Syllab Filmski horor i znanstvena fantastika 2012

Studies in Eastern European Cinema, 2018

The AnaChronisT

The idea for the Reel Eye special issue of The AnaChronisT was prompted by a workshop and conference held at Eötvös Loránd University (ELTE) in September 2021, as part of the ELTE Film and Culture BA Specialisation Programme of the School of English and American Studies (SEAS). The programme was launched in 2015 to improve BA education with the encouragement of the late Prof. Tibor Frank, director of SEAS back then, and of Prof. Ákos Farkas, head of the Department of English Studies (DES) back then. They were both highly dedicated to starting a new Film and Culture programme, which was co-hosted by ELTE SEAS and the Department of Film Studies. With this Reel Eye special issue, we would also like to pay tribute to the work and support of three colleagues: the late Prof. Tibor Frank, Prof. Ákos Farkas, and Prof. Marcell Gellért (now retired), who also participated both in the creation of the Film and Culture 2016 textbook and in the Reel Eye Conferences. By now, we have trained almost 100 students in the Film and Culture programme, who continued their MA studies at different film departments after graduation, finding their feet either in academia or in the film industry. Among our first-generation students, there were young talents who, since then, have proved to be important parts of the Hungarian and international film industries, either as theoreticians, scriptwriters, or filmmakers, of which we are all very proud.

What is cinema？" That is how the class started, with an invitation to reflect and write down our own, personal definition. Apparently, a fundamental and pompous question, but only later did we understand that this time, the enquiry had a different reason behind it. The purpose was not to find another way of translating the cinematic experience or set a general background for the following course, but it was meant to determine us to start a self introspection about what we are, how we are and what cinema connotes to us, the young, soon-to-be cineastes.

Nostalgic trends in contemporary TV series. One of the most effective insights of postmodern theory of narrative was that “nostalgia for the present” defined by Jameson in Postmodernism. The Cultural Logic of Late Capitalism. In the narrative arts there was a trend of works based on “list of stereotypes, of ideas of facts and historical realities”; in the field of cinematographic productions, Jameson called this kind of movie “nostalgia film”, citing American Graffiti and Chinatown as exemplary cases of movies set in another era, as historical films, but that cannot be confused with them because the “nostalgia film” focuses on “imaginary style of real past”. In this trend there were also movies which connect past and present (Body Heat, Blue Velvet, Something Wild), showing “a collective unconscious in the process of trying to identify its own present at the same time that they illuminate the failure of this attempt, which seems to reduce itself to the recombination of various stereotypes of the past”. Three decades away from these insights we start again to talk about nostalgia as the hallmark of many contemporary narrative works, especially in the field of television series in which some scholars actually find a strong trend towards the nostalgic. Katherina Niemeyer and Daniela Wentz assert this kind of nostalgia consists of: “reconstructing and reimagining the past visually, discursively and historically by portraying and referring to the key political, social, economic and aesthetic elements of former times”. We can find examples of that sort both in American and European series such as Stranger Things, Mad Men, Narcos, Boardwalk Empire, Downton Abbey, Deutschland 83, Aquarius, 1992, The Get-Down, Manhattan and many others. This trend also includes television series set in the present or in the future, because these narratives display a vast amount of time, and try to establish the narrative world’s present on a complex backstory: Daredevil has a vast amount the time to go back and develop the relationship of the hero as a child with his father; Luke Cage can use an entire episode to narrate the origin of the superpowers of Luke. So rethink the postmodernism can mean exploring some intuitions and tools, pondering the topical relation between media and nostalgia.

Alphaville: Journal of Film and Screen Media , 2017

The "Teaching European Cinema" dossier has grown out of the European University Film Award (EUFA) project that was initiated in 2016 by Filmfest Hamburg in collaboration with the European Film Academy (EFA) and the European Network for Cinema and Media Studies (NECS). In its second edition in 2017, the EUFA connected twenty European universities in a common teaching project in which five nominated films were analysed and discussed in courses of the respective universities. Subsequently, one student representative per country joined the three-day student jury deliberation in Hamburg and voted for the final EUFA winner. In 2016, Ken Loach's I, Daniel Blake (2016, Guðmundur Arnar Guðmundsson's Heartstone (Hjartasteinn, 2016 was awarded the prize. The dossier works on different levels: first, it aims to present the EUFA project to a wider public; second, it promotes an exchange among the participating colleagues; and third, it operates as a teaching dossier for scholars within the wider field of European film and media studies to discuss questions of how best to teach contemporary European cinema. Figure 1: Presentation of the EUFA 2016 prize at Studio Cinema in Hamburg. Photo: EUFA/K. Brunnhofer.

Since the birth of cinema, and throughout its history, there have been movies set in the world of cinema itself, portraying, e.g. a film being made, or an audience watching it, or the society revolving around the film industry. Very often such movies are centred on the life of the many kinds of people who are involved in filmmaking, from producers to directors, from scriptwriters to actors and actresses. And yet Hollywood "movies about the movies", in particular, are inherently paradoxical in this respect. If they allow you to peep at their secrets, they only do so up to a certain point, because Hollywood, as a myth, must preserve its aura and cannot risk losing its somewhat magical, even mysterous appeal to mass cultures. This Dossier is a general introduction to a project which includes more specific explorations of the topic of "movies about movies". The other Dossiers in the project, which are all available at ResearchGate.net or at www.cinemafocus.eu, are: * The star system: the rise and fall of stars * On the set: watching films being made * The "Hollywood system": behind the scenes of the "dream factory" * "Films within films": viewers watching viewers * Directors on and off the set * Producers and screenwriters: the "hidden figures" of filmmaking * "Meta-cinema": when movies reflect on themselves

Book Review: Olev Remsu, Filmidraamatehnika [Techne of Film Drama] (Tartu: Tartu University Press, 2016, ISBN 978-9949-77- 081-6, 392 pp) More Info: Baltic Screen Media Review 4:1 (Dec 2016), pp. 126–129. Journal Name: Baltic Screen Media Review

Comunicazioni Sociali. Journal of Media, Performing Arts and Cultural Studies, 2018

coordinatore / coordinator), MATTEO TARANTINO Redazione scientifica / Editorial board: [email protected] Redazione editoriale / Production editor: [email protected] Abbonamenti / Subscription queries: [email protected] Articoli, codice etico, revisori e guida per gli autori sul sito: http://comunicazionisociali.vitaepensiero.it Articles, ethical statement, reviewers, authors guidelines: http://comunicazionisociali.vitaepensiero.com La rivista ha adottato il sistema di double-blind peer review dal 2009 / Double-blind peer reviewed since 2009. La rivista è in fascia A Anvur per le aree L-ART/05, L-ART/06, SPS/08 Pubblicata con il supporto del

2006

The relation between architecture and cinema has begun with the first steps of the technology of moving images at the beginning of the 20th century and it has continued progressively until now by importing various intellectual, representational, and practical devices from each other in order to reconfigure their own systems of knowledge. In this investigation, the fundamental elements of architectural design and principles of their organization are used in the field of cinema as a methodological tool to analyze the compositional features of narrative, mise-en scene and editing/montage. First of all, the end products of both domains are conceived as a form of composition, and in this respect, the compatibility of their design dynamics is examined. Secondly, the fundamental design elements and principles of both architecture and cinema are defined. Finally, in order to redefine the design process of a film and to reveal the existence of fundamental principles of architectural design i...