Results 11 to 20 of about 9,086 (306)

Remembering The Civil War in Today’s Lebanese Cinema

CINEJ Cinema Journal
In the aftermath of the civil war, memory and trauma are a prominent thema in Lebanese cinema. This study aims to explore how the civil war is remembered through cinema in contemporary Lebanese cinema, based on an analysis of the films Where Do We Go ...
Gökhan Evecen, Sırrı Serhat Serter
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Cinema as a Propaganda Means: Ataturk Cycle

Yakın Dönem Türkiye Araştırmaları, 2020
Cinema which entered Turkey in the last period of the Ottoman Empire experienced some of its preliminaries until the Republic of Turkey was declared. The propaganda power of cinema had been noticed from the First World War.
Meltem Tekerek
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Mariana Ivanova: Cinema of Collaborations and Stefano Pisu: La cortina di celluloide

Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, 2021
Review of Mariana Ivanova's Cinema of Collaborations. DEFA Co-productions and International Exchange in Cold War Europe (2019) and Stefano Pisu’s La cortina di celluloide. Il cinema italo-sovietico nella Guerra fredda (2019)
Karol Jozwiak
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(Dark) Pure War: Virilio, the Cinematic, and the Racial

Media Theory, 2019
Paul Virilio’s work has largely been utilized in theories of media and war, specifically his discussion of ‘pure war’, or the continuance of war beyond its physicality.
Armond R. Towns
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The Representation of the Great War on Lithuanian Cinema Screens, 1918–1940

Acta Historica Universitatis Klaipedensis, 2017
During the Great War, the main conflicting powers established the first public institutions to create and spread propaganda. Governments treated cinema as a powerful medium which might influence men’s minds.
Audrius Dambrauskas
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Trauma, Cinema and the Algerian War [PDF]

New Readings, 2009
This article analyses the depiction of the Algerian War in French and Algerian cinema, making use of trauma theory. In particular, Cathy Caruth’s assertions that trauma involves an “inherent latency” and that the most powerful filmic representations of trauma display “a seeing and a listening from the site of trauma” will be used to explore the ways in ...
openaire   +2 more sources

Il cinema come campo di battaglia. Cineaste iraniane, la guerra con l’Iraq e la crisi in Afghanistan

Storia delle Donne, 2015
Globally speaking, War Cinema is predominantly a male construction. Though Iranian cinema makes no exception, in this rich cinematic production some women directors have been trying to build a gender constructed narrative of war. The article explores how
Anna Vanzan
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Gli studi cinematografici e la Prima Guerra Mondiale: alcune tendenze

Storicamente, 2015
The goal of this article is to investigate the way in which the relationship between cinema and the First World War has been explored in film studies, identifying some of the research trends dominant in recent decades.
Paolo Noto
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Specificity of representation of the military past in the russian commorative and revisionist cinema of the XXI century

Концепт: философия, религия, культура, 2020
Based on theoretical studies of the phenomenon of cultural memory (M. Halbwax, F.R. Ankersmit, J. Zerubavel), the author analyzes the essence and mechanisms of commemoration in contemporary Russian military-themed cinema.
A. P. Petrova
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Illuminationist cinema

Alphaville: Journal of Film and Screen Media, 2023
‘Sacred Defence cinema’ is the official title given to Iranian pro-establishment war films concerning mainly the Iran-Iraq War [1980-1988]. The most prominent figure of this filmmaking movement who both made films and wrote about them was the documentary
Kaveh Abbasian
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