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Journal articles on the topic 'Action and adventure films'
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Azizah, Zulfa Nur, Siti Awalia Maryani, and Siti Hotimah Afriani. "ACTION OF ADVENTURE FORMULA IN MULAN 2020." Saksama 1, no. 2 (December 8, 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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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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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 (March 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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Krämer, Peter. "Women First: ‘Titanic’ (1997), action-adventure films and Hollywood's female audience." Historical Journal of Film, Radio and Television 18, no. 4 (October 1998): 599–618. http://dx.doi.org/10.1080/01439689800260421.
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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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Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, no. 6 (May 26, 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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Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures." Reference & User Services Quarterly 57, no. 4 (June 15, 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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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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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 (September 2017): 187–95. http://dx.doi.org/10.1016/j.kjss.2016.09.002.
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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 (April 4, 2007): 638–40. http://dx.doi.org/10.1177/1097184x06299039.
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Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (August 3, 2020): 11–34. http://dx.doi.org/10.32798/dlk.350.
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A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.
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Salmose, Niklas. "The Apocalyptic Sublime: Anthropocene Representation and Environmental Agency in Hollywood Action-Adventure Cli-Fi Films." Journal of Popular Culture 51, no. 6 (December 2018): 1415–33. http://dx.doi.org/10.1111/jpcu.12742.
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Maharani Eka Saputri and Binti Maunah. "Sikap Bertanggung Jawab Sebagai Bagian Dari Pendidikan Karakter Pada Film Animasi How To Train Your Dragon 3 The Hidden Word Dan Tinker Bell And The Lost Treasure." Elementary Journal 1, no. 2 (October 28, 2023): 27–35. http://dx.doi.org/10.56404/tej.v1i2.79.
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Film is a medium that still exists and is used to convey a message. Films also influence audiences so that they create depictions that change people's thinking patterns. This research discusses the value of responsibility as part of character education in the animated films How To Train Your Dragon 3 The Hidden Word and Tinker Bell And The Lost Treasure. In both animated films, they tell stories about action and adventure that contain and display an attitude of responsibility.This research aims to (1) Explain the characteristics of the main characters in the animated films How to Train Your Dragon 3 the Hidden Word and Tinker Bell and The Lost Treasure, (2) Explain what attitudes of responsibility are contained in the animated films How to Train Your Dragon 3 the Hidden Word and Tinker Bell and The Lost Treasure are seen from the indicator of the value of responsibility. The approach uses library research, the method used in analyzing is the content analysis method with data collection techniques by means of observation and documentation (observing the films How To Train Your Dragon 3 The Hidden Word and Tinker Bell And The Lost Treasure). Based on data analysis, it was found that the attitude of responsibility seen in terms of the indicators of responsibility found and obtained in this research include: (1) doing what is expected (should) be done. (2) Future plans. (3) Be persistent and always try. (4) Discipline yourself. (5) Think before acting. (6) Set a good example for others. (7) Responsible for words, (8) Responsible for actions and attitudes
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Su, Zihao. "Indiana Jones and the Dial of Destiny: The Evolution of Masculinity in Geri-action and Its Implications for Male Hegemony." Communications in Humanities Research 34, no. 1 (May 21, 2024): 119–27. http://dx.doi.org/10.54254/2753-7064/34/20240123.
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In 2023, a new adventure film called Indiana Jones and the Dial of Destiny premiered in theaters around the globe. In this film, Harrison Ford returns to his iconic role as Indiana Jones, showcasing a new perspective on action-packed adventures with seasoned heroes, which brings forth exciting new possibilities. Examining Indiana Jones and the Dial of Destiny, this study delves into the development of masculinity in older action heroes, highlighting how these seasoned protagonists can challenge traditional notions of male hegemony. The study employs discourse analysis to examine the portrayal of Harrison Ford's Indiana Jones and draws comparisons to previous iterations and other characters within the genre. This analysis highlights the film's departure from conventional portrayals of masculinity, indicating a movement towards dismantling gender norms and challenging male hegemony. The analysis highlights the importance of older heroes in portraying changing perspectives on masculinity and male roles in today's society. This study presents a fresh outlook on gender studies, highlighting the importance of portraying masculinity in film in a more nuanced way. It advocates for breaking away from traditional norms and promoting diversity in storytelling and character development.
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Crossley, Laura. "An Absence of Modesty: The Male/Female Dichotomy inModesty Blaise." Journal of British Cinema and Television 15, no. 3 (July 2018): 357–74. http://dx.doi.org/10.3366/jbctv.2018.0427.
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This article examines the figure of Modesty Blaise as an action heroine in the canon of British espionage texts. It argues that the character and her stories offer multiple, liminal spaces for investigating and challenging ideas about gender, nation and class. It also addresses the current landscape of action-adventure films at a time when there are increased calls for more female-centric vehicles and gender-blind casting. While the gender politics of the Modesty Blaise franchise make for fascinating analysis, they are also played out against a backdrop of global politics. This can be seen in the first of the novels – simply entitled Modesty Blaise (1965) – and to some extent in Joseph Losey's loose adaptation of the book in 1966. Modesty's employment by the British secret service coincides with the dismantling of the British Empire, and the negotiation of gender identity that is a recurring theme in the stories intersects with the post-imperial, post-colonial concerns that dominated geopolitics at the time the original texts were released.
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Peng, Sheng-Hsiang Lance. "Multiversal Adventure in Decolonising Education: Everything Everywhere All at Once." eTropic: electronic journal of studies in the Tropics 22, no. 2 (July 23, 2023): 239–68. http://dx.doi.org/10.25120/etropic.22.2.2023.3956.
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This article is a conceptual creative piece, drawing a parallel between the themes of the 2022 cinematic work Everything Everywhere All at Once (EEAAO) and decolonising education. Initially, I examine the career trajectories of the film's two leading protagonists, both of whom originally hail from tropical Southeast Asia, expounding upon Asian media representation and juxtaposing their personal narratives with the discourse surrounding decoloniality, inclusivity, and diversity. Secondly, through a close analysis of key scenes and motifs, I highlight the film's relevance to debates around decolonisation, including the need to challenge dominant narratives, recognise diverse perspectives, and acknowledge the intersectionality of identity and experience. Thirdly, I suggest incorporating playful pedagogies and praxes that draw inspiration from the imaginative ingenuity of EEAAO as a means of overcoming the continuing ramifications of colonialism and Western-centrism within education. By positioning the film as a catalyst, I hope to contribute to broader efforts to decolonise and transform the structures, systems, and practices that shape our social fabric. This paper is a valuable resource for educators aiming to connect Eastern philosophies, quantum physics, and decolonising approaches to teaching and learning with adolescent learners, using the themes of interconnectedness, multiverses, and collective action.
