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Relevant bibliographies by topics / Action and adventure films

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Journal articles

Academic literature on the topic 'Action and adventure films'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Action and adventure films"

1

Azizah, Zulfa Nur, Siti Awalia Maryani, and Siti Hotimah Afriani. "ACTION OF ADVENTURE FORMULA IN MULAN 2020." Saksama 1, no. 2 (2022): 177–85. http://dx.doi.org/10.15575/sksm.v1i2.27823.

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Films that have action and adventure genres appeal to the audience by displaying scenes that have a sense of tension due to murders, resistance, and extreme actions played by the characters. This research focuses on the narrative and analysis formula fiction. The analysis conducted on the film Mulan 2020 aims to understand the fiction of action and adventure formula, as well as what the action functions in the adventure formula. The research data is in the form of information about film units related to the formulation of the problem which includes John G. Cawelti’s four formulaic fictions, namely storylines, characters, settings, and situations contained in the animated film Mulan 2020. The data collection technique used in this study is the method of observation and literature study. The film Mulan 2020 is an adaptation of one of Disney’s animated live-action films of the same name. Overall, this film presents action and adventure that amazes and attracts the audience by displaying the martial arts skills of the main character. In each of her struggles, this film gives us a deep understanding of how the character Mulan fights for truth and freedom. And more interestingly, Mulan is a strong woman.

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2

Kıbrıs, Güldeniz. "Galloping Flashbacks: The Representation of National Space in Turkish Action/Adventure Films of the 1960s–1970s." DIYÂR 4, no. 2 (2023): 281–302. http://dx.doi.org/10.5771/2625-9842-2023-2-281.

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This study explores the representations of national space and its borders in twenty-four action/adventure films with historical settings. It concentrates on film series featuring comic-book heroes: Tarkan, Karaoğlan, Malkoçoğlu, Battal Gazi, and Kara Murat, all produced between 1965 and 1978. Although they have not been taken seriously as films, their prominent place in Turkish national memory, makes them effective tools for understanding varieties of Turkish nationalism in the Cold War period. This article demonstrates that political and ideological changes in the Turkey of the 1960s and 1970s were reflected, at times subtly, in the action/adventure films of the period. In particular, during the second half of the 1960s, Turkish action/adventure films transitioned to more radical and violent cinematic representations in the 1970s. Increased aggression in the depiction of Turkish action/adventure heroes was accompanied by a shrinking and more limited depiction of national space, reflecting the country’s more defensive zeitgeist.

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3

Sapolsky, Burry S., Fred Molitor, and Sarah Luque. "Sex and Violence in Slasher Films: Re-examining the Assumptions." Journalism & Mass Communication Quarterly 80, no. 1 (2003): 28–38. http://dx.doi.org/10.1177/107769900308000103.

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A content analysis of popular 1990s slasher films found more acts of violence than similar films from the 1980s. Recent slasher films rarely mix scenes of sex and violence. This finding calls into question claims that slasher films portray eroticized violence that may blunt males' emotional reactions to film violence. Slasher films feature males more often as victims of violence. However, the ratio of female victims is higher in slasher films than in commercially successful action-adventure films of the 1990s. Finally, females are shown in fear for longer periods of time.

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4

Krämer, Peter. "Women First: ‘Titanic’ (1997), action-adventure films and Hollywood's female audience." Historical Journal of Film, Radio and Television 18, no. 4 (1998): 599–618. http://dx.doi.org/10.1080/01439689800260421.

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5

Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.

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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.

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6

Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, no. 6 (2010): 751–54. http://dx.doi.org/10.1098/rsbl.2010.0333.

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A variety of vertebrates produce nonlinear vocalizations when they are under duress. By their very nature, vocalizations containing nonlinearities may sound harsh and are somewhat unpredictable; observations that are consistent with them being particularly evocative to those hearing them. We tested the hypothesis that humans capitalize on this seemingly widespread vertebrate response by creating nonlinear analogues in film soundtracks to evoke particular emotions. We used lists of highly regarded films to generate a set of highly ranked action/adventure, dramatic, horror and war films. We then scored the presence of a variety of nonlinear analogues in these film soundtracks. Dramatic films suppressed noise of all types, contained more abrupt frequency transitions and musical sidebands, and fewer noisy screams than expected. Horror films suppressed abrupt frequency transitions and musical sidebands, but had more non-musical sidebands, and noisy screams than expected. Adventure films had more male screams than expected. Together, our results suggest that film-makers manipulate sounds to create nonlinear analogues in order to manipulate our emotional responses.

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7

Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures." Reference & User Services Quarterly 57, no. 4 (2018): 300. http://dx.doi.org/10.5860/rusq.57.4.6711.

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’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures is a work that sets out to examine the evolution of action movies from their cheesy low-budget origins and how they influenced the development of the action film genre. The author states that his interest in exploring the topic stems from his belief that the 1980s was the birth of the modern-day action film (1). There are 284 entries arranged chronologically that examine the films’ plots and their influencers. The entries have an informal tone, but they are well researched and use examples from other film genres to make connections. The book is intended for use by a variety of researchers, but its tone and content make it most suitable for use as an introduction to 1980s action and adventure films for action movie lovers or film students.

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8

Ostaszewski, Jacek. "Oddramatyzowanie akcji i antyklimaks w kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 80–94. http://dx.doi.org/10.26881/pan.2018.19.06.

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The paper discusses the influence of modernist aesthetics on the changes in the dramatic structure of film. In the films analysed by the author, the typical tricks for the classical model, such as dramatisation of action and climax as the classic denouement, are etiolated, turning into their antitheses: de-dramatising of action and anti-climax. On the examples of films such as: The Four Hundred Blows by F. Truffaut, The Adventure by M. Antonioni, Gran Torino by C. Eastwood, The Mist by F. Darabont, Smoke by W. Wang, and Three Monkeys and Once Upon a Time in Anatolia by N.B. Ceylan, the author demonstrates the functions and artistic potential of denouements which shift attention from action to characters and leave the viewer with the dilemma of an “open” ending.

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9

Na Nongkhai, Krittaya, and Siriporn Phakdeephasook. "Hybrid heroes: Cultural hybridization in Thai action adventure films from 1997 to 2010." Kasetsart Journal of Social Sciences 38, no. 3 (2017): 187–95. http://dx.doi.org/10.1016/j.kjss.2016.09.002.

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10

Donovan, Barna W. "Book Review: Gallagher, M. (2006). Action Figures: Men, Action Films, and Contemporary Adventure Narratives. Basingstoke, UK: Palgrave Macmillan." Men and Masculinities 10, no. 5 (2007): 638–40. http://dx.doi.org/10.1177/1097184x06299039.

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