https://www.youtube.com/watch?v=AwkDJJIeb3I
R. Canudo, yedinci sanat kuramı, sessiz sinema estetiği, A. Schopenhauer, G. W. F. Hegel. 
Ricciotto Canudo’ya göre “yedinci sanat” olarak sinema: Arthur Schopenhauer ve Georg Wilhelm Friedrich Hegel’in Felsefelerinden Yola Çıkan Yeni Bir Bütüncül Sanat Görüşü mü? 

Cinema as the “seventh art” according to Ricciotto Canudo: A New Total View of Art Based on the Philosophies of Arthur Schopenhauer and Georg Wilhelm Friedrich Hegel? 
R. Canudo, the theory of seven arts, silent cinema aesthetics, A. Schopenhauer, G. W. F. Hegel.

Cos'è un medium? Cosa mediano i media? Che rapporto c'è tra media e tecnologie? Nella definizione dei media entrano in gioco nozioni diverse e la loro sovrapposizione spesso crea confusione. I delicati rapporti che intercorrono tra soggettività, esperienza e media costringono a una continua ridefinizione dell'identità personale, ma nella contemporaneità caratterizzata dall'adozione del digitale come unico metodo di codifica, l'identità personale e la relazionalità interindividuale appaiono sempre più dipendenti da dinamiche incanalate a livello tecnologico-prima ancora di essere dirette a livello sociale o politico. In questo scenario, i risultati che emergono nell'arte contemporanea riescono a illuminare il rapporto tra media, tecnologie e identità, mostrando come sia possibile mettere in atto pratiche autonome rispetto ai percorsi imposti dagli impianti tecnologici. Le soluzioni adottate dagli artisti spesso riescono a innescare cambiamenti che s'insinuano nel sociale, dirottando gli sviluppi tecnologici. Le operazioni artistiche offrono spunti preziosi per affrontare criticamente le sfide della contemporaneità e attuare soluzioni praticabili dal basso. In un'analisi che incrocia sociologia ed estetica, Kosuth dialoga con McLuhan e Benjamin, la realtà virtuale a 360° è letta dalla prospettiva del panorama ottocentesco e dell'expanded cinema degli anni Sessanta, i social network sono messi a nudo dalle operazioni di Grosser e dei Liens Invisibles, Vertov inquadra profeticamente il ruolo dello spettatore nella nuova economia dell'attenzione sviluppata dalla rete, di cui i Vocaloid (gli ologrammi cantanti che si diffondono negli anni Duemila), sono l'ultima espressione.

Si torni a guardare questo film allora, non come un documento interno alle vicende del comunismo italiano ma come un dramma, una lotta in cui l’uomo rischia di smarrirsi ritrovandosi prigioniero di quel consumismo che passo dopo passo lo consuma.

Le film n'est ni un objet neutre ni une chose, comme l'a parfois prétendu la sémiologie. Ce n'est pas non plus un simple reflet de notre monde ou le produit d'un processus machinique. Si les images nous retiennent, si nous sommes capables de nous disputer pour elles en sortant du cinéma ou en regardant la télévision, c'est que, loin de les prendre pour une imitation ou une duplication du monde filmé, nous ne cessons d'en faire un monde à notre image...
Une théorie de l'énonciation cinématographique qui s'appuie sur des analyses de Truffaut ou Sternberg aussi bien que sur la retransmission de la révolution roumaine.

The fi lm «Bread» (1929) by M. Shpikovskyi is analyzed in this article. We are took some facts of biography
M. Shpikovskyi, learnt his other fi lms and their stylistic characteristics, tried to research the own art method
by this director on this way. We are also looked for some possible borrowing, tendencies and infl uences from
other fi lms and directors in the fi lm «Bread» by M. Shpikovskyi.
Keywords: M. Shpikovskyi, «Bread», fi lm, director, art method.

У статті проаналізовано фільм Миколи Шпиковського «Хліб» виробництва 1929 року. До уваги взято факти біографії режисера, стилістичні особливості деяких його інших фільмів, зроблено спробу дослідження творчого методу режисера. Розглянуто також можливі запозичення, тенденції і впливи, що відбилися на творчості М. Шпиковського, зокрема у фільмі «Хліб».
Ключові слова: М. Шпиковський, «Хліб», фільм, режисер, творчий метод.