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MARKSON, ELIZABETH W., and CAROL A. TAYLOR. "The mirror has two faces." Ageing and Society 20, no. 2 (March 2000): 137–60. http://dx.doi.org/10.1017/s0144686x99007680.
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Have changing demographics, increased life expectancy and findings about gender similarities and differences, altered portrayals of older people in American feature films during the past 65 years? We identified 3,038 films made between 1929 and 1995 in which actors and actresses, nominated at least once during their lifetimes for an Oscar award, appeared when aged 60 years or older. Academy Award nominees were selected because they offered a sample of ‘notable’ performers and an accessible database. We selected an eight per cent random sample for a content analysis of their roles. Throughout this period, men were more likely to be depicted as vigorous, employed and involved in same-gender friendships and adventure (whether as hero or villain). Women remained either peripheral to the action or were portrayed as rich dowagers, wives/mothers, or lonely spinsters. Despite changing gender roles in later life since the 1930s and despite social and economic changes for older Americans (earlier retirement age and better health are but two examples), their film roles have remained remarkably static in age and gender stereotyping. In feature films, the mask of ageing differs by gender. Male masks veil inactivity and physical changes, while female masks reveal ageist and sexist stereotypes.
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Holmaas, Luke. "Implausible Possibility: Freedom and Realism in Live-Action/Animated Gag Comedies." Animation 18, no. 2 (July 2023): 102–16. http://dx.doi.org/10.1177/17468477231187029.
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While often unacknowledged, gags and gag comedy remain a vital part of Hollywood cinema. Following the runaway success of Who Framed Roger Rabbit (1988), an increase in the production of films combining live-action and animation has helped them become a central venue for gag comedy. However, while live-action/animation hybrids can be enormously successful, they are also extremely difficult and risky ventures, both in terms of their technical challenges and production costs. Given this, what is the rationale behind combining live-action and animation for comedy at all? As the author argues, both theoretical considerations of animation and hybrids as well as the discourse from creators of such films frame live-action/animation as particularly well suited for gag comedy due to its ability to balance the freedom of animation with the grounding realism of live-action. Films such as The Adventures of Rocky and Bullwinkle (2000), Looney Tunes: Back in Action (2003), and The SpongeBob Movie: Sponge Out of Water (2015) serve to highlight the interaction between cartoonish animation and realistic live-action as well as key tensions that arise in combining the two forms. Examining the opportunities and challenges provided by these combinations helps explain why hybrid films remain a common vehicle for gag comedy today and an important subset of Hollywood comedy as a whole.
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Chon, Bum Soo. "Diversity of Theatrical Hit Animated Films Supply on OTT Platforms: Focusing on Genre and Nationality." Academic Association of Global Cultural Contents 57 (November 30, 2023): 225–45. http://dx.doi.org/10.32611/jgcc.2023.11.57.225.
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This study aims to examine the diversity of animation supply on OTT platforms using the top 50 domestic and international animated films in terms of box office success as a basis. The key findings are as follows. Firstly, subscription-based OTT services generally tend to offer only popular selected animations. On the other hand, VOD-based OTT services were found to provide most hit animations through purchasing or renting options. Subscription-based OTT services had lower content scale and diversity compared to VOD-based OTT services. Secondly, when examining the distribution by nationality, animations from three countries including Japan, the United States, and Korea accounted for 68.0%. When looking at the specific OTT platform services, Japanese, American, and Korean animations had a high supply rate across various OTT services, including Wavve Purchase (83.3%), Apple TV (75.0%), Disney Plus (100.0%), Watcha (66.7%), and Netflix (70.0%). Thirdly, when examining the distribution by genre, adventure, fantasy, and action accounted for 64.0%. When observed on specific OTT platform services, the supply rate of animations within these three genres was high on Wavve Purchase (66.7%), Apple TV (62.5%), Disney Plus (66.7%), Watcha (76.7%), and Netflix (60.0%).
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Hakim, Muhammad Lukmanul, and Nine Febrie Novitasari. "POLITENESS STRATEGIES USED BY THE MAIN CHARACTER IN THE FILM ONWARD." Celtic : A Journal of Culture, English Language Teaching, Literature and Linguistics 9, no. 2 (December 30, 2022): 191–204. http://dx.doi.org/10.22219/celtic.v9i2.23436.
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It is essential to pay attention to the use of politeness strategies in communication, especially if the speaker and listener come from different cultures. People and cultures have been successfully visualized by Disney Pixar in their films that often expose their audiences to different cultural backgrounds of their characters. This research aimed at analyzing the politeness strategies used by the main character in a Disney Pixar animated adventure film Onward. The data in this descriptive qualitative research were analyzed by using the theories of politeness strategies proposed by Brown and Levinson (1987). The results indicate that Ian Lightfoot, the main character, uses a lot of bald-on-record strategies in communicating. This is closely related to the theme of the film in which there are many scenes showing emergencies that require quick action and orders for the safety of the main characters. In addition to that, the most-frequent-used politeness strategies done does not necessarily imply emotional closeness between speakers. The linguistic choices made by the main character were affected by the socio-cultural aspects formed in his society.
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Muwaffaq, Thafhan, Nurul Komar, and Rio Armandaru. "APOCALYPTIC NARRATIVE SCHEMAS IN DYSTOPIAN FILMS." International Journal of Humanity Studies (IJHS) 3, no. 2 (February 25, 2020): 211–27. http://dx.doi.org/10.24071/ijhs.v3i2.2168.
