17 research outputs found

    Cinephilia and archive : the case of KaraGarga

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    Ankara : The Department of Communication and Design, İhsan Doğramacı Bilkent University, 2014.Thesis (Master's) -- Bilkent University, 2014.Includes bibliographical references leaves 79-83.KaraGarga as an online cinephilic community and an archive offers an experience of a film library. This study aims at gaining an understanding of recent cinephilia, archive debates in the digital age by looking at KaraGarga as a case study.Yağcı, CelalM.S

    O consumo de cinema europeu na era da pirataria online e o caso de Portugal

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    Por ser uma das indústrias culturais mais lucrativas em todo o mundo e envolver grandes investimentos públicos e privados, a indústria cinematográfica possui relevância especial face a outros sectores culturais. Ao mesmo tempo, a nível da União Europeia o contributo do cinema para o reforço de uma identidade comum dos próprios cidadãos europeus é sobejamente reconhecido. Contudo, verifica-se no circuito comercial tradicional de distribuição cinematográfica (salas de cinema, televisão e vídeo) que a um apetite insaciável do público europeu por produções norteamericanas corresponde uma crescente marginalização dos filmes de origem europeia. Este artigo utiliza o cinema europeu como estudo de caso com vista a analisar o modo como com a comunicação em rede característica das sociedades de informação do início do século XXI, o utilizador assume o papel de distribuidor de obras culturais, resultando daqui uma oferta mais alargada e diversificada de conteúdos – nomeadamente nas redes Peer-to-Peer (P2P) e nos sites de partilha de ficheiros da Internet. Os resultados de um inquérito online realizado junto de utilizadores de Internet portugueses indiciam, no entanto, que o aumento da disponibilidade do cinema europeu aliado à gratuitidade do acesso aos filmes não se traduz numa maior frequência do consumo de produções europeias.As one of the most profitable cultural industries throughout the world, implicating large-scale public and private investments, the film industry has a special significance vis-à-vis other cultural sectors. Moreover, at European Union level, cinema is one of the few cultural industries whose contribution to the strengthening of a common selfimage is widely acknowledged. However, in traditional distribution channels (movie theaters, television and video) one can observe that the insatiable appetite of the European public for US film productions corresponds to a growing marginalization of films made in Europe. This paper uses European cinema as a case study for analyzing how, in the networked communication characteristic of 21st -century information societies, the user adopts the role of a distributor of cultural works, resulting in a wider and more diversified range of available content – particularly in Peer-to-Peer (P2P) networks and file sharing sites over the Internet. Nonetheless, results of an online survey carried out on Portuguese Internet users suggest that the increase in the availability of European cinema combined with the free access to films does not translate in a higher frequency for the consumption of European productions

    They watch pictures, don’t they? - Om cinefili på Internet

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    World Cinema on Demand: Film Distribution and Education in the Streaming Media Era, Queen’s University Belfast, 15–16 June 2012; 26 June 2013; 19 September 2013

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    World Cinema On-Demand: Film Distribution and Education in the Streaming Media Era (WCOD) is a research network funded by the Arts & Humanities Research Council (AHRC). The project is directed by principal investigator Dr Stefano Baschiera (Queen’s University Belfast) and coinvestigator Dr Alexander Fisher (Queen’s University Belfast). The primary objective of the network is to bring together educators, industry professionals and leading academics with diverse research interests to investigate the impact of streaming media services upon the distribution, consumption and teaching of world cinema. The project took the form of a series of workshops held at Queen’s University Belfast in 2012 and 2013

    Transformações da crítica diante da cibercinefilia

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    Angela Prysthon discute o impacto da internet para os estudos de cinema e para a cinefilia

    Variable Format: Media Poetics and the Little Database

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    This dissertation explores the situation of twentieth-century art and literature becoming digital. Focusing on relatively small online collections, I argue for materially invested readings of works of print, sound, and cinema from within a new media context. With bibliographic attention to the avant-garde legacy of media specificity and the little magazine, I argue that the “films,” “readings,” “magazines,” and “books” indexed on a series of influential websites are marked by meaningful transformations that continue to shape the present through a dramatic reconfiguration of the past. I maintain that the significance of an online version of a work is not only transformed in each instance of use, but that these versions fundamentally change our understanding of each historical work in turn. Here, I offer the analogical coding of these platforms as “little databases” after the little magazines that served as the vehicle of modernism and the historical avant-garde. Like the study of the full run of a magazine, these databases require a bridge between close and distant reading. Rather than contradict each other as is often argued, in this instance a combined macro- and microscopic mode of analysis yields valuable information not readily available by either method in isolation. In both directions, the social networks and technical protocols of database culture inscribe the limits of potential readings. Bridging the material orientation of bibliographic study with the format theory of recent media scholarship, this work constructs a media poetics for reading analog works situated within the windows, consoles, and networks of the twenty-first century

