1 / 21

Generic panels in European small cinemas : a recipe for creative outcomes?

Generic panels in European small cinemas : a recipe for creative outcomes?. Andrea Virgi nás Sapientia University, Cluj-Napoca, Romania avirginas@gmail.com.

virgo
Download Presentation

Generic panels in European small cinemas : a recipe for creative outcomes?

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Generic panels in European small cinemas: a recipe for creative outcomes? Andrea Virginás Sapientia University, Cluj-Napoca, Romania avirginas@gmail.com

  2. "[Thus] creative ideas may be pursued actively when they represent a possible but risky solution to a bad situation, whereas creative ideas may be avoided when a person faces a choice among options involving potential gains." ("Creativity and economics: current perspectives", Isaac Getz and Todd Lubart 208).

  3. “The Cinema of Small Nations presents a multifaceted working definition of small nationhood encompassing four indicators of size.” (Hjört – Petrie 2007: 6) - population - area - GNI per capita - domination

  4. Danish, Hungarian, Romanian small cinemas • unforeseeable availability of financial, technological, institutional and human resources • non-integrated, often improvised studio background, or indeed classical theatre and non/commercial television as production sites or originators • dis-organised, non-integrated modes of distribution, also the local/regional audiences limited by linguistic barriers, audiences that are scarcely known because of non-existing long-term audience and market research

  5. First, “Once notions of a single centre, primacies and diachronicities are discarded, everything can be put on the world cinema map on an equal footing, even Hollywood, which instead of a threat becomes a cinema among others (…).” (Nagib et al. Theorizing World Cinema 2012: xxiii) • Second, the ‘analogue, celluloid model’ of defining film genres must be replaced by a ‘digital’ model

  6. “Whereas one of these [parallel] industries is small and both locally focused and anchored, the other is externally owned and run, and in every way part of the global film industry.” (Hjört – Petrie 2007: 18) • “This new order is founded on an intensification of Hollywood’s direct participation in the production sectors of other national film industries – most notably Canada, the UK and Eastern Europe – through an increase in runaway and co-production initiatives.” (Hjört – Petrie 2007: 9).

  7. When working through and out the specific local/national example, constant reference is made to a specific, globally recognized example that, because of its highly self-reflexive usage of classical generic panels, has already been considered an arthouse representative, too.

  8. Love is All You Need 2012, Susanne Bier

  9. Mamma Mia 2008, PhyllidaLoyd

  10. Metabolism 2013, Corneliu Porumboiu

  11. In the Mood for Love 2000, Wong Kar-Wai

  12. Killing Time 2012, Florin Piersicjr.

  13. Pulp Fiction 1994, Quentin Tarantiono

  14. “An improved realist proposal is that movie genres are types. Each type has a type-constitutive feature, a feature that items must have in order to be tokens of the type. (…) Perhaps, then, movie genres are types whose tokens are movies having whatever features constitutes the type. (…) The advantage of this proposal is that the identity of a genre is secured not by its tokens but by a feature that they have. Movies actually made in a movie genre are not essential to it. Thus the comparison class in appreciating a movie in a genre may go beyond movies actually made in the genre.” (Laetz-McIver Genre 2009, p. 158)

  15. After the Day Before 2004, Attila Janisch

  16. The Investigator 2008, Attila Gigor

  17. Heavenly Shift 2013, Márk Bodzsár

  18. “With regard to task domain knowledge, a person needs to acquire a critical but not too extensive amount of it (without the critical amount of task domain knowledge, every idea will seem ‘new’; however, with too much knowledge a person will likely adopt the dominant perspective, thus impeding new ideas; see Simonton 1984)." (Isaac Getz and Todd Lubart 215).

  19. Rape-revengestorieswithmysteriousheroines: • 2009 Katalin Varga(Peter Strickland, UK-Romania-Hungary) • 2009 The Girl with the Dragon Tattoo (Niels Arden Oplev, Sweden, Germany, etc.) (remade in 2011 by Hollywood and David Fincher) The thriller format: • Tobias Lindholm's 2012 Danish Kapringen/A Hijacking • Paul Greengrass'2013 Captain Phillips The “bully-movie”: a regional genre • Thomas Vinterberg's 2012 Danish The Hunt • Anna Odell's 2013 Swedish Reunion

  20. “the fundamental operations of computation[that] requir[e] the transfer, storage, and modification of information (...) most likely to arise at the boundary between ordered structures and chaotic areas. (...) Only in boundary areas between chaos and order is there the necessary innovation/replication tension that allows patterns to build up, modify, and travel over long distances without dying out.” (Hayles 240-241).

  21. Thank you for your attention. avirginas@gmail.com Project title: The Role of Generic Panels in European Small Cinemas PNII-RU-PD-2012-3-0199, UEFISCDI-Romanian Ministry of Education

More Related