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Due to societal trends, such as digitalisation, platformisation, and active and co-creative audiences, new organisational practices have surfaced. This study examines how communication practitioners experience their changing work in a new communication environment in which participatory cultural norms are becoming standard in strategic communication. I argue that the requirements to produce audience engagement affect the communication work and the communication workers. This study uses the popular music industry as a case, and is based on interviews with communication practitioners as well as on the qualitative text analysis of reports and newsletters from the music marketing firm Music Ally to the music industry. The study shows that communication practitioners within the industry experience a duty to create audience engagement-an engagement imperative. Although the practitioners are highly skilled in digital communication and social media, they often see the development of digital promotional culture as a challenge and express a lack of a deeper understanding of engagement. This study highlights implications for their professional roles, competences, and identities as well as ethical implications regarding the exploitation of audiences in communication work. MECO – Music Eco-systems Inner Scandinavia

Die 1930er-Jahre gelten als das populistische Jahrzehnt Hollywoods. Regisseure wie Frank Capra, Leo McCarey und John Ford entwerfen in ihren Werken Szenarien geglückter oder gescheiterter politischer Repräsentation, in denen sich demokratische Ideale mit politischer Theologie und amerikanischem Exzeptionalismus verbinden. Die Szenographie dieser Filme hat sich tief in das kulturelle Gedächtnis der USA eingeschrieben und prägt die politische Inszenierung von Repräsentation bis heute. Johannes Pause liest die damals entstandene Bildsprache als eine Typologie populistischer Repräsentation neu und nutzt sie als Folie, um aktuelle politische Tendenzen zu analysieren.

"Mulholland Drive" (2001) von David Lynch ist ein Filmklassiker und ein Stück Popkultur. Seine Attraktion beruht vor allem auf der bedeutungsoffenen und "verrätselnden" Erzählweise, welche Zuschauende zur Interpretation einlädt. Die Autorin legt in einer detaillierten Studie dar, wie sich diese Rezeptionsbeziehung realisiert. Sie analysiert die narrative Struktur und die ästhetischen Strategien mit Methoden und Begriffen der Dramaturgie und macht den Film und seine avancierte Erzählweise dadurch auch inhaltlich nachvollziehbar.

This article reflects on the phenomenon of the virtualization of culture and its significance in providing accessibility to people with visual impairment. From this point of view, virtual culture becomes a space of negotiation between social inclusion and exclusion. By examining the experiences of participants in cultural events and the planners of such events, I try to identify possible advantages as well as dangers related to the process of transferring cultural life to the Internet. The scope of my research embraces accessible cultural events offered by selected institutions and non-governmental organizations in Poland. Research data was collected by interviewing both employees and participants of events with visual impairment. I have also drawn upon my own experiences as a blind admirer of culture and a worker in the sector of cultural accessibility. My main research question is: Does the virtualization of culture make events more accessible for people with visual impairment, or does it increase already-existing barriers? A further issue is explored—namely new solutions that are appearing in the accessible remote events on offer. The theoretical framework for this study includes accessibility studies and disability studies.

En este libro se analizan los usos de la música en el cine en Chile en términos de significado e interpretación considerando las circunstancias sociopo-políticas que han marcado al país durante el siglo XX. El marco temporal de esta pesquisa abarca desde 1939 cuando se establece la producción sostenida de películas con sonido óptico en el país y 1973, cuando el golpe de Estado cívico-militar destruyó todos los pilares del campo cultural en Chile y muchos cineastas y compositores partieron al exilio. Este trabajo se propone desafiar la historiografía y la investigación existente poniendo el acento en la dimensión sonora del cine chileno. Lejos de ser un aspecto secundario y decorativo, la música ha sido un elemento central en distintos momentos y prácticas del cine chileno tanto a nivel interno en sus propuestas formales y narrativas como en el nivel externo en su discursividad y vínculos con lo social y político.

In this article we aim to discuss how public spaces and liminal zones play a central role in Marcelo Caetano’s Bailão (2009), By your side (2011), and Electric body (2017). What is at stake in these films is the very possibility of experiencing urban locations as sites for affective encounters and erotic desire. Through an investment in relations and itineraries that take place in the margins, we trace a tension as well as a recurrent ambivalence towards the cities the characters inhabit. The cinematic form highlights the city as an imagined topography and also as a plane of perception composed of several modulations between disconnection and belonging, discipline and pleasure, proximity and exclusion. Neste artigo, pretendemos discutir como os locais públicos e as zonas liminares desempenham um papel central nos filmes Bailão (2009), Na sua companhia (2011) e Corpo elétrico (2017), dirigidos por Marcelo Caetano. O que está em jogo nestas obras é a própria possibilidade de experienciar espaços urbanos como lugares de encontro afetivo e desejo erótico. Mediante um investimento em relações e itinerários à margem, traçamos uma tensão e também uma ambivalência recorrente em relação às cidades que os personagens habitam. A forma cinematográfica destaca a cidade como topografia imaginada e, ainda, como um plano de percepção composto por várias modulações entre desconexão e pertencimento, disciplina e prazer, proximidade e exclusão

Taking a broad-based view on the global health crisis, this paper examines the feasibility of cultural sector reaction on radical changes on an unexpected situation with an unknown deadline. The paper summarized the theoretical basis in public relations, presented by Slovak, Czech and foreign authors that explain the meaning, aims and value of PR in the cultural sector. It refers to three basic goals of PR – building an image, routine publicity and crisis PR. The author emphasizes on signification settings of effective communicative tools in new circumstances between cultural organizations and audiences. The aim of this paper is to analyze, how organizations in the cultural sector in Slovakia use available tools to sustain existing audiences and at the same time how to attract new target groups by digital PR tools during the pandemic period. The objects are examined in the paper - theatres, galleries, and philharmonic orchestra in Slovakia. The methodology of this study will be addressed through analytical study. This will be revealed through discussion, investigation, analysis that can be detected through detailed content interrogation of the objects, elements and structure of the content of this study. The content of this article is intended for other cultural organizations that strategically plan their activities in digital form in the future

