undergone significant transformations, making the transition from «hero of the country of developed socialism and warrior-in-ternationalist» to «heir to the traditions of the Ukrai- nian people and army, ready to lay down his life for freedom and independence of Ukraine». The catalyst for such a transformation was the Orange Revolution (2004), the Revolution of Dignity (2013−2014), the struggle against separatism, Russian aggression and the Russian occupation of the territory of independent Ukraine (2014 − present). High-quality embodiment of new generation patriots fighting for freedom and independence on film screens allows not only to cre- ate and promote images of modern Ukrainian heroes in order to patriotic education of citizens and soldiers of the Armed Forces of Ukraine, improve the morale of the military, unite society in against occupiers, but also helps victims of war in search of heroic ideals on combating the effects of CMT (combat mental trauma). [ABSTRACT FROM AUTHOR]

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المؤلفون: Sugawara, Yoshino

المصدر: Journal of Chinese Cinemas; Mar2022, Vol. 16 Issue 1, p9-24, 16p

مصطلحات موضوعية: CHINESE films, EDUCATIONAL films, MOTION picture studios, MOTION picture actors & actresses, FILMSTRIPS, MOTION picture screenings, MASS media industry

مصطلحات جغرافية: SHANGHAI (China)

مستخلص: Using the concept of 'educational screen practice,' this article aims to integrate the history of modern Chinese media—which has been dichotomised into pre-cinema and après-cinema—the history of lantern slides screenings and film screenings, and the history of educational and entertainment films. Lantern slides were brought to China at the end of the nineteenth century, and soon afterward they were used in Western-style schools and other educational institutions as a teaching tool to impart modern knowledge. At the beginning of the twentieth century, showing lantern slides and films became a popular leisure activity for students in new-style schools. At the same time, students studied in Japan began to use lantern slides and films for popular education. By the 1910s, the Jiangsu Educational Association and the Shanghai YMCA made active use of lantern slides and films to popularise the practice of visual screenings. The widespread use of visual media for popular education in the 1910s involved personnel that would emerge a decade later as leaders of the Chinese film industry and created a potential audience for cinema. To oversee educational screen practices more effectively, the Commercial Press and the Star Motion Picture Company operated as media conglomerates that encompassed film and print media and contributed to an 'industry of enlightenment' (Leo Ou-fan Lee). Thus, revising Chinese film history in terms of educational screen practices opens up a new horizon in the history of visual culture, connecting the divided histories of cinema and pre-cinema. [ABSTRACT FROM AUTHOR]

: Copyright of Journal of Chinese Cinemas is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)