Search Results (6)

The Western genre has traditionally been associated with American identity and male-dominated narratives. However, recent decades have seen increasing attention to female protagonists, particularly the European woman as a cultural mediator within the frontier context. This study aims to identify the archetypes of the European woman in the Western genre through a diachronic and comparative analysis of the visual language found in European painting from the late 17th to early 19th centuries and in 20th–21st century cinema. The research methodology combines narrative, visual, and semiotic analysis, with a focus on intermedial and intertextual parallels between visual art and film. The study identifies nine archetypal models corresponding to goddesses of the Greek pantheon and traces their transformation across different aesthetic systems. These archetypes, rooted in artistic traditions such as Baroque, Classicism, Romanticism, and others, reappear in Western films through compositional, symbolic, and iconographic strategies, demonstrating their persistence and ability to transcend temporal, medial, and geographical boundaries. The findings suggest that the woman in the Western genre is not merely a central character, but a visual sign that activates cultural memory and engages with deep archetypal structures embedded in the collective unconscious. Full article

On 26 May 2011, the Russian People’s World Council issued a document entitled The Basic Values: The Fundaments of National Unity. The document, prepared by the Synodal Department for Church–Society Cooperation, provided a catalogue of 17 traditional values whose general framework was constituted by a combination of freedom, unity, patriotism, family, and devotion. At that time, the Moscow Patriarchate considered religious faith to be the foundation of traditional values and it continues to do so. The defence and promotion of traditional Russian spiritual and moral values were also central in the Russian National Security Strategy (2015); this was the case in the updated version of this document as well, put out in July 2021. Furthermore, they have been the core of the Moscow Patriarchate’s participation in the Council of Europe and of Patriarch Kirill’s speeches about the war in Ukraine. Finally, on 9 November 2022, The Foundations Of State Policy For The Preservation Of Spiritual And Moral Values was approved. This framework permits us to understand the strict interplay between the Church and the State in the Russian Federation and to see why it is important to refer to the concept of post-secularism when talking about the role of religion in post-Soviet Russia. Proceeding from the Abstract, the present paper aims to analyse this interplay in a specific sector of visual culture: the cinema and television industries. Manuel Castells highlighted the relevance of cultural values in the age of information and the connection between the values and social mobilization that follows it. He pointed out that the Internet has become a way to render this connection predominant, inevitably leading to the development of social movements and networks that have a religious basis. This is unquestionably true; surveys conducted by the Russian Public Opinion Research Center (OJSC «VCIOM») and by Nevafilm Research confirm that a high percentage of Russians watch films not only at the cinema or on television (especially the older generations) but also on the Internet (as far as the younger generations are concerned). The importance of this market is also confirmed by the success of the cinema and TV distributor Orthodox Encyclopaedia (2005); in the words of the philosopher Sergei Kravets, who, commenting on it during an interview published in 2006 by the website Sedmits.ru, declared that the expression “orthodox cinema” can be understood as a way to express Russian culture. He asserts that “the fact that today Orthodox films have begun to appear on the central TV channels testifies that Russian film producers and viewers have apparently begun to be aware of themselves as Orthodox, to feel that they are bearers of a special Orthodox culture. [..]”. At the same time, consideration should be given to the importance of the Russian Orthodox Church and the Minister of Culture’s condemnation of films such as Matilda or Monastery. In addition, it is important to consider that, according to a survey conducted in 2022 by the Levada Center, Russian people consider television the most reliable source of information (54%). The long-term implications of this tendency may have very important effects, not only in terms of its objectives but also in terms of the consideration that, after the beginning of the war, many Western film distributors withdrew their licenses from Russia. This paper will analyse “the effect of religion on the institutional system, the regulatory environment of the media and the public sphere” by studying the features of films and TV programs distributed by Orthodox Encyclopaedia, their relations with traditional values promoted both by the Kremlin and the Church, how these have contributed to strengthening the interplay between the Minister of Culture and the Moscow Patriarchate, and the impact this process has had on Russian society and Russia’s relations with the European and Western World in the 2005–2022 period. A list of the films and TV programs being discussed will be provided, and then statements about the project and reviews of the serials and films will be analysed. The analysis will be conducted mainly through the official sites of the Russian Orthodox Church and the Kremlin and by browsing the Integrum database. Full article

This paper introduces the context of European mobilizations for and against refugees and how participatory cinema has become a way of expressing political solidarity with refugees in Italy. We present and discuss ten years of the artistic work of ZaLab and Archivio Memorie Migranti and focus on two film projects of 4CaniperStrada. Central to the production of participatory cinema in Italy is challenging the mainstream narrative of migration through the proactive involvement of asylum seekers, with their political subjectivity, by using a self-narrative method. Full article

The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality. Full article

Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market. Full article

This article provides a close analysis of Radu Jude’s The Dead Nation (2017), a documentary essay that brings together authentic archival sources documenting the persecution and murder of Jews in World War II. The sources include a little-known diary of Emil Dorian, a Jewish medical doctor and writer from Bucharest, a collection of photographs depicting scenes from Romanian daily life in the 1930s and 1940s, and recordings of political speeches and propaganda songs of a Fascist nature. Through a careful framing of this film in relation to Romanian public memory of World War II, and in connection to the popular new wave cinema, I will contend that Jude’s work acts, perhaps unwittingly, to intervene in public memory and invites the Romanian public to face up to and acknowledge the nation’s perpetrator past. This filmic intervention further offers an important platform for public debate on Romania’s Holocaust memory and is of significance for European public memory, as it proposes the film happening as a distinct and innovative practice of public engagement with history. Full article