Анализ INTERNET MOVIE DATABASE: социологические перспективы
This collection of essays consideres the relationship between ideology and cinema in a variety of national contexts.
Video art is a hybrid acquiring the means and goals of both contemporary art and the arts of screen. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: a “white cube” and a “black box”.
Video today is an indispensable figurant of any serious exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a “white cube” of a gallery; however, there is now a strong tendency to present video art in a “black box”, in a “cinematic” way. It’s getting harder and harder to see the edge between video art end experimental film. Perhaps the very strategy of presentation of video today may help this media to retain identity or to lose it.
The article describes the methodology and algorithms for the synthesis of 3D visualizations of fractal models of objects with specified properties for cinema for classes: landscapes, cities, houses, interiors, technical objects, plants, animals, etc. Algorithms for creating plots of fractal films and fractal episodes of films with real objects are described.
Cross-modal associations appear when a stimulus from one modality associates with a stimulus from another modality (e.g., when color associates with sound). In the present study we investigated cross-modal correspondences between films and textures. Participants watched fragments of movies with elements of tragedy and comedy. Next, they touched different textures (e.g., silk, marble, velvet) and associated them with the movies. Systematic links were found between films and textures. Films with comic elements were associated with glass pebbles and a slime toy. The study also tested the emotion-mediation hypothesis wherein emotional evaluation mediates cross-modal associations between cinema and textures. It was found that the evaluation of movies and textures on several emotional and semantic scales (e.g., sad, happy, clean, dirty) mediates cross-modal associations.
The article examines the development trends, the thematic range and the genre variety of Chinese cinema of the late 20th century, the problems of integrating traditions and innovation, as well as the influence of the western film industry on contemporary Chinese cinema.
The article is devoted to contemporary comic series perceived as a kind of "laboratory" designed for experiments with narration. Focusing on the dynamics of spatial and temporal continuums in various types of comics (books, magazines, web-pages, and interactive platforms) we argue that the manner of narration in this "sequential art" resembles that of contemporary media art being built on the principles of montage adjusting to various communicative systems.
This paper analyzes the relationship between internet use and cultural consumption in Europe. Much research was made in order to disentangle the impact of internet upon everyday life. At the same time, the results of these studies differ. On the one hand, internet is reported as a substitution for traditional forms of social interactions. On the other hand, plethora of papers report positive effects of internet on social activity and leisure, and define online practices as a part of emerging cultural capital. Along with it, the relationship between online-practices and corresponding offline-practices still lacks research. In this work we use the example of cultural practices of cinema, concerts and opera attendance to reveal the impact of internet use for cultural purposes. In particular, we analyzed the relationship of downloading/watching films online and downloading/listening to music online. Using Eurobarometer 79.2 data we found that online music and film consumption is positively related to corresponding offline activities. At the same time, this relationship is moderated by other social features such as age, size of the area where the respondent lives and also by the level of country development.