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Gourgouris, Stathis. "Dream-Work of Dispossession." Journal of Palestine Studies 44, no. 4 (2015): 32–47. http://dx.doi.org/10.1525/jps.2015.44.4.32.
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Essentially a cinema of occupation and dispossession, Palestinian cinema disrupts standard notions of national cinema, complicating conventional expectations of national aesthetics or national dreams. As the borders of Palestine's historical territory are continuously under erasure, so too are the symbolic boundaries of its language, which is flexible and inventive; the language of Palestinian cinema is a limit-language. No one has expressed this “limit condition” more succinctly than Elia Suleiman, whose cinematic language exemplifies a poetics of dispossession that depicts the asphyxiating spaces and truncated temporalities of Palestinian life with tragic humor and bold fantasy in defiance of narrative simplicity. Suleiman's films run counter to the conventional representation of Palestinian existence and are arguably the sharpest expressions of what can be deemed to be the dream-work of that existence against its conventional representation.
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SATO, Mitsunobu. "Dream and Innovation, Scoped through Thin Films." Journal of the Institute of Electrical Engineers of Japan 136, no. 2 (2016): 67. http://dx.doi.org/10.1541/ieejjournal.136.67.
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Khairiah, Masruriati. "Louiz Zamperini's American Dreams as Reflected in the Film Unbroken." COMMICAST 1, no. 2 (November 2, 2020): 33. http://dx.doi.org/10.12928/commicast.v1i2.2727.
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In this undergraduate thesis describes about American dream and motivation theory. This is aiming at analyzing motivation’s role in human life to fulfill their needs by focusing to the main character. The concept of American dream can be seen in Louis Zamperini as the main character of this film in principle of life. Hence, this undergraduate thesis has two main objectives to describe the Louis Zamperini’s dreams and to analyze Louis Zamperini’s motivation in his survival as the prisoner of Japan as reflected in the film Unbroken.This research is under a descriptive qualitative method. Therefore, library research is used for compiling both primary data and secondary data. The primary data is adopted from the film, meanwhile the secondary data refer to some sources, such as books, journals, articles, and on-line data from internet. Method of American studies as an interdisciplinary approach is also applied along with theories to analyze the problem formulation in this research. After the data are collected, they are analyzed by using the psychological study approach, and focuses on theory Hierarchy Needs of Abraham Maslow. Maslow’s theory explained the description of motivation based on needs. The hierarchy dividing to physiological needs, safety needs, love needs, esteem needs, and needs for self-actualization. Then, the writer uses American dream concept such as the dream of good life, liberty, and pursuit of happiness.The results of this research, the researcher found that Louis Zamperini as the main character what he did in life, there is a motivation that supports him to reach his dream like other immigrants who came to America using this concept in general. The American dream and motivation are still adopted in some American films as popular culture. Hence, it proves that American dream still exists with different style like media of film.
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Nieto Sánchez, Varinia. "El sueño moderno de devenir Otro: tras los pasos de Artaud en la Sierra Tarahumara." Literatura Mexicana 31, no. 2 (May 8, 2020): 111–38. http://dx.doi.org/10.19130/iifl.litmex.2020.31.2.0005.
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The central points around which this article revolves are Artaud’s trip to Mexico in 1936, and its subsequent re-readings, as well as the relationships suggested by the idea of the “dream” in this historical and interdisciplinary journey. First, “the Tarahumara dream” of Artaud that questions the identity of the modern subject. Years later and in the context of postmodernity, J. M. G. Le Clézio writes the text “Antonin Artaud ou le rêve mexicain” (Antonin Artaud or the Mexican dream) and addresses the “Mexican dream” from the cross-culturalism and criticism of the West. In parallel, and guided by the texts of Artaud, the filmmakers Raymonde Carasco and Régis Hébraud made between 1976 and 2003 a series of films about the Tarahumara people and about the shamanic dream from a poetic, anthropological and philosophical perspective.
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Marinelli, Lydia. "Screening Wish Theories: Dream Psychologies and Early Cinema." Science in Context 19, no. 1 (March 2006): 87–110. http://dx.doi.org/10.1017/s0269889705000773.
