Quantitative meta-analysis of visual motifs throughout film history

Garin, Manuel; Elduque, Albert

doi:10.3145/epi.2016.nov.05

EPI

2016

DOI: 10.3145/epi.2016.nov.05

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Quantitative meta-analysis of visual motifs throughout film history

Manuel Garin¹,

Albert Elduque²

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Transnational dreamscapes: Cinema and visual motifs in the 1929 Barcelona International Exposition

Garin

Elduque

2022

Catalan Journal of Communication &Amp; Cultural Studies

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This article explores the connections between moving images and world fairs by focusing on a specific case: the Barcelona 1929 International Exposition. The event, a key moment in the city’s history, showcased cinema as a technological marvel, a vehicle for transnational influence and a tool for propaganda. After an introduction to the political and economic context of the exposition, our analysis covers four main areas: first, we document the role played by Palacio de Proyecciones, a sumptuous palace where new audio-visual devices and techniques were displayed; second, we trace the remains of the mysterious lost film Barcelona Trailer, where Hollywood stars greeted Hispanic audiences and praised the exhibition; third, we offer a critical analysis of the newsreels recorded by the film company CINAES and their mise en scène; finally, we compare visual motifs and shots from the 1929 footage with contemporary images produced today in Barcelona, examining the links between visual culture, technology and gender.

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Transnational dreamscapes: Cinema and visual motifs in the 1929 Barcelona International Exposition

Garin

Elduque

2022

Catalan Journal of Communication &Amp; Cultural Studies

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Conflict Types in Hungarian Film History

Varga

2020

Acta Universitatis Sapientiae, Film and Media Studies

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The article introduces the collective research project entitled The Social History of Hungarian Cinema, 1931–2015, executed by the staff of Film Studies Department Eötvös Loránd University. This data-driven research aims to examine how and why Hungarian films have changed over time. Using the case study of conflict types in the plots of Hungarian films this study discusses the methodological problems of longitudinal explanations of change in Hungarian film history (periodization and dividing film between genre-based film and auteur films/art cinema). Based on the analysis of statistics and trends, the study presents the most important types of conflict in Hungarian film history. With respect to the political turning points and the periodization of Hungarian film history, the article states that each of the three broad periods (1931–1944, 1945–1989, 1990–2015) is characterized by its own distinctive set of prominent conflict types. The pre-1945 era is characterized by a massive number of love conflicts, the socialist period by the highest rate of political conflicts (and the lowest rates of love and crime conflicts), and the post-socialist period by a high rate of crime and generational conflicts. Furthermore, by analysing the connections between conflict types and genres, the study reveals recurring patterns and trends of shorter periods: it shows how the range of conflicts narrowed considerably over the 1970s and discusses the extent to which this is related to the dominance of auteur films in the era.

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Quantitative meta-analysis of visual motifs throughout film history

Cited by 2 publications

References 1 publication

Transnational dreamscapes: Cinema and visual motifs in the 1929 Barcelona International Exposition

Transnational dreamscapes: Cinema and visual motifs in the 1929 Barcelona International Exposition

Conflict Types in Hungarian Film History

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