When the world seemed to collapse due to the Covid‐19 pandemic in 2020, music was employed to promote positivity and strength among citizens and communities, especially during worldwide lockdowns. Because the general context of the pandemic was saturated with anxiety, uncertainty, and fear, music—in all its forms of production—became an ideal resource for entertainment and accompaniment, and helped people face the challenges associated with the crisis. Following a qualitative content analysis, this study deeply examines 13 examples of music production published by the United Nations during the Covid‐19 crisis, highlighting the narrative elements and how they relate to individual and social well‐being. In so doing, the study identifies eight main categories among both lyrics and performances in the music examples. These are: (a) desires, (b) emotions, (c) people, (d) practices, (e) reflections, (f) education/entertainment, (g) allusion to war, and (h) nationalism. The results suggest that music narratives have empowered individuals and social groups by evoking sentiments of solidarity and kindness at both individual and community levels and, in so doing, have contributed to individual and social well‐being.

Analoge Fotografien begegnen uns im digitalen Zeitalter oft als Dinge, die – nachdem sie verwahrt, verloren oder sogar weggeworfen worden waren – (wieder-)gefunden werden. Die Faszination für solche gefundenen Fotos spiegelt sich auf markante Weise im zeitgenössischen Essay- und Dokumentarfilm wider. Found Foto-Filme sind eine seit der Jahrtausendwende neu entstandene essayistisch-dokumentarische Form: Filme, die mit hinterlassenen, geretteten oder gefundenen Konvoluten fotografischer Bilder arbeiten, diese sammeln, auswählen und in einen neuen Kontext stellen. Sie stehen in einem Spannungsfeld zwischen populärer Ästhetisierung und Re-Auratisierung analoger Medien im Zuge der Digitalisierung sowie einer langen Tradition, die Materialität und Medialität von Film durch die Arbeit mit Fotografie und Found Footage filmisch zu reflektieren. Charlotte Praetorius erkundet solche Aneignungen analoger Fotos anhand eines Korpus internationaler Filme: Wie setzen sich die Filmemacher_innen zu den fotografischen Funden ins Verhältnis? Wie greifen die Erzählungen und die Erzählbarkeit von Fotografie und Geschichte ineinander? Wie wird das fotografische Material angeordnet und inszeniert? Und wie lassen sich die Verhältnisse zwischen verschiedenen Medien und Materialien fassen? Dabei geht es Praetorius auch darum, die Formen des dokumentarischen und essayistischen Films als ein Reflexionsmedium von (Medien-)Geschichte ernst zu nehmen und zugleich auch kritisch infrage zu stellen.

Im Zuge der fortschreitenden Digitalisierung ist seit etwa Mitte der 2000er-Jahre die analoge Vinylschallplatte in einem robusten Nischenmarkt zu neuer Popularität gelangt. Der Beitrag analysiert dieses Warenobjekt aus einer kapitalismuskritischen Perspektive und ordnet es vier Warenformen der post-industriellen Ökonomie zu. Darauf aufbauend werden die der Vinylschallplatte inhärente Logik der Besonderung und damit zusammenhängende Singularisierungspraktiken aufgezeigt. Mit Blick auf unterschiedliche technische Ausstattungen mit Abspielgeräten und unterschiedliche Rezeptionsdispositive im Umgang mit Musik folgern die Autoren, dass mit der aktuellen Vinylkultur eine Spaltung der Gesellschaft zum Ausdruck kommt. Die Kulturalität des Tonträgers verweist auf spezifische Verwobenheiten mit seinen Nutzern, was sich in vielschichtigen Praktiken, Narrativen und Mythen äußert. Der Beitrag argumentiert abschließend, dass die Vinylschallplatte ein Kristallisationspunkt für einen umfassenden, teils paradoxen gesellschaftlichen Diskurs über Modernisierungsprozesse ist, insbesondere über den Metaprozess der Digitalisierung.

Der Boom in der Medien- und Bewegtbildbranche durch Streamingdienste wie Netflix verursacht nicht nur positive Veränderungen wie das Wirtschaftswachstum, sondern auch negative wie die Umweltbelastung. Der vorliegende Beitrag beschäftigt sich mit der Frage, inwieweit in der deutschen Filmwirtschaft unter ökologisch nachhaltigen Bedingungen produziert wird. Zunächst wird die Wertkette der Filmwirtschaft nach Wirtz vorgestellt. Auf Basis von leitfadengestützten Expert*inneninterviews, die im Juni 2021 durchgeführt wurden, werden die von Produktionsunternehmen umgesetzten grünen Maßnahmen in der Filmproduktion ermittelt. Zu diesem Zweck werden die Bundesländer Baden-Württemberg und Hamburg gegenübergestellt. Durch das langjährige Engagement der regionalen Filmförderungen in diesen Bundesländern gelten die dortigen grünen Entwicklungen als besonders fortschrittlich. Anschließend gilt es, mögliche Herausforderungen in Bezug auf ökologische Nachhaltigkeit in der deutschen Filmwirtschaft aufzudecken, die schließlich der Ableitung von Optimierungsvorschlägen für Unternehmen der Filmbranche dienen. Die Ergebnisse aus der qualitativen Forschung zeigen, dass bereits erste Schritte in Richtung grüne Filmproduktion realisiert wurden, aber noch Verbesserungspotenzial herrscht., The boom in the media and moving image industry caused by streaming services like Netflix is not only causing positive changes like economic growth, but also negative ones like environmental pollution. This article deals with the question to what extent the German film industry produces under ecologically sustainable conditions. First, the value chain of the film industry according to Wirtz is presented. Based on guided expert interviews conducted in June 2021, the green measures implemented by production companies in film production are identified. For this purpose, the German states of Baden-Württemberg and Hamburg are compared. Due to the long-term engagement of the regional film subsidies in these federal states, the green developments there are considered to be particularly progressive. Subsequently, the aim is to uncover possible challenges with regard to ecological sustainability in the German film industry, which ultimately serve to derive optimization proposals for companies in the film industry. The results from the qualitative research show that first steps towards green film production have already been realized, but that there is still potential for improvement., Internet-Intermediäre und virtuelle Plattformen medienökonomisch betrachtet