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ArgumentThe analogy between dream and film represents a central thread in the psychoanalytic discussion of cinema. Using examples taken from films created between 1900 and 1906, this paper develops a typology of dream scenes in early film. The basis for the proposed typology is provided by the dream knowledge in circulation toward the end of the nineteenth century. This knowledge was fed by a great variety of sources, some of them in the proximity of scientific research and some of them far from it, including wish-fulfilling prognostic models and those based on the reservoir of memory or on bodily stimuli. By setting cinema in a context of contemporary dream psychologies, it is possible to trace the specific conditions under which the analogy between dream and cinema could become effective.
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Yamamoto, Masahiro. "Dream and Goal." Zairyo-to-Kankyo 64, no. 6 (2015): 211–12. http://dx.doi.org/10.3323/jcorr.64.211.
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URATANI, Yoshimi. "Challenge to Dream." JOURNAL OF THE JAPAN WELDING SOCIETY 79, no. 3 (2010): 207–9. http://dx.doi.org/10.2207/jjws.79.207.
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Novikov, Vasily N. "VR cinema. Virtual spectacle as a dream." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 43–52. http://dx.doi.org/10.17816/vgik11243-52.
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The essay analyzes the meaning of the term immersion in relation to its application in modern cinema, explores the significance of physiological sensations in the perception of artistic and entertaining VR content, and discusses the main features of the aesthetics of 360 spherical video.
In a state of immersion, a person ceases to psychologically perceive the screen as a repeater of an artificially created world, actually merging with the surrounding space. This technology, embodied in VR films, poses many still unresolved issues: the management of the subjects attention, the role of editing, the quality of sound, the use of music, film narration, the participation of the viewer in a film's events, work with light and color.
The VR video format with a 360 overview is used in many areas: music videos, virtual tours, documentary travels, independent dives into art works, digital painting, and installations. In all these cases, the viewer feels like an observer, finding himself in the very center of an infinite, all-encompassing virtuality.
In contrast to the traditional film that appeals to the mass consciousness of the audience, the viewing of VR content is aimed at the personal self-awareness of the individual. Images perceived in this format have a potentially higher impact on the human psyche and the human unconscious because they are remembered more vividly as a result of the complex involvement in the personalized experience here and now. The ability of the author-artist to create for the viewer an emotionally saturated dream with the psychological fusion of the subject and the space takes place is a qualitatively new quality of VR dives, a feature uncharacteristic of traditional visual arts.
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Pileggi, Mary S., Maria Elizabeth Grabe, Lisa B. Holderman, and Michelle de Montigny. "Business As Usual: The American Dream in Hollywood Business Films." Mass Communication and Society 3, no. 2-3 (August 2000): 207–28. http://dx.doi.org/10.1207/s15327825mcs0323_03.
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Power, Aidan. "Awakening from the European Dream: Eurimages and the Funding of Dystopia." Film Studies 13, no. 1 (2015): 58–72. http://dx.doi.org/10.7227/fs.13.0005.
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Since its inception by the Council of Europe in 1989, Eurimages has been to the fore in financing European co-productions with the aim of fostering integration and cooperation in artistic and industry circles and has helped finance over 1,600 feature films, animations and documentaries. Taking as its thesis the idea that the CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that frequently undermine both the EU and the continent at large, this article analyses select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural standpoints with a view toward decoding institutionally embedded critiques of the European project.
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Meeusen, Meghann. "The Difficulty in Deciphering the "Dreams That You Dare to Dream": Adaptive Dissonance in Wizard of Oz Films." Children's Literature Association Quarterly 42, no. 2 (2017): 185–204. http://dx.doi.org/10.1353/chq.2017.0016.
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Sabolius, Kristupas. "KAIP PABĖGTI IŠ SVETIMO SAPNO?" Problemos 83 (January 1, 2013): 159–72. http://dx.doi.org/10.15388/problemos.2013.0.825.
