Movies

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Nuestra huella en el mundo ha traspasado todas las fronteras, no hay ni un solo continente que no haya sido poblado por nosotros los seres humanos, hemos logrado cambiar casi todas las cosas de la tierra, la hemos adaptado a nuestro parecer, tierra, mares, aires, prácticamente todo, en gran parte muchos de los cambios han sido egoístas y por conveniencia propia, como las represas de ríos, grandes caudales de agua retenidos a conveniencia. El mundo sin seres humanos en un principio representaría caos de vuelos y aparatos funcionando sin control por doquier, poco a poco se el paneta se va quedando sin energía debido a que no hay quien opere las centrales eléctricas o las platas de energía se menciona en el documental vuelve la era de la oscuridad. Con 3 días sin seres humanos el mundo se encuentra plagado de gases tóxicos por doquier, incendios y casos en todas partes, los animales dementicos y de zoológico comienzan a morir de hambre debido a que no hay nadie que los alimente o escapan en busca de alimentos considerando incluso comerse entre sí. Con tres meses sin seres humanos la radioactividad ya ha caído del cielo y en panorama comienza a mejorar como sin embargo la lluvia escasea debido a la baja polución producida, los animales sobrevivientes son cada vez más salvajes y continúan matándose entre sí, a los 6 meses con el cambio de clima los animales comienzan a morir de frío.

Greetings: The 7th edition of Visual Communication: Images with Messages is available at a drastically reduced price for students and others at $35: http://goo.gl/r53bFs with a color print version available for $100: http://goo.gl/Cqg3hr through Amazon. The fully updated edition includes 739 figures for photographs and illustrations along with weblinks to additional images and videos. If you plan to teach visual communication, visual literacy, and/or media and culture or if you are an interested student or professional, please consider taking advantage of this opportunity. Let me know if you have any questions. All best things, paul _________

Esistono certamente diversi modi di studiare il rapporto tra geografia e fiction; questo libro lo fa da un punto di vista del tutto particolare che mette in primo piano la territorializzazione configurativa in quanto ambito della rappresentazione artistica ed emozionale. L’idea di base che lega i saggi qui raccolti è che la fiction rappresenti una simulazione di territorialità in cui non si tratta tanto di imitare l’esistente quanto di formulare ipotesi sui possibili, ossia su ciò che non è ma che potrebbe essere. In quanto experimentum mundi, la fiction può dunque essere letta attraverso l’apparato metodologico di quella teoria geografica della complessità che ha nei concetti di territorio, territorialità e territorializzazione i suoi elementi fondanti e in autori come Claude Raffestin, Angelo Turco, Giuseppe Dematteis e Alberto Magnaghi i suoi principali interpreti.
Il ricorso alla “cassetta degli attrezzi” che soccorre il geografo nel suo la-voro di decifrazione degli assetti territoriali attuali si giustifica qui con l’esigenza di soddisfare i criteri basilari che una “teoria geografica della fiction” deve rispettare: 1) essere inequivocabilmente geografica, vale a dire riconoscibile come tale; 2) proporre un metodo, cioè basarsi su una teoria e su regole precise e dichiarate; 3) rappresentare un valore aggiunto, ossia metterci nella condizione di vedere qualcosa che altrimenti non vedremmo. Ci sarebbe in realtà un quarto criterio di cui dobbiamo costantemente tenere conto nella nostra disamina della simbolica del territorio e delle sue molteplici configurazioni topiche, paesaggistiche ed ambientali: la necessità di rispettare sempre la specificità del medium affrontato, qualunque esso sia, scansando la tentazione di ricondurlo ad un “testo”.
Dopo i primi due capitoli, nei quali si definisce l’impianto teorico-metodologico del lavoro, i successivi sono dedicati di volta in volta ad un particolare caso di studio: l’opera con Die Zauberflöte di Wolfgang Amadeus Mozart, il cinema di Wes Anderson, le canzoni di Paolo Conte e i graphic novel di Gipi – tutte simulazioni di territorialità in cui le qualità geografiche gioca-no un ruolo di primo piano, fissando le condizioni di possibilità della narrazione.
Prefazione di Angelo Turco

