Representações Masculinas Afro-americanas no Cinema: do Filme Liberal de Hollywood a “Boyz n the Hood”

O objecto de estudo deste trabalho é a construção da identidade masculina afro-americana, e representação desta no cinema liberal de Hollywood. Isolam-se três momentos de particular relevo: o período do cinema mudo antes da Primeira Guerra Mundial, os anos 1960-70 e por fim, a década de 1990. Traçar-se-á um percurso analítico que examina obras-chave da história do cinema comercial de Hollywood bem como manifestações do cinema independente afro-americano entabulando um diálogo permanente com o contexto histórico e social, nomeadamente a luta pelos direitos civis, a afirmação do Black Power, traduzida cinematograficamente na Blaxploitation, para finalmente se concentrar em Boyz n the Hood escolhido como sintomático de um impulso regenerativo das representações masculinas afro-americanas, sob forte ataque dos media populares nas últimas décadas do século XX.

Vinícius de Moraes, critico de cinema

Este estudo procura destacar a importância da participação de Vinícius de Moraes na crítica cinematográfica do início dos anos 40 (1941-42), exercida no jornal carioca A Manhã. Foi nessa coluna que Vinícius manteve aceso, de maio a julho de 1942, um debate que mobilizou todo o Brasil e, em especial, o Rio de Janeiro: a polêmica cinema mudo X cinema falado. Participam da polêmica, entre outros, Otávio de Faria, Manuel Bandeira, Afonso Arinos de Mello Franco, Humberto Mauro, Aníbal Machado. Nessa ocasião, ainda que timidamente, o cinema brasileiro começou a ser discutido, embora ainda não lhe fosse atribuída grande importância.

Sonoridades do cinema dito silencioso: filmes cantantes, história e música

Pretendemos examinar a relação entre cinema, música e história do período silencioso. Será abordada a produção referente aos chamados filmes cantantes (1908 1911), propondo recortes temáticos mais amplos do que os adotados pela historiografia clássica no cinema nacional

Projecte de cinema mut. El restaurant de la gent. 'Proyecto de cine mudo. El restaurant de la gent'.

Resumen tomado parcialmente del autor

El lenguaje en el cine mudo

Santamaría, José Miguel; Pajares, Eterio; Olsen, Vickie; Merino, Raquel; Eguíluz, Federico (eds.)

Cent anys projectant cinema (1895-1995). 'Cien años proyectando cine (1895-1995)'.

Historia y educación tecnológica de los diversos sistemas de proyección de imágenes en movimiento, desde los sombras chinas hasta las pantallas gigantes actuales. Dentro el bloque de pre-cine, se muestra la linterna mágica y los diferentes aparatos para crear ilusión de movimiento. En el bloque del nacimiento del cine Edison y los lumière empiezan el periodo mudo, donde se incluyen las primeras experiencias sobre pantallas gigantes. En el bloque de cine sonoro, las diversas técnicas de proyección espectacular de los años 50-60 se presentan como alternativas a la aparición de la televisión. Y en los años 80-90, las pantallas gigantes y las nuevas técnicas de visionado complementan las de la imagen electrónica.

Cinema d'animació txec I. 'Cine de animación checo I'.

No consta el depósito legal. Cine mudo

Cinema d'animació de Letònia : sèrie la brigada de salvament. 'Cine de animación de Letonia : serie la brigada de salvamento'.

Cine mudo

Cinema d'animació de Letònia : sèrie Munk i Lemmy (I). 'Cine de animación de Letonia : serie Munk y Lemmy (I)'.

Cine mudo

Recent Italian cinema : spaces, contexts, experiences

The book is an in-depth view of recent Italian cinema - bringing an interdisciplinary knowledge to the study of a complex cinema industry. The book aims to address a number of questions about Italian cinema of the last twenty years, bringing interdisciplinary knowledge to a cinema that eschews traditional definitions and categories, and challenges critical assumption about a film industry that is struggling to find a new direction. In doing so, Recent Italian Cinema offers a transverse analysis of the Italian cinema industry in its dealings with national and international production, and of the themes and issues that have emerged in films produced during the period 1980-2006.

Australasian horror special issue editorial : putting Australian and New Zealand horror movies on the map of cinema studies

This Australasian horror special issue is an important step forward in putting Australian and New Zealand horror movies on the map of film and cinema studies as a subject worthy of intellectual debate. The journal issue is the first devoted solely to the academic discussion of Australasian horror movies. While an Australian horror movie tradition has produced numerous titles since the 1970s achieving commercial success and cult popularity worldwide, the horror genre is largely missing from Australian film history. While there have been occasional essays on standout titles such as Wolf Creek (Mclean, 2005), an increasing number of articles on ‘Ozploitation’ movies, and irregular discussion about Australian Gothic, overall the nature of Australian horror as a genre remains poorly understood. In terms of New Zealand, debate has tended to revolve around ‘Kiwi Gothic’ and of course Peter Jackon’s early splatter films, rather than Kiwi horror as a specific filmmaking tradition.

A new definition for today’s Chinese independent cinema

Different terminologies have been used to characterize the Chinese independent cinema in the 1990s. These definitions focus on the experimental practices outside the official production system and independent of official ideology. The film industry has had distinctive development since the entry of WTO in 2001. Private investors have played essential role in cinematic economy; strict censorship has been obviously relaxed; the film industry is being divided into two opposing extremes. Thus, it is necessary to give a new definition of the Chinese independent cinema. The definition of independent cinema in today China I suggest in the light of American independence is that any film that has not been financed, produced and distributed by majors is independent. At least four corporations are majors in the Chinese film industry. They are China Film Group Corporation, Huayi Brothers Corporation, PolyBona Film Distribution Corporation and Shanghai Film Group Corporation. Except the four majors, all the other film production or distribution companies are independents.

Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse

While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia’s genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term ‘Ozploitation’ has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and ‘paracinema’ as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.

Generation next : post-cinema Australian moviemaking, innovation and implications for cultural policy

The Australian screen industries are a leading domestic creative industry sector at a crossroad. New production, distribution and exhibition technologies are challenging traditional models of ‘filmmaking’. For the screen industries to remain competitive they must renovate business models for an emerging marketplace. This paper is a preliminary examination of three key aspects of next generation filmmaking: post-cinema approaches to screen production, emerging production and business models, and issues for policy.