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Straipsnyje nagrinėjamos su vaizdo statuso pokyčiu šiuolaikiniame pasaulyje susijusios problemos. Naujųjų technologijų eroje sapnai ir svajonės gali būti produkuojami, klasifikuojami ir įdiegiami į juos patiriančią sąmonę. Remiantis Deleuze’o, Horkheimerio ir Adorno, Candau bei Žižeko darbais diagnozuojama, kad vizualumo ir kultūros industrijų įsigalėjimas užtvindo sąmonę Kito sapnais, tokiu būdu dubliuojant jau Kanto vaizduotei priskiriamą transcendentalinio schemiškumo funkciją. Šiuos procesus įgyvendinti padeda naujoji vaizdinių veikimo forma – ikonorėja, kuri pasireiškia kaip viešojoje erdvėje cirkuliuojantis ir ritmiškai atsikartojantis perteklinis vaizdų antplūdis. Straipsnyje keliamas retorinis klausimas apie galimybę išsilaisvinti iš šios situacijos – t. y. pabėgti iš Kito sapno.Escaping the Dream of the OtherKristupas Sabolius SummaryDealing with the changing nature of visuality in contemporary world, this article aims to examine the possibility of producing, classifying, and implanting dreams into one’s mind. Based on Deleuze’s, Horkheimer’s, Adorno’s, Candau’s, and Zizek’s views as well as a few Hollywood films, this work diagnoses the crucial role of cultural industries in duplicating the function of transcendental schematism, as new technologies take over Kant’s transcendental imagination. These processes are implemented through a new form of visual existence – iconorrhea, a rhythmical, repetitive and excessive flux of images, circulating on the screens of public sphere. This paper raises the rhetorical question concerning the possibility of deliverance from this situation, i.e. how can one escape the dream of the Other.
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Carr, Tracy. "Book Review: Hammer Complete: The Films, the Personnel, the Company." Reference & User Services Quarterly 59, no. 1 (December 11, 2019): 83. http://dx.doi.org/10.5860/rusq.59.1.7239.
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Imagine that you are the most devoted fan of your favorite thing, be it NASCAR, collecting salt and pepper shakers, or birdwatching. From childhood on, your interest in the minutiae regarding the subject of your fandom only grows. Eventually, your dream comes true, and you write an encyclopedia about your favorite subject. This scenario seems likely as this reviewer considers how Howard Maxford’s Hammer Complete: The Films, the Personnel, the Company came into being.
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Torreblanca, M., E. Zallo, and O. Euba. "Electroconvulsive therpapy and cinema. From “the snake pit” to “requiem for a dream”." European Psychiatry 26, S2 (March 2011): 1159. http://dx.doi.org/10.1016/s0924-9338(11)72864-4.
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IntroductionElectroconvulsive therapy is nowadays one of the most useful treatments for severe mental disorders. A lot of patients refer an improvement or even a remission of their psychopathology after this treatment.ObjectivesTo demonstrate how cinema has favoured the creation of a social stigma against mental health professionals, against the treatments we use and, most of all, against the people we treat.We based this project on the portrait cinema has meade of electroconvulsive therapy (ECT).MethodsECT appears in more than thirty films. We take into account the most representative ones shot from 1948 to 2008.ResultsECT makes its debut in cinema in 1948, ten years after its first use as a psychiatric treatment. During 60 years, ECT comes on stage in more than 30 films. The main indication in cinema to use ECT is to control and punish antisocial behaviors. Medical consent is not asked in most of the films. The ECT modified procedure doesn’t appear.ConclusionsCinema has contributed to stigmatize mental illness, psychiatrists and treatments we use, specially electroconvulsive therapy.
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Duffy, Jean, Alain Robbe-Grillet, Anthony N. Fragola, and Roch C. Smith. "The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films." Modern Language Review 91, no. 1 (January 1996): 235. http://dx.doi.org/10.2307/3734058.
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박춘식. "Repetition and Variation in a Dream Shown in Gu Chang-wei's Films." Journal of Chinese Language and Literature ll, no. 60 (August 2012): 337–61. http://dx.doi.org/10.15792/clsyn..60.201208.337.
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Li, Dian, and Shuang Luo. "The selfie of the other: The Chinese dream in films and tourism." Asian Cinema 28, no. 1 (April 1, 2017): 39–53. http://dx.doi.org/10.1386/ac.28.1.39_1.
