Film Studies

Esej analizira fenomenologiju igranja, kratku povijest i razvoj igre, u odnosu na složen odnos između filma i videoigara kao dva komplementarna medijska fenomena unutar savremene vizuelne kulture. Film, kao stariji i formativni medij, razvio je sofisticirani vizuelni jezik kroz upotrebu kadrova, kompozicije, montaže i filmskih tehnika, koji su postali temelj za narativne strategije u različitim digitalnim medijima. Videoigre, kao mlađi i inovativniji medij, reinterpretiraju i proširuju filmski jezik kroz interaktivnost, subjektivnu perspektivu i višestruke narativne puteve, omogućavajući korisnicima aktivno sudjelovanje u kreiranju priče. U tom kontekstu, pojam homo ludens naglašava igru kao temeljnu ljudsku djelatnost koja potiče maštu, simboličko mišljenje i kreativno oblikovanje stvarnosti, te onaj osnovni aspekt koji nas čini ljudima. Agon, kao fenomen takmičenja i sukoba, primaran je u oblikovanju filmske priče, ako i videogaming iskustva. Film i videoigre djeluju kao "braća" u neprekidnom dijalogu i uzajamnoj inspiraciji, oblikujući budućnost medijske kulture i potvrđujući važnost igre kao esencijalnog aspekta ljudskog iskustva i kulturnog razvoja.

Certain tendencies in 1970s Philippine cinema challenge traditional genre and production categorizations, blurring distinctions between mainstream and independent films and between lowbrow and middlebrow cultural products. Within this cinematic landscape, Lino Brocka's works strategically negotiate commercial demands with social critique, offering a nuanced portrayal of post-colonial Filipino experiences through melodrama, realism, and erotic spectacle. By examining Brocka's Maynila sa mga Kuko ng Liwanag (Manila in the Claws of Light, 1975), Insiang (1976), and Macho Dancer (1988), this article questions traditional definitions of exploitation cinema and models of taste hierarchies, demonstrating how these works embody a culturally specific aesthetic that addresses class conflict, gender dynamics, and systemic inequalities within a commercial frame shaped by melodrama and exploitation.

Der Beitrag präsentiert zentrale Konzeptionen des Digitalen von Denkerinnen vom 19. Jahrhundert bis in die Gegenwart. Beginnend mit einer Darstellung von Ada Lovelaces Konzept symbolischer Universalität und Operationalität wird sodann Josephine Miles' Beitrag zur frühen digitalen Hermeneutik im 20. Jahrhundert behandelt. Es folgt eine Übersicht über zentrale Konzeptionen des Digitalen aus posthumanistischer, feministischer und kritischpolitischer Perspektive (Haraway, Hayles, Turkle, Noble, Nissenbaum) im Übergang vom 20. zum 21. Jahrhundert. Der Beitrag zeigt, wie sich die Konzeption des Digitalen vom abstrakten Zeichenprozess zum epistemisch-hermeneutischen und schließlich politisch-lebensweltlichen Dispositiv entwickelt hat. Er eröffnet damit ein transdisziplinäres Forschungsfeld, das im größeren Kontext von Denkerinnen der Technik steht und dessen systematische Erschließung im Sinne der Kanonerweiterung nach wie vor ein Desiderat darstellt.

In 1971, I made a film entitled Self Portrait of a Nude Model Turned Cinematographer in which I explore the objectifying 'male' gaze on my body in contrast to the subjective lived experience of my body. The film was a radical challenge to the gaze that objectifies woman -and thus imprisons her -which had hitherto dominated narrative cinema. Since the objectification of women has largely excluded us from the privileged phallogocentric discourses, in this paper I hope to bring into the psychoanalytic dialogue a woman's lived experience. I will approach this by exploring how remembering this film has become a personally transformative experience as I look back on it through the lens of postmodern and feminist discourses that have emerged since it was made. In addition, I will explore how this process of imaginatively looking back on an artistic creation to generate new discourses in the present is similar to the transformative process of analysis. Lastly, I will present a clinical example, where my embodied countertransference response to a patient's subjection to the objectifying male gaze opens space for a new discourse about her body to emerge.

Caspar David Friedrich: The Soul of Nature (2025), the most recent exhibition of the German artist at The Metropolitan Museum of Art in New York, reaffirms his relevance and invites reflection on his contemporary resonance. This paper examines the presence of Friedrich’s Romantic imagery in Werner Herzog’s cinema, proposing the hypothesis that the filmmaker reworks Friedrich’s sublime not merely as an iconographic reference but, above all, as an aesthetic and sensory experience articulated through the concept of Stimmung. The analysis seeks to demonstrate how the melancholic atmosphere, the relationship between diminutive human figures and grand landscapes, and the motif of the second-order observer – or the dorsal position of characters facing the vastness of nature –,all central to Friedrich’s painting, reappear in films such as Aguirre, the Wrath of God (1972), The Enigma of Kaspar Hauser (1974), Heart of Glass (1976), Nosferatu: Phantom der Nacht (1979), and Fitzcarraldo (1982). In these works, nature emerges as sublime and indifferent to human destiny. Unlike broader studies on Romanticism in cinema, this paper emphasizes the specificity of the dialogue between Friedrich and Herzog, contributing to reflections on landscape, atmosphere, and subjectivity in painting and film.
Keywords: Caspar David Friedrich; Werner Herzog; Stimmung; landscape; second-order observer.

