Ideology placement in the context of cinema's emancipation from narrative via atmosphere
As advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found...
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| Format: | Article |
| Language: | deu |
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Institute for Political Studies, Belgrade
2025-01-01
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| Series: | Srpska Politička Misao |
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| Online Access: | https://scindeks-clanci.ceon.rs/data/pdf/0354-5989/2025/0354-59892503171K.pdf |
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| author | Krašovec Primož |
| author_facet | Krašovec Primož |
| author_sort | Krašovec Primož |
| collection | DOAJ |
| description | As advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found its way into cinema, it also allowed TV series and later films to break free from narrative and exploit the full potential of cinema as technology. With its emancipation from narrative, cinema became less representational and increasingly science-fictional at the level of (visual) form. This process thus opens up new aesthetic and technological perspectives that appear alien in their distinction from the narratives we were used to in classic cinema. At the same time, this new, technologically mutated cinema also tends towards horror at the level of content. In this paper we will illustrate this transition from cinema based on narrative to cinema based on atmosphere, through an analysis of several examples: Underwater, Euphoria, Too Old to Die Young, Blade Runner 2049, Ghost in the Shell, Neon Demon, It Comes at Night, Thelma, Life and The Blackcoat's Daughter. |
| format | Article |
| id | doaj-art-cc92146bd87840cc9aa4e50cfca89c46 |
| institution | Kabale University |
| issn | 0354-5989 3042-2612 |
| language | deu |
| publishDate | 2025-01-01 |
| publisher | Institute for Political Studies, Belgrade |
| record_format | Article |
| series | Srpska Politička Misao |
| spelling | doaj-art-cc92146bd87840cc9aa4e50cfca89c462025-08-20T03:28:38ZdeuInstitute for Political Studies, BelgradeSrpska Politička Misao0354-59893042-26122025-01-0191317119110.5937/spm91-576420354-59892503171KIdeology placement in the context of cinema's emancipation from narrative via atmosphereKrašovec Primož0https://orcid.org/0000-0002-9013-0305University of Ljubljana, Faculty of Arts, Department of Sociology, Ljubljana, SloveniaAs advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found its way into cinema, it also allowed TV series and later films to break free from narrative and exploit the full potential of cinema as technology. With its emancipation from narrative, cinema became less representational and increasingly science-fictional at the level of (visual) form. This process thus opens up new aesthetic and technological perspectives that appear alien in their distinction from the narratives we were used to in classic cinema. At the same time, this new, technologically mutated cinema also tends towards horror at the level of content. In this paper we will illustrate this transition from cinema based on narrative to cinema based on atmosphere, through an analysis of several examples: Underwater, Euphoria, Too Old to Die Young, Blade Runner 2049, Ghost in the Shell, Neon Demon, It Comes at Night, Thelma, Life and The Blackcoat's Daughter.https://scindeks-clanci.ceon.rs/data/pdf/0354-5989/2025/0354-59892503171K.pdfideology placementatmospherescience fictionhorrorcinematechnologyalienness |
| spellingShingle | Krašovec Primož Ideology placement in the context of cinema's emancipation from narrative via atmosphere Srpska Politička Misao ideology placement atmosphere science fiction horror cinema technology alienness |
| title | Ideology placement in the context of cinema's emancipation from narrative via atmosphere |
| title_full | Ideology placement in the context of cinema's emancipation from narrative via atmosphere |
| title_fullStr | Ideology placement in the context of cinema's emancipation from narrative via atmosphere |
| title_full_unstemmed | Ideology placement in the context of cinema's emancipation from narrative via atmosphere |
| title_short | Ideology placement in the context of cinema's emancipation from narrative via atmosphere |
| title_sort | ideology placement in the context of cinema s emancipation from narrative via atmosphere |
| topic | ideology placement atmosphere science fiction horror cinema technology alienness |
| url | https://scindeks-clanci.ceon.rs/data/pdf/0354-5989/2025/0354-59892503171K.pdf |
| work_keys_str_mv | AT krasovecprimoz ideologyplacementinthecontextofcinemasemancipationfromnarrativeviaatmosphere |