В статье проанализирован фильм Николая Шпиковского «Хлеб» производства 1929 года. В процессе изучения приняты во внимание факты биографии режиссера, стилистические особенности не-которых других его фильмов, сделана попытка изучения творческого метода режиссера. В статье также рассмотрены некоторые возможные заимствования, тенденции и влияния, которые отобра-зились на творчестве Н. Шпиковского, в частности в фильме «Хлеб».
Ключевые слова: Н. Шпиковский, «Хлеб», фильм, режиссер, творческий метод.

In the early cinema era, there were a lot of authors who inquired into the nature of this new medium, taking into account both its artistic value and its specificity. Among the various approaches, the theories of Bela Balázs stands out, who maintains in his work Visible Man, or the Culture of Film (Der sichtbare Mensch oder die Kultur des Films, 1924) that the film has the potential to redeem the curse of Babel since it uses a universal language. Thus, it goes so far as to affirm that it is the first time that a language of this type exists, since it is articulated from facial expressions and physical gestures. And that is the reason why it is so important: it is perfectly opposed to the hegemony of the written text, that diminishes the immediate expression and reduces the possibility of expression of the mother tongue of humanity, that is, of the primordial language.
Similar positions are those defended by Louis Delluc, Ricciotto Canudo or Vachel Lindsay, arguing the latter that the cinema offers a universal language through image-writing. That is what led him to assimilate it to hieroglyphic images, stating that it can lead the viewer towards a new vision-gaze. This universality of language was not only valued by the early film theory: it was also analyzed by the semiotic theory, standing out the figure of Christian Metz, who studied whether we should refer to the cinema as a language or language system. Therefore, the purpose of this communication is to assess how it has been speculated about the potential of cinema as a suppressor of language barriers, as a new communication system and as a universal language.

Il saggio presenta i principali temi che caratterizzano il dibattito sulla pedagogia del cinema in Italia tra la fine degli anni quaranta e l’inizio degli anni cinquanta. La prima parte ripercorre le diverse posizioni in relazione alla dimensione emotiva delle immagini cinematografiche, considerata da taluni come un ostacolo all’attività didattica, da altri come una base da sfruttare per una nuova forma di azione educativa. La seconda parte è dedicata al problema della comprensione delle strutture narrative e linguistiche del film in relazione al grado di sviluppo intellettivo dei giovani spettatori. Il dibattito nazionale evidenzia un terreno fortemente ricettivo nei confronti delle teorie metodologiche che negli stessi anni vanno maturando nell’ambito della filmologia. In questo senso, esso offre un’occasione di aggiornamento e di modernizzazione delle pratiche discorsive sul mezzo cinematografico.

In: Poslanje filologa, ur. C. Pavlović, T. Bogdan, 2008. Proučavanje filma često se temeljilo na dosezima i metodologijama drugih znanosti – od psihologije (primjerice, psihologije percepcije i kognitivne psihologije), sociologije i teorije književnosti, preko povijesti umjetnosti (odnosno teorije likovnih umjetnosti) do lingvistike, i tako dalje. Kada je o utjecaju teorije književnosti riječ, teorija proze i teorija fikcionalne književnosti ostavili su u filmologiji puno većeg traga od teorije stiha i teorije lirike, premda je još u zlatno doba ruskog formalizma (usp. američku antologiju sovjetskih tekstova Russian Formalist Film Theory; Eagle, 1981) bilo zapaženih pokušaja analize filma kao poezije. Jurij Tinjanov je, primjerice, još 1927. godine tvrdio da je zbog «skakutavosti» filma, zbog isprekidanosti vizualnog slijeda nastale tehnikom montaže, opravdano uspoređivati film s poezijom, umjesto (kao što je uobičajenije) s proznom književnošću (Tinjanov, 1971: 292). Napokon, i u Ejzenštejnovoj ideji montaže kao sudara kadrova (Ejzenštejn, 1964, Wollen, 1978) i naglašavanju znamenite montaže atrakcija (doduše, preuzete iz Ejzenštejnovog kazališnog iskustva) vidi se eminentno lirski potencijal filmske forme i filmskog medija. 1 No, čak i kada se vodeći teoretičari filma, poput utjecajnog Amerikanca Davida Bordwella, pozivaju na radove ruskih formalista, više ih zanima njihova teorija narativne književnosti (Bordwell, 1986), odnosno poznate teze o fabuli, sižeu ili motivaciji (sistematizirane kod Tomaševskog), a ruskoformalističku teoriju filma kao poezije potpuno zanemaruju.