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This research investigates the way dystopia as film genre is attributed with catastrophe or, what will be regarded here as apocalyptic events. We question the way in which the genre represents state of affairs of humanity in the face of catastrophe, in catastrophe, and after catastrophe. We conducted a narrative analysis under the account of semiotic cognitive approach, by identifying narrated events, and actions of the protagonist as constituting parts of event. We argue that narrative in dystopian films represent three types of apocalyptic schema (i.e. pre-apocalyptic, apocalyptic, and post-apocalyptic). Each schema seems to have distinct model of storyline, regardless of the predefined genre of the film (e.g. adventure, sci-fi, fantasy, etc.). Despite the distinct schemas, the analyzed films illustrate typical tone of hopefulness wherein humanity prevails over catastrophe and dystopian state of affairs. Another typical representation in dystopian films analyzed here is portrayal of collective fear among the protagonist. Our study leads to a point that humanity is portrayed adaptive to catastrophic situations, therefore it is able somehow to survive. Here we offer narrative standard in dystopia genre with the light of cognitive semiotics perspective, which differs to a great degree with theories offered by classical literary studies.
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Anastasia, Happy. "The Teaching of Doctrine in Casarosa’s Film “Luca”." ELOQUENCE : Journal of Foreign Language 2, no. 2 (August 31, 2023): 283–95. http://dx.doi.org/10.58194/eloquence.v2i2.875.
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Background: Films seen from the element of doctrine are very interesting to be used as positive lessons, because every action can have consequences for choices in attitude. Purpose: This study aims to observe the doctrine in the film "Luca" by Enrico Casarosa, so that it can be known the consequences must be accepted by Luca as the main character, the attitude that must be carried out in response to the doctrine. Method: This research is a literature research. The primary data source was obtained by Casarosa's film "Luca" published in 2021. The data analysis method uses content-based qualitative analysis of dialogue words, sentences, images, cuts, scenes, paragraphs, and descriptive film narratives as well as the responses of the main character "Luca" who have elements of doctrination. Data analysis techniques are carried out through three stages: data reduction, data display, and conclusion pulling/verification Results and Discussion: The results of this study show that there is a doctrine in the film "Luca" by Casarosa. Doctrine against the main character, Luca: Among them are 1) obedience, which is marked by running into hiding; he must not have contact with man; It is not allowed to talk, discuss, and even approach the surface of the sea. As a consequence, if Luca does not comply, he will be captured and killed by humans. 2) Freedom, which is characterized by humans having their own vehicle in life, does not need anyone without pressure. As a consequence, if he does not follow Alberto's character, he will not get freedom, cannot adventure in the human world, and will still feel afraid of everything. 3) Continue to learn, create and innovate, this is indicated by the existence of a telescope that can observe distant objects seen closely; You can travel in the universe and galaxies only through small tools such as telescopes. As a consequence, if he hadn't followed Giulia, he would never have had the experience of a telescope adventure. This tells us about the importance of going to school. Conclusions and Implications: The film "Luca", Casarosa inserts several doctrines to serve as lessons such as: 1) Whenever we see danger or murderers, we need to run to hide. Unless, we will be killed. 2) Whenever we have worries or fears in mind, we need to encourage them all and build our own ways to manage them as a force. Unless, we will continue to feel afraid of facing problems. 3) Dare to learn more, to experience more, to adventure more, especially to the world, universe, and galaxy, then our knowledge will increase. If we just stay and do nothing, we will only continue to be like a frog in a shell. 4) Learn more to increase knowledge, then we will know how to adventure the world and universe. If we do not develop ourselves by learning, then we will only become like people who stutter in knowledge.
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Nofrian, Ahmad, and Ira Maisarah. "Analysis of the Moral Values of the One Piece Anime Movie "Z" And Movie ‘’Stampede’’." Journal of English for Specific Purposes in Indonesia 3, no. 1 (January 28, 2024): 24–34. http://dx.doi.org/10.33369/espindonesia.v3i1.27991.
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A movie is a type of literary work to entertain and convey a value or message to the viewer. The movie strives to communicate moral values, which are considered positive attitudes that could be adopted by everyone. This study aims to identify and analyze the moral values contained in the one-piece anime movies "Z" and "Stampede”. This study uses a grounded theory approach to the descriptive-qualitative method and analyze the moral values in the movies by using Sulistiyani’s moral theories. This study focuses on analyzing two anime films from the One Piece series, namely Z and Stampede. This research findings shows that numerous morals can drive and teach us as viewers. The morals found in the movies are courage, self-sacrifice, honesty, justice, wisdom, respect and appreciation, hard work, fulfilling promises, supporting others, and working together. Unfortunately, belief in God's values is not found in these movies since the themes of these movies are action, adventure, and, most significantly, friendship. Moreover, the moral values mostly delivered in these movies are helping others. Finally, the researcher suggests that the viewers not only derive enjoyment from the movie's plot but also apply its moral values to enhance their own character to become better individuals.
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Sirazetdinova, Regina. "Verbalization of the Lexeme «LOVE» in Modern Animated Films." Izvestia of Smolensk State University, no. 1(61) (December 15, 2023): 97–109. http://dx.doi.org/10.35785/2072-9464-2023-61-1-97-109.
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The article discusses the verbalization of the lexeme «LOVE» in modern animated films of American production at the beginning of the XXI century (family and adventure genre).
In the theoretical part, lexicographic interpretations of love given in Russian and English dictionaries were presented, the study of this concept in the works of S.G. Vorkachev was considered, and a working definition of love as a feeling of deep sympathy or attachment to animate and inanimate objects was formulated.
In the practical part of the study, 121 examples were identified and analyzed that maximally verbalize the lexeme «LOVE» in the monologue and cartoon characters' dialogical speech.
As a result of the study, it was revealed that the feeling of deep attachment manifests itself in subject-subject relationships (in the family, between partners, friends, colleagues, fans, as well as to oneself) and subject-object relationships (to pets, actions, states, place of stay). Individual cases of love have been identified as destructive.
A percentage analysis of the frequency of use of the lexical unit «LOVE»
has established the leading position of the manifestation of a sense of deep affection in family relationships. This is followed by partner love, love for pets, objects,
friendly love, love for states, for the place of stay, for actions, destructive love.
The least number of examples fell on fanatical and selfish love.
Thus, the manifestation of a sense of deep affection and sympathy between
all family members is the main indicator of the strong and positive emotional and
mental states of the American nation.
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Patrick, Stephanie. "You get to stop him! Gendered violence and interactive witnessing in Netflix’s Kimmy vs The Reverend." Critical Studies in Television: The International Journal of Television Studies 16, no. 1 (February 23, 2021): 30–46. http://dx.doi.org/10.1177/1749602020976914.
