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The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio),...
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... Por su parte, las instituciones públicas alteraron su perspectiva, pero manteniendo el interés al ver que el cine era un medio muy efectivo para transmitir propaganda (Stojanova, 2017). ...
El cine está considerado la interfaz oficial para el espectáculo audiovisual aunque cuando nació en 1895 ya existía una alternativa: el quinetoscopio de Edison, un artefacto que permitía visionar imágenes en movimiento por una mirilla. La aceptación del sistema de proyección a un grupo de personas se impuso frente al visionado individual pese a que la tecnología no era mejor además de llegar con años de retraso. El objetivo de este trabajo ha sido analizar y comprender si el éxito del cinematógrafo como artefacto e interfaz para el consumo audiovisual puede explicarse desde una perspectiva de construcción social mediante el modelo SCOT (Pinch y Bijker, 1984) y las reglas de la interfaz (Scolari, 2021). Esta metodología ha permitido determinar que los diferentes actores relacionados con los artefactos del cine de los primeros tiempos decidieron el éxito del visionado como acto social en lugar de como acto individual. Los creadores, los exhibidores, los consumidores potenciales y los poderes institucionales formularon una compleja red de interacciones que desembocó en el éxito del cine como interfaz institucional para disfrutar del espectáculo audiovisual tal como se conoce hoy en día.
... For him, it will doubtless be maintained that propaganda is a sterner end to serve than profit and that the demands of the propagandist will further restrict the development of the film and the activity of its makers (Rotha, 1939). The artistic sophistication of interwar cinema in the 1920s and 1930s had its formidable power as means of propaganda and persuasion, which are direct results of its achievement as industry and artistry during the First World War (Stojanova, 2017). ...
This article examines the production of documentary films about the Cyprus conflict produced between the late 1970 and late 1980s. Two films have been selected for analysis: Cyprus: The Other Reality (1976, dir. Lambros Papadimitrakis and Thekla Kittou), an anti-nationalist documentary produced in the immediate aftermath of the Turkish incursion of the island, and A Detail in Cyprus (1987, dir. Panicos Chrysanthou), which looks back at the social effects of the incursion and the estrangement of the Greek and Turkish Cypriot communities. Based on original interviews with their directors, this article gives an account of the production histories of the two documentaries and looks at their means through which they were distributed to the public. The article also examines the ways in which these two films represent the Cyprus conflict, in particular their engagement with the prevailing nationalist ideologies at work in both Greek and Turkish Cypriot communities and the alternate concept of Cypriocentrism. Finally, this article examines the ways in which both films were politically suppressed following their release within the Republic of Cyprus.
... Virilio P. offers a model of society and the media: "War is cinema, and cinema is war." (Stojanova, 2017) We don't mean war at the level of armed aggression, but at the level of a conflict of interests. Cinema, like propaganda, reaches an area of interdisciplinary research that concerns issues of paradox, propaganda, and controversy. ...
... In a span of two years around six movies were produced, two of which also got premiered on television recalling the memory of cruel war. Faucon's La Trahison movie takes 6 The Algerian War: Memory through Cinema, Benjamin Stora the audience to rural Algeria and show how brutally the locals were treated by the French officers. Tragedies of migrants by the hands of French army are also portrayed and every angle of the war is covered in its true sense. ...
Both American and French cinemas try to depict their soldiers in way to dominate geo-politics and to legitimize their inhumane militarized activities in the eyes of their own people. There is a very strong relation between cinema, war and propaganda. The government agencies have influence over the cinema and control the narratives when it comes to movies based on security and the role of military. Also producers and filmmakers are compelled by economics to focus and meet the expectations of local audiences who look for heroes in their armed forces so they try to alienate facts and rather try to express national discourse in their films. The partnership between military and cinema dates back to “World War First” when US military formed a committee in 1917 which was supposed to censor press and release government news, it was later abolished in 1919. In “World War Two” the American cinema with collaboration with military produced certain documentaries and movies to spread their propaganda
With the advent of the image age, the popularity of war-themed film and television dramas in the new century has promoted a new wave of thematic narratives. Facing the era of computer graphics, the main theme narrative adopts a series of new reconstruction strategies, namely: the spectacle strategy of visual expression, the typification strategy of narrative subjects, and the striation strategy of character modelling. As an important genre of Chinese movies, war-themed themed movies often focus on the education and dissemination of national ideology, but “The Eight Hundred” broke the stereotype of this type of movie to the audience. Taking the film “The Eight Hundred” as an example, using the LDA model of computer image characteristics, combined with the related theories of visual effects, the thesis explores how the main theme of contemporary warfare movie content is expressed through images and its unique image style.
The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.