The history of the scienze fiction cinema from the "experimental joke" Le Voyage dans la lune of George Melies, across masterpieces like 2001 A Space Odissey and Star Wars to the colossal Avatar (the most expensive production in the cinema industry) with a special attention to the italian work and a focus on the space opera genre.
Subjects: introduction; 1- definition of scienze fiction; 2- the history of cinema and scienze fiction cinema 3-imitation and contamination across the different schools of cinema; 4-The space opera, definition and history 5- the history of the italian space opera production; 6-interviews to: Edoardo Margheriti, Giovanni Mongini, Luigi Cozzi, Daniele Terzoli, Luisella Chiribini, Tino Franco, Fabio Resinaro, Fabio Guaglione, Angelo Licata, Fabio Salvati, Andrea Ricca

Perception of the architectural space in the phenomenal world is through different senses. However, in the films, this perception is through the faculty of vision only and in the order of the vision of the director and the cinematographer. These artists control the spatial observation of spectators with the control of the camera. Despite the differences in the space understanding of films and architecture, they are also parallel conceptually and practically as the number of architects involved in the design of the spatial organization of the films imply. Hence thesis starts with a theoretical study to understand the common ground in both fields regarding space. 
The Room - the smallest unit of architectural space- is also the most basic component of the complex spatial organization in the films. However, some narrative films are shot predominantly in just one single room. This thesis focuses on such movies created in existing or imaginary setups. The thesis categorizes such stage sets as Scenographic, which are created by the architects, decorators and/or set designers for the action of the spectatorial reality. Whereas actual architectural interior spaces i.e. buildings, in which films took place are categorized as Tectonic spaces. In many cases, such tectonic spaces are also manipulated and such redesigned spaces are named as Hybrid. With the advent of the digital technologies, alterations of the real spaces or creation of totally fictitious spaces are becoming more commonplace.
This thesis focuses mostly on the single space films of the pre-digital era. Trying to understand the motives of the economy of space in these films, the thesis makes a classification of narrative films based on the role and the design of the spaces.  Spatial representations in these films are studied in depth to comprehend the viewpoints of the directors, set-designers and architects.

Consumers frequently consume hedonic products together with other consumers and derive value from this shared experience. This article investigates the impact of shared consumption, a type of social influence that determines the enjoyment of joint experiences, in the context of a typical hedonic product: movies. The authors argue that this type of influence has important consequences for the diffusion curves of hedonic goods that are consumed together and the effectiveness of advertising in generating launch and postlaunch sales. An empirically validated agent-based model simulates the U.S. motion picture market, with new movies launching, competing, and exiting. The agent-based model serves as a means to demonstrate the essential role of shared consumption for explaining movie life cycles and tests how advertising expenditures accelerate and/or acquire movies’ demand in markets with varying levels of shared consumption. The results provide key theoretical insights for the new produ...

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

Manuel Martínez Maldonado

Jamás habría soñado William Shakespeare que "Romeo y Julieta"1 (1597), una de sus obras más famosas (posiblemente la más famosa) fuera a constituir una de las obras maestras del teatro musical, 460 años después. West Side Story debutó en 1957 y revolucionó el género musical para siempre.2 Las situaciones históricas, las coincidencias, la suerte, influyen también en cómo se concibe una obra y como se plasma un producto que depende de colaboraciones, y el teatro musical es algo que requiere una combinación de talentos que se unan en simbiosis sin cada individuo perder su originalidad. En cierto sentido, Shakespeare, tuvo la suerte de que cuatro artistas de primer orden se encontraran para convertir su bellísima tragedia del amor juvenil en un clásico moderno.

As part of a larger research project sponsored by the Instituto Mexicano de Cinematografía, the author reports an exploratory study on film consumption habits in Guadalajara. Three surveys were conducted among people at video-clubs and cinemas. That television is the main form of film consumption, followed by the rental of videos is one of the findings of this work. Also, that people still prefer american movies, but recognizes  the efforts of the "new mexican cinema".

The purpose of this article is to describe a set of photographs of Eliane Lage (1928–),
a movie actress featured in Caiçara, Ângela, Sinhá Moça and Ravina – the first three produced
by Companhia Cinematográfica Vera Cruz (1950-1954), and the fourth by Cinematográfica
Brasil Filmes. Companhia Cinematográfica Vera Cruz aspired to be one of the largest film
producers in Brazil and, accordingly, its Advertising Department set out to establish Eliane Lage
as a great movie star, like those in the world’s dominant movie industries. This paper brings to
light some photographs which, coupled with information published in the press, were intended
to tell the public at large who Eliane Lage was by exploring extensively certain aspects of her
“biography”, such as her privileged background, her denial of stardom, her detachment, her
passion for her husband, and her love of nature. The picture selection includes: a photo essay
by the architect Gregori Warcharchik; studio marketing photographs; snapshots taken by
photographers at the time; and pictures that are part of the actress’s personal collection.
KEYWORDS: Cinema. Actresses. Eliane Lage. Companhia Cinematográfica Vera Cruz.
Cinematográfica Brasil Filmes.