Der Autor liefert in seiner Promotionsschrift einen Überblick über Legitimations- und Funktionalisierungsstrategien dokumentarischer Toten- und Todesszenen im Erzählkino. Sein chronologischer Bogen beginnt bei den frühesten animalischen Toden vor laufender Kamera wie beispielsweise der filmisch festgehaltenen Hinrichtung des Elefantenweibchens Topsy in 'Electrocuting an Elephant - Thomas A. Edison' (1903) und er führt bis zu den Hochglanz-Snuff-Videos der Medienabteilung des Islamischen Staates in den 2010er Jahren. Zwischen diesen beiden Polen betrachtet der Autor mit derselben medienwissenschaftlichen Hinwendung arrivierte Arthouse-Filme, vor allem aber auch zahllose als Trash und Exploitation abqualifizierte Vertreter des Bahnhofskinos, die einem akademischen Zugriff bislang entzogen waren. Das Ergebnis ist ein Streifzug durch die verfemteren Regionen der Kinogeschichte und dabei nichts weniger als die erste auführliche Geschichte des Einbruchs realer Todesdarstellungen in die Fiktion des Spielfilms.

This piece examines the most recent work of the acclaimed Mexican director Guillermo del Toro, focusing on his use of intertextuality, self-referentiality and subversion as stylistic elements that to simultaneously critique and celebrate cinema Through his unique visual aesthetics and mastering of the mise-en-scène, del Toro explores themes of identity, displacement and humanity Famed for his use of ‘monster-as-metaphor’ narratives, his work is rich in cinematic language and iconography that acts as both an homage to his idols and inspiration for his fans.Del Toro acts as a film historian, a bibliophile, a critic and a fan, championing those on the edges of society while rejoicing in his Mexican heritage.

Leseprobe ----- Zusammenfassung Fur die Auswertung von Zeitzeugeninterviews, die fur einen Film, eine Ausstellung oder eine Prasentation genutzt werden sollen, braucht es neben der inhaltlichen auch die filmische Beurteilung. Denn jedes Interview, das mit einer Kamera aufgezeichnet wurde, ist eine Inszenierung. Entweder haben die Macher (Kameramann/frau Interviewer/in) das Bild arrangiert, oder die Interviewten haben sich selbst „in Szene gesetzt“. Loretta Walz beschaftigt sich in ihrem Beitrag mit der Abbildung von Menschen im Interview und wie die gefilmten Bilder „gelesen“ werden konnen. ----- Bibliographie: Walz, Loretta: Biographische Dokumentationen im Film. Uber die Abbildung von Menschen, BIOS – Zeitschrift fur Biographieforschung, Oral History und Lebensverlaufsanalysen, 1-2/2017, S. 115-129. https://doi.org/10.3224/bios.v30i1-2.10

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.

Designing media images - a task of the social practice of digital materiality. Das Digitale gilt als artifiziell, synthetisch, fluid. Was, wenn sich derart jede Stofflichkeit gestaltet, die es zu bearbeiten gilt? In der arbeitsteiligen, teilautomatisierten Herstellung von Filmbildern stellt digitale Materialität Projektteams vor allerlei praktische Probleme, die diese zu bewältigen wissen. Die Autorin beobachtet die schrittweise Entstehung medialer Bilder in Visual-Effects-Firmen in Deutschland und England und zeichnet grundlegende Praktiken des gemeinsamen digitalen Gestaltens nach. Ihr Fokus auf Alltagsvollzüge digitaler Arbeit eröffnet eine gehaltvolle Perspektive auf digitale Kreativarbeit - und deren Materialisierung ganzer Bilderwelten.

Angesichts der globalen Relevanz soziomaterieller Bewegungsvorgänge wird das Grenzkonzept in einer spezifischen Tragweite wichtig, da - so könnte eine philosophische Minimalprämisse lauten - ohne Grenzen nichts möglich ist. Mit dem Sammelband "Grenzüberschreitendes Kino", der aus dem Bremer Symposium zum Film 2018 entstanden ist, liegt nun ein Buch vor, das den Zusammenhang von Ästhetik und Grenze vom Dispositiv Kino aus denkt und hierbei drei Schwerpunkte ins Zentrum stellt, die zugleich den Untertitel des Sammelbandes ausmachen: Geoästhetik, Arbeitsmigration und transnationale Identitätsbildung.

In the closing scene of The Last of Us (2016), we see the torso of a young black man who stands naked before a clearing in the forest. As he gazes out at a cascade of water tumbling down to a rocky pool below, the young man's image gradually fades away, absorbed into the landscape. Nothing about this scene, from the blackness of the protagonist to the coniferous forest, has any clear reference point in Tunisian national cinema. Indeed, director Ala Eddine Slim has expressed distaste for being classified as a regional filmmaker, preferring that his work be seen as international, transcending borders. And yet, to the familiar eye, this film belongs unmistakably to Tunisia's postrevolutionary political transition, a time fraught with unpredictable shifts in national identity and the contours of the state. Slim is part of a new generation of Tunisian filmmakers who have won critical acclaim on the international festival circuit since the 2011 revolution. More than a burst of creative energy released by the demise of autocratic rule, their experimental aesthetic emerges, in part, from struggles within Tunisian filmmaking establishment that have shaped the conditions of production under political transition. In this essay, I track the intergenerational conflicts that have prompted to the recent extroversion of young Tunisian filmmakers, who have set their sights beyond the nation for funding and recognition.