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Across four seasons of her Netflix hit comedy, Kimmy Schmidt emerged as a strong, female survivor of sexual violence. However, Unbreakable Kimmy Schmidt would often walk a fine line between post-feminist and feminist understandings of rape and gendered violence, while reinforcing harmful racial tropes rooted in ‘white feminism’. In 2020, Netflix brought Kimmy back for her ‘biggest adventure yet’ in Kimmy vs the Reverend, but, this time, the viewer had the power, as the tagline read, to ‘decide what happens’, with Netflix’s interactive feature. The article argues that Netflix’s interactivity feature is employed in potentially transformative ways, providing a call-to-action to fans and implicating the audience as both spectators and witnesses to injustices of systemic violence against women. However, the 2020 film's investment in, and deployment of white feminist politics mirrors a broader media erasure of the experiences of racialised women, while closing down the interactive potential of identification across difference.
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Zvegintseva, Irina A. "The story of one crime: in life, in literature and in cinema." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 128–37. http://dx.doi.org/10.17816/vgik113128-137.
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Today, the name of the New Zealand filmmaker Peter Jackson is known throughout the world. His films The Lord of the Rings and The Hobbit received many awards, were a major commercial success and conquered millions of viewers' hearts, including the admirers of J. R. R. Tolkien, who followed the screen adventures of their favorite literary characters with bated breath. However, connoisseurs of cinema had closely followed the work of Jackson for many years before the films' release, for his early films above all, Heavenly Creatures, based on a monstrous real crime impressed by the complexity of chosen topics and the outstanding directorial skills.
This essay analyzes Heavenly Creatures, exploring the reality of a terrible murder in a sleepy, little New Zealand town the murder which was largely disclosed through explicit entries in the diary of one of the criminals; and which became the basis for the film's plot. In no way justifying the criminals, Jackson, however, makes it clear that the incident was also the fault of the adults who did not see and did not want to see the difficult situation of their daughters. To ban, to punish such educational measures largely anticipated the tragic ending: harmless fantasies turned into a tragedy. The action of the film could take place in any town, and not only in New Zealand. The film's warning - don't be indifferent to your children was understood by all viewers, regardless of their country.
The essay looks at how the film was made by an artist who knew how to combine and make this combination credible art house and commercial cinema, surrealism (and other aesthetics of shock) and hard realism.
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Fuanda, Nofiyanti. "REFORMULATING DRACULA IN THE EARLY 21ST CENTURY: GENRE ANALYSIS OF 24 VAMPIRE FILMS." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 46. http://dx.doi.org/10.22146/rubikon.v3i2.34269.
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The vampire is a phenomenon in western literature and culture. As many literary works featuring vampire are produced every year and continue to interest of the audiences, the creature becomes even embedded in the heart of not only western people, but also most people in the world. Currently, the researches on the creature either as a part of the myth or a character in literary works is so booming. They conclude that there is transformation of vampire both in myth and literary work. The research on literary works mostly generalizes vampire and Dracula as similar terms referring to blood sucker in general. In fact, those two terms actually refer to different signifieds. Therefore, this research aims to discuss specifically the development of literary works, especially films featuring the Dracula character since Stoker’s story is still adapted in the current era. The discussion focuses on the conventions and inventions of Dracula films in the early twenty first century and how those new formulas are related to the social background. This research is qualitative research and data are collected from the library. In addition, the basic theory used is genre analysis which situates texts within textual and social contexts. In the field of American Studies, such analysis is relevant to McDowell’s theory of “past, present and future” which supports interdisciplinary studies of time development.As the finding of the research on twenty four films produced during 2000 to 2014 the researcher concludes that most of them mix the elements of some genres. There are eleven pure horror Dracula films, eight horror action, two horror drama, one horror adventure, one horror sci-fi, and one horror romance. Furthermore, the researcher found five formula inventions including: 1. the shifting themes which include the emergence of science and the blurring of sexuality; 2. the variation of the stereotypical characters which includes the turn of the villain into hero and the challenge of women as heroes; 3. the changing motive; 4. the variation of setting, and 5. the replacement of properties. In the further analysis, the development of the formulas is certainly the result of the mixing genres, and also the response to two major issues flourishes in today’s era such as the issue of modernity and rationality and the phenomenon of ‘New Women’ and ‘Now Women.’Keywords: vampire, Dracula, formula, convention, invention
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Gama, Fitri Ifi. "Pengenalan Anime Sebagai Budaya Populer Jepang." Jurnal Pengabdian Masyarakat Madani (JPMM) 4, no. 1 (February 29, 2024): 21–27. http://dx.doi.org/10.51805/jpmm.v4i1.159.
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Japanese culture has a unique wealth of traditions, modern impressions, and continuity between the past and the present. Within this culture, key elements such as Shinto, social etiquette, traditional arts, and popular culture, including anime, have a significant impact both locally and globally. Anime is a term used to refer to animation originating from Japan. This term internationally refers to any type of animation from Japan, whether in the form of films, television series, or short videos. Anime has a distinctive art style, with characters having big eyes, colorful hair, and dramatic facial expressions. It spans a wide range of genres, from action, adventure, drama, comedy, fantasy, horror, to science fiction. The purpose of this activity is to introduce Japanese popular culture through anime into cross-disciplinary curricula, aiming to enhance students’ critical and creative thinking skills, collaboration abilities, and technological proficiency. The methods employed in this activity include lectures and project-based learning. This activity was attended by students from various departments and study programs, with 32 registered students. The outcomes of this activity demonstrate an improvement in students’ understanding of popular Japanese anime culture, critical and creative thinking skills, collaboration abilities, and technological proficiency. Tangible output includes interactive learning videos. This activity introducing Japanese popular culture, anime, has made a positive contribution to cross-disciplinary curricula. It is hoped that this activity will continue to be integrated into cross-disciplinary curricula in the future.
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Kulakevych, Lyudmyla. "Artistic means of a silent film in I. Dniprovsky's psychological action «Zarady nei» («For Her Sake»)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 31–38. http://dx.doi.org/10.34079/2226-3055-2020-13-22-31-38.