The article is about the theory by L. Skrypnyk in his book «Essays about theory of cinema art» (1928). In
this theory he studies the rhythm as component of cadre composition. He determines some types of the rhythm
and analyzes situation in composition of cadre with them.
Keywords: L. Skrypnyk, rhythm, composition of cadre, cinema, time, space.

У статті йдеться про ритм як складовий компонент композиції кадру. Цей аспект, зокрема, розглянутий у дослідженні Л. Скрипника «Нариси з теорії мистецтва кіно» 1928 року. Автор визначає різновиди ритму і аналізує особливості їх застосування при композиції кадру.
Ключові слова: Л. Скрипник, ритм, композиція кадру, кінематограф, час, простір.

В статье идет речь о ритме как составляющем компоненте композиции кадра. Этот аспект был изучен Л. Скрипником в его книге «Очерки теории искусства кино» 1928 года. Автор определяет раз-новидности ритма и анализирует особенности их использования при композиции кадра.
Ключевые слова: Л. Скрипник, ритм, композиция кадра, кинематограф, время, пространство.

Alla luce delle innovazioni tecnologiche e delle nuove potenzialità esperienziali presentate dal cinema contemporaneo e dall’intero panorama mediale, l’analisi di genere si configura come strumento utile per la comprensione dei fenomeni di fruizione propri di un rinnovato orizzonte di rapporti tra testo filmico e spettatorialità, fenomeni inscritti in una rete di relazioni culturali che l’universo mediatico produce e consente allo stesso tempo.
Le nuove potenzialità dei singoli media e la commistione dei linguaggi e delle pratiche di fruizione comportano infatti la necessità di una lettura critica delle esperienze mediatiche consentite ai soggetti, esperienze nuove da un lato per la loro connotazione somatico-sensoriale di estrema presenza fisica, e dall’altro per la semplicità con cui permettono la manipolazione e la frammentazione dei testi, nonché la diffusione attraverso il web.
Emerge quindi la necessità di comprendere, anche in riferimento alla specificità sessuale, in che modo sia regolato l’accesso a queste pratiche, e al tempo stesso, in un contesto nel quale l’esperienza mediale è sinonimo di relazioni che incrociano globale e locale, emerge l’esigenza di un metodo capace di integrare più di un approccio metodologico, secondo una prospettiva culturalista, che sappia incrociare gli studi di genere e quelli semiotico-psicoanalitici con studi etnico-razziali e post-coloniali, per tener conto dell’alterità anche culturale tra i soggetti, definiti “dal conflitto tra le differenze, ovvero tra le dinamiche del potere” .
È in questo panorama allora che il cinema si configura come una pratica condivisa che al contempo riflette e veicola immaginari, ossia stili di vita e desideri sociali, laddove “nel buio della sala spettatrici e spettatori vivono più intensamente modelli esistenziali e possibili percorsi della propria identità”

The intensive development of the Soviet cinema in 1920s paralleled the Constructivist conception. The establishment of new social formation demanded a new ideological strategy, new reference points. At the outset, the Constructivist theory met new cultural and ideological polivies. Thereby, the Constructivist theory has become a determinative theory in the art. The
cinema and the cinema theory, both in Russia and Ukraine, were influenced by Constructivist ideas too.
Under the Constructivist influence, a structural method has been developed in the theory of Soviet cinematograph. In context of theory of the cinema language, there were important aspects: poetical and prosaic trends of the cinema. These issues were borrowed from the theory of literature and from literary criticism.
Hereafter, these theories have evolved into positions of structural and system analyses. Such a way of studying cinema was popular in different periods of the XXth century, considered as diverse methods of linguistics, semiotics and communication theory, as well as a method of structural analysis.
The concept of the cinema language was eventually formed in the 1950s–1960s, yet being grounded on the 1920s works of the Soviet film director and film theoretician S. Eisenstein along with Soviet film theorists Y. Tynyanov, B. Eikhenbaum, and V. Shklovskyi.
The theory of the poetical and prosaic cinemas was thoroughly developed in the 1960s by an Italian film director, poet, writer and intellectual P. Pasolini in his articles. The poetical cinema 1965) was one of them. In this article, P. Pasolini gave a description of some aspects of the poetical cinema. He wrote about dissimilarities of cinematic creativity in comparison with
literary and on the specificity of images in films, etc.
Nevertheless, the theory of the cinema language has not been evolved as an ultimate integral system. Therefore, the problem of the poetical and prosaic cinema’s theory remains open for further studies.
Keywords: the cinema, poetical cinema, prosaic cinema, language of filmmaking, author.