Der vorliegende Beitrag zeigt den beeindruckenden wirtschaftlichen Erfolg der Hörspielserie "Die drei ???". Die Serie hat also nicht nur bei Fans Kultstatus inhaltlich erreicht, sondern erreicht mit rund 50 Millionen verkauften Tonträgern bzw. Verkaufseinheiten, einem Umsatz von etwa 260 Millionen Euro und einem Gesamtgewinn von rund 220 Millionen Euro in mehr als 39 Jahren wirtschaftliche Daten von international bekannten Musikstars. Statistisch und im Durchschnitt gesehen lässt sich also in jedem der rund 42 Millionen Haushalte in Deutschland im Jahre 2018 mehr als ein Tonträger der "Die drei ???" finden. Die Erklärung des Erfolges der "Die drei ???" ist mit Sicherheit vielfältig. Die Ergebnisse der Befragungen zeigen, dass ein hoher Anteil der Hörenden "Wiederholungstäter" ist. Diesem Verhalten liegen insbesondere und im weitesten Sinne nostalgische Aspekte und Erinnerungen zugrunde. Ein Einflussfaktor hierfür ist offenbar die seit Beginn an gleichen Stimmen die Hauptcharaktere. Ein weiterer die im Prinzip inhaltlich ähnliche Konstruktion der einzelnen Folgen, die eine Vertrautheit mit den Charakteren bewirkt und auch den Wiedereinstieg in die Reihe wesentlich erleichtert. Die Gründe, warum viele Hörerende den nostalgischen Aspekt suchen und offenbar in ihrem jungen Erwachsenensein benötigen, scheinen die Lebensumstände zu sein. Dies mag auch die zentrale Begründung dafür sein, warum viele der Nutzenden die Hörspiele zum besseren Einschlafen nutzen., This article shows the impressive economic success of the radio play series "The Three Investigators". The series has not only achieved cult status among fans in terms of content, but has also achieved economic data from internationally known music stars with around 50 million records or sales units sold, sales of around 260 million euros and overall profits of around 220 million euros in more than 39 years. Statistically and on average, more than one recording of "The Three Investigators" can be found in each of the approximately 42 million households in Germany in 2018. The explanation for the success of "The Three Investigators" is varied. The results of the surveys show that a high proportion of listeners are "repeat offenders". The reason for this behavior that seems to be in the foreground here are, in particular and in the broadest sense, nostalgic aspects and memories. One reason for this is apparently the voices of the main characters that have been the same since the beginning. Another is the construction of the individual episodes, which is basically similar in terms of content, which creates familiarity with the characters and also makes it much easier to get back into the series. The reasons why many listeners look for the nostalgic aspect and apparently need it in their young adulthood seem to be life circumstances. This may also be the main reason why many users use radio plays to fall asleep better., Internet-Intermediäre und virtuelle Plattformen medienökonomisch betrachtet

The Internet has changed how music fans come together and how the music industry connects to and communicates with fans. To understand the incentives for becoming a fan and why fans take part in an artist brand, this article considers the diversity in a particular fan community, including its hierarchy and roles. Fans have different levels of engagement, knowl‐ edge, and status, both inside and outside a fan community. To extend the existing research on fan hierarchies into the digital promotional culture, this study focuses on the case of the Swedish music artist Robyn and her Facebook fan community Konichiwa Bitches. To gain insights into a complex online research arena, we use a qualitative and digital ethnographic approach in both online and offline contexts. The article provides an understanding and conceptualization of fan hierar‐ chies, focusing on the top of the hierarchy, superfans and executive fans, and on their incentives for engagement. These high‐level fans function as a key connecting point between the brand management and the fans, thus taking fandom a step further and enhancing the brand. Music Ecosystems Inner Scandinavia, MECO

Beim Thema Fotografie steht oft das Resultat an erster Stelle. In diesem Essay hingegen geht es um die Aktivität, das Fotografieren. Warum besitzt diese Aktivität für so viele Menschen einen hohen Stellenwert, selbst, wenn viele Fotos wohl nie wieder betrachtet, bearbeitet oder verwertet werden? Auf Basis teilnehmender Beobachtung, einer Facebook-Umfrage und Interviews ergibt sich, dass das Fotografieren für viele Fotografen das Gefühl von Flow erzeugen, Achtsamkeit fördern und für Kontakt mit der Umwelt und Kommunikation mit anderen Menschen stehen kann. Auch der Jagd- und Sammeltrieb mag befriedigt werden. Zudem bedeutet Fotografieren auch eine Möglichkeit, etwas zu erleben – einerseits, da Erlebnisse durch die fotografische Begleitung mehr Sinn erhalten, andererseits auch, wenn das Fotografieren als Erlebnis selbst begriffen wird. Für die persönliche Entwicklung heißt Fotografieren oftmals neue Sichtweisen, eine neue, besonders befriedigende Art der Wahrnehmung zu erlernen. Außerdem steht es in Verbindung zur Überwindung persönlicher Aversionen und Ängste und bietet auf unkomplizierte Weise Raum für Kreativität. Auch im Dienste der Identität ist Fotografieren von Bedeutung, wenn sich Menschen fotografierend in Situationen begeben, die ihre Identität kommunizieren sollen oder sie durch das Fotografieren ihre Selbstwahrnehmung beeinflussen.

This paper aims to consider the play 'In_Trânsito', featuring the Cia. Marginal theater collective and directed by Isabel Penoni and Joana Levi. 'In_Trânsito' is a site-specific performance (one that is staged in a physical space not originally built for this purpose) presented during people’s commute in the train cars of the branch line Saracuruna, departing from Central do Brasil, the central train station in Rio de Janeiro’s railway network. By providing a dialogue about urban motility and entitlement, and considering site-based performances that feature the city as stage or character, we try to comprehend - using an ethnographic account of the play - the dilemmas the city goes through and how social and artistic movements are permeated by what happens in the city.

