Cinema, Life and Other Viruses: The Future of Filmmaking, Film Education and Film Studies in the Age of Covid-19 Pandemic

Authors

DOI:

https://doi.org/10.5195/cinej.2020.351

Keywords:

Fernando Solanas, Sean Connery, COVID, pandemic, film industry, Netflix, streaming services

Abstract

This issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. New reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.

Author Biography

Murat Akser, University of Ulster

Murat Akser is lecturer in cinematic arts, in the School of Creative Arts, University of Ulster, UK. Between 2006-2013 he has been an associate professor of cinema and media studies, chair of new media department and the founding director of the Cinema and Television MA program at Kadir Has University Istanbul, Turkey. He has his MA in Film and PhD in communication and culture from York University, Canada. He works extensively on political economy of film festivals, film genres and has recently published a book length study of Turkish cinema from Lambert: Green Pine Resurrected: Film Genre, Parody, and Intertextuality in Turkish Cinema. Also an independent filmmaker Dr. Akser has directed short films, music videos and is a member of International Cinematographers Guild and Academy of Canadian Film and Television.

References

Akser, M. (2020). Remembering Thomas Elsaesser and Peter Wollen. CINEJ Cinema Journal, 8(1), 1–13.

Asraf, A. (2020). Emerging Discourses, Changing Perspectives: Iraq in Oscar Documentary Films. CINEJ Cinema Journal. 8(2), 195-216.

Ayanbadejo, M. How has COVID-19 impacted the evolution of cinemas?. General Management in Lockdown, 1-6. Pembroke College, Oxford. https://www.pmb.ox.ac.uk/sites/default/files/em_student_project_tt20.docx.pdf

Baykan, B. (2020) Body without Organs as Pure Potentiality in Patricia Piccinini’s Sculptural Installations in Przedpełski, R. and S. E. Wilmer eds. (2020). Deleuze, Guattari and the Art of Multiplicity. Edinburgh: Edinburgh University Press.

Barton, R. and D. Murphy (2019). Ecologies of Cultural Production Career construction in Irish film, TV drama and theatre. Report for the Creative Ireland Programme. https://www.creativeireland.gov.ie/app/uploads/2020/03/ECP.pdf

Behlil, M., Prado, I. M. S., & Verheul, J. (2020). The Dead Are Alive: The Exotic Non-Place of the Bondian Runaway Production. In Verheul (Ed.) The Cultural Life of James Bond, (81- 102). Amsterdam University Press.

Cengiz, E. P. (2020). Women’s Rights and Gender Equality in Turkey: Cinema Has Split the Girl’s Soul Into Pieces: Scrutinizing Representations of Women in Films From Turkey. International Journal of Communication 14, 5482–5498.

Comunian, R. & L. England (2020) Creative and cultural work without filters: Covid-19 and exposed precarity in the creative economy, Cultural Trends, 29(2),112-128.

Dutta, M. (2020). A Reading of Bhabendra Nath Saikia's Films from Feminist Lens. CINEJ Cinema Journal. 8(2), 247-274.

Eikhof, D. R. (2020). COVID-19, inclusion and workforce diversity in the cultural economy: what now, what next?. Cultural Trends, 29(3), 234-250.

Ekinci, T. (2020). “Youtuber Movies” From New Media to the Cinema. CINEJ Cinema Journal. 8(2), 94-118.

Erensoy, Ş.F. (2020). The Technological Turn of the Femme Fatale: The Fembot and Alternative Fates. In: Sezen D., Çiçekoğlu F., Tunç A., Thwaites Diken E. (eds) Female Agencies and Subjectivities in Film and Television. Palgrave Macmillan.

Fuchs, M. (2020). Crushing Life in the Anthropocene? Destroying Simulated "Nature" in The Cabin in the Woods. CINEJ Cinema Journal. 8(2), 62-93.

Hjort, M. (2019) The ontological transnationalism of the filmmaker: solidarity-based talent development across borders, Transnational Screens, 10(1), 53-68.

Khalili Kolahian, S. (2020). An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers. CINEJ Cinema Journal. 8(2), 217-246.

Köksal Çekiç, S. (2020). Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia. CINEJ Cinema Journal, 8(2), 377-402.

Liktor, C. (2020). Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan’s The Wild Pear Tree. CINEJ Cinema Journal, 8(2), 119-149.

Matbouly, M.M.Y. (2020). The Effects of Film Illumination Hues – An Exploration Study. CINEJ Cinema Journal, 8(2), 353-376.

McBratney, S., Minichiello, M., & Roxburgh, M. (2020). ‘Don’t Read This on a Plane’: a case study in microbudget feature filmmaking. Studies in Australasian Cinema, 14(2), 144-159.

