Let’s remember the idea of the film spectator. The projective systems of artistic creation have always tried a “place” for its spectator. In the cinema furthermore, the exhibit’s own structure proposes the spectator as an indispensable element of the cinematographic act, developing a hegemonic model, in which it occupies a central and essential position. As Müsterberg stated, the cinema works i...

kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and individual minimalism. the main postmodern achievement of this cinema is focusing on the proces...

OBJECTIVE The true prevalence of smoking among characters portrayed in the movies is unknown. This study examines this prevalence objectively. DESIGN The top 10 movies on the weekly box office charts were reviewed. Whether or not the top five characters in these movies smoked, was documented. It was determined prior to the start of the study that 300 male characters and 300 female characters ...

Looking over the history of cinema from the vantage point of the early twenty-first century, recent research has increasingly highlighted the similarities between the sense of possibility characterizing cinema’s early decades and our own digital era, in which the proliferation of interactive media and variable screen formats has loosened the once dominant paradigm of the passive spectator immob...

This article reviews how the concept of “diaspora cinema” has featured in academic discourses over past 30 years, examining its underpinning paradigms. In wake a transnational and postcolonial shift within film studies, been increasingly understood imbrication with Third Cinema, cinema, accented intercultural cinema transvergence, etc. While critically mapping out these descriptive conceptualis...

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