I am not the type of person who daydreams about epic scenarios like saving people from an exploding building, but our main character Walter Mitty is. The Secret Life of Walter Mitty is a comedy adventure film about experiencing the beauty and fulfillment life can offer. Walter, the maladaptive daydreamer, has his world of scenarios that he wants to experience in his daydreams. But throughout the movie, his character develops as we see him take leaps of faith towards making his daydreams reality. Likewise, his newfound relationships with the other characters of the movie, Cheryl, Sean, and Todd, push him to make these leaps. I will argue that the concept of intersubjectivity is essential in understanding how these relationships enriched Walter's personhood.

A paper based on the following prompt:

Watch the film “The Secret Life of Walter Mitty” (2013), and answer the following:

By referencing concepts pertaining to  Intersubjectivity, explain how Walter Mitty’s relationality with others and the world around him enriched his personhood. Do so by relating his character development throughout key moments in the film with philosophical concepts discussed in class.
Then, synthesize your paper by showing how the film emphasizes the importance of intersubjectivity in the exercise of reason, and the formation of culture.

Producer: Wilmer Duarte (Wilo)

Proposal to reconceptualize the script: "La Sombra del Caminante". Colombian Film of 2004, directed by Ciro Guerra, Filmmaker. This work aims to give a new vision to the art direction of this film.

Official trailer: https://www.youtube.com/watch?v=agqPLUMod24

Scenography: Steffania Cuervo
Logistic: Diana Hernández / Yuli Reyes
Sound: Sebastian Rodriguez
Art director: Luisa Forero
Makeup: Angélica Hernández
Producer: Guisell Rincón
Dressmaker: Sebastian Urquijo
Props: Catalina Castiblanco

Design - Layout: R.M.A.P

Como se relacionam Direito e poder nos Estados democráticos? "... O fundamento do poder liga-se à pergunta do porquê a autoridade deve ser respeitada. Nos Estados democráticos não se trata de afirmar a autoridade do mais forte. É inescapável aos que exercem o poder fundamentá-lo juridicamente. Trata-se de uma validação do poder que escora seus pilares na concessão pelo povo de autoridade e limites para os governantes, ..." O filme Vice auxilia na compreensão desta relação entre Direito e Poder.

This non fiction novel is an attempt to understand the cicumstances of the suicide of Marilyn Monroe through an imaginary reconstitution of her relationship with Ralph Greenson, her psychoanalist.

Ce "roman" est une fiction documentaire où sont décrits les derniers mois de la vie de Marilyn Monroe avant son suicide, à travers la reconstitution de ses relations avec son psychanalyste, Ralph Greenson.

Songs are the art of speaking
I have been using songs to teach English and Polish for a long time. Personally I firmly believe in the power of good music as well as in the power of well-written lyrics. Songs may help with teaching pronunciation and can be the inspiration for extraordinarily interesting, challenging discussions. Different topics often inspire students to talk about various issues and problems, often sharing extremely different perspectives. That is why songs are also materials for practicing conversational skills.

