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  1. Film review: The Matrix cult

    Much of the semiotic discussion around the deeper structures of "The Matrix" has tended to center around positive ethical and philosophical systems. Thus, numerous critics have pointed out the Christian subtext in the film with Neo as Christ and... mehr

     

    Much of the semiotic discussion around the deeper structures of "The Matrix" has tended to center around positive ethical and philosophical systems. Thus, numerous critics have pointed out the Christian subtext in the film with Neo as Christ and Morpheus as John the Baptist (James L. Ford: 8). The Garden of Eden story has been superimposed on "The Matrix" as well with the implication that just as Adam's and Eve's awakening to knowledge makes Christianity possible, so too, Neo's awakening will lead to the salvation of humanity by a Christ-like figure (cf. James S. Spiegel: 13). Others have picked out connections with Joseph Campbell's monomyth concept where the hero must depart from the familiar world, go into a netherworld and return morally transformed (A. Samuel Kimball: 176, 198). There is also the Platonic interpretation where the passage toward the light from the famous cave allegory is read into the awakening process of "The Matrix": "The theme of appearance versus reality is as old as Plato's Republic. And while perhaps no writer or artist has improved upon his cave allegory in presenting this theme, the Wachowski brothers' The Matrix might be as effective an attempt as any since Plato, in cinematic history anyway" (James S. Spiegel: 9). Buddhism and its notion that reality is illusion appears as an equally convincing model for reading "The Matrix" (James L. Ford: 10). Even Gnosticism has been used as an interesting semiotic framework for the film (Frances Flannery-Dailey and Rachel Wagner: 10-12).

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Rezension
    Format: Online
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  2. On Brazilian cinema : a portrait of director and producer Walter Salles

    Walter Salles is probably the most widely known Brazilian director and producer. This article offers a portrait of his work over the last two decades as part of the cinematic and cultural changes that took place in Brazil. It starts with a historical... mehr

     

    Walter Salles is probably the most widely known Brazilian director and producer. This article offers a portrait of his work over the last two decades as part of the cinematic and cultural changes that took place in Brazil. It starts with a historical overview of Brazilian film history and will then take a closer look at the films directed by Salles and his activities as producer. By looking at the evolution of the Brazilian film industry in the last ten to fifteen years in terms of market structures as well as aesthetic qualities, two major references become apparent: the more (but not only) commercial oriented productions of Globo Filmes, which often meet public taste and rely on a well-proven television language; second, the movies of Walter Salles as well as the films produced by Videofilmes, a company run and founded in 1987 by him and his brother, the documentarist João Moreira Salles. Videofilmes not only fosters many of the somewhat marginal, smaller film projects, but also serves as support for more artistically orientated movies.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  3. Revolution for whom? : constructions of gender identities in Slovenian partisan films
    Erschienen: 20.07.2016

    Slovenian partisan film is a term which denotes films glorifying Slovenian communist-led guerrilla fighters (so-called 'partisans'), who resisted the German and Italian occupying forces during WW II. These films were made during the decades of... mehr

     

    Slovenian partisan film is a term which denotes films glorifying Slovenian communist-led guerrilla fighters (so-called 'partisans'), who resisted the German and Italian occupying forces during WW II. These films were made during the decades of communist rule in post-war Yugoslavia and were an important part of the official ideological propaganda. Since the fall of communism in 1989 and Slovenia's secession from former Yugoslavia two years later, however, partisan films have fallen into complete neglect. This is regrettable since they not only represent an important (and not necessarily unattractive) part of Slovenian film history but also allow unique insights into the complexities of the official ideology during the decades of communist rule in the country (1945−89). Namely, the existing ideology was not as simple as might have seemed from the outside: while the Slovenian Communist party had no problems with class issues (class inequalities were regarded according to the Marxist agenda as bad and everything was actually done to eliminate them), there were many important areas of social life that were neglected or dealt with in ideologically relatively ambivalent terms.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-86599-149-2
    DDC Klassifikation: Freizeitgestaltung, darstellende Künste, Sport (790); Öffentliche Darbietungen, Film, Rundfunk (791)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  4. A cardboard Dante : hell's metropolis revisited
    Erschienen: 30.10.2019

    The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this... mehr

     

    The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this kind of environment. Mickey Mouse has followed Dante's footsteps and very recently a weird bunch of prehistoric animals went a similar path: in part three of the blockbuster "Ice Age" (2009), a new, lippy guide character named Buck uses several Dante quotes and the whole strange voyage can be described as a Dantesque descent into dinosaur hell. In the following pages Ronald de Rooy argues that Meredith's version of Dante's "Inferno" is not only funny and entertaining, but that it is also surprisingly innovative if we compare it to other literature and movies which project Dante's hell or parts of it onto the modern metropolis.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791); Literatur und Rhetorik (800)
    Lizenz: Creative Commons - Namensnennung-Weitergabe unter gleichen Bedingungen
  5. Desiring tension : towards a queer politics of paradox
    Erschienen: 15.10.2019

    The article provides a close reading of the video "Sometimes you fight for the world, sometimes you fight for yourself", dir. by Pauline Boudry/Renate Lorenz (2004, 5'). It reads the video as promoting what it calls a 'queer politics of paradox',... mehr

     

    The article provides a close reading of the video "Sometimes you fight for the world, sometimes you fight for yourself", dir. by Pauline Boudry/Renate Lorenz (2004, 5'). It reads the video as promoting what it calls a 'queer politics of paradox', that is, a politics that acknowledges desire as a constitutive moment of the political and at the same time challenges the political via a queer understanding of desire in order to make room for the political articulation of the Other. The article argues that a reworking of the political - one that aims at de-centring its hegemonic dynamic and creating space for Otherness - becomes possible if one invites paradox as a specific, anti-identitarian, and agonistic mode of tension to function as a constitutive moment of desire and of the political.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791); Literatur und Rhetorik (800)
    Lizenz: Creative Commons - Namensnennung-Weitergabe unter gleichen Bedingungen