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In the scope of this study; Joker (2019) film will be analyzed and examined as a political entertainment medium through cinematic narration. The film is assessed both in terms of scene analysis and in terms of the film's current discourse. Within the framework of this study, Joker film evaluated thematically as a political entertainment thus this article aims to enlighten the relationship between cinematic representation and political circumstances through the perspective of Douglas Kellner's Cinema Wars narrative. The goal of this study was to break down Joker film to examine its ideological and aesthetic representations within the social, political and cultural context in the timeframe when the film was released to build up a bridge between political reality through the employment of cinematographic machinery.

This paper presents the Swedish history of the legendary documentary Finally Got the News (1970), a collaboration between Newsreel and the League of Revolutionary Black Workers in Detroit. Through an analysis of the re-edited print made by Swedish TV in 1971 and archival research on the League member Glanton Dowdell, who distributed the film in Sweden, the paper sets out to both correct some of the previous research and reveal how racism was a blind spot in Sweden, which at that time appeared to be the model of a politically progressive country that engaged with the American Black Power movement.

Discussing the debate and ideological background regarding national cinema, this form of art shall be compared to several other contemporary cinematic currents in Turkey. In this study, a content analysis comprising one of the rarer examples of national cinema, the film \"Güneş Ne Zaman Doğacak?\" (Mehmet Kılıç, 1977) will be conducted while scanning secondary sources on Turkish cinema to present a concise picture; of the phenomenon that is known as 'national cinema.' Distinctive characteristics of the artistic language and the ideological background of the post-1960 Turkish cinema will be provided, among those, the phenomenon of a very blurred line between creative expressions and underlying ideological affiliations and the non-static developmental nature of cinematic fashions in influencing each other. 

How do films work? How do they tell a story? How do they move us and make us think? Through detailed examinations of passages from classic films, Marilyn Fabe supplies the analytic tools and background in film history and theory to enable us to see more in every film we watch. Ranging from D. W. Griffith's The Birth of a Nation to James Cameron's Avatar, and ending with an epilogue on digital media, Closely Watched Films focuses on exemplary works of fourteen film directors whose careers together span the history of the narrative film. Lively and down-to-earth, this concise introduction provides a broad, complete, and yet specific picture of visual narrative techniques that will increase readers' excitement about and knowledge of the possibilities of the film medium. Shot-by-shot analyses of short passages from each film ground theory in concrete examples. Fabe includes original and well-informed discussions of Soviet montage, realism and expressionism in film form, classical and modern sound theory, the classic Hollywood film, Italian neorealism, the French New Wave, auteur theory, modernism and postmodernism in film, political cinema, feminist film theory and practice, and narrative experiments in new digital media. Encompassing the earliest silent films as well as those that exploit the most recent technological innovations, this book gives us the particulars of how film—arguably the most influential of contemporary forms of representation—constitutes our pleasure, influences our thoughts, and informs our daily reality. Updated to include a discussion of 3-D and advanced special effects, this tenth anniversary edition is an essential film studies text for students and professors alike.

La sátira menipea es un género proteico y milenario que ha florecido en los periodos de grandes crisis civilizatorias y sociales. Su cultivo y reconocimiento son minoritarios, y se ha presentado desde la Antigüedad mediante formas diversas: primero como diálogo y después como cuento, poesía, ensayo, teatro o novela. Son clásicas las menipeas de Luciano de Samósata, Los viajes de Gulliver de Swift, La metamorfosis de Kafka, El principito de Saint Exupéry o los esperpentos de Valle Inclán. Son sustantivas su misión cultural y su forma estética: expresa la denuncia de la ruina de una sociedad que se ha separado de sus valores, así como la pérdida del sentido de la vida de sus individuos; para ello, reúne todas las formas de la risa y la imaginación libre, de modo que es una síntesis de humor, filosofía y fantasía. Desde el siglo pasado se presenta también como película. Describiremos en este artículo sus diferentes características, tomando como referencia los mejores momentos del debate teórico sobre la menipea. Trazaremos sus diferentes líneas cinematográficas y trataremos de demostrar, mediante el análisis hermenéutico de menipeas fílmicas, que es un género prioritario para el cine fantástico de denuncia social y política de la actualidad.

Laurent Cantet is of one France’s leading contemporary directors. In a series of important films, including Human Resources, Time Out, Heading South, The Class and Foxfire, he takes stock of the modern world from the workplace, through the schoolroom and the oppressive small town to the world of international sex tourism. His films drive the hidden forces that weigh on individuals and groups into view but also show characters who are capable of reflection and reaction. If the films make their protagonists rethink their place in the world, they also challenge the positions of the viewer and the director. This is what makes them so worthy of study. Combining a fine eye for detail with broad contextual awareness, this book gives an account of all Cantet’s works, from the early short films to the major works. Martin O’Shaughnessy is a leading international writer on French cinema,especially in film and politics.

Italian Political Cinema is one of the most distinctive trends in Italian cinematic production. Paolo Sorrentino's Il Divo proposes a new approach to this trend that includes both historical documentation and flamboyant postmodern visual style. However, this movie is not only an exposé of Giulio Andreotti's controversial political career: it is also a reflection on power, a recurring theme in Sorrentino's filmography. The article analyzes Il Divo under the points of view of Biopolitics and Political Theology, making reference in particular to Roberto Esposito's Due. La macchina della teologia politica e il posto del pensiero (2013), and Massimo Cacciari's Il potere che frena (2013).

Cinema Wars explores the intersection of film, politics, and US culture and society through a bold critical analysis of the films, TV shows, and documentaries produced in the early 2000s Offers a thought-provoking depiction of Hollywood film as a contested terrain between conservative and liberal forcesFilms and documentaries discussed include: Black Hawk Down, TheDark Knight, Star Wars, Syriana,WALL-E, Fahrenheit 9/11 and other Michael Moore documentaries, amongst othersExplores how some films in this era supported the Bush-Cheney regime, while others criticized the administration, openly or otherwiseInvestigates Hollywood's treatment of a range of hot topics, from terrorism and environmental crisis to the Iraq war and the culture wars of the 2000sShows how Hollywood film in the 2000s brought to life a vibrant array of social protest and helped create cultural conditions to elect Barack Obama.

Based on Gilles Deleuze’s claim that rumor has been a “cinematographically privileged object” in early sound cinema, this essay will provide a political analysis of the representation of rumor in two early sound films in the transnational oeuvre of Fritz Lang. This interpretation of M―Eine Stadt sucht einen Mörder (Germany, 1931) and Lang’s first Hollywood production Fury (USA, 1936) will show that the shift from silent to sound cinema marks not only an aesthetic and technological innovation, but also coincides with an increased political awareness in the director’s oeuvre. While his films of the silent era remain politically ambiguous and have often been accused of foreshadowing fascist themes and aesthetics, the sound films produced shortly before and after Lang’s emigration to the United States take a clear political stand with regards to the toxic effects of rumors as expressions of populist sentiments and, in this, provide a gateway to the director’s integration into American liberalism.

This article reassesses the politics of Ermanno Olmi’s 1978 Palme d’Or winner, The Tree of Wooden Clogs. It specifically addresses charges made against the film by the novelist and critic, Alberto Moravia. The Marxist writer asserted that the film promotes the life and ideology of the farmers featured in the work. By looking closely at the film, I demonstrate how the formal strategies utilized by Olmi negate Moravia’s assessment and controvertibly position spectators to re-evaluate their political relationships to those in their range of influence.