This paper will deviate from the assembly-line interpretation of the term indigenous with a specific jan-jaati and look at the term 'indigenous' from a socio-cultural standpoint, with time, location, habitation and hence, class being its principal markers. Consequently, it would delve into the moral and psychological complexities of the indigenous community of the post-independence Bangali ''bhadralok', ' In his fictional world, Ray unveiled a few 'bhadralok', s and the weathered terrain of their minds, where moral turpitude exists in an uneasy truce with uprightness, arising from an epistemological position rooted to this land. As Uddalak Mukherjee refers to them as 'Twilight Men,' which will be explored in this paper concerning the psychological and epistemological identity of the average middle-class Bangali ('60s-'80s), its locus in a changing socio-cultural mindscape and its functioning within the enthalpy of their 'own' knowledge system. Patol Babu dreams of fleeting stardom, while elderly Pintu'r Dadu seeks to prove his musical talent to his grandson. Among the young, Shibu turns to 'pagla' Photik for help against his 'rakkhosh' Math teacher, while heartbroken Tipu mourns the loss of his cherished 'roopkathā' books-another casualty of his Math teacher. That kalpanā and vijnāna can coexist may be alien to Western theories of objective knowledge, and Ray subverts that very colonial sense of superiority embedded in Modern (Western) science through his eccentric adolescents. Ray's 'bhadralok', often finds himself at a crossroads between his svabhāva and the lure of materialism stemming from mithyā and saṁsārikamāyā. Lobha pitted against bodha and saṃskāra egg him on towards conflict. Thus, despite persuasion, Asmanjo Babu refuses to part with his dog. The eternal ātmān (satchitt-ānanda) manifests in Ray's Saddananda, the lonesome boy finding wonders in the tiniest of nature's living creatures.

The concept of enunciation has long held-and continues to hold-a central role in semiotic studies, serving both as a theoretical framework and as a tool for analysing texts, discourses, and signification processes. This paper seeks to apply the concept of enunciation to Generative Artificial Intelligence (GenAI), particularly Visual Generative Artificial Intelligence (VGenAI). My intent is twofold: on one hand, I intend to develop a deeper understanding of how algorithmic machines operate in the automated creation of images; on the other, I want to test the flexibility of the theoretical notion of enunciation and to identify the transformations that VGenAI introduces into this concept. My central hypothesis is as follows: traditionally, reflections on enunciation have emphasized the mutual individuation between utterances and their subjects, a kind of identification enacted through discursive production practices. In contrast, GenAI and VGenAI offer a different model based on operations of dividuation-that is, the arbitrary partitioning of both discourse and its subjects. This new scenario, on one hand, connects enunciative practices to a broader economic and political context; on the other, it prompts a reconsideration of the fundamental concepts of enunciation theory.

Within the framework of a “neurofilmological” approach – which integrates film studies, cognitive psychology, and neuroscience – the present study explored how cinematographic editing influences the viewer’s perception of time. Previous behavioral research has shown that editing density affects temporal judgments. To investigate the neural mechanisms underlying this relationship, we examined the role of motor system activity, specifically the supplementary motor area (SMA), in time perception when individuals are exposed to moving images with different cinematographic editing styles. Forty-eight university students were assigned to one of three tDCS conditions (anodal, cathodal, or sham). They viewed nine silent video clips with different editing styles (master shot, slow-paced, fast-paced) that were specifically created for research. The participants rated perceived duration, time passage, action speed, and emotional engagement, while tDCS was applied for 20 min targeting the SMA. The results revealed that SMA excitability modulation affected duration estimates, time passage, and action speed judgments by interacting with the editing style of the clips. These findings highlight the importance of the SMA in modulating time perception during film viewing. Furthermore, they provide valuable insights into the neural mechanisms that shape the viewer’s perception of film time as an integral part of experiencing movement in cinema.