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In the present paper a short story written by I. Dniprovsky's is analyzed. In accordance with the action canon, the main character has to find his beloved in the shortest possible time so that they could catch the train and escape from the enemy. In the twists and turns of the story the archetypal plot of lovers’ escape / rescue from the monster can be traced. It descends from folk tales and legends where a young man sacrifices himself for the sake of his beloved. By analogy with receptions in tense feature films (thrillers, horror films, catastrophes), the single-line plot «For Her sake» consists of annoyingly insidious concourse of circumstances. They create the feeling as if the whole world, even the closest people and character’s personal belongings, want to thwart his rescue. It is emphasized that, similar to the techniques in the action movies, a linear storyline in the short story consists of the treacherously irritating coincidences. However, while an action-adventure meta-genre normally has a happy ending, in the present short story the ending is more appropriate for a novella: the Bolsheviks shoot the hero as a deserter. It is established that the defining feature of the story is the lack of description of the characters’ appearances and their speech is reduced to minimum, which was a general feature of silent film scripts. A tense atmosphere of anxiety and fear is created through the acoustic and visual micro-images with the semantics of panic and horror. The gloomy urban landscapes, the hostility of the world and the sense of the fatal doom of the heroes refer to the German expressionist cinema of the early XX century. It is revealed that the story never mentions the struggle of ideologies or the enemy who seeks to seize Petro's native land. The enemy appears as an invisible and terrifying force, an element that creates chaos and makes it difficult to maintain human dignity. The key to understanding of this on border crazy motivation of the main character is the archetypal theory of C. G. Jung. In the story of I. Dniprovsky, a brave soldier (Persona Petra) in attempt to save himself together with Hanka (Anima), subconsciously seeks to save his Self-Identity. Moreover, a Wise Old Man (Hanka's father) and a Big Mother with a Child are present in the story as well. However, none of them is helpful to Petro and does not encourage the latter to make any attempts for escape. According to the artistic concept of the short story, when escaping from death, a person experiences tremendous stress, which breaks his psyche, so in a borderline situation collective experience fails, everyone tries to save himself. It is emphasized that the story's ending is unexpected: the hero finds himself in the city again, however, he is now in the status of unidentified enemy, whom he tried to escape and now he dies at the hands of the redhead leader.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Kuimova, Vladislava M. "Theatricalization of soviet everyday life: R. A. Bykov." Yaroslavl Pedagogical Bulletin 2, no. 125 (2022): 177–86. http://dx.doi.org/10.20323/1813-145x-2022-2-125-177-186.
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This article is devoted to the phenomenon of theatricalization in the work of the Soviet director R. A. Bykov. The concept is a socio-cultural and aesthetic paradigm. It is believed that theatricalization becomes a way of forming interpersonal interaction and working with the environment. When analyzing the work of film directors, it can be realized as a way of avoiding reality and experiencing reality. In the context of Bykov's works, theatricalization is a way of figurative expression of existence. The films «Attention, Turtle!», 1970 and «Telegram», 1972 are analyzed. The both films are built around theatrical conflicts, but the conventionality of the children's world preserves the realism of the works for the viewer. Particular attention is paid to the signs of the times and their socio-cultural context, the culture of everyday life. In particular, the concept of fashion is considered as a way of theatricalization of everyday life. In the film «Attention, the turtle», the images of the grandmother (the role is played by L. Malkina) and grandfather (the role is played by A. Batalov). The female character embodies the carnival principle, while the male character embodies the anti-theatrical one. Theatricalization contains different forms and reveals in the characters a non-trivial stay in life in accordance with the psycho-emotional characteristics of the actors. In the film «Telegram» the conflict is created around the failed meeting. An important narrative line is the influence of the Great Patriotic War on the fate of people. Unlike the «Attention, the turtle!”, film reveals a love line at the level of three generations. Both films are characterized by a detective and adventure beginning, children play a leading role, adults play an aiding role. Special attention is paid to the casting. In the paintings of R. A. Bykov, schoolchildren continue their usual life actions on the screen. The study analyzed the external and internal characteristics of the characters in the both films in accordance with theatrical roles.
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Boucher, Ian. "Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975‐1979 Television Series1." Popular Culture Review 29, no. 2 (June 2018): 151–91. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00237.x.
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ABSTRACTLive‐action superhero films currently play a significant role at the box office, which means they also play a significant role in culture's understandings about justice. For the most part, however, superhero films are dominated by philosophies based in irrational fears and stereotypes, perpetuating an antiquated concept of justice that contributes detrimentally to societies around the world. Wonder Woman enriches the pantheon of superheroes by representing restorative justice, which is part of a more comprehensive approach to crime‐fighting, in which mediators work with victims and offenders to try and overcome the roots of crimes and heal communities. This philosophy is merely one among many that could have a place in America's considerations about justice, but it has not developed the same cultural awareness as the capture or murder of the majority of superheroes. This is partially because before 2017, the only time Wonder Woman was in the live‐action spotlight was her 1975‐1979 television series. Despite Wonder Woman's publication in comic books since 1941, a commonly accepted sentiment is that her brand of justice is difficult for a superhero format. However, Wonder Woman's perceived difficulty has largely been the result of society's desire to suppress her over the course of her existence. From 1975‐1979, the Wonder Woman live‐action television series, also known as The New Original Wonder Woman and The New Adventures of Wonder Woman, gave the character's philosophy every reason to take off in the popular consciousness. An analysis of the series reveals a key stylistic link in the development of superhero adaptations between the Batman 1966‐1968 television show and the 1978 Superman film that faithfully and clearly adapted Wonder Woman's philosophy into a mainstream 1970's television format. The series was suppressed, undone, and discredited, with the potential role of Wonder Woman as a figure of justice obscured by her sex, her gender, her feminism, and a perceived threat of sexuality, as part of Wonder Woman's larger impeded legacy in America's embedded culture of misogyny.
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Neuman, Robert. "Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949)." Animation 14, no. 2 (July 2019): 149–63. http://dx.doi.org/10.1177/1746847719858678.
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As the last of Disney’s package films in the troubled decade of the 1940s, The Adventures of Ichabod and Mr. Toad (1949) has acquired the reputation of an awkward ‘marriage of convenience’ of two separate stories based on well-known literary properties, one American and one British: Washington Irving’s The Legend of Sleepy Hollow and Kenneth Grahame’s The Wind in the Willows. This article, by reconstructing the gestation of the film over eight years, demonstrates the degree to which the stark contrast between the two halves was not only inevitable but deliberate. This is especially visible in the handling of the narrative – action set pieces for Toad and a full-fledged musical for Ichabod – as well as the art direction, which favors realism for Toad and stylization for Ichabod. An analysis of the marketing campaign shows that the film was presented as a facsimile of the standard double bill of the period, with an A picture and a B picture. In lauding its new cast of sympathetic Disney characters and stories that stimulate a full range of emotional responses, some film critics in Britain and the US compared Ichabod and Mr. Toad favorably to Snow White and the Seven Dwarfs, Dumbo and the Silly Symphonies, calling the film a harbinger of a Disney renaissance – a revival that would be fully realized with the premiere of Cinderella in 1950.