The post-socialist transformation of the Hungarian film industry is usually discussed in the context of state-run studios and state funding. These explanations focused on the role and importance of regulation and institutional aspects of change, highlighting the changes in the production system (the development of independent production companies) and the transition from direct state control and funding to public funding (the setup of a new institution, the Motion Picture Foundation of Hungary). The transformation, as in the case of other Eastern European film industries, is usually interpreted as a crisis and a major break. This article will nuance this mainstream interpretation of the transformation of the Hungarian film industry with the examination of features that connect the two eras (i.e. late socialist and early post-socialist periods). Instead of the linear logic of succession and transition, it will focus on the ambiguities of change and continuity, showing that although the changes were fundamental, many things connect late socialist years and early post- socialist period. The article claims that the transformation could not be described as a simple one-way shift from a centralized state-socialist system to the market-oriented film industry and the system of public funding. Considering the trends of marketization and ‘proto- capitalization’ of the late 1980s in the Hungarian film industry and the post-socialist survival of the state socialist studio system, the article will show the double-face of the transformation.

Seit 2003 wurde die Web-Domain .org von der Non-Profit-Organisation Public Internet Registry (PIR) verwaltet. Nun soll die PIR an die private Investmentfirma Ethos Capital verkauft werden. Viele zivilgesellschaftliche Organisationen nutzen .org-Domains. Sie fürchten Preissteigerungen, politische Einschränkungen und Sicherheitsrisiken. Mit seinem diplomatischen Gewicht sollte Deutschland diesen Sorgen bei der Entschei­dung über .org Geltung verschaffen. Der Streit um .org hat aber noch eine zweite Dimension: Ein weiteres Mal zeigt sich, dass die Internet Corporation for Assigned Names and Numbers (ICANN) nicht über die Legitimität verfügt, strittige politische Fragen zu entscheiden. Dieses strukturelle Problem wird sich so bald nicht lösen las­sen. Deutschland sollte sich daher um diplomatische Schadensbegrenzung bemühen, auch in kritischer Auseinandersetzung mit dem ICANN-Vorstand. Die diesjährige Jah­res­hauptversammlung von ICANN in Hamburg bietet dafür eine gute Gelegenheit. (Autorenreferat)

Wie ist die zeitliche Gestaltung audiovisueller Bilder mit den verschiedenen Modi des Zuschauergefühls verbunden? Am Gegenstand der Screwball Comedy wird diese Frage erörtert: Die Filme des klassischen Hollywood-Genres der 1930er und 1940er präsentieren rasante Gespräche, Schlagabtausch, Wortwitz und Sprachakrobatik einer Paarinteraktion. Komik und Heiterkeit werden in erster Linie dadurch gestaltet, wie Gesten, Mimiken, Stimmen und Redeäußerungen zeitlich in das filmische Bild eingebettet sind. Vor diesem Hintergrund wird erörtert, welcher grundsätzliche Zusammenhang zwischen Bewegungsqualitäten und Affektivität besteht bzw. wie die zeitliche Gestaltung audiovisueller Bilder mit den verschiedenen Modi des Zuschauergefühls verbunden ist. In den Screwball Comedies ist das Empfinden oftmals kontrastiv-komisch gestaltet: Interaktionen von Streit und Wut werden als eleganter Tanz einer Paarbewegung wahrnehmbar. Durch diese Perspektive wird das Verhältnis von Sprachäußerung, Schauspiel und Filmbild sehr grundsätzlich befragt. Das heitere Zuschauergenießen ist weniger an narrative Handlungen gebunden als an ästhetisch-expressive Orchestrierungen, Taktungen und verkörperte Bedeutungen.

Our contribution addresses popular music as essential part of media entertainment offerings. Prior works explained liking for specific music titles in ‘push scenarios’ (radio programs, music recommendation, curated playlists) by either drawing on personal genre preferences, or on findings about ‘cognitive side effects’ leading to a preference drift towards familiar and society-wide popular tracks. However, both approaches do not satisfactorily explain why previously unknown music is liked. To address this, we hypothesise that unknown music is liked the more it is perceived as emotionally and semantically expressive, a notion based on concepts from media entertainment research and popular music studies. By a secondary analysis of existing data from an EU-funded R&D project, we demonstrate that this approach is more successful in predicting 10000 listeners’ liking ratings regarding 549 tracks from different genres than all hitherto theories combined. We further show that major expression dimensions are perceived relatively homogeneous across different sociodemographic groups and countries. Finally, we exhibit that music is such a stable, non-verbal sign-carrier that a machine learning model drawing on automatic audio signal analysis is successfully able to predict significant proportions of variance in musical meaning decoding.

Lumière Word Cloud (voicesonfilm, 2017) is a co-curated experiment in the design and execution of academic/student collaborative assessment methods at Third Level. Inspired by classroom conversations regarding the parallels between the earliest forms of cinema - as exemplified by the films of Auguste and Louis Lumière - and the ubiquitous gif file that now appears on every social media platform, Lumière Word Cloud also asks us to reconsider the position and role that cinema history occupies in the contemporary classroom. A film composed entirely of gif files, Lumière Word Cloud also acts as an opportunity to interrogate exactly what cinema means in 2017. The film does not seek to eschew narrative altogether but rather aims to demonstrate the multifarious ways in which the collaborative nature of a film's construction can enhance our understanding of storytelling in the digital age. In this way, Lumière Word Cloud also stands as a challenge to more traditional understandings of not only assessment methods but also to older pedagogic models regarding the status of skills and the transfer of knowledge in the contemporary learning environment.

