Suchergebnisse

This study examines how socially-conscious Bengali filmmakers in Bangladesh and West Bengal, India used cinema as a means of political action and came to grips with urgent social and political issues in films made between 1970 and 2002. It focuses on alternative, non-commercial and off-beat feature films because Bengali films that appear to be strong indictments of social and political injustices are produced by directors working outside the commercial film industry. Bengali films produced outside the dominant film industry depart from the conventions and values associated with the entertainment-driven cinema. Bengali alternative filmmakers often employ innovative c1nemabc techniques to convey political criticisms. These Bengali films marked by formal experimentation and political commitment are recognised as politically critical in form and content. This study specifically asks the following questions: how do these serious Bengali filmmakers use cinema as a means of political action? How do these films intervene in a crisis situation? A key follow-up question is: Do these films deal with the actual causes of social injustice, or merely show the effects of social problems? Through the detailed analysis of four specific films, my thesis seeks to discuss and analyse the above questions in order to gain an understanding of Bengali politically critical films. The study also examines how these filmmakers make overt political statements and use cinema language to indict contemporary problems. Another question that is germane to my thesis is: how do these Bengali filmmakers employ strategies of Third Cinema in their political films? In my thesis, Third Cinema theory is used as the main conceptual framework to examine Bengali politically oriented films. The study also draws on various theoretical concepts of political cinema in order to analyse these Bengali films. Using case studies from West Bengal and Bangladesh, the study argues that these Bengali films retain Third Cinema characteristics and they fit within the ...

In order to "construct" a national narrative, unsettling moments of Turkish history have been disavowed by the official discourse in Turkey. As a consequence, uneasy and therefore repressed knowledge of the past, which has not been appropriated as a part of the official discourse on national history, is finding its existence in cinematic representations. Along with the mainstream films in which the official discourses on history resonate, the growing interest in representing the past in cinema in Turkey has also resulted in the emergence of a new political cinema. This thesis argues that, unlike mainstream historical films which employ conventional narration strategies and propose that they are reinstalling the missing pieces in the national historical narrative, new political cinema in Turkey adopts an experimental form and remarks that history remains elusive and incomplete. By examining two recent films of the new political cinema in Turkey, Sonbahar / Autumn ( Özcan Alper, 2008) and Bulutları Beklerken / Waiting for the Clouds(Yeşim Ustaoğlu, 2004) this thesis suggests that new political films attempt to revise history and its narration by using cinematic means in an unprecedented way. And they incite their viewers to reflect on historical thinking and their relationship with it. ; Ulusal bir anlatı "oluşturma" süreci içerisinde, Türk tarihinin çalkantılı anları ülkedeki resmi söylem tarafından inkar ediliyor. Bunun sonucu olarak, ulusun "şanlı" tarihinin içinde bir türlü uydurulamayan ve bu yüzden bastırılan tarihsel olaylar sinema temsilleri olarak geri dönüyorlar. Türkiye'de giderek büyüyen geçmişi temsil etme eğilimi resmi ideolojinin tarih üzerindeki söylemlerini tekrar eden ana akım filmlerin yanı sıra, yeni bir politik sinemanın oluşması ile sonuçladı. Bu tez, konvansiyonel anlatım stratejilerini benimseyen ve tarihin eksik parçalarını yerlerine geri koyarak onu tamamlama iddiasında olan ana akım tarihsel filmlerin aksine, Türkiye'deki yeni politik sinemanın deneysel bir biçim oluşturmaya çalışarak tarihin muğlak ve tamamlanamayan bir olgu olduğunu önü sürdüğünü savunuyor. Türkiye'deki yeni politik sinemanın iki örneği olarak Bulutları Beklerken (Yeşimustaoğlu, 2004) ve Sonbahar (Özcan Alper, 2009) filmlerini inceleyen, bu tez, yeni politik filmlerin sinemanın anlatım araçlarını alışılmışın dışında bir biçimde kullanarak, hem tarihi hem de onun temsil edilme biçimini yeniden yazdığını ortaya koyma amacı güdüyor. Bu yolla, bu filmler hem tarihsel düşüncenin kendisini hem de bizlerin bu düşünce ile kurduğu ilişkiyi tekrar gözden geçirmeye teşvik ediyor.

Este artículo presenta el análisis de todas las películas mexicanas de temática política producidas durante los años de 1910 a 2014. La metodología utilizada consiste en un análisis de contenido de 54 largometrajes para identificar: año de producción, director, género, período y temática política que aborda, y también los premios nacionales e internacionales que recibieron. Los resultados muestran que México cuenta con una importante filmografía y directores que han abordado acontecimientos claves de las transformaciones políticas del país en el último siglo. ; This paper analyzes the mexican political filmes from 1910 to 2014. The paper studies 54 movies using the a content analysis to determine: production year, filmaker, film genre, political period, theme, and national and international awards won. The conclusions are Mexico has an important films and filmmakers that have addressed key events of political changes in the country in the last century.