Este artículo presenta un marco de investigación basado en el diálogo entre semiótica audiovisual y ciencias neurocognitivas llamado Neurofilmología que actualiza la semiótica interpretativa y que busca esbozar un modelo de la experiencia de visionado que tenga en cuenta la relación encarnada entre un organismo-espectador y su entorno. Este modelo se elabora a nivel metaempírico, reuniendo resultados empíricos de análisis semióticos y experimentos neuropsicológicos. En particular, el artículo ilustra la metodología y resultados de una investigación neuropsicológica en curso sobre la experiencia temporal en el visionado de productos audiovisuales. La experiencia del tiempo no depende de un abstracto reloj interno, sino que está vinculada a una serie de movimientos realizados o percibidos por el sujeto. Este fenómeno se intensifica durante el visionado, en comparación con la experiencia ordinaria. Esta visión encarnada explica las particularidades de la experiencia temporal del espectador y hace del cine un laboratorio de la temporalidad único.

I film giudiziari-processuali, quelli ambientati in tutto o in parte in un'aula di tribunale, hanno sempre affascinato sia i cineasti che il pubblico, poiché offrono un contesto in cui gli eventi possono essere rappresentati con grande potenziale drammatico, ma anche con una perturbante ambiguità. Le aule di tribunale sono il luogo di un acceso dibattito verbale tra due parti contrapposte, dove si decide sulla vita e sulla morte di esseri umani e, più in generale, dove "si fa giustizia" attraverso l'applicazione della legge. Spesso dominati dall'immaginario offerto dai film americani, i drammi giudiziari mettono in scena conflitti su una varietà di questioni, dai diritti civili ai problemi ecologici e politici, e coinvolgono personaggi tipici, come avvocati, giudici e giurati, in competizione tra loro - con gli stessi spettatori spesso coinvolti come testimoni e persino come membri della giuria.

Already the nineteenth century was ablaze with great enthusiasm for the Middle Ages. The Middle High German epic Nibelungenlied, above all, was a true magnet for those interested in historicizing their present world and to retrieve the glory of the past. This paper offers a new close reading of Friedrich Hebbel's Die Nibelungen (1862) which was a great success on the theater stages in Germanspeaking lands and soon also found translators in various languages. Hebbel pursued a different approach to this medieval epic than his famous contemporary, Richard Wagner, who tended to mythologize his medieval material. The close analysis reveals that the differences to Wagner were actually not that vast as commonly assumed since Hebbel also enjoyed mythologizing some aspects of the Nibelungenlied and its Nordic parallels. Here the intention is to uncover specific narrative and psychologizing strategies that made this play so popular. The interpretation is limited to a study of the early episodes where we can easily recognize the major differences between the medieval source and the nineteenth-century adaptation. Most importantly, Hebbel humanized and personalized his figures and allowed us to gain insight into their mindset and emotions. Although medieval heroes appear on the stage, the play makes them rather into regular individuals with all their character strengths and weaknesses. Hebbel transformed his source, at least in the first part, into a family affair with a mighty outsider who suddenly appears and tries skillfully to get accepted and integrated without great difficulties. Keywords Friedrich Hebbel • Die Nibelungen • nineteenth-century medievalism • the heroic epic • historicizing of medieval literature Citation: Classen, A. (2026). The modern dramatization of the Nibelungenlied by Friedrich Hebbel (1862): Psychologizing strategies for a medieval heroic epic poem in the nineteenth century.

L'industrie cinématographique turque a longtemps reposé sur des financements privés, sans véritable soutien public avant 1987. Depuis les années 2000, les fonds publics se sont diversifiés, associant subventions ministérielles, soutiens municipaux et contributions de fondations. La Direction générale du cinéma a financé près de 485 longs métrages entre 2005 et 2018, mais les montants restent bien inférieurs à la moyenne européenne.
Le modèle français du CNC constitue une référence constante, sans jamais avoir été pleinement adopté. Le système demeure centralisé et politisé : toute décision de financement requiert la signature du ministre, limitant l'indépendance du secteur. Les coproductions internationales restent insuffisamment soutenues, freinant l'intégration de la Turquie dans le marché mondial.
Les festivals jouent un rôle économique et culturel croissant, notamment grâce à des plateformes comme le Meeting on the Bridge, financé par Europe Créative. Eurimages a co-produit 93 films turcs depuis 1990. Les associations professionnelles, malgré leurs limites, agissent comme des lobbys pour réformer le système. Au final, le développement du cinéma turc repose davantage sur la société civile que sur une politique audiovisuelle cohérente et structurée à l'échelle nationale.

Der Aufsatz konturiert einen affirmativen Entfremdungsbegriff als kritischen Horizont für ein Theater des 21. Jahrhunderts. Über die Rekonstruktion von Rahel Jaeggis Relektüre des Entfremdungsbegriffs fragt er nach Unterschieden zwischen den postdramatischen ‚Entfremdungsgewinnen' bei René Pollesch und den restlos entfremdeten Figuren Susanne Kennedys. Ziel des Beitrags ist es, einige Anhaltspunkte für ein neues ästhetisches Kritikmodell zu liefern, das sich als Entfremdungsgestaltung diskursivieren lässt.