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McNaughton, Melanie Joy. "Action and Adventure Cinema." Journal of Popular Culture 39, no. 2 (April 2006): 335–36. http://dx.doi.org/10.1111/j.1540-5931.2006.00246.x.
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Hinchey, Catherine, and Michael Newton. "How to Write Action/Adventure Novels." Antioch Review 48, no. 1 (1990): 116. http://dx.doi.org/10.2307/4612171.
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Ellmer, Eva, and Steven Rynne. "Learning in action and adventure sports." Asia-Pacific Journal of Health, Sport and Physical Education 7, no. 2 (May 3, 2016): 107–19. http://dx.doi.org/10.1080/18377122.2016.1196111.
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Hoppenstand, Gary. "Assembling Action: Collecting Popular Adventure Fiction." Journal of American Culture 43, no. 1 (March 2020): 41–48. http://dx.doi.org/10.1111/jacc.13116.
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Sulaiman, M. Zain, and Rita Wilson. "Translating Adventure Tourism: From Action to Relaxation." GEMA Online® Journal of Language Studies 18, no. 3 (August 29, 2018): 1–16. http://dx.doi.org/10.17576/gema-2018-1803-01.
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Tucker, Anita R., Christine Lynn Norton, Christian Itin, Jessalyn Hobson, and M. Antonio Alvarez. "Adventure Therapy: Nondeliberative Group Work in Action." Social Work with Groups 39, no. 2-3 (April 2, 2016): 194–207. http://dx.doi.org/10.1080/01609513.2015.1048416.
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Campos, Patrick. "The Fantasy-Adventure Films as Contemporary Epics, 2000-2007." Plaridel 6, no. 1 (February 1, 2009): 1–36. http://dx.doi.org/10.52518/2009.6.1-01cmps.
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This paper aims to compare the narrative form and themes of folk epic (as typified by Labaw Donggon) and the contemporary fantasy-adventure film (as typified by the four Enteng Kabisote films). Labaw Donggon, an epic from the Sulod society of Central Panay, possesses all the universally decipherable elements of the epic narrative. On the other hand, the Enteng Kabisote films’ narrative forms, themes, social contexts, and function may be generalized as applicable to most, if not all, of the other fantasy-adventure films at the turn of the century. The four films are found to be episodic like ethnoepics as they have loosely connected episodes, adventurous detours, and skirmishes forestalling a final battle. The contemporary fantasy-adventure film is also found to be cyclical with its repetitions and recreations, novel retellings, sequels and prequels, and the addition of new episodes and characters. As typified by the Enteng Kabisote films, the contemporary fantasy-adventure film perpetuates a narrow, even muddled, sense of nation. It has shrunk its vision into the comfort zone of the family, insecure about and unsure of the individual’s and the nation’s abilities to aspire for heroism and expansion. Instead of expanding the oft-repeated centrality of the family in the ethnoepic, the fantasy-adventure film has remained fixated on this theme and has neither widened, deepened, nor problematized it.
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&NA;. "Action, adventure & raising healthcare standards in Scotland." PACEsetterS 5, no. 2 (April 2008): 21. http://dx.doi.org/10.1097/01.jbi.0000393231.72303.f1.
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Liu, Zhuofan. "Analysis and Research of Action Adventure Game Design." Lecture Notes in Education Psychology and Public Media 42, no. 1 (March 14, 2024): 195–99. http://dx.doi.org/10.54254/2753-7048/42/20240852.
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By 2021, the global video game market will reach $155.5 billion, accounting for 52.9 percent of the global digital media market. The video game industry plays an important role in cultural transmission and economic promotion, and this industry has reached its current flourishing status after only a few decades of development, which shows the huge potential, vitality and research value behind this industry. In this context of The Times, this paper summarizes and extracts the skills of excellent game level design papers through literature analysis, and carefully analyzes the specific levels of recognized excellent games through case analysis, and studies the level design of action adventure games. This paper hopes to summarize the game level design skills of many experienced and excellent game designers to provide a reference value for the game design industry. This study concludes that proficient and comprehensive game level design requires game developers to reflect and strategize extensively. This is crucial to ensure that players experience the inherent enjoyment of the game.
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Rahimi, Ali, Ahmad Madani, and Hamid Rahimi. "University teachers’ action research: An adventure into uncharted waters?" International Journal of Learning and Teaching 8, no. 4 (October 17, 2016): 262. http://dx.doi.org/10.18844/ijlt.v8i4.374.
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One of the main approaches of educational systems in enhancing the teaching quality has been increasing teachers’ action research skills. The objective of this study has been identification of university teachers’ action research skills in higher education in Iran. The population under study has been all teachers at University of Kashan, Iran (283) from which 189 teachers have been randomly selected. The instrument employed has been a self-made questionnaire which assessed teachers’ action research skills based upon four factors (diagnostic Skills, attitude towards action research, data collection skills, and practical action research abilities). The reliability of the questionnaire was assessed by Cronbach’s Alfa as 0.852 and this is indicative of the high reliability and internal consistency of the instrument. This study clearly showed that a large number of university teachers have no information about the role of action research in improving the quality of teaching and learning. Data analysis showed that even noticeable differences are not observed in the behavior of teachers familiar with action research and those who are unfamiliar with it. The most interesting finding of this study was the discovery that all university teachers were able to recognize the issues and topics related to their profession (topic recognition skill) and are deeply preoccupied with such issues (attitude towards action research), but they lacked the necessary skills to cope with these issues and make the relevant practical decisions (data collection skills and practical action research). To overcome this deficiency, the researchers suggest in-service educational programs organized by university authorities with the aim of turning teachers to researchers familiar with action research skills.Keywords: Action research, Teaching, Educational Supervision, Enhancement of Teaching Quality, University Teachers.
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Newton, Maria, Jerry Sandberg, and Doris L. Watson. "Utilizing Adventure Education Within the Model of Moral Action." Quest 53, no. 4 (November 2001): 483–94. http://dx.doi.org/10.1080/00336297.2001.10491760.