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Johnston, Keith M. "A Technician's Dream? The Critical Reception of 3-D Films in Britain." Historical Journal of Film, Radio and Television 32, no. 2 (June 2012): 245–65. http://dx.doi.org/10.1080/01439685.2012.669887.
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Zanderighi, Luciano. "Design of Polymeric Films for Modified Atmosphere Packs(MAP): Dream or Reality?" Chemie Ingenieur Technik 73, no. 6 (June 2001): 697. http://dx.doi.org/10.1002/1522-2640(200106)73:6<697::aid-cite6971111>3.0.co;2-x.
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Landy, M. ""The Dream of the Gesture": The Body of/in Todd Haynes's Films." boundary 2 30, no. 3 (September 1, 2003): 123–40. http://dx.doi.org/10.1215/01903659-30-3-123.
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Betancourt, Manuel. "Cineando." Film Quarterly 73, no. 3 (2020): 83–88. http://dx.doi.org/10.1525/fq.2020.73.3.83.
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FQ columnist Manuel Betancourt chronicles an unprecedented and growing canon of narrative films from throughout Latin America that examine how twentieth- and twenty-first-century ideas of modernity impact the lives and languages of the indigenous characters placed front and center in these films. While nonfiction filmmaking has a long history of documenting indigeneity on-screen, including by indigenous filmmakers, in the world of narrative features, those who are framing and directing indigenous stories are still largely outsiders. Betancourt explores these issues of language and representation with regard to three recent films: Retablo (Álvaro Delgado Aparicio, 2019), Sueño en otro idioma (I Dream in Another Language, Ernesto Contreras, 2017) and Wiñaypacha (Eternity, Óscar Catacora, 2018).
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Dolan, Josephine. "‘Old Age’ Films: Golden Retirement, Dispossession and Disturbance." Journal of British Cinema and Television 13, no. 4 (October 2016): 571–89. http://dx.doi.org/10.3366/jbctv.2016.0341.
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In its reliance on old age protagonists and storylines and a cohort of pensionable actors, an emerging cycle of British films (including Last Orders (2001), Iris (2001), The Mother (2003), The Queen (2006), The Iron Lady (2011), Quartet (2012) along with The Best Exotic Marigold Hotel (2012) and its 2015 sequel) addresses many concerns related to the ageing population and ‘crisis of ageing’ discourse, whilst projecting certain troubling ideologies. In the play between cultural and generic verisimilitude, these films illuminate the inclusions and exclusions of the Thatcherite, neo-liberal, golden retirement dream in both pre- and post-crash contexts, whilst storylines and actors' ongoing careers combine to normalise the deferred retirement policies and extended working lives resulting from the 2008 banking crisis. This article argues that these films both utilise and disturb dominant stereotypes of old age. However, in turn, these disturbances are troublingly neo-colonialist, heteronormative and postfeminist.
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Jankovic, Slavko, Dragoslav Sokic, Nikola Vojvodic, and Aleksandar Ristic. "The first film presentation of REM sleep behavior disorder precedes its scientific debut by 35 years." Srpski arhiv za celokupno lekarstvo 134, no. 9-10 (2006): 466–69. http://dx.doi.org/10.2298/sarh0610466j.
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The perplexing and tantalizing disease of rapid eye movement (REM) sleep behavior disorder (RBD) is characterized by peculiar, potentially dangerous behavior during REM sleep. It was described both in animals and humans. RBD in mammals was first described by Jouvet and Delorme in 1965, based on an experimental model induced by lesion in pontine region of cats [1]. In 1972, Passouant et al. described sleep with eye movements and persistent tonic muscle activity induced by tricyclic antidepressant medication [2], and Tachibana et al., in 1975, the preservation of muscle tone during REM sleep in the acute psychosis induced by alcohol and meprobamate abuse [3]. However, the first formal description of RBD in humans as new parasomnia was made by Schenck et al in 1986 [4-7]. Subsequently, in 1990, the International Classification of Sleep Disorders definitely recognized RBD as new parasomnia [8]. To our knowledge, arts and literature do not mention RBD. Except for the quