Is the cinematic newsreel the strongest weapon? The "Luce" newsreel reception during fascism

The Luce newsreel was a fascist-pivotal propaganda instrument. Mussolini thought movies were the strongestweapon; however, the efficiency of cinematographic propaganda on people did not work as well as expected,especially nonfiction. This article intends to value, through oral testimonies, the influence of Lucenewsreel on the Italian population during fascism, the degree of truth of film news, and which of those piecesof news were more repeated, as well as the influence of the Italian and its leader image on the collective mind.

Ludwing II of Baviera and Luchino Visconti: parallel lives? Study about Ludwing II of Baviera

This research presents Ludwig II of Baviera (1845-1886) as a historical figure and the vision of his reign theItalian director Luchino Visconti showed in his movies. This research states in an analytic and scrupulousway the relations between the historical figure, its filmic representation and the director himself. In addition,through an exhaustive research, this paper shows the aesthetics generated by directors like Visconti who reacheda remarkable peak in history of European film. Finally, this paper goes through the making of this film,which went from a transitional film within the Visconti oeuvre to one of his most troublesome and health-riskingprojects causing afterwards Visconti´s death.

El impacto de la crisis en la industria cinematográfica en Europa

Este trabajo analiza el impacto que ha generado la crisis económica y financiera más reciente en las industrias cinematográficas de siete países miembros de la Unión Europea. Las conclusiones señalan que, en efecto, la crisis ha impactado negativamente en las industrias de España e Italia, y muy gravemente en la de Portugal, pero en el lado contrario, la del Reino Unido ha experimentado un crecimiento apreciable y las de Francia y Alemania también lo han hecho, aunque en menor medida. Y en segundo lugar, es muy notable la escasa colaboración alcanzada entre los agentes europeos.

Travel, back and forth, to the myth. Cinema´s contribution to the formation of the tourist iconography of Mallorca

Mallorca, the largest of the Balearic Islands, is a well-known summer holidays destination; an ideal place to relax and enjoy the sun and the sea. That tourist gaze reflected on postcards results from advertising campaigns, where cinema played an important role with documentaries and fiction films. The origins of that iconography started in the decades of the 1920’s and 1930’s, reflecting the so-called myth of the “island of calm”. On the other hand, the films of the 1950’s and 1960’s created new stereotypes related to the mass tourism boom. Busy beaches and the white bodies of tourists replaced white sandy beaches, mountains and landscapes shown up in the movies of the early decades of the 20th century. Besides, hotels and nightclubs also replaced monuments, rural landscapes and folk exhibitions. These tourist images mirror the social and spatial transformations of Mallorca, under standardization processes like other seaside mass tourist destinations. The identity was rebuilt on the foundations of "modernity". Although "balearization" has not ceased, nowadays filmmaking about Mallorca is advertising again a stereotype close to that one of the 1920s and 1930s, glorifying the myth of the "island of calm". This singular identity makes the island more profitable for capital that searches socio-spatial differentiation in post-fordist times.

Receptive Vocabulary of CLIL and Non-CLIL Primary and Secondary School Learners

CLIL instruction has been reported to be beneficial for foreign language vocabulary learning since CLIL students show higher vocabulary profiles than students of their same age in traditional EFL contexts. However, to our knowledge, the receptive vocabulary knowledge of CLIL and non-CLIL learners at the end of primary and secondary education has not been examined yet. Hence, this study aims at comparing the receptive vocabulary size 79 CLIL primary learners with the receptive vocabulary knowledge of 331 non-CLIL learners at the end of primary and secondary school. Sex-based differences were also analysed. The 2k Vocabulary Levels Test (VLT) was used for the purposes of the study. Results revealed that learners’ receptive vocabulary sizes lie within the most frequent 1000 words, non-CLIL secondary school students throw better results than primary students but the differences between the secondary group and the CLIL group are not statistically significant. As for sex-based differences, we found no significant differences among the groups. These findings led us to believe that the CLIL approach offers a benefit for vocabulary acquisition since CLIL learners have been exposed to the foreign language for a shorter period of time and the results are quite similar to their non-CLIL secondary school partners.

