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В статті надано аналіз розвитку українського історичного кіно початку ХХІ століття через призму формування жанру в новітніх соціально-економічних та політичних умовах. Розглядається визначення історичного кіно, його основні риси, проблема ідентичного відображення реальних подій в ігрових фільмах.Автор узагальнює і доповнює визначення історичного кіно як жанру кіномистецтва, визначає його головні риси. Історичний художній фільм має свої особливості і одна із головних полягає в тому, що він не повинен відображати події минулого, або сьогодення із повною історичною документальністю, зберігаючи в той же час так званий «дух епохи» завдяки костюмам, локаціям, реквізиту, мові. Завдання цього жанру полягає в показі героїв, або героя на тлі епохи, історичних подій через світосприйняття окремих осіб, які можуть бути реальними, так і результатом режисерського вимислу. Художній історичний фільм виглядає як твір на історичну тему, у якому присутні реальні і надумані персонажі, останні при тому можуть бути головними героями, а реальні другорядними. Це твір насичений не стільки спробами екранізувати події на документальній підставі, скільки реконструювати певні історичні події на основі документів, але із авторським-режисерським прочитанням.У статті охарактеризовано українські кінострічки засновані на історичних подіях, розглядається проблема достовірності історичних процесів, відображених в українському кінематографі, особливості формування образу героя. Історичні фільми є незамінним елементом в процесі національно-патріотичного виховання, відображенні історичних подій, які були довгий час замовчувані офіційною історичною наукою за радянських часів, засобом формування національної ідентичності та історичної пам’яті., The article provides an analysis of the development of Ukrainian historical cinema at the beginning of the XXI century through the prism of genre formation in the latest socio-economic and political conditions. The definition of historical cinema, its main features, the problem of identical reflection of real events in feature films are considered.The author summarizes and complements the definition of historical cinema as a genre of cinematography, defines its main features. A historical feature film has its own characteristics and one of the main is that it should not reflect the events of the past or present with full historical documentation, while maintaining the so-called «spirit of the era» through costumes, locations, props, language. The task of this genre is to show the heroes, or the hero against the background of the era, historical events through the worldview of individuals, which may be both real, and the result of director’s imagination. A feature historical film looks like a work on a historical theme, in which there are real and fictional characters, the latter can be the main characters, and the real - supporting. This work is full not so much of attempts to screen events on the documentary basis, as to reconstruct certain historical events on the basis of documents, but with an author’s-director’s viewing.The article describes Ukrainian films based on historical events, considers the problem of reliability of historical processes reflected in Ukrainian cinema, the peculiarities of the formation of the image of a hero. Historical films are an indispensable element in the process of national-patriotic education, a reflection of historical events that have long been silenced by official historical science in Soviet times, a means of forming national identity and historical memory.

Low and micro-budget filmmaking is less documented than mainstream cinema, and as such, less understood. There is a need for more research into all aspects of low and micro-budget cinema, as it is often the portal through which some filmmakers will pass on the way to bigger things. This paper uses a comparative literature approach to explore two texts from different perspectives of low and micro-budget filmmaking; John Connors' acceptance speech for Best Actor at the Irish Film and Television Academy Awards in 2018, and the UK Film Council's 'Low and Micro-Budget Film Production in the UK' report from 2008. The aim is to understand: is there a different perspective between the low and micro-budget filmmaker and the state development agency that seeks to support filmmaking? The conclusion identifies some differences in perspective and argues that it is due to a lack of understanding about each party that creates the friction.

O advento das novas tecnologias e a incorporacao de tecnicas digitais no processo de criacao de um filme animado contribuiu para uma alteracao de paradigma no cinema de animacao. Com base nas reflexoes de Marshall McLuhan acerca dos meios de comunicacao e da tecnologia enquanto extensoes do Homem, o presente artigo propoe uma reflexao sobre essa mesma transformacao. Nesse sentido, discorre-se sobre os significados associados ao termo animacao a luz do atual contexto digital em que se insere e de uma breve contextualizacao historica. Sao analisadas as principais diferencas entre a animacao 2D tradicional e o 3D considerando os padroes esteticos e narrativos instaurados pelos estudios Walt Disney e Pixar. Paralelamente, discutir-se-ao as implicacoes do advento do 3D na industria da animacao, refletindo-se acerca das possibilidades oferecidas pela introducao de ferramentas digitais na producao de um filme animado.

This article brings forward an overview of the Romanian-URSS co-productions, in an attempt to explain how film functioned as an instrument of cultural diplomacy between the two countries and between the East and the West. While Romania has been involved in numerous cultural exchanges and in many other forms of cinematographic collaboration with the Soviet Union, this analysis focuses only on the films whose artistic responsibility had been entrusted to a Romanian filmmaker. Five films were thus identified, including a war film made in the 1960s and four musicals and/or films for children and youth made during the 1970s and 1980s. The fact that all of them put music more or less in the foreground appears as no coincidence. This option responded to a strategy oriented towards the Western public, and towards celebrating a Romanian-Soviet friendship cleansed of political tensions. Nevertheless, in a cinematography where politicized films were the main priority, such co-productions played a significant role in the shaping of a popular culture and of a cinema of entertainment.