Der Artikel untersucht die Arbeit der Afghanistan Human Rights and Democracy Organization (AHRDO), eine Graswurzel-Theaterbewegung, die 2009 mit dem Ziel gegründet wurde, Afghanistans Kultur der Straflosigkeit in Frage zu stellen, in dem systematisch mit afghanischen Kriegsopfern gearbeitet wird. Durch die Benutzung verschiedener Formen des Angewandten Theaters, und insbesondere der unterschiedlichen Techniken des Theaters der Unterdrückten, fördert AHRDO einen Vergangenheitsaufarbeitungsprozess “von unten”. Konkret werden sichere Räume geschaffen, in denen Afghanistans Kriegsopfer sich selbst ermächtigen und mobilisieren können und als Folge dessen zu wahrhaftigen Protagonist_innen im Kampf für ein gerechteres und demokratischeres Afghanistan werden. Der Artikel zeigt die zentrale Bedeutung, die unterschiedliche Angewandte Theatermethoden spielen können, um konkrete gesellschaftliche Veränderungen aus einer Perspektive der Unterdrückten artikulieren und in die Realität umsetzen zu können. Andererseits werden eine Reihe von kritischen Fragen gestellt, vor allem bezüglich der Rolle internationaler Geberorganisationen sowie der scheinbaren Unmöglichkeit existierende Machtstrukturen fundamental zu verändern., This article investigates the work of the Afghanistan Human Rights and Democracy Organization (AHRDO), a grassroots political theatre movement created in 2009 with the aim of challenging Afghanistan’s deeply rooted culture of impunity by systematically working with the country's victims of war. Using different forms of applied theatre, and in particular the various techniques of the Theatre of the Oppressed, AHRDO has been promoting a transitional justice process from the bottom up through creating theatrical safe spaces for Afghan war victims to self-empower, self-mobilise and in the process become authentic protagonists in the struggle for a more just and democratic Afghanistan. The article shows the fundamental role different applied theatre methods can play in articulating and shaping political change from the perspective of the oppressed. It also raises a number of critical questions concerning the role of international donor organisations in conditioning such endeavours, as well as the seeming impossibility to fundamentally challenge existing power structures.

Cinema audiences’ behavior interests both industry professionals and academics. Cinema-going is still indisputably popular form of entertainment in Malaysia. This study discusses cinema-going in the era of omnipresent screens. It aims to verify Malaysians’ cinema going behaviors and the sustainability factors contributing to the Malaysian film industry. The various factors affecting cinema and movie-going behavior would include encouragement, theme, motivation, perception, gratification, and genre. The local filmmaking industry fell into a decline after 2014 based on observation of annual film production. In the context of westernization, this small market presents a challenge for the government in promoting local popular films. With the influx of genre films from abroad, Malaysian cinema is struggling to the hilt to survive. To understand this situation from the perspective of the audiences, this study, using data from surveys conducted in Malaysia in 2018, discusses the fandom of Malaysian cinema, their cinema-going behavior, and the association with their identities.

Hindi cinema has been the most celebrated form of entertainment source around the world and since time immemorial. Behind the lyrics of pseudo romantic songs, dialogues, scenes of love and affection display, courtship, and so on, sexual harassment has been seen spreading it’s sickening aura to create some of the meanest examples in Hindi cinema. Sexual harassment has been a topic of worry and concern and has been accumulating a lot of attention in the recent decades. This paper examines in details the portrayal of sexual harassment with no regard to gender explicitly portrayed by famous actors in selected Hindi films, applying the qualitative methodology of textual analysis theory. The paper also gives some of the real life incidents of sexual harassment as experienced by celebrities mostly focusing on the recent #MeToo movement. The findings of the paper reveal that in films, the display of sexual harassment by men towards women ultimately ends up in a love story and by women towards men in quitting.

In contrast with media constructed as vast, ontologically homogeneous, non-localized systems, formats show material networks of interoperability and exclusions, inscribed in local specificities, and involving precise conditions for the circulation of images and sounds. Formats, institutionalized as standards, frame the “technical networks” defined by Gilbert Simondon, that unfold technical objects into economically and politically structured webs that cover the world. Media are always formatted and, as such, do not flow: they are displaced.

Cinema for social change is not a new approach. Odia cinema, earlier known as Oriya cinema, has been intrinsically connected to the essence of Odia language and culture in the Indian state of Odisha. Since the inception of Odia cinema, it has been endeavoring to send social messages by employing visual communication for social change and development. Despite riding on the path of social and attitudinal changes, the films representing the disabled characters have raised eyebrows concerning its commitments to outcomes. As the spirit of rights activism and changing public discourses on disability on the rise, Odia cinema industry is pushed to face a decisive test. The disdain for disability in entertainment media is unraveled, and the politics of treating the disabled has become flawed. The current study has attempted to understand the cinematic construction in the light of the model, gender, identity, and societal approach towards disability issues.

David Bowie's 2015 'Blackstar' has been understood by critics and fans alike to have a certain valedictory status. For them, perhaps for us, it is a 39-minute and 13-second farewell. A long goodbye. My angle is different. By situating the Bowie/Renck collaboration on "Lazarus" in the context of a meditation on the question once posed by Georg Stanitzek, "Was ist Kommunikation?" I consider the CD and the video as experiments in re-configuration. More specifically, by thinking about the distinctly cinematic iteration of the question of communication (citing here Captain's "what we have here is … failure to communicate" from 'Cool Hand Luke') I propose that mediated communication embodies the Ich/Es modality of dialogue disparaged by Martin Buber. What this invites us to consider is whether "Lazarus" in particular isn’t the generation of an audiovisual tombeau from which or out of which communication strains are to be heard. Is it "saying" farewell? Is it "saying" anything? By drawing on Jacques Derrida’s appropriation of the crypt in the work of Abraham and Torok, I propose that "Lazarus" manages (and the feat is neither small nor insignificant) to communicate nothing. In effect, "Lazarus" is the very sound, not of a failure to communicate, but of a "speaking" emptied of what protects it from mediation. Here, Bowie's gnomic persona assumes a political valence not typically ascribed to it.

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.