La spiritualité dans le cinéma transnational. Une théologie pour le 21e siècle autour des philosophies du cinéma de Gilles Deleuze et de Stanley Cavell

Cette recherche part d’un double intérêt. Pour la spiritualité, dont on entend beaucoup parler dans un 21e siècle inquiet et en quête de nouveaux repères. Et pour le cinéma, ou 7e art, phénomène culturel phare des temps modernes, qui reflète abondamment les problématiques et questionnements du monde. À une époque où on observe une tendance à l’homogénéisation culturelle, résultat de la mondialisation économique, cette thèse traite du « cinéma transnational ». Elles aussi, les œuvres de ce cinéma traversent l’espace planétaire, mais tout en conservant un solide ancrage local et une singularité artistique. Ce sont en bonne partie les films que l’on retrouve dans les festivals internationaux, tels Cannes, Venise et Berlin. Le cinéma traduisant toutes les interrogations possibles du présent, plusieurs films apparaissent donc porteurs d’un questionnement à portée spirituelle. Et ce, avec des moyens non discursifs, propres à l’art cinématographique. Ils invitent aussi à la rencontre de l’autre. L’objectif de la thèse consiste à décrire comment, par l’analyse d’une douzaine de films transnationaux, on peut dégager de nouveaux concepts sur la façon avec laquelle se vit la spiritualité à notre époque, en relation avec l’autre, et pourquoi cette spiritualité s’accompagne nécessairement de considérations éthiques. Pour accomplir cette tâche, la thèse s’appuie sur les travaux de deux philosophes, Gilles Deleuze (France) et Stanley Cavell (États-Unis), qui ont marqué les études cinématographiques au cours des dernières décennies, par des approches jugées complémentaires pour cette recherche. Le premier a développé sa pensée à partir de ce qui distingue le cinéma des autres arts, et le second, à partir de l’importance du cinéma pour les spectateurs et les spectatrices. Enfin, la thèse se veut une théologie, ou pensée théologico-philosophique, indépendante d’une tradition religieuse et au diapason des réalités du 21e siècle.

Film som didaktisk resurs i religionsämnet : - Religionskunskapslärares syn på film i undervisningen

The purpose of this thesis is to examine how some Swedish teachers use film and movies as a resource when they teach religious studies in upper secondary school. Three questions were created to define the main focus of the thesis namely how the teachers perceived how they used film, how they justified there use and which advantages and disadvantages they see with using film in their teaching. To be able to answer them correctly the empirical data was collected by two methods; a survey and three interviews. The empirical data was then related to previous research in the same field. The thesis concludes that the teachers use film in the classroom in many ways, including as a way to present facts about religions to the students and as a way to make it easier to understand difficult parts of the subject. They also use film as way to make the students better at understanding and discussing different perspectives of religion and ethics. The main disadvantages film has is that it take a lot of time to show a film and use it in a meaningful way. The teachers also sometimes finds it hard to find a film that suits the purpose of showing it.

Les représentations queer au cinéma. L’abus sexuel au masculin et son incidence sur l’identifé et la sexualité des personnages de "La mauvaise éducation" (2004) de Pedro Almodovar et "Mysterious Skin" (2004) de Gregg Araki

Cette étude propose l’analyse de représentations queer dans le cinéma des années 2000. Plus précisément, elle porte sur la façon dont l’abus sexuel au masculin est représenté dans deux films produits en 2004, soit La mauvaise éducation (La mala educación), du réalisateur espagnol Pedro Almodovar, et Mysterious Skin, du réalisateur étatsunien Gregg Araki. À l’aide de la réflexion contenue dans Ça arrive aussi aux garçons : l’abus sexuel au masculin du sociologue Michel Dorais, l’objectif vise à démontrer comment cet événement traumatique influence de manière significative la construction identitaire et sexuelle des personnages principaux. De manière plus générale, ce mémoire positionne ces deux réalisateurs dans la grande et riche lignée du cinéma queer, qui met en scène des désirs hors norme et des identités sexuelles alternatives. Le premier chapitre porte sur les théories queer et ses diverses manifestations au grand écran. Il permet par la suite de réunir Almódovar et Araki dans une même étude et de souligner la pertinence de cette réunion. Le deuxième chapitre s’intéresse, à l’aide d’analyses d’extraits significatifs des films, à la façon dont chacun met en scène l’abus sexuel au masculin et comment cet événement se présente dans la vie des protagonistes. Le dernier chapitre se penche sur la construction identitaire et sexuelle des personnages principaux, afin de mieux comprendre l’incidence de l’abus sexuel. Jumelée aux travaux de Judith Butler, l’approche queer sera donc mise de l’avant dans cette étude qui se montre d’emblée attentive, d’un point de vue cinématographique, aux notions de sexe, de genre et de désir, et ce, à travers l’analyse de plusieurs extraits filmiques et d’éléments à la fois narratifs et structurels particulièrement significatifs quant à la représentation de l’abus sexuel au masculin.