Naser Moghadasi, A. (2020). Evaluation of Neurocinema as An Introduction to an Interdisciplinary Science. CINEJ Cinema Journal, 8(2), 307-323.

Nhamo G., Dube K., Chikodzi D. (2020) Implications of COVID-19 on Gaming, Leisure and Entertainment Industry. In: Counting the Cost of COVID-19 on the Global Tourism Industry. Springer.

Minakar, M. and A. H. Chitsazian (2020). The Study of Rubaiyat attributed to Khayyam in Movies. CINEJ Cinema Journal, 8(2), 324-352.

Mingant, N. A. (2013). ‘Not A Terrorist’: The Representational Alternative of Reality TV in All-American Muslim. CINEJ Cinema Journal, 3(1), 4-27.

Özyilmaz, Ö. (2018). Responses of The Film Industry and Audiences to The Introduction of Sound Cinema in Turkey (1929–1933) Music, Sound & the Moving Image, 12(2): 241-257.

Przylipiak, M. (2019). Thomas Elsaesser and film studies. Panoptikum, (22), 10-28.

Serttaş, A. (2020). Transformation of Love in the Digital Age: The film Her and Reaching God through the love in the Perspective of Sufism. CINEJ Cinema Journal. 8(2), 275-306.

Salti, R. (2020). Do Not Go Gentle into That Good Night: Film Festivals, Pandemic, Aftermath. Film Quarterly, 74(1), 88-96.

Sapui, M. (2020) Billions in Debt and Still Surviving”: Curing the Female Shopper in Confessions of a Shopaholic. CINEJ Cinema Journal. 8(2), 14-44.

Shabrang, H. (2020). Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night. CINEJ Cinema Journal. 8(2), 45-44.

Stolz, A., Atkinson, S. A., & Kennedy, H. W. (2020, Mar 19). The Future of Film Report 2020. https://doi.org/10.18742/pub01-020

Strohmaier, A. (2021) On the Re-Configurations of Cinematic Media-Spaces: From Diaspora Film to Postdiaspora Film. In: Ouaissa R., Pannewick F., Strohmaier A. (eds) Re-Configurations. Politik und Gesellschaft des Nahen Ostens. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-31160-5_14

Talu, Y. (2019) The Big Screen: The Wild Pear Tree Film Comment. 55(1): 68-69.

Taş Öz, P , Erensoy, Ş . (2020). Looking At Robert Altman’s Cinema Through An Anti-Hollywood Perspective . OPUS Uluslararası Toplum Araştırmaları Dergisi , 16 (31) , 3837-3852 . DOI: 10.26466/opus.811929

Tüzün, D. (2020). A Moebial Ride through Polanski’s Repulsion. CINEJ Cinema Journal, 8(2), 326-356.

Van Esler, M. (2020). Reproducing Television Canons: Streaming Services and the Legacy of Linear TV. The Journal of Popular Culture. 53(4), 946-966.

Verheul, J. (Ed.). (2020). The Cultural Life of James Bond: Specters of 007. Amsterdam: Amsterdam University Press.

Wibowo, T. O. (2019). Understanding movie streaming websites in Indonesia as unlimited movie access in the digital era. Jurnal Komunikasi: Malaysian Journal of Communication, 35(2), 247-259.

Yıldırım, Nisa (2020). Transformation of Comedy with Streaming Services: The Case of Bartu Ben. CINEJ Cinema Journal, 8(2), 403-425.

Yuksel, H. (2020) The Urbanization of Labor and Its Struggle for Unionism in Turkish Cinema. CINEJ Cinema Journal. 8(2), 150-194.

Zielinski, G. (2020). In-Sync or Not. Ger Zielinski’s Reflections on the Proliferation of Online Film Festivals during the COVID-19 Global Pandemic. In: Open-Media-Studies-Blog der Zeitschrift für Medienwissenschaft, online, 5. Oktober 2020, https://www.zfmedienwissenschaft.de/node/1586.

Downloads

Published

2020-12-03

How to Cite

Akser, M. (2020). Cinema, Life and Other Viruses: The Future of Filmmaking, Film Education and Film Studies in the Age of Covid-19 Pandemic. CINEJ Cinema Journal, 8(2), 1–13. https://doi.org/10.5195/cinej.2020.351

Issue

Vol. 8 No. 2 (2020): Fall 2020

Section

Articles

License

Authors who publish with this journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
    with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  5. Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
  6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
  7. The Author represents and warrants that:
    1. the Work is the Author’s original work;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy, or other unlawful matter.
  8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.

Revised 7/16/2018. Revision Description: Removed outdated link.