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Sutanto, Helmy Yusuf, Jeanny Pragantha, and Darius Andana Haris. "PEMBUATAN GAME ACTION-ADVENTURE 2.5D “DYSPHORIA: DELIRIOUS REALM” DENGAN UNITY." Jurnal Ilmu Komputer dan Sistem Informasi 8, no. 1 (January 1, 2020): 62. http://dx.doi.org/10.24912/jiksi.v8i1.11470.
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"Dysphoria: Delirious Realm" is a 2.5D action-adventure game for PC with novel elements that allow players to get a different ending after completing the story of the game. This game is designed using the Unity game engine with C # as its programming language. The aim of the game is to complete the stage from beginning to end, except for tutorials that can be skipped. At each stage, players will overcome various obstacles such as monsters, traps, and puzzles to complete the stage. Testing is done by blackbox testing, alpha testing by the supervisor, and beta testing through a survey of 30 respondents. Test results show that the game with the 2.5D action-adventure genre is a very popular genre to play. The game "Dysphoria: Delirious Realm" has an interesting gameplay and a fairly challenging level of difficulty, especially on stage 4 and above but still has shortcomings in the form of ordinary enemy attacks that are easily predicted.
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Hausknecht, Matthew, Prithviraj Ammanabrolu, Marc-Alexandre Côté, and Xingdi Yuan. "Interactive Fiction Games: A Colossal Adventure." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 7903–10. http://dx.doi.org/10.1609/aaai.v34i05.6297.
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A hallmark of human intelligence is the ability to understand and communicate with language. Interactive Fiction games are fully text-based simulation environments where a player issues text commands to effect change in the environment and progress through the story. We argue that IF games are an excellent testbed for studying language-based autonomous agents. In particular, IF games combine challenges of combinatorial action spaces, language understanding, and commonsense reasoning. To facilitate rapid development of language-based agents, we introduce Jericho, a learning environment for man-made IF games and conduct a comprehensive study of text-agents across a rich set of games, highlighting directions in which agents can improve.
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Raynor, Carol. "ACAPN at the ISPN Conference 2002: Action, Advocacy, and Adventure." Journal of Child and Adolescent Psychiatric Nursing 15, no. 2 (April 2002): 86. http://dx.doi.org/10.1111/j.1744-6171.2002.tb00330.x.
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Cieślak, Filip. "Spectacle in Contemporary Mainstream Action Cinema." Panoptikum, no. 26 (October 19, 2021): 61–79. http://dx.doi.org/10.26881/pan.2021.26.03.
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The following article traces the historical development of the notion of spectacle. It first provides an outline of theoretical research on the subject, pointing out various interpretations and approaches. Secondly, comparative-quantitive analysis is used to compare several film series (Die Hard, Fast and Furious, Mad Max, Predator) in order to find what changes spectacle has undergone in mainstream action-adventure cinema, and to what extent these permutations have impacted the relationship between narration and spectacle. Finally, key takeaways are summarised and additional questions for future research posed.
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Bobowski, Sławomir. "Tematyka ukraińska w powojennym polskim filmie fabularnym do 1989 roku." Studia Filmoznawcze 37 (September 14, 2016): 151–78. http://dx.doi.org/10.19195/0860-116x.37.7.
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UKRAINIAN THEMES IN POLISH CINEMA UNTIL 1989In postwar Poland three films were created that alluded directly to the fights of the Polish Communistic Army against the Ukrainian Uprising Army and the Polish Home Army, which took place in Bieszczady at the end of the Second War and in the following several months. These were: Sergeant Major Kaleń Ewa and Czesław Petelscy, 1961, The Ruptured Bridge Jerzy Passendorfer, 1962, Woolves’ Echos Aleksander Ścibor-Rylski, 1968. They were all made to create the myth of Bieszczady, to achieve a propaganda effect. They also all have a form close to that of the western which was a very popular genre in Poland in the time of their making. This form was to make the realization of the mythologizing and propaganda task easier. In Sergeant Major Kaleń the main topic is a military conflict between some troops of the Polish Communistic Army and Ukrainian insurgents just after the end of the Second World War. The movie was an attempt to show the complicated social-political situation of the period in the south-eastern edge of Poland — in Bieszczady. But it was an attempt strongly ideological and dishonest from the point of view of the historical and political truth. The movie has an interesting protagonist, it depicts quite suggestively some human types from Bieszczady of those times, but it is not just in showing “the Ukrainian question” as well as the Polish Home Army and its brave and tragic “cursed soldiers”. Although it should be pointed out that from the historical-political perspective the film is much more honest than the novel by Jan Gerhard Łuny w Bieszczadach [The Glow in Bieszczady] of which it was an adaptation. The Ukrainians and the soldiers of the Polish Home Army in the film by the Petelskis are cruel and ruthless, and only the soldiers of the Communist Polish army are good and honest people. The Ruptured Bridge is also an image touching upon the matter of Polish-Ukrainian struggles just before the end of the Second World War and shortly after that, but it is mainly a splendid film of adventure with some distinctive features of western and criminal-spy-sensational genre. It was based on the short story Śniegi płyną The Snows Are Flowing by Roman Bratny. This is a really good movie that is not as strongly soaked with communistic propaganda as the previous one that does not show the soldiers of UPA Ukrainian Uprising Army as monsters. It is rather universal in its message its epicenter is the beautiful — brave and heroic — attitude of a shire officer who is also an engineer. Similarly to Sergearnt Major Kaleń the literary prototype was much more historically and politically dishonest than its screen adaptation. In Bratny’s short story visible are some postcolonial accents. The Ukrainians are showed as a society culturally retarded, primitive, wild, while Passendorfer’s film seems to suggest that this possible cultural latency of Ukraine was caused by the historical faults of Russia and Poland that in the past had treated Ukraine as their colony. Besides Passendorfer shows this “wildness” of the Ukrainian soldiers in some romantic aura of “Ruthenian falcons”. In turn, Woolves’ Echos is an unpretentious adventure film, lacking political-historical ambitions, successfully shot from its beginning to an end in a western convention. The plot takes place in Bieszczady, a few years after the Second World War. When we measure the gravity of problems separating Poles and Ukrainians after WWII, problems which had never been solved or explored in the Polish People’s Republic, then Woolves’ Echos appears to be compromising for the director, producers and for the Polish People’s Republic’s film authorities of those times. Tadeusz Lubelski once wrote: “The authors [of the movie] did not see to any authentication of the complicated story matters, the most important of which was the real conflict on the Polish-Ukrainian frontier”. Two more movies with clear Ukrainian motives were made in the later years of film development in the Polish People’s Republic. Mr. Wołodyjowski Jerzy Hoffman, 1969 and Mazepa Gustaw Holoubek, 1975. The first one was an adaptation of a novel with the same title, written by Henryk Sienkiewicz. The second movie was a film adaptation of a romantic drama written by Juliusz Słowacki also with the same title. In Sienkiewicz’s novel, the last volume in his trilogy which is very significant for the shape of cultural and historical relations between Poles and Ukrainians, we can find a few very pro-Ukrainian-and-Polish motives e.g. a widely depicted beautiful story of a difficult Polish-Ukrainian relation between Muszalski and Dydiuk — from consuming hatred up to fervent friendship. In Holoubek’s Mazepa, in turn, the pro-Ukrainian/pro-Ruthenian accent is strongly visible. Eponymous Mazepa — in the time of the action of Słowacki’s play and — of course — film, being a pageboy of the Polish King Casimir — is along with the protagonist Zbigniew the most noble and upstanding character in the movie. They are both also the most tragic heroes of the play, personalizing the sacrifice of young people — the Poles and the Ruthenians — that the lordly Poland quite often made in its history to last in its colonial shape.Translated by Sławomir Bobowski
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Bobowski, Sławomir. "Українська тематика у повоєнному польському ігровому кіно до 1989 року." Studia Filmoznawcze 37 (September 14, 2016): 179–206. http://dx.doi.org/10.19195/0860-116x.37.8.