O artigo propõe uma reflexão sobre o Cinema no Amazonas, apresentando aspectos da produção audiovisual desde o início do século XX à contemporaneidade, dando ênfase a produção de cineastas locais. Propomos a configuração de um “ecossistema comunicacional” a partir da relação entre contexto histórico, artistas, meio ambiente, políticas públicas, estéticas e ideologias. A abordagem teórico-metodológica parte da ideia de sociologia das ausências e emergências, de Boaventura de Sousa Santos, em diálogo com autores amazônicos, como João de Jesus Paes Loureiro, e de teóricos da cultura e do audiovisual. Além da pesquisa bibliográfica foi realizado um estudo de campo para mapear a situação do setor audiovisual regional. Percebe-se que, por diversos fatores ao longo da história, o cinema amazonense é um segmento que se mantém praticamente imperceptível ou ignorado, pois além de estar apartado do sistema industrial de produção, distribuição e exibição, ainda não conquistou o reconhecimento do público regional.&nbsp, This paper proposes a reflection on the Cinema in the Amazon, presenting aspects of audiovisual production since the beginning of the twentieth century to the contemporary, emphasizing the production of local filmmakers. We propose setting up a "communication ecosystem" from the relationship between historical context, artists, environment, public policy, aesthetics and ideologies. The theoretical and methodological approach of the idea of sociology of absences and emergencies, Boaventura de Sousa Santos, in dialogue with Amazonian authors like Paes Loureiro, and theorists of culture and audiovisual. In addition to the literature search was conducted a field study to map the situation of the regional audiovisual sector. It is perceived that by various factors throughout history, the Amazonas film is a segment that remains almost invisible or ignored, as well as being separated from the industrial system of production, distribution and exhibition, has not won the recognition of the regional public., El artículo propone una reflexión sobre el cine en la Amazônia, la presentación de los aspectos de la producción audiovisual desde princípios dei siglo XX a lo contemporâneo, con énfasis en la producción de realizadores locales. Se propone la creación de un "ecosistema de comunicación" de la relación entre el contexto histórico, los artistas, el medio ambiente, la política pública, la estética y las ideologias. El enfoque teórico y metodológico parte de la idea de la sociologia de las ausências y emergencias de Boaventura de Sousa Santos, en diálogo con autores de la Amazônia, como Juan de Jesus Paes Loureiro, y los teóricos de la cultura y audiovisual. Además de la búsqueda bibliográfica se llevó a cabo un estúdio de campo para mapear la situación dei sector audiovisual regional. Se dio cuenta de que, por diversos factores a lo largo de historia, la película en Amazonas es un segmento que permanece casi invisible o ignorada, además de estar separada dei sistema industrial de producción, distribución y exhibición, no ha ganado el reconocimiento dei público regional.

O texto apresenta uma visão global sobre a forma como a ficção cinematográfica portuguesa, produzida durante o Estado Novo de Salazar e Caetano, refletiu sobre o império colonial entre o fim da Segunda Guerra Mundial e a queda do regime (1974). A investigação baseia-se em onze obras produzidas entre 1945 e 1974, foi organizada de forma a permitir uma perceção global, conduzindo ao aparecimento de três núcleos temáticos fundamentais, a conquista, a colonização e o regresso do império. Desse percurso resultou uma conclusão fundamental, sintetizada na expressão uma África, dois impérios, cujo entendimento essencial passa por uma dupla conceção, luminosa e sombria, sobre o Império Colonial Português entre 1945 e 1974. PALAVRAS-CHAVE: Cinema e identidade; Cinema e Império; Colonialismo; Pós-colonialismo. ABSTRACTThe paper presents a global view about the way as portuguese fiction films, produced along New State of Salazar and Caetano, reflected about colonial empire between the end of Second World War and the fall of the regime (1974). The investigation is based on the selection of eleven films produced between 1945 and 1974, and intents to give a global vision about the subject, mainly the appearence of three main themes, which are the conquest, colonization and the return of the empire. This research resulted on a conclusion, defined in the expression one África, two empires, which means that the existing empirial reality, between 1945 and 1974, must be understood under a shining or a dark way. KEYWORDS: Cinema and identity; Cinema and Empire; Coloniaism; Post-colonialism RESUMENEl texto presenta una visión global sobre la forma en la que la ficción portuguesa, producida durante el Estado Novo de Salazar y Caetano, se ha reflejado sobre el imperio colonial entre el final de la Segunda Guerra Mundial y la caída del régimen (1974). La investigación se basa en once obras producidas entre 1945 y 1974, y fue organizada por forma a permitir una percepción global, conduciendo al surgimiento de tres núcleos temáticos principales: la conquista, la colonización y el regreso del imperio. De este recorrido hemos llegado a una conclusión fundamental, sintetizada en la expresión una África, dos Imperios, cuyo entendimiento esencial pasa por una doble concepción, luminosa y sombría, del Imperio Colonial Portugués entre 1945 y 1974. PALABRAS CLAVE: Cine y identidad; Cine y império; Colonialismo; Poscolonialismo.