Me gustan las películas que están construidas con muchas capas, las que me enseñan y estimulan sensitivamente. Parasite tuvo un plan meticulosamente diseñado, cada elemento de la película ha sido una decisión y sus consecuencias altamente impredecibles no han hecho más que fascinarme. Lo más interesante es que no es una película de buenos y malos, ni siquiera tiene un solo género que la categorice, es una historia que expone figuras y las entreteje en un potente cuestionamiento social expuesto en la dinámica de tres familias. Quiero destacar los recursos que traducen esta premisa a lo audiovisual además de la dirección estupenda de Bong Joon-ho: el diseño de producción, que con las dimensiones de los espacios y escaleras donde se desarrolla gran parte de la historia separa arquitectónicamente el lujo de la miseria; la edición y montaje, que le dan ritmo a las imágenes como si de danza moderna se tratara, además, es este ritmo acompañado del diseño sonoro, que logra que el género y las etiquetas del film se hagan indescifrables; por último, destaco la fotografía a cargo de Hong Kyung-pyo, porque la película maneja técnicas cinematográficas básicas pero son muy efectivas y metafóricas que logran comunicarse delicadamente a través de la luz, los cuadros y los movimientos de cámara, elementos que desglosaré individualmente a continuación. Movimientos de cámara Es curioso cómo la presentación de la película y de la familia pobre sea con un movimiento de cámara hacia abajo que se dirige desde el nivel regular del piso hacia un subsuelo mostrándonos claramente que se trata de una familia muy pobre que vive en una situación por debajo de lo normal. También podemos notar este movimiento cuando la familia regresa a casa durante la tormenta después de escapar de la mansión de los Park. Todo el recorrido de los Kim es retratado hacia abajo, tanto en planos picados como en movimientos de grúa. La familia Kim está regresando a su realidad después de escaparse fallidamente de ella.

Si le court-métrage est souvent présenté comme une voie d'entrée dans les carrières du cinéma, il est aussi un lieu au sein duquel s'éprouvent, comme dans un modèle réduit, les contraintes plus générales de la production cinématographique. Après le documentaire, le court-métrage nous permet donc d'insister sur le lien entre les conditions de production des films et l'organisation du travail cinématographique * * * En 2010, 675 films de court-métrage1 ont reçu un visa d'exploitation du CNC (ils étaient seulement 380 en 2005), contre 203 films de long-métrage d'initiative 1. Comme le rappelle Alain Rocca dans un rapport de 2004 disponible en ligne sur le site du CNC (Perspectives d'évolution du système français de diffusion du court-métrage) « le court-métrage se définit en France comme une oeuvre audiovisuelle originale, d'une durée inférieure à 60 minutes et non commanditée » (ce qui

Este estudo tem como objetivo principal verificar em que medida elementos trazidos pela performance “Selvagem”, apresentada no filme Rutan, podem sugerir critérios limitativos à liberdade na performance artística. Utilizando metodologia dedutiva de caráter bibliográfico e exploratório, em um primeiro momento, situa-se a performance artística como manifestação do direito humano à liberdade de expressão; posteriormente, elementos da performance “Selvagem” são utilizados como suporte fático para a reflexão. Conclui-se que os elementos analisados contribuem para a proposição de parâmetros à liberdade de expressão na performance artística a partir do princípio da dignidade da pessoa humana e da proteção aos direitos de personalidade.

One of the most memorable days of my life was when motion picture director and editor Robert Wise spent the afternoon with me going over the rough cut of one of my films. That day I learned so much more than I ever imagined...I learned about cinema, life and the evolution of individual and collective consciousness.

Nel suo film "The Trial" del 1962 il regista Orson Welles interpreta con sorprendente  penetrazione intuitiva  l'omonimo romanzo di Kafka, riproducendone le architetture esheriane e "l'angoscia senza forma". Un incubo del giovane Welles riportato da un suo biografo, le circostanze della produzione di "The Trial" e il suo contenuto, sono occasione per tracciare una narrativa delle esistenze sia del regista che dello scrittore, focalizzando le rispettive esperienze traumatiche ed esaminando  la loro peculiare creatività in termini di "posttraumatic growth".

The film industry is one of the biggest contributors to the entertainment industry and also it is characterized with its unpredictability in success and Failure. Film Industry has always amused everyone with its unpredictable success and Failure.  This research looks into the inner details of watching a movie by splitting the research into three main components. First section is exploring the variables that influence the frequency of movie watch; second, developing a model to predict the success or failure. Finally, social network sentiment analysis is carried out through data mining to capture the audience sentiment and its impact on movie’s success and failure. The research tries to look at the success or failure of a movie on a more holistic manner than trying to grade the performance of a movie over a few variables based on the previous research works on movie success prediction.

As was written in the syllabus of Psychology 350 class, this course was planned to introduce a background of forensic psychology to undergraduate students interested in how psychological knowledge can be applied in criminal cases and settings. This paper was written in order to apply the theoretical knowledge taught in this class on fundamental issues in forensic psychological to a criminal setting that is the serial murder case in the movie Citizen X (1995). Thus, this paper is a reaction paper on Citizen X focusing on the fundamental issues of criminal psychology.

Keywords: Citizen X, Psychology 350, reaction paper