    Canon y cinefilia

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    This article discusses the relationship between cinephilia and cinematographic canon, analyzing the paradox that the presence of television series in that canon represents for the period 2010-2019. To create a canon thoroughly, it is necessary to analyse the habits and behaviour of cinephiles, as well as the possibilities of accessing the film heritage. Beside the rise of streaming platform, the number of cinema-goers rose in the period under review. Streaming platforms are a complement to the Big Screen. Finally, after the analysis of the symbiosis between cinema and television, it has been analyzed the presence of series in the cinematographic canon for specialized magazines. The analysis is based on the selection of six worldwide publications. It has been revised the lists published by those magazines, at the end of the year, as well as the lists with the best films of the decade, during the period 2010-2019, and as a result, television series appear on several lists. The differences between cinema and television are becoming increasingly blurred.El presente artículo se centra en la relación entre cinefilia y canon cinematográfico, analizando la paradoja que supone la presencia de series de televisión en la formación de dicho canon para el período 2010-2019. La creación de un canon con rigor nace de las posibilidades de acceder al patrimonio cinematográfico, por lo que es preciso un breve análisis inicial sobre estas posibilidades para el cinéfilo, así como sus hábitos y conducta. El auge de las plataformas de streaming, no ha impedido que el número de espectadores que asiste al cine en el período analizado se haya incrementado. Las plataformas de streaming son complementarias a la pantalla grande. Por último, tras el análisis de la simbiosis entre cine y televisión, se analiza la paradoja de la presencia de series en la formación del canon de cine en revistas especializadas. El análisis se ha realizado a partir de la selección de una muestra de seis publicaciones, a nivel mundial. Se ha revisado la lista publicada al final de cada año, durante el período 2010-2019, así como de la década, donde también se ha observado la existencia de series de televisión. Cada vez hay más zonas grises entre el cine y la televisión

    Canon and cinephilia. The television series in the configuration of the cinematographic canon in the decade 2010–2019

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    El presente artículo se centra en la relación entre cinefilia y canon cinematográfico, analizando la paradoja que supone la presencia de series de televisión en la formación de dicho canon para el período 2010-2019.La creación de un canon con rigor nace de las posibilidades de acceder al patrimonio cinematográfico, por lo que es preciso un breve análisis inicial sobre estas posibilidades para el cinéfilo, así comosus hábitos y conducta. El auge de las plataformas de streaming, no ha impedido que el número de espectadores que asiste al cine en el período analizado se haya incrementado. Las plataformas de streaming son complementarias a la pantalla grande. Por último, tras el análisis de la simbiosis entre cine y televisión, se analiza la paradoja de la presencia de series en la formación del canon de cine en revistas especializadas. El análisis se ha realizado a partir de la selección de una muestra de seis publicaciones, a nivel mundial. Se ha revisado la lista publicada al final de cada año, durante el período 2010-2019, así como de la década, donde también se ha observado la existencia de series de televisión. Cada vez hay más zonas grises entre el cine y la televisión.This article discusses the relationship between cinephilia and cinematographic canon, analyzing the paradox that the presence of television series in that canon represents for the period 2010-2019. To create a canon thoroughly, it is necessary to analyse the habits and behaviour of cinephiles, as well as thepossibilities of accessing the film heritage. Beside the rise of streaming platform, the number of cinema-goers rose in the period under review. Streaming platforms are a complement to the Big Screen. Finally, after the analysis of the symbiosis between cinemaand television, it has been analyzed the presence of series in the cinematographic canon for specialized magazines. Theanalysis is based on the selection of six worldwide publications. It has been revised the lists published by those magazines, at the end of the year, as well as the lists with the best films of the decade, during the period 2010-2019, and as a result, television series appear on several lists. The differences between cinema and television are becoming increasingly blurred.Facultad de Periodismo y Comunicación Socia

    Siminiani: primer plano

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    El propósito de este trabajo no es aclarar qué es documental y qué no. Ya se ha escrito mucho sobre el tema y eso no asegura el éxito (Comolli, 2004: 212): En la errancia de esta confusión inicial con la energía que le es propia, el cine devora sus fronteras. Habitualmente se distingue entre cine documental y cine de ficción, se los opone, se los fija en géneros determinados. Quien recorra esa serie de luchas y batallas que llamamos “historia del cine” verá rápidamente que esta distinción es a menudo contradicha tanto en el sistema de obras cuanto en la práctica de los cineastas –iba a decir en su deseo. Desde Vertov, Murnau o Fraherty hasta Kiarostami, pasando por Welles, Rossellini y Godard, lo más vivo de la energía cinematográfica circula entre los dos polos opuestos de la ficción y del documental para entrecruzarlos, entrelazar sus flujos, hacerlos rebotar el uno en el otro. Corrientes contrariadas de las que resultan bellos cine-monstruos, tal (entre cientos) Greed, Une sale Histoire, Out One o Route One, USA... Tampoco me propongo encontrar una clasificación capaz de acoger los diversos tipos de documental. Me basta con mostrar lo arduo de tal empresa: del mismo modo que no es posible poner puertas al campo, no se puede encajonar un género que, por definición, por tradición y por vivir tan apegado al desarrollo tecnológico, ha gozado siempre de una libertad creativa ilimitada. El eje que vertebra este estudio es una entrevista realizada a Elías León Siminiani, como director de varios documentales cortos y uno largo, el 8 de marzo de 2017 en su estudio de Madrid(en este trabajo, las palabras del cineasta aparecen resaltadas en color verde). Ese es el motivo por el que me ha parecido oportuno situar al autor en un contexto histórico y en un universo creativo que quizá -solo quizá- pueda explicar por qué él es como es y no de otra manera, consciente o inconscientemente. Finalmente, aunque se han escrito líneas y líneas sobre su trabajo y, por tanto, poco voy a poder aportar al respecto, he considerado conveniente “tomar prestadas” algunas de esas líneas para resumir de modo somero y situar a Siminiani en el campo cognoscitivo de quien lea estas páginas
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