A Brief Tour of HDR

This was a short presentation provided for the panel session on 'HDR' at CineFest16, which discusses/challenges some basic assumptions and questions about High Dynamic Range (HDR) movies.

Dialectique des regards - l’autre et la construction du récit de soi dans l’auto-filmage pathographique

Le présent mémoire entend analyser la pratique de l’auto-filmage dans deux films : La Pudeur ou l’impudeur (Hervé Guibert) et Tarnation (Jonathan Caouette). Nous regroupons ces long-métrages sous l’étiquette « auto-filmage pathographique ». Le malade, s’émancipant de l’imagerie médicale et des pratiques cinématographiques institutionnelles, reprend l’image filmique à son compte, aidé en cela par une technologie toujours plus ergonomique. Cette résurgence de l’image du corps malade dans le champ social ne se fait pas sans heurt ; l’exposition de corps décharnés et agoniques convoque un imaginaire catastrophiste et contredit les rituels d’effacement du corps auxquels procède la société occidentale. La forme que prend le récit de soi dans l’auto-filmage pathographique dépend de la maladie qui affecte chaque créateur. Nous observons une redéfinition de la sincérité, en lien avec l’exercice autobiographique. Il s’agit d’utiliser, dans l’auto-filmage pathographique, certains procédés fictionnels pour créer un discours sur soi-même dont la véracité repose sur d’autres critères que ceux communément admis. L’auto-filmage pathographique suppose en ce sens un véritable changement d’attitude et la mise en place de techniques de soi. Il induit une forme de réconciliation avec sa propre identité physique et psychique. En cela, l’écriture filmique de soi est un agent transformateur de la vie et un exercice spirituel. Les réalisateurs ne sont cependant pas uniquement tournés vers eux-mêmes. Chacun inclut quelques privilégiés au coeur de sa démarche. Le soin de soi, dans l’auto-filmage pathographique, ne se désolidarise pas du soin des autres. Auto-filmage et caméra subjective entretiennent un lien dialectique qui donne son sens à l’auto-filmage pathographique et voit leur antagonisme éclater. L’individu s’auto-filmant n’est pas seul ; sa démarche n’est pas qu’un solipsisme. Elle se voit dépassée par l’émergence de l’autre dans le champ ou parfois même, sa prise en main de la caméra.

O uso de filme como recurso pedagógico no estudo das epidemias: possibilidades na aprendizagem significativa

Acompanha: Epidemias na escola? Só em filmes: possibilidades de contaminação na aprendizagem significativa

This Is a Gorgeous-looking Movie”: Multimodal Interplay between Commentary and Subject Materials in Movie Review Entertainment

The present thesis is a study of movie review entertainment (MRE) which is a contemporary Internet-based genre of texts. MRE are movie reviews in video form which are published online, usually as episodes of an MRE web show. Characteristic to MRE is combining humor and honest opinions in varying degrees as well as the use of subject materials, i.e. clips of the movies, as a part of the review. The study approached MRE from a linguistic perspective aiming to discover 1) whether MRE is primarily text- or image-based and what the primary functions of the modes are, 2) how a reviewer linguistically combines subject footage to her/his commentary?, 3) whether there is any internal variation in MRE regarding the aforementioned questions, and 4) how suitable the selected models and theories are in the analysis of this type of contemporary multimodal data. To answer the aforementioned questions, the multimodal system of image—text relations by Martinec and Salway (2005) in combination with categories of cohesion by Halliday and Hasan (1976) were applied to four full MRE videos which were transcribed in their entirety for the study. The primary data represent varying types of MRE: a current movie review, an analytic essay, a riff review, and a humorous essay. The results demonstrated that image vs. text prioritization can vary between reviews and also within a review. The current movie review and the two essays were primarily commentary-focused whereas the riff review was significantly more dependent on the use of imagery as the clips are a major source of humor which is a prominent value in that type of a review. In addition to humor, clips are used to exemplify the commentary. A reviewer also relates new information to the imagery as well as uses two modes to present the information in a review. Linguistically, the most frequent case was that the reviewer names participants and processes lexically in the commentary. Grammatical relations (reference items such as pronouns and adverbs and conjunctive items in the riff review) were also encountered. There was internal variation to a considerable degree. The methods chosen were deemed appropriate to answer the research questions. Further study could go beyond linguistics to include, for instance, genre and media studies.