La cinematografía vasca vivió uno de sus periodos más fructíferos en la década de los años ochenta gracias a la aprobación del Estatuto de Autonomía en 1979 y el consiguiente traspaso de competencias en materia de cine a la comunidad autónoma. A raíz de este acontecimiento se inició una política de ayudas auspiciadas por el gobierno autonómico a la producción de películas de la que se beneficiaron muchos cineastas vascos. Un caso representativo es el del cineasta bilbaíno Pedro Olea que, con su praxis fílmica, participó activamente en la puesta en marcha del denominado “cine vasco”. &nbsp, Basque cinematography experienced one of its most successful periods in the eighties thanks to the ratification of the Statute of Autonomy in 1979, and the subsequent transfer of powers to the autonomous community. As a result of this event, a grant policy was launched by the regional government in order to produce basque films. A representative example is that of filmmaker Pedro Olea because, with his film practice, took an active part in the launch of the so-called "basque cinema"., A cinematografia basca viveu um de seus períodos mais frutíferos na década dos anos oitenta graças à aprovação do Estatuto de Autonomia em 1979 e o consiguiente traspasso de concorrências em matéria de cinema à comunidade autónoma. A raiz deste acontecimento iniciou-se uma política fomento auspiciadas pelo governo autonômico à produção de filmes que beneficiariam muitos cineastas vascos. Um caso representativo é o do cineasta bilbaíno Pedro Olea que, com seu praxis fílmica, participou ativamente movimento denominado "cinema basco".

This paper attempts a conceptual understanding of "post-communist nostalgia" by looking at various interdisciplinary approaches to the phenomenon. It then brings empirical evidence into discussing how the "nostalgia" label has been applied in public discourse among various Romanian opinion leaders in the recent years by focusing on two main controversial issues: the official document condemning communism with its associated discussions and the debate around building a Museum of Communism in Romania. Discourse analyses of 50 articles including editorials, opinion articles, interviews and reports outline the main clash between an official anti-communist discourse and alternative positions or anti-anti-communist discourses, be they radical-moralising, leftist or simply critical towards the politicisation of the anti-communist discourse. The official anti-communist discourse seems one-sided and while doing justice to victims of the past regime, it also confiscates a collective memory at the expense of a decisive Western-type of discourse. Finally, the paper provides examples of an alternative discourse to the dominant verdict of "exorcising the past". When bringing into discussion examples from cinematic representations, I argue that they have little to do with amnesia or anti-modern tendencies commonly understood as explanations for the results of recent polls on people’s attitudes regarding communism. Since yet another verdict on the matter is far from being useful, I strive to shift the perspective on the debate from a moral, anti-communist view to a more balanced one that takes into account cultural, psychological, social and political explanations, while keeping in mind the dangers of both starting from zero in a purified present and glorifying a utopian "Golden Age".

Endorsing the perspective of democratization studies, this article examines the postcommunism itinerary of the institutional infrastructure of Romanian cinematography. Special emphasis is given to the National Center of Cinematography (NCC) as a privileged locus disclosing both the commerce between institutional continuity and change, and the predicaments of cinematography, squeezed between market and state control.

Cinematography was deliberately organized, financed and oriented towards the purposes of the system and consequently became the most effective element of political and cultural pedagogy. The synchronic correlation between word and image, the power of visual suggestibility, empathy as an emotional response to the actors' performance - all these had immediate effects on the collective imaginary, on the perception of reality as a social and identity-forging project determined by the emergence of the ideological discourse. The Romanian socialist cinematography from the time of Ceauşescu synthesized and systemized a coherent and explicit system of values wherein it integrated the message of literary and other artistic works, of variegated forms of cultural expression, so that Romanian cultural axiology could find new possibilities to stand out in strict dependence to the institutional and optional structures of mass culture. The cinema per se thus became a sort of pedagogy for universal use, rendering the past heroic, as it exacerbated the national ego via the instruments of entertainment. Highly permeated ideologically and quasi entirely subordinated to the Communist cultural policies, the cinema production, carried out because of the appeal to emotions and collective memory, thus became part of the official discourse and orientated its issues, especially after the 11th Congress of RCP, according with the political and ideological interests of the national Communist project. The analysis focuses on the Romanian historical films with subjects and episodes relevant for the ancient and mediaeval history, in relation with the efforts of identity reconstruction, coordinated during the Communist regime in relationship with the project of the socialist nation's building and, after 1989, in relationship with the attempt of reconsolidating, sometimes from a radical perspective, the nationalist mythologies. Socialist patriotism thus incorporated many stereotypes drawn out from the ante-bellum, as well as from the inter-bellum Romanian spirit: the lyric of self-identification expressed by the film soundtrack and by the majestic character of the heroic gestures, the heroic epic obvious in the popular ballad pattern of pre-modern nature, the activist pedagogy specific to all forms of identitarianism. Despite all this ideological infusion, the mythology of Romanian historical films during the Communist nationalist times remains one of a sadistic-masochistic nature, cultivating the fear towards the Other, fatalism, expectation and obedience, all chronic and historicized.