Target Screensize for Stereoscopic Feature Film

2010 ◽  
Author(s):  
Daniele Siragusano
Keyword(s):  
Feature Film

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

Public aid mechanisms in feature film production: the EU MEDIA Plus Programme

2005 ◽  
Vol 27 (2) ◽  
pp. 229-250 ◽  
Author(s):  
Victor Henning ◽  
Andre Alpar
Keyword(s):  
Film Production ◽  
Feature Film ◽  
Public Aid ◽  
The Eu

ON THE NEW DIMENSIONS IN THE CONTENT AND TEACHING OF INTERNATIONAL LEGAL AID IN THE CHANGING WORLD

2020 ◽  
Vol 6 (4) ◽  
pp. 265-278
Author(s):  
Marina O. LITS
Keyword(s):  
Information And Communication Technologies ◽  
Legal Assistance ◽  
Legal Aid ◽  
Master's Programs ◽  
Traditional Concept ◽  
Feature Film ◽  
Information And Communication ◽  
Criminal Matters ◽  
Inter State ◽  
Changing World

The traditional concept of international legal aid among the judicial authorities of different states in civil and criminal matters has, in a sense, limited the capacity and possibilities to its study. In addition, the need to use information and communication technologies in education during the pandemic is not fully matched by available materials and techniques. This study aims to identify new dimensions in the content and teaching of international legal aid. The subject under consideration may be supplemented by the issues of inter-state legal assistance in administrative matters, interaction between a particular state and the relevant international organization (or inter-state body) in the various forms of international legal assistance. This article focuses on a number of educational technologies aimed at forming the necessary competences of the students of legal master’s programs. One of them is to follow a definite algorithm when writing a comment for a judgment with the possibility to monitor and control the results of work through information platforms. Another technology is to adapt the pedagogical method of researching a media text (in this case, a feature film) in a project research seminar on a given topic. Finally, the fresh insight into the possibilities of examining the procedure for the fulfilling of requests for international legal aid by means of videoconferencing is given, since these means are in particular demand under the current circumstances. The results of the study include proposals to change the structure of the discipline and to develop training technologies. New dimensions in the content and teaching of international legal aid are aimed at improving the results of master’s studies in the changing world and will undoubtedly contribute to the development of quality legal education.

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