In her article "Shen (1904-1940) film 十字街頭 (1937) (Crossroads Hollywood and Soviet cinema in 1930s explores the transcultural and transmedial possibilities and potentials in the in the 1930s and the unruly energy and unique aesthetic characteristics embedded in the process of creative mimesis and transplantation. While in the paradoxical attitude toward US-American and Soviet films, Chinese fil...

cinema as a cultural industry, is the promoter of identity, memory, dreams and collective projects. mexico has introduced its collective identity to the world, using this industry. examining the application of this industry in mexican cinema can be considered an important step for improving the country’s cinema. approaches to the origins of modern nations consider culture as a fundamental const...

Like Hollywood cinema, gong’an drama seizes upon the dramatic and narrative potential of legal trials. Yet, while Hollywood trial films turn viewers into jurors, pushing them back and forth between the competing stories that emerge from the adversarial process, gong’an drama eschews any recognition of opposing narratives, instead centering on the punishment of decidedly guilty criminals. The mo...

A plug-in for the 3D modeling application CINEMA 4D is presented which allows to use the graph transformation language XL to transform the 3D scene graph of CINEMA 4D. XL extends Java by graph query and rewrite facilities via a data model interface, the default rewrite mechanism is that of relational growth grammars which are based on parallel single-pushout derivations. We illustrate the plug-...

Paradigmatic change is driving aesthetic change in cinema. This restructuring is not only transforming what is on the screen, but the means of production that put it there. The interplay of technology and culture, along with their dynamics has made this so. Marshall McLuhan’s Laws of Media provide an effective lens with which to examine this change. Some preliminary observations on the shape of...

There tends to be a moment in the development of cultural practices when discourses of the recent past become history; they are no longer just outdated but, like bell-bottom jeans, mini-skirts and platform shoes, acquire historicity. This is what seems to have happened with film theory of the 1970s and early 1980s, particularly as it revolved around the notion of 'the spectator'. I am thinking ...

The author of this essay searches for traces confirming the influence cinema on Wiesław Myśliwski’s life and works. Despite fact that writer acknowledged his love cinema, aspect is overlooked in discussions oeuvre. Myśliwski himself also does not devote much space to it recently published collection texts interviews W środku jesteśmy baśnią. Mowy i rozmowy [We are a Fairy Tales Within: Speeches...