En 1965 Rosi realiza El momento de la verdad, largometraje semidocumental sobre la tauromaquia. El director italiano quería llevar a la pantalla el trágico lirismo de Muerte en la tarde (Hemingway, 1932). Sin embargo, algunos conocidos de la Suevia Film (coproductora española de su largometraje La sfida) lo habían alertado sobre el escepticismo autóctono hacia los cronistas extranjeros. La afición taurina rechazaba la imagen de la corrida como simple espectáculo pintoresco. Este trabajo muestra la oportuna decisión de Rosi en investigar el fenómeno, apoyándose en la competencia de cineastas autóctonos como Beltrán, Portabella, Muñoz Suay y del torero Miguel Mateo “Miguelín”. El filme es internacionalmente reconocido como el más serio estudio sobre los aspectos socio-culturales del mundo de los toros. &nbsp, In 1965 Rosi made The Moment of Truth, a semi-documentary feature film about bullfighting. The Italian director wanted to bring to the screen the tragic lyricism of Death in the Afternoon (Hemingway, 1932). However, some acquaintances from Suevia Film (the Spanish co-producing company of his film La s fida) alerted him about the skepticism in Spain towards the way foreigners regarded the fiesta. Bullfighting experts, in particular -they argued- were weary of the image given of their art as a simple popular entertainment. This article argues how Rosi managed to overcome the prejudices in his approach of the subject of The Moment of Truth with the help of Spanish filmmakers such as Beltran, Portabella, Muhoz Suay and the bullfighter Miguel Mateo "Miguelín". The film is internationally recognized as the most serious study on the socio-cultural aspects of the bullfighting world. &nbsp, Em 1965 Rosi filmava "O momento da verdade", filme semi-documentário sobre as touradas. O diretor italiano queria trazer para a tela o lirismo trágico do livro "Death in the Afternoon (Hemingway, 1932). No entanto, alguns conhecidos da Suevia Film (coprodutora espanhola de seu filme La sfida) tinha avisado do ceticismo na direção de cronistas estrangeiros. O filme rejeitou a imagem como uma simples visão pitoresca. Este trabalho mostra a decisão de Rosi para investigar o fenômeno, baseado na competição de cineastas locais como Beltrán, Portabella, Muhoz Suay e toureiro Miguel Mateo "Miguelín". O filme é reconhecido internacionalmente como o estudo mais sério dos aspectos sócioculturais do mundo das touradas.

O dossiê que ora apresentamos, em torno das complexas relações entre a Memória, o Gênero e o Cinema, visa criar oportunidades para a produção de temáticas sobre a História, as Relações de Gênero e a Comunicação, com foco em metodologias que permitam a interdisciplinaridade, envolvendo estes cinco eixos.

RESUMO O Anticristo, filme de Lars von Trier, lançado em 2009, mostra o desespero de um casal ao perder seu único filho. Extremamente polêmico e repleto de referências bíblicas - a começar pelo título -, é um filme que choca pelo incessante desespero de uma mãe em luto que parece carregar o peso do mundo em sua condição de mulher. A proposta deste artigo é fazer uma análise deste filme iluminando a culpa cristã historicamente atribuída à mulher e seus desdobramentos imediatos, como o feminicídio. PALAVRAS-CHAVE: Análise Fílmica; Cristianismo; Feminicídio; O Anticristo. ABSTRACTAntichrist, film of Lars von Trier, released on 2009, shows the the despair of a couple to lose their only son. Extremely controversial and fraught with biblical references - beginning with the title -, it’s a film that shocked the unyielding despair a bereaved mother that seems to carry the weight of the world on his wife's condition. The purpose of this paper is to analyze of this film illuminating the christian guilt historically attributed to the woman and their immediate consequences, like the feminicide. KEYWORDS: Filmic Analysis; Christianity; Feminicide; Antichrist. RESUMEN Anticristo, pelicula de Lars von Trier, lanzada em 2009, muestra el desespero de una pareja cuando pierde su único hijo. Extremadamente polémica y llena de referencias bíblicas - empezando con el título -, es una película que sorprende al inquebrantable desesperación de una madre em luto que parece cargar el peso del mundo por ser mujer. El objetivo de este artículo es analizar esta película iluminando la culpa cristiana históricamente asignada a las mujeres y sus consecuencias inmediatas, como el feminicidio. PALABRAS CLAVE: Análisis fílmica; Cristianismo; Feminicidio; Anticristo.

The essay shows how Jane Fonda's aerobics video helped to produce a female body image that claims to differ from the normative standards given by society in a particular social segment. The so-called "aerobic body" was a hybrid of the prevailing delicate woman's body and a body which displays strength and a regular training in the form of muscles. Following selected examples, the following questions will be addressed: How was the female body represented in the videos? How did this influence the common body ideal?

This essay focuses on the narratives and visuals of athletes in several popular sports films produced in 1950s Maoist China, arguing that the Chinese leadership intended such visuals to convey the strength of the new socialist state. Since the early twentieth century in China, modern sports and physical culture (tiyu) has been associated with an official narrative of overcoming national humiliation, in which the nation suffered from "victimization" at the hands of foreigners – often succinctly described using the phrase the "Sick Man of East Asia" (dongya bingfu). Yet more than a decade prior to the release of the popular martial arts film "Fist of Fury" (Hong Kong, 1972) in which Bruce Lee famously destroys a placard reading "Sick Man of East Asia," mainland China's sports film industry was showcasing youthful Chinese athletes who no longer suffered from this past humiliation. On the contrary, the images of jubilant, victorious athletes in Maoist-era films like Girl Basketball Player No. 5, Ice Sisters, and Two Generations of Swimmers served as visual embodiments of a nation that, under Chinese Communist Party leadership, had overcome a century of humiliation and was now no longer "sick."

This essay highlights a number of Hollywood sport films from the 1970s focusing on national and personal identity issues. Against the backdrop of contemporary history, the meaning of sports and film, and its pop cultural intertwinement becomes transparent revealing a basic pattern. Aspects come into the picture which from a European perspective seem both familiar and, in a way, hidden. Besides being great entertainment, sport films like North Dallas Forty (1979), Semi-Tough (1977) or The Bad News Bears (1976) have the quality to serve as a rich and meaningful archive of visual sources for research in the humanities.

This paper reconsiders the complex and somewhat ambivalent relationships between the cinematographic image and the globalized world as it is characterized by flows (of images, among other flows). For this purpose, the paper examines different aesthetic forms that contemporary cinema gives to the image-flow – taking into account the editing as well as the framing resources –, based on a multiple corpus of both blockbusters and author films. The analysis aims at bringing out the poetic and affective effects of these representations of the flow. In particular, the paper suggests that contemporary cinema offers a new tragic vision of the flow, which it links to the melancholic or depressive affect.