The relationship between fiction and politics is palpable in hundreds of film titles, from the birth of cinema to the present day. Democratic spectacularization, or politainment, is vital in political communication, inspired by fiction, and vice versa. As can be seen when producers create social networks accounts for politicians –characters of their series- who make actual but calculated commentary on real politics. Cinema becomes an inspiration and, at the same time, a reflection of reality. Given the type of political films of Christensen and Haas (2005) and specifically, the type of pure political film, we taped five American films, stuck to the environment of their time and clairvoyants of the spectacularization that would come later. They are The Candidate (1972), Power (1986), Wag the dog (1997), Primary Colors (1998) and The idus of March, of five different decades. All deal with the use and handling of appearances and spectacle as a way to gain power or consolidate it. They confirm that politics is conditioned by the media, spectacle and public skepticism. ; La relación entre la ficción y la política es palpable en cientos de títulos cinematográficos, desde el nacimiento del cine hasta nuestros días. La espectacularización democrática, o politainment, es vital en la comunicación política, inspirada por la ficción, y viceversa. El cine se convierte en inspiración y, al mismo tiempo, reflejo de la realidad, como queda de manifiesto, por ejemplo, en que las productoras abran cuentas de redes sociales para políticos ficticios –personajes de sus series- que hacen comentarios muy calculados sobre política real. Atendiendo a la tipología de películas políticas de Christensen y Haas (2005) y concretamente, al tipo de film político puro, desgranamos cinco cintas norteamericanas, íntimamente relacionadas con el entorno de su momento y precursoras visionarias de la espectacularización que vendría después a caracterizar a la industria del cine. Son El Candidato (The Candidate, 1972), Power (1986), La cortina de humo ...

Political Cinema in the 21st Century: The Radical Film Network Inaugural Conference began with a very clear agenda: to consider the future of the network's activities, structure, stances, and, hopefully, growth. Steve Presence established through his introduction that the network expanded significantly during its first few years, now encompassing members and organisations from eighteen countries; however, with most activity centred in the UK, he remarked that the network should strive towards the equal inclusion of all its members via the support of activities in all countries, as well as those which are already taking place in the UK and Canada. Presence ended his introduction by noting that the network does not currently have any connections with political organisations, trade unions or radical filmmakers, and that these were possible areas for the development of the network's future activities and scope.

CINEMA UNDER POLITICAL PRESSURE: A BRIEF OUTLINE OF AUTHORIAL ROLES IN POLISH POST-WAR FEATURE FILM 1945-1995 Before the spread of television in the middle of the Fifties, film -- the Tenth Muse -- was the light in the eyes of politicians who recognised its communication, entertainment and artistic values, and before all, its ability to create a feeling of reality in viewers minds. Not accidentally the leaders of the world powers and countries conducting colonial politics called it "the most important of all arts" (Lenin), "a great means of mass propaganda" (Stalin), "the strongest weapon" (Mussolini) and "the chronicler and commentator of contemporary events" (Hitler). The cinema, as in a distorting mirror, has always reflected ideologists' utopian visions of the world. Film's ideological stance continued to be cultivated after World War II; in several countries (including Poland) it efficiently limited the natural process of film art development. In 1945.

When Jean-Luc Godard wonders what cinema is, it makes two possible answers. The answer from Hollywood, who understands that cinema is money. And the response of Soviet cinema, which assumes that cinema is useful to observe and think collective phenomena. Godard, after the irruption of May of the 68, decides to leave mainstream cinema to meet with Jean Pierre Gorin, Armand Marco and Jean Henri Roger, and together form the Dziga Vertov Group. The idea of the collective is to start an alternative way to thematic and commercial forms: the way of the political cinema or, to be more precise, the politically forged political cinema. The objective of the article is to analyze three audiovisual productions of the Dziga Vertov Group through the conceptual architecture forged by the author of Das Kapital. In the analysis of some sequences of Pravda (1969), Lotte in Italia (1969) and British Sounds (1969) we will discover some of the lessons of Marxism through the different audiovisual strategies that forge Godard and his companions ; Cuando Jean-Luc Godard se pregunta qué es el cine formula dos respuestas posibles. La repuesta de Hollywood, que entiende que el cine es dinero. Y la repuesta del cine soviético, que asume que el cine es útil para observar y pensar los fenómenos colectivos.Godard, después de la irrupción de mayo del 68, decide abandonar el cine mainstream para juntarse con Jean Pierre Gorin,Armand MarcoyJean Henri Roger, y juntos formar el Grupo Dziga Vertov. La idea del colectivo es iniciar un camino alternativo a las temáticas y las formas comerciales: el camino del cine político o, para ser más precisos, del cine forjado políticamente.El objetivo del artículo consiste en analizar tres producciones audiovisuales del Grupo Dziga Vertov a través de la arquitectura conceptual forjada por el autor de Das Kapital.En el análisis de algunas secuencias de Pravda (1969), Lotte in Italia (1969) y British Sounds (1969) descubriremos algunas de lecciones de marxismo a través de las diversas estrategias audiovisuales que forjan Godard y sus compañeros.

Art including film is almost always political. It is so in varying degrees and in different ways and mass media, including the cinema, has been utilized for such purposes by various governments ranging from the extreme left to the extreme right.

Su estudio se centra en el cine político argentino del exilio, pero bajo relaciones de continuidad y rupturas estéticas y temáticas con un conjunto más amplio, que comprende los documentales políticos entre 1968-1989, ligados a los movimientos revolucionarios iniciados por el Cordobazo, el terrorismo de estado y la transición a un sistema democrático. ; His study focuses on the Argentine political cinema of exile, but under relations of continuity and aesthetic and thematic ruptures with a broader group, comprising the political documentaries between 1968-1989, linked to the revolutionary movements initiated by the Cordobazo, the State terrorism and the democratic transition in Argentina. ; Reseña a Javier Campo (2017). "Revolución y democracia: El cine documental argentino del exilio (1976-1984)". Buenos Aires, Argentina: Ciccus, 205 páginas ; Facultad de Bellas Artes