Full textAbstract:
UKRAINIAN THEMES IN POLISH CINEMA UNTIL 1989In postwar Poland three films were created that alluded directly to the fights of the Polish Communistic Army against the Ukrainian Uprising Army and the Polish Home Army, which took place in Bieszczady at the end of the Second War and in the following several months. These were: Sergeant Major Kaleń Ewa and Czesław Petelscy, 1961, The Ruptured Bridge Jerzy Passendorfer, 1962, Woolves’ Echos Aleksander Ścibor-Rylski, 1968. They were all made to create the myth of Bieszczady, to achieve a propaganda effect. They also all have a form close to that of the western which was a very popular genre in Poland in the time of their making. This form was to make the realization of the mythologizing and propaganda task easier. In Sergeant Major Kaleń the main topic is a military conflict between some troops of the Polish Communistic Army and Ukrainian insurgents just after the end of the Second World War. The movie was an attempt to show the complicated social-political situation of the period in the south-eastern edge of Poland — in Bieszczady. But it was an attempt strongly ideological and dishonest from the point of view of the historical and political truth. The movie has an interesting protagonist, it depicts quite suggestively some human types from Bieszczady of those times, but it is not just in showing “the Ukrainian question” as well as the Polish Home Army and its brave and tragic “cursed soldiers”. Although it should be pointed out that from the historical-political perspective the film is much more honest than the novel by Jan Gerhard Łuny w Bieszczadach [The Glow in Bieszczady] of which it was an adaptation. The Ukrainians and the soldiers of the Polish Home Army in the film by the Petelskis are cruel and ruthless, and only the soldiers of the Communist Polish army are good and honest people. The Ruptured Bridge is also an image touching upon the matter of Polish-Ukrainian struggles just before the end of the Second World War and shortly after that, but it is mainly a splendid film of adventure with some distinctive features of western and criminal-spy-sensational genre. It was based on the short story Śniegi płyną The Snows Are Flowing by Roman Bratny. This is a really good movie that is not as strongly soaked with communistic propaganda as the previous one that does not show the soldiers of UPA Ukrainian Uprising Army as monsters. It is rather universal in its message its epicenter is the beautiful — brave and heroic — attitude of a shire officer who is also an engineer. Similarly to Sergearnt Major Kaleń the literary prototype was much more historically and politically dishonest than its screen adaptation. In Bratny’s short story visible are some postcolonial accents. The Ukrainians are showed as a society culturally retarded, primitive, wild, while Passendorfer’s film seems to suggest that this possible cultural latency of Ukraine was caused by the historical faults of Russia and Poland that in the past had treated Ukraine as their colony. Besides Passendorfer shows this “wildness” of the Ukrainian soldiers in some romantic aura of “Ruthenian falcons”. In turn, Woolves’ Echos is an unpretentious adventure film, lacking political-historical ambitions, successfully shot from its beginning to an end in a western convention. The plot takes place in Bieszczady, a few years after the Second World War. When we measure the gravity of problems separating Poles and Ukrainians after WWII, problems which had never been solved or explored in the Polish People’s Republic, then Woolves’ Echos appears to be compromising for the director, producers and for the Polish People’s Republic’s film authorities of those times. Tadeusz Lubelski once wrote: “The authors [of the movie] did not see to any authentication of the complicated story matters, the most important of which was the real conflict on the Polish-Ukrainian frontier”. Two more movies with clear Ukrainian motives were made in the later years of film development in the Polish People’s Republic. Mr. Wołodyjowski Jerzy Hoffman, 1969 and Mazepa Gustaw Holoubek, 1975. The first one was an adaptation of a novel with the same title, written by Henryk Sienkiewicz. The second movie was a film adaptation of a romantic drama written by Juliusz Słowacki also with the same title. In Sienkiewicz’s novel, the last volume in his trilogy which is very significant for the shape of cultural and historical relations between Poles and Ukrainians, we can find a few very pro-Ukrainian-and-Polish motives e.g. a widely depicted beautiful story of a difficult Polish-Ukrainian relation between Muszalski and Dydiuk — from consuming hatred up to fervent friendship. In Holoubek’s Mazepa, in turn, the pro-Ukrainian/pro-Ruthenian accent is strongly visible. Eponymous Mazepa — in the time of the action of Słowacki’s play and — of course — film, being a pageboy of the Polish King Casimir — is along with the protagonist Zbigniew the most noble and upstanding character in the movie. They are both also the most tragic heroes of the play, personalizing the sacrifice of young people — the Poles and the Ruthenians — that the lordly Poland quite often made in its history to last in its colonial shape.Translated by Sławomir Bobowski