The first fundamental analysis of a cinematic testimony of the cultural decolonization processes between Mozambique and Portugal. Wie wird koloniale Gewalt historisch thematisiert? Wie gehen dokumentarische Filme und geschichtspolitische Diskurse mit ihr um? Robert Stock nähert sich diesen Fragen mit kritischem Blick auf den Kolonialkrieg Portugals in Afrika und den nationalen Befreiungskampf Mosambiks. Dabei fokussiert er seine Untersuchung auf die Gestaltung, Funktion und Reflexion historischer Zeugenschaft. Am Material von bislang wenig beachteten Filmproduktionen über die Dekolonisierungsprozesse zwischen Mosambik und Portugal seit den 1970er Jahren analysiert er die sich verändernden Deutungsweisen der kolonialen Vergangenheit.

O presente artigo pretende analisar uma reação específica do utilizador de cinema interativo: o medo e, consequentemente, as potencialidades do género de terror neste suporte, dando a conhecer, numa primeira instância, um breve resumo da sua novíssima história. O Cinema, é como sabemos, uma manifestação artística relativamente recente, bastante relevante e que continua em desenvolvimento numa época iminentemente tecnológica. O cinema interativo tem vindo a desenvolver-se nas últimas décadas com várias propostas diversificadas de forma a aguçar a curiosidade do espectador e fazer com que o público participe na história. Ao contrário do cinema tradicional, este cinema interativo permite que o espectador tenha uma ligação mais direta e individual ou coletiva com o filme, possibilitando-lhe as mais diversas formas de interação com o filme. info:eu-repo/semantics/publishedVersion

Der klingende Eklat ist mehr als der Pfeffer musikhistorischer Narrationen. Vielmehr ist der Musikskandal ein kultureller Störfall und ein ästhetisches Ereignis. Er überschreitet nicht nur die künstlerischen und moralischen Grenzen des guten Tons, sondern greift zudem gesellschaftliche Normen auf und an. Die Autorin analysiert diese Verschränkung und nutzt das interdisziplinäre Potential, das der klingende Eklat als konfliktiver Seismograf sozialer Problem- wie ästhetischer Experimentierfelder bereithält. An der Schnittstelle von Geschichts- und Musikwissenschaften fokussiert die medienkulturwissenschaftlich inspirierte Studie den prismatischen Gegenstand des klingenden Eklats vor dem akustischen Hintergrund nicht nur der musikalischen Moderne.

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.

Irish intercultural cinema looks at the development of a cinematic genre which focuses on issues of Irish migrancy but is produced outside of Ireland. This paper has as its focus the cultural landscape of Irish-Australia. The essay uses methodologies of ethnographic and documentary theory plus textual analysis of film and written texts to establish a throughline of Irish intercultural film. The essay begins by contextualising the place of the Irish diaspora within the creation of Irish identity globally. The discussion around migrancy is widened to consider the place of memory and intergenerational tensions within not just the Irish migrant population, but also within the diverse cultures which comprise the contemporary Australian landscape. The historical development of intercultural cinema is then explored internationally within a context of colonial, gender and class struggles in the 1970s and1980s. The term intercultural cinema has its origins in the Third Cinema of Argentinians Solanas and Getino in the 1970s and covers those films which deal with issues involving two countries or cultures. The term was refined by Laura Marks in 2000 and further developed by Hamid Naficy in 2001 in his discussion of accented cinema which narrows its definition to include the politics of production. The paper then traces the development of Irish intercultural cinema from its beginnings in England in the 1970s with Thaddeus O'Sullivan through to Nicola Bruce and others including Enda Murray in the present day. The essay concludes by bringing these various strands together to see where intercultural film might have a place in today's globalised cultural landscape. Common traits within intercultural film such as the notion of place, autobiographical film and personal identity are explored using examples of intercultural filmmaking from around the globe. These commonalities point to a way forward for the future of a sustainable multicultural film culture.

This article examines video surveillance images in Hollywood film. It moves beyond previous accounts of video surveillance in relation to film by theoretically situating the use of these surveillance images in a broader “surveillant assemblage”. To this end, scenes from a sample of thirty-five (35) films of several genres are examined to discern dominant discourses and how they lend themselves to normalization of video surveillance. Four discourses are discovered and elaborated by providing examples from Hollywood films. While the films provide video surveillance with a positive associative association it is not without nuance and limitations. Thus, it is found that some forms of resistance to video surveillance are shown while its deterrent effect is not. It is ultimately argued that Hollywood film is becoming attached to a video surveillant assemblage discursively through these normalizing discourses as well as structurally to the extent actual video surveillance technology to produce the images is used.

The essay examines the role of women and the portrayal of femininity in the films of Federico Fellini (1920-1993), and the extent to which Fellini’s view of women guides the evolution of the plots. Key female characters in Fellini's films are seen as existing on the edges of society - women who are not quite social outcasts but whose way of life leads to them being viewed as misfits living on the fringes. Fellini has made a number of films depicting the hardships endured by female characters, their troubled relationships with men, and the lessons they have learned from their travails. Fellini's films chart the personal growth of female characters towards independence through their interactions with others.

Im Jahr 2012 kam der Film »Fetih 1453« in die türkischen Kinos. Das Heldenepos um den 18-jährigen Sultan Mehmed II., dessen Truppen die oströmische Hauptstadt einnahmen, war unter Einsatz neuester Computertechnik, Animationen und vielerlei Effekten hergestellt worden. Der Kinostart in Istanbul war – damit die geschichtsträchtige Symbolik sich auch jedem Türken deutlich erschließe – um 14.53 Uhr. Der Film entwickelte sich rasch zum Kassenschlager. Er war nicht nur der teuerste in der Türkei jemals gedrehte Film – seine Produktionskosten beliefen sich auf 17 Mio. US-Dollar –, sondern zog auch die meisten Besucher an.