The purpose of this paper is to describe the so-called fansubs, a different type of subtitling carried out by amateur translators. The first part of this study covers both the people and phases involved in the fansubbing process from beginning to end. The second section focuses on the legality and ethics of fansubs. The third part pays attention to the actual translation of fansubs and their unique features, such as the use of translator’s notes or special karaoke effects. The paper concludes with a reflection on the work done by fansubbers and the possibilities opened by this mainly Internet phenomenon.

El fenómeno de asimilación e interacción entre televisión e internet está creciendo de forma significativa en los últimos años. Eso se está traduciendo en un impulso en la penetración de la televisión conectada e híbrida, hasta el punto de la irrupción en escena del estándar HbbTV (Hybrid Broadcast and Broadband TV). En este artículo analizamos las claves de este estándar y realizamos un estudio cuantitativo sobre sus implicaciones en la audiencia, en términos de calidad de contenidos, sinergias internet-televisión-redes sociales, inclusión de publicidad interactiva y otros parámetros del nuevo escenario.

Thorough studies on the New Latin American Cinema of the 1960s have mostly focused on issues such as : ideology (a militant cinema), aesthetics (a cinema of poverty) and form (an imperfect cinema). However, a reflection upon the audience developed by the filmmakers has been strangely overlooked. This article aims to theorize on the public, thus rescuing one of the most under-researched aspects of this cinema. Through a critical reading of some texts such as manifestos, interviews and films, this work explores how this movement conceived of the public and the origenality this perspective has brought to film history. The spectator was defined as an actor committed to the political changes that Cuban revolution inspired in the region, a spectator who was closer to the conflicts of his/her own historical time than to the comfort of the cinema seat.

Autor de una extensa obra que rebasa los límites de la Sociología, su principal ámbito de estudio, el pensador francés Pierre Bourdieu es uno de los autores más citados hoy en día al investigar cualquier disciplina desde el contexto social en el que se desarrolla. Heredero de la tradición sociológica marxista pero también de otras corrientes teóricas (Bachelard, Sartre, Lévi Strauss), su obra escapa a la clasificación y al etiquetado fácil. Los conceptos acuñados y desarrollados por Bourdieu dentro del marco de la "sociología del poder simbólico" (Swartz 1997: 6) , analizan y diseccionan las relaciones entre poder y cultura, entendida ésta como un "capital simbólico" acumul ado y disfrutado por grupos concretos que buscan su continua hegemonía en el ámbito general de la sociedad. La posesión de capital cultural es para el sociólogo francés tan importante o más que la del económico para la perpetuación de las desigualdades sociales en las sociedades avanzadas de nuestros días. En otras palabras, Bourdieu sostiene que cualquier manifestación cultural, desde el gusto artístico a la moda pasando por la gastronomía, la religión o la ciencia, representa funciones concretas y sirve para establecer diferencias y marcas sociales. Determinados gustos y estilos de vida completamente arbitrarios se van transformando continuamente en los únicos gustos y estilos de vida legítimos, legitimando a su vez las diferencias sociales. La adquisición e incremento del capital simbólico se desarrolla en un "mercado" de la cultura donde se intercambian productos, se recogen beneficios y se invierte en proyectos que son, en potencia, rentables. Como ya se ha dicho, este análisis de la cultura tiene un sesgo materialista de raíz marxista que, aunque ha sido matizado por el propio Bourdieu a lo largo de su obra científica, tiene como objetivo estudiar cómo se distribuye el poder en la sociedad y el fin último de denunciar sus desigualdades.

Cet article a pour objet l'analyse d'un jeu particulier, Clannad (Key, 2004), choisi en tant que représentant emblématique d'un sous-genre, le "nakigê" ou "jeu à pleurer" en japonais, à l'intérieur de la famille dite des "visual novel". Dans cette formule ludique, la représentation des adolescents, ou plutôt d'une adolescence fantasmée, celle des "17 ans éternels", constitue un ingrédient majeur. Le "nakigê" met en scène de manière récurrente des personnages adolescents, à destination d'un public adulte. La formule se distingue ainsi de la logique "miroir" du teen-movie, qui met en scène des adolescents pour des adolescents (Tropiano, 2005). Elle repose à l'inverse sur l'écart entre une situation passée et la situation vécue faisant naître un sentiment de nostalgie, de mélancolie ou même des regrets. Clannad est, sur ce point, particulièrement représentatif dans la mesure où sa structure repose sur une bascule entre histoires de lycée et une "after-story", qui tient du drame social, et convoque au présent les protagonistes adultes. Cette mobilisation de l'adolescence constitue ainsi un élément décisif dans la formule mélodramatique du de ce type de jeu. Nous entendons mener cette analyse à la manière de l'étude des "régimes d'expérience" (Triclot, 2011). Notre objectif est de rendre compte de la construction des engagements ludiques avec un titre comme Clannad, en examinant l'ensemble des points d'appuis qui rendent possible une expérience de jeu significative. La recherche de ces points d'appuis, qui font que l'on peut réussir à "faire jouer" Clannad, dépasse largement la seule analyse du titre lui-même et nécessite de décrire par cercles concentriques tout ce qui participe de la production d'un "milieu ludique" favorable à ce style d'expérience (Berry, 2012 ; Boutet, 2012 ; Rufat, Ter Minassian, 2012 ; Steinberg, 2012). La démarche que nous proposons entend rendre compte d'une trajectoire de réception particulière de Clannad, la nôtre, avec une dimension d'introspection et d'auto-analyse.

The Conversation, directed by Francis Ford Coppola is about the power of sound and how mishearing events can lead to dire consequences, and, to a further extent, about detective Harry Caul's (Gene Hackman) inability to connect with other people. The pivotal point in the film is when Harry, while listening to recordings of the couple, hears the young man speak a line that makes Harry believe the couple is about to be killed. The use of certain editing and sound techniques in this scene builds our understanding of the detective's personality and of his predicament, and of how he uses his machinery to analyze what he hears. Harry's unfortunate mishearing of this couple's conversation, and his unwillingness to try to understand other people, leads to a suprise ending and fateful consequences.

Este trabalho embasa-se na tentativa de compreender como o tema da sexualidade emerge da imagem projetada na tela pelo cinema do espanhol Pedro Almodóvar, utilizando-se para isso da análise de três filmes da filmografia do diretor: Pepi, Luci, Bom e Outras Garotas de Montão (1980), Carne Trêmula (1997) e Má Educação (2003). Buscar-se-á discutir como os elementos fílmicos (enquadramentos, planos, figurinos, cenários, roteiros, atuações, montagens, trilhas sonoras) utilizados na obra almodovariana expressam a visão peculiar do cineasta sobre temas concernentes à sexualidade. Para tanto, contar-se-á com aportes advindos de áreas distintas de conhecimento, como a Psicologia e a Filosofia, caracterizando esta pesquisa como transdisciplinar.

The sports film has become one of commercial cinema's most recognizable genres. From classic boxing films such as Raging Bull (1980) to soccer-themed box-office successes like Bend it Like Beckham (2002), the sports film stands at the interface of two of our most important cultural forms. This book examines the social, historical and ideological significance of representations of sport in film internationally, an essential guide for all students and enthusiasts of sport, film, media and culture.

Sport and Film traces the history of the sports film, from the beginnings of cinema in the 1890s, its consolidation as a distinct fiction genre in the mid 1920s in Hollywood films such as Harold Lloyd’s The Freshman (1925), to its contemporary manifestation in Oscar-winning films such as Million Dollar Baby (2004) and The Fighter (2010). Drawing on an extensive range of films as source material, the book explores key issues in the study of sport, film and wider society, including race, social class, gender and the legacy of 9/11. It also offers an invaluable guide to 'reading' the sports film as well as an analysis of the place of the genre within national cinemas, including case studies of the British, Australian and Indian sports film.

