"This volume explores the recent 'adolescent turn' in contemporary Latin American cinema, challenging many of the underlying assumptions about the nature of youth and distinguishing adolescence as a distinct and vital area of study. Its contributors examine the narrative and political potential of t
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eenage protagonists in a range of recent films from the region, acknowledging the distinct emotional registers that are at play throughout adolescence and releasing teenage subjectivities from restrictive critical and theoretical emphases on theories of childhood. As the first academic study to examine the figure of the adolescent in contemporary Latin American film, New Visions of Adolescence in Contemporary Latin American Cinema thus presents a timely and innovative analysis of issues of sexuality and gender, political and domestic violence and social class." (Publisher description)
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"Es bedarf der Kontextanalyse, wenn man an die Kulturalität des Todes sich annähern will. Das Gros der vorliegenden Untersuchungen entäuscht gerade in dieser Qualität – weil quantitative Inhaltsanalysen gerade diesen, of sehr komplexen, Zusammenhang kaum erfassen können, weil Einzelanalysen z
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war im Einzelfall die manchmal höchst eigenständigen Auslegungen, die ein Film vorschlägt und ausprobiert, aufspüren können, dann aber wiederum wenig generalisierbar sind (und Konzeptualisierungen des Todes oder des Sterbens nur in einer Abschatung erfassen), weil fachdisziplinäre Zugänge (etwa theologischer, philosophischer oder ikonographischer Art) durch die Auslegeordnungen ihrer Heimdisziplinen beschränkt sind und manchmal die Vielgestaltigkeit und Heterogenität des Wissenskomplexes (der eben auch Elemente der Populärkultur mit-umfasst) selbst kaum zu rekonstruieren vermögen. Das folgende Verzeichnis listet die bis heute zugänglichen Untersuchungen zu den Todes-Konzeptionen auf sowie eine ausgewählte Anzahl von Untersuchungen zur Analyse des Suizids und zur Todesstrafe im Film. Kürzere Artikel wurden nicht aufgenommen, längere und Einzelflmanalysen nur dann, wenn sie von methodischem Interesse sind. Meist sind die Titel sprechend. Im Einzelfall wurde eine Kurzannotation beigegeben." (Seite 1-2)
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"This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. Th
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ey present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film." (Back cover)
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"In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the
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very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 2000s in Morocco and Syria." (Publisher description)
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"[This book] reflects on the extent to which films can play an active role in denouncing human rights abuses and exposing the struggle for visibility of different social movements and minorities. This collection explores Latin American cinema’s representations of human rights violators and oppress
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ed subjects and groups. In so doing, it aims to assess the long overdue relation between cinema and human rights in the region, thus opening new avenues to understanding cinema’s role in social transformation. In effect, the chapters relate to at least one of these three main themes: human rights, social movements and activism. They seek to demonstrate the various ways they have been depicted in contemporary Latin American films, especially in the twenty-first century. Together, the chapters reinforce the importance of examining the ways in which contemporary Latin American cinema has explored human rights issues, while offering new perspectives to the study of (trans)national and world cinemas. Moreover, they explore the main themes and concepts covered in the volume in order to reveal the different aesthetic, political, social and historical representations of human rights in cinema." (Introduction, page 2)
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"Der vorliegende Band nähert sich dem Wandel der Familien im Spiegel von aktuellen Film- und Fernsehproduktionen. Zum einen geht es darum, wie Filme von «realistischen» Familien erzählen – im Alltag, aber auch in Extremsituationen, Krisen und Konflikten, zum anderen werden in den Figuren auch
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Idealvorstellungen von Familie und Lebensglück artikuliert. Im ersten Teil werden allgemeine Überlegungen zu Entwicklungsprozessen und Konflikten in der Familie aus psychologischer Sicht und zum spezifischen Wandel der Familienwerte entfaltet. Der Hauptteil konzentriert sich auf die Analyse einzelner Filme: HÖHERE GEWALT von Ruben Östlund, ELTERN von Robert Thalheim, DIE FRAU DES POLIZISTEN von Philip Gröning oder SCHWESTERN von Anne Wild, wobei zu den beiden letzten Filmen ausführliche Interviews mit dem Regisseur bzw. der Regisseurin geboten werden. In populären TV-Serien wird das Familienthema in Bezug auf die Gegenwart in der TV-Soap GUTE ZEITEN, SCHLECHTE ZEITEN und in historischer Perspektive in der populären britischen Serie DOWNTON ABBEY untersucht. Ein spezieller Blick wird auf Familien in Kurzfilmen geworfen. Überlegungen zur Bedeutung des Films für die pastorale Arbeit der Kirche runden das Themenspektrum ab." (Verlagsbeschreibung)
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"Narrativas del miedo: Terror en obras literarias, cinemáticas y televisivas de Latinoamérica es una colección de ensayos escritos en inglés y en español en los que se analizan distintas representaciones del miedo como un elemento estructural y simbólico en obras literarias, teatrales y visual
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es de Argentina, Chile, Brasil, Colombia, Costa Rica, República Dominicana y Venezuela. Este libro ofrece una coherente y comprensiva visión de conjunto que abre una discusión sobre una de las más problemáticas consecuencias de la violencia: el miedo. A los largo de los últimos dos siglos, los países de América Latina han experimentado numerosos conflictos tales como guerras, revoluciones, dictaduras, narcotráfico, desplazamientos, exilios, etc. Existen abundantes estudios críticos sobre estas problemáticas, así como también sobre sus representaciones literarias y cinematográficas. Sin embargo, es muy poco lo que se ha dicho sobre el miedo que distintos tipos de violencia infligen en la sociedad, los individuos y sobre cómo estos fenómenos condicionan las representaciones artísticas y literarias. El valor y la originalidad de este volumen yace en el hecho de que enfoca su atención en esta fuerza emocional tan profundamente integrada en la producción de novelas, cuentos, teatro, películas y cómics en América Latina." (Descripción de la casa editorial)
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"El cine de cárceles ha desarrollado un lenguaje propio, casi como si de un género se tratase. Y lo ha hecho para presentarse ante la audiencia con muy diferentes intenciones: desde denunciar un sistema penal con serias imperfecciones a relatar historias de superación, pasando por descubrir injus