Cultural citizenship and its implications for citizenship education: Chinese university students’ civic experience in relation to mass media and the university citizenship curriculum

A growing body of research has argued that university citizenship curricula are inefficient in promoting civic participation, while there is a tendency towards a broader citizenship understanding and new forms of civic engagements and citizenship learning in everyday life. The notion of cultural citizenship in this thesis concentrates on media practices’ relation to civic expression and civic engagement. This research thus argues that not enough attention has been paid to the effects of citizenship education policy on students and students’ active citizenship learning in China. This thesis examines the civic experience of university students in China in the parallel contexts of widespread adoption of mass media and of university citizenship education courses, which have been explicitly mandatory for promoting civic morality education in Chinese universities since 2007. This research project raises significant questions about the meditating influences of these two contexts on students’ perceptions of civic knowledge and civic participation, with particular interest to examine whether and how the notion of cultural citizenship could be applied in the Chinese context and whether it could provide certain implications for citizenship education in China. University students in one university in Beijing contributed to this research by providing both quantitative and qualitative data collected from mixed-methods research. 212 participants contributed to the questionnaire data collection and 12 students took part in interviews. Guided by the theoretical framework of cultural citizenship, a central focus of this study is to explore whether new forms of civic engagement and civic learning and a new direction of citizenship understanding can be identified among university students’ mass media use. The study examines the patterns of students’ mass media use and its relationship to civic participation, and also explores the ways in which mass media shape students and how they interact and perform through the media use. In addition, this study discusses questions about how national context, citizenship tradition and civic education curricula relate to students’ civic perceptions, civic participation and civic motivation in their enactment of cultural citizenship. It thus tries to provide insights and identify problems associated with citizenship courses in Chinese universities. The research finds that Chinese university students can also identify civic issues and engage in civic participation through the influence of mass media, thus indicating the application of cultural citizenship in the wider higher education arena in China. In particular, the findings demonstrate that students’ citizenship knowledge has been influenced by their entertainment experiences with TV programs, social networks and movies. However, the study argues that the full enactment of cultural citizenship in China is conditional with regards to characteristics related to two prerequisites: the quality of participation and the influence of the public sphere in the Chinese context. Most students in the study are found to be inactive civic participants in their everyday lives, especially in political participation. Students express their willingness to take part in civic activities, but they feel constrained by both the current citizenship education curriculum in universities and the strict national policy framework. They mainly choose to accept ideological and political education for the sake of personal development rather than to actively resist it, however, they employ creative ways online to express civic opinions and conduct civic discussion. This can be conceptualised as the cultural dimension of citizenship observed from students who are not passively prescribed by traditional citizenship but who have opportunities to build their own civic understanding in everyday life. These findings lead to the conclusion that the notion of cultural citizenship not only provides a new mode of civic learning for Chinese students but also offers a new direction for configuring citizenship in China. This study enriches the existing global literature on cultural citizenship by providing contemporary evidence from China which is a developing democratic country, as well as offering useful information for Chinese university practitioners, policy makers and citizenship researchers on possible directions for citizenship understanding and citizenship education. In particular, it indicates that it is important for efforts to be made to generate a culture of authentic civic participation for students in the university as well as to promote the development of the public sphere in the community and the country generally.

Filmowe interpretacje polskiej transformacji gospodarczej. Kulturowe spory o obraz Polski

Wydział Nauk Społecznych: Instytut Kulturoznawstwa

Sherlock Holmes: from paper to screen

A adaptação relaciona-se com as produções cinematográficas e televisivas quase desde o princípio da história destes meios. Os primeiros filmes exibidos eram frequentemente baseados em obras literárias históricas ou ficcionais, sendo um importante factor na evolução e desenvolvimento da produção cinematográfica como a conhecemos. Neste estudo, será analisada, segundo o ponto de vista dos estudos da tradução intersemiótica, a obra The Hound of The Baskervilles, de Sir Arthur Conan Doyle, sendo esta uma das obras mais populares do género literário criminal. Esta análise pretende servir de “ponte” para estabelecer a relação entre o processo de tradução e o da adaptação, comparando as suas semelhanças e diferenças, além de exemplificar um processo para a análise crítica de adaptações que não se baseie meramente na perspectiva dos estudos literários acerca deste tipo de trabalhos.