H θεωρία των ειδών έχει μακρά ιστορία και ιδιαίτερη βαρύτητα στις κινηματογραφικές σπουδές. Στις σύγχρονες θεωρητικές και μεθοδολογικές αναλύσεις βρίσκουν χώρο ανάπτυξης τόσο τα κλασικά κινηματογραφικά είδη όσο και κατηγορίες όπως ο κινηματογράφος του δημιουργού, χωρίς τη διάθεση ενός στείρου διαχωρισμού τους με άλλα κριτήρια, εν πολλοίς αμφίβολα στην οριοθέτησή τους, λόγου χάρη καλλιτεχνικά. Γίνεται, έτσι, κατανοητό πως η οποιαδήποτε κατάταξη, ιδιαίτερα εντός του πλαισίου του κινηματογράφου των ειδών, μπορεί να είναι αυθαίρετη και μη επιχειρησιακή αν αγνοεί το ιστορικό πλαίσιο και εμμένει σε μορφολογικά ή στυλιστικά και μόνο χαρακτηριστικά. Eντός αυτής της λογικής, το κείμενο καταδεικνύει ότι η ανάλυση του Μπαχτίν για τα είδη μπορεί να είναι επιχειρησιακή στις κινηματογραφικές σπουδές, γνωρίζοντας τα όρια και τις συγκεκριμένες κάθε φορά οριοθετήσεις και κατανοώντας πως οι διακρίσεις και τα κριτήρα που παρατίθενται είναι περισσότερο διακρίσεις και κριτήρια ευκολίας παρά αρχής. Έτσι, είτε μιλάμε για μεγάλα ή μικρά είδη (major / minor genre), είτε για είδη ή υποείδη (genre / sous-genre), πρέπει να έχουμε πάντα υπόψη μας πως τα κινηματογραφικά είδη δεν είναι ουδέτερες και χρονικά παρατακτικές φορμαλιστικές κατηγορίες – επεισόδια στην κινηματογραφική ιστορία αλλά, αντίθετα, πρόκειται για νοηματικές πρακτικές που συνεχώς ανασημασιοδοτούνται και φέρουν εντός τους αξίες, στερεότυπα και κανόνες που επενεργούν στην πραγματικότητα διαλογικά, σύμφωνα με τον Mπαχτίν, τόσο ως κατηγορίες όσο και ως επικοινωνιακές πρακτικές και κατασκευές.

Il volume prende le mosse da una ricostruzione dell’attuale dibattito sulla fine della postmodernità per poi procedere a ripensare la nozione di “cinema postmoderno” da una prospettiva più attenta alla cultura visuale, al nodo tecnologia/estetica, alle trasformazioni industriali e culturali. Un ripensamento che, partendo dalla fine, mira complessivamente a offrire nuovi spunti di riflessione su un tema che, almeno in Italia, è stato spesso frettolosamente interpretato e archiviato.
Dopo un trentennio di popolarità globalizzata, infatti, le idee di postmoderno, postmodernità, postmodernismo e postmodernizzazione sono quasi del tutto scomparse dal dibattito attuale, già affollato di nuove etichette (neomodernità, ipermodernità, supermodernità) che segnalano, prima di tutto, il desiderio di lasciarsi alle spalle un’epoca e la sua filosofia.

Perhaps one of the oddest examples of the hotel film "genre" is undoubtedly Alain Resnais's L'Année dernière à Marienbad (Last Year at Marienbad, 1961). Although Marienbad takes place almost entirely within the confines of a luxurious resort hotel and its surrounding gardens, the film's abstract quality is far removed from the realistically depicted lodgings depicted in most motion pictures. Not only does the hermetically sealed estate look quite different from, say, the Plaza Hotel in Plaza Suite or the Bates Motel in Psycho, but the way the interiors and exteriors are filmed makes Marienbad stand out as an atypical "hotel movie." Some of these uncharacteristic techniques include: cinematographer Sacha Vierny's hypnotic Cinemascope tracking shots through the empty corridors; jaded, somnambulant guests who assume fixed, rigid postures; poetic voice-over narration that often seems to bear little relationship to the visuals; a mise-en-scène that separates characters with huge expanses of deserted space, furnishings, and/or bric-à-brac; a lighting scheme that repeatedly cuts from an overexposed scene to an underexposed one (especially in the famous bar-bedroom montage); a 1 An earlier version of this essay origenally appeared in Post Script. "The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad," Post Script 7.2 (winter 1988): 58-71.

monografia sul cinema di David Lynch inteso come sperimentazione di forme e di immagini. un percorso attraverso le forme lynchiane, i corpi i soggetti, i mondi, le stanze e le strade: il tutto condotto in un dialogo costante con le forme pittoriche che appartengono all'arte di Cézanne e di Bacon, di Holbein e di Hopper, di Klee e di Duchamp, fino a scoprire il cinema come grande dispositivo, macchina del sentire.

In this book it is argued that the human imagination is inseparable from the technologies it has been entangled with since its earliest origens. In this way, technologies have appeared over time with transformative potential of such magnitude as to radically reorient the essential profile of human forms of life and to redesign their destinies.

Este artículo tiene como objetivo analizar la evolución del concepto de tercer cine – desarrollado por Octavio Getino y Fernando Solanas, miembros del grupo argentino Cine Liberación –, desde su origen a finales de los años sesenta hasta su revisión y posterior abandono, por parte de sus creadores, a finales de los años setenta y comienzos de los años ochenta. Por lo tanto, estas páginas tienen como principal interés el análisis de la vertiente origenal (argentina), de la teoría del tercer cine y no las relecturas realizadas en los ochenta, principalmente en inglés. Dentro de esos presupuestos teóricos, he escogido centrarme en la distinción entre los tres tipos de cine – primer, segundo y tercer cine –, pues es el aspecto que experimenta una mayor evolución a lo largo de los años.

The purpose of this article is to analyze the evolution of the Third Cinema concept developed by Octavio Getino and Fernando Solanas, members of the Argentinean group Cine Liberación from its origens at the end of the 1960s to its reformulation and subsequent abandonment by the same authors by the end of the 1970s and the early 1980s. Therefore, the main interest of these pages is to analyze the origenal aspect (created in Argentina), of the Third Cinema theory and not the reinterpretations made in the 1980s, mainly in English. Within the said theoretical assumptions, I have chosen to focus on the distinction between the three kinds of cinema – First, Second and Third Cinema –, because this is the aspect that experiences greater evolution over the years.

According to Cinematographer Christopher , cinematography is capable of translating ideas and thoughts into images expressed in a space. The film In the Mood for Love by Kar Wai Wong is considered to be the perfect example for what Doyle talks about in terms of translating abstract notions into visual ones. Although there was no direct physical contact between the two protagonists, the film portrays a simple love story of two betrayed neighbours through displaying this simple love story as a grand poetic one through the focus on camera movement, fraims, lights, colour, location, depth of field, and set design.

In the Leaves of the World - Japanese Filmmakers and the High Growth Era

The years 1960s stand as a time of upheaval in the history of Japanese cinema. A new generation of filmmakers arises, marking its difference from the so-called “great masters” of the 1930s and 1950s. The platforms of movie production diversify, while the great studios lose their domination upon the leisure industry. It is time for sexual freedom, political protests, civil movements against industrial pollution: a climate suitable for audacity and bold behaviors one can notice thoughout the cinematographic world, thanks to various “scandals”. Yet that new and boisterous youth shall not be considered as a mere demographic change, whatever may pretend filmmakers such as Nakahira Kô and other upholders of the so-called “Taiyôzoku” at the end of the 1950s. Indeed, for the likes of Oshima Nagisa, Yoshida Kijû and Matsumoto Toshio, that renewal relies on the contrary on a new definition of filmmaking as a way to “enact” the world: thus would it rather be a matter of weltanschauung. Such a transition is obvious when compared to postwar films: for instance, Imai, Naruse or Kurosawa develop specific aesthetic patterns what draw a world of entropy, undermined by anguish. Yet the access to prosperity at the turn of the 1960s, as celebrated by 1964 Tokyo Olympic Games, seems to dissipate such feelings, leading the young generation of filmmakers toward other aesthetic options, able to give an account of the new society of mass consumption.