scholarly journals On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 64
Author(s):  
Koji Toba
Keyword(s):  
Political Ideology ◽  
Documentary Film ◽  
Atomic Bomb ◽  
Media History ◽  
Color Images ◽  
Documentary Films ◽  
Color Film ◽  
Magic Lantern ◽  
The Relationship ◽  
Film Genres

In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.

scholarly journals Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach

2018 ◽  
Vol 21 (30) ◽  
Author(s):  
Urszula Tes
Keyword(s):  
Documentary Film ◽  
Feature Film ◽  
Marina Abramovic ◽  
And Performance ◽  
The Relationship ◽  
Film Genres

In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.

British Science Documentaries: Transitions from Film to Television

2013 ◽  
Vol 10 (3) ◽  
pp. 475-497 ◽  
Author(s):  
Tim Boon
Keyword(s):  
Documentary Film ◽  
Formal Analysis ◽  
Documentary Films ◽  
British Science ◽  
Short Time ◽  
The Relationship

The relationship between documentary films made for projection and television documentaries has not been studied in any sustained way. This is partially a product of the weakness of the literature on both postwar documentary and of the development of the form within the new medium. This article uses a combination of biography and formal analysis to begin to address this lacuna in the literature as it relates in particular to films and programmes with scientific themes. It examines four individuals who worked in documentary film before spending varying amounts of time in television: Duncan Ross, Paul Rotha, Michael Orrom and Ramsay Short, who joined the BBC respectively in 1947, 1953, 1954 and 1963. The analysis shows that those who stayed long term at the BBC (Ross and Short) adapted their technique to the new medium, while Rotha and Orrom – who both left after a comparatively short time – mainly sought to use TV as a medium for broadcasting existing documentary styles. It concludes that the approach of taking biographical details and formal qualities is useful, but that larger samples of programme-makers would be required to reach firm conclusions about the relationship between documentary films made for projection and television documentaries

scholarly journals VOICE, TEXT, AND IMAGE IN LATE SOVIET DOCUMENTARY CINEMA: “AND STILL I BELIEVE...” BY MIKHAIL ROMM

Articult ◽  
2021 ◽  
pp. 68-79
Author(s):  
Victoria V. Pluzhnik ◽  
Keyword(s):  
Documentary Film ◽  
Documentary Films ◽  
Text And Image ◽  
Soviet Culture ◽  
Soviet Art ◽  
Art Practices ◽  
Key Concepts ◽  
The Subject ◽  
The Relationship

The subject of the article is the late Soviet cultural logics manifested through the medial specifics of the film. Based on the material of the documentary film "And Still I Believe..." by Mikhail Romm (1974), the question is raised about the relationship between voice, text and image, and cultural and anthropological modes they offer the viewer. One of the key concepts for analyzing the film and determining these modes is the concept of intermediality. In relation to Soviet culture, two main strategies of intermediality in Soviet art practices are identified, based on existing research, through which Romm's film is then analyzed. Of particular importance to the work is the category of the (mediatized) voice, its place in Soviet culture, and more specifically, Mikhail Romm's voice and the intermedial transformations that it undergoes in the film. The relationship between voice, text, and image in late Soviet documentary films demonstrates interesting artistic strategies and allows us to problematize the position of the Soviet subject.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

scholarly journals Men’s attitudes toward mask-wearing during COVID-19: Understanding the complexities of mask-ulinity

2021 ◽  
pp. 135910532199079
Author(s):  
James R Mahalik ◽  
Michael Di Bianca ◽  
Michael P Harris
Keyword(s):  
Indirect Effects ◽  
Political Ideology ◽  
Scientific Community ◽  
Perceived Barriers ◽  
Conformity To Masculine Norms ◽  
Masculine Norms ◽  
Perceptions And Attitudes ◽  
Path Analyses ◽  
The Relationship ◽  
Vulnerable Persons

Path analyses indicated that the relationship between conformity to masculine norms (CMN) and attitudes toward mask-wearing to protect from COVID-19 was mediated by perceived benefits, perceived barriers, confidence in the scientific community, and empathy toward vulnerable persons, and that political ideology moderated the indirect effects from CMN to men’s attitudes. Efforts to improve men’s participation in combatting COVID-19 should address the perceptions and attitudes related to conforming to traditional masculine norms and moderated by political ideology, and might reconstruct masculinity to focus on being a guardian and protector of public health.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

The relationship between Openness to Experience and political ideology

2000 ◽  
Vol 28 (4) ◽  
pp. 741-751 ◽  
Author(s):  
Alain van Hiel ◽  
Malgorzata Kossowska ◽  
Ivan Mervielde
Keyword(s):  
Political Ideology ◽  
Openness To Experience ◽  
The Relationship

The Politics of Donations: Are Red Counties More Donative Than Blue Counties?

2018 ◽  
Vol 48 (2) ◽  
pp. 283-308 ◽  
Author(s):  
Laurie E. Paarlberg ◽  
Rebecca Nesbit ◽  
Richard M. Clerkin ◽  
Robert K. Christensen
Keyword(s):  
Path Analysis ◽  
Political Ideology ◽  
Charitable Giving ◽  
Political Competition ◽  
Tax Burden ◽  
Charitable Contributions ◽  
Political Conditions ◽  
Public Revenue ◽  
The Relationship

This article integrates parallel literatures about the determinants of redistribution across place. Using regression-based path analysis, we explore how tax burden mediates the relationship between political conditions and charitable contributions. Our analysis indicates that counties with a higher proportion of people voting Republican report higher charitable contributions, and tax burden partially mediates this relationship. However, the effect of political ideology on charitable contributions is nonlinear. As the proportion voting Republican in non-Republican-dominated counties increases, the predicted levels of charitable giving actually decreases. In contrast, as the proportion voting Republican increases in Republican-dominated counties, charitable contributions increase. Higher levels of political competition decrease charitable giving, again with partial mediation by tax burden. We also find that the “crowding in” effect of lower tax burdens on charitable giving only partially compensates for the loss of public revenue. Ultimately, total levels of redistribution—both private and government—are higher in Democratic-leaning counties.

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