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ticias e implicarnos en trepidantes fugas. Pero ya sea con la intención de emocionarnos, sobrecogernos o incluso hacernos reír, cada vez que una cámara se ha colocado al otro lado de las rejas lo ha hecho para recordarnos el valor de un bien no siempre del todo apreciado: nuestra propia libertad." (Cubierta del libro)
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"Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally
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, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas." (Publisher description)
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"The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Ea
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ch of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted-often politically motivated-value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking." (Publisher description)
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"Dans des pays caractérisés par une profusion d’images essentiellement venues d’autres continents, et par une production très inégale, voire inexistante, quels ont été les modèles dominants de production ? Quels sont ceux que les mutations en cours font émerger ? Quels sont les enjeux é
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conomiques, industriels et sociaux de cette mutation numérique ? Quels en sont les principaux acteurs ? Qu’en est-il de la participation et du rôle des États ? Quels liens financiers, politiques, juridiques, demeurent avec les anciennes métropoles coloniales, avec les nouveaux acteurs de la production ? Qu’en est-il des équipements et de la formation des personnels ? Des contributions de chercheurs abordent ces questions en différents pays d’Afrique et du Moyen-Orient, sous des angles économiques, sociologiques et historiques. Complémentairement, six témoignages de producteurs évoquent leur métier, et les questions spécifiques qui se posent pour eux en travaillant en et avec ces aires géographiques." (Présentation)
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"Le présent ouvrage s'intéresse à la socio-économie de l'audiovisuel au Maroc. Il dresse un panorama des différents questionnements qui concernent le secteur de l'audiovisuel, ses acteurs institutionnels et économiques, ainsi que la dynamique qui les anime. De précieux renseignements y sont f
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ournis sur des sujets divers affectant le quotidien des Marocains: les modes de financement de l'audiovisuel; l'impact de la couverture publicitaire; la diffusion en TNT; la convergence technologique et l'innovation; les spécificités des usages du mois de Ramadan pour l'économie audiovisuelle; le rôle de l'État et de la libéralisation; la promotion de la citoyenneté et de la diversité culturelle amazigh; les réseaux sociaux et les nouveaux outils de développement du secteur audiovisuel marocain. Autant de questions auxquelles l'auteur apporte les réponses les plus appropriées." (Description de la maison d'édition)
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"This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today’s global challenges in the film industry such as industry
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change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries." (Introduction)
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"This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media land
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scape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions - Eurimages, the European Audiovisual Observatory and the European Commission - and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market." (Publisher description)
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"This article considers the impact of online distribution on the long-term availability and preservation of African cinema. It examines the case of Electronic Media Network’s (M-Net) African Film Library (AFL), a video-on-demand (VOD) library of classic African films that was launched in 2012, but
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taken offline by 2013. The article argues that this short-lived project represents a pivotal moment in the way we think about African film archiving and distribution, in which new technologies and consequently disintermediated business models promised to facilitate the circulation of African films in a manner that was socially beneficial, but which in reality resulted in monopolistic control of the content that presented a serious threat to its long-term preservation. The article goes on to argue that the AFL case encapsulates the entire discourse surrounding the shift to online distribution, in which a ‘cybertopian’ narrative of a disintermediated and thus democratized film culture quickly gives way to a reality in which content is more tightly controlled by an increasingly narrow and powerful set of private stakeholders, ultimately threatening the preservation of any content that is vulnerable to the shifting demands of the market." (Abstract)
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"The main purpose of this report is to analyze the documentary feature film called 'The Opium War' based on the civilians' antidrug movement in the author's home place, Myanmar's Kachin state. The film mainly focuses on the antidrug movement 'Pat Jasan' organized by Myanmar civilians and which liter
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ally translates in the local Kachin language by "stop and clean off drugs". This documentary does not follow one single character but a group of civilians who are activists in the antidrug movement. The film covers a series of incidents that occur between the antidrugcivilian activists and farmers producing opium. The report is a step-by-step analysis of the film's production process from the conception of the idea to the completion of the film within the period of the years 2016 to 2017 [...] The main shortcoming of this film is that the author didn't manage to obtain as much information from the government and from the drug lords as he wished. But not only some police officials declined interviews, but basically the crew was risking the whole time being arrested by the officials for exposing the drug problem to a wider audience. Additionally it was life-threatening to approach too much the drug lords and the opium farmers who woul become aggressive towards people with cameras. Because of those issues coming from both the police and the drug lords the crew had to shoot many of the scenes in the film secretly from rootops or from trees in order to avoid being spotted. Still while shooting the film, the crew witnessed the death of an antidrug activist who was shot dead by drug lords and the serious wounding of another fifty people by an attack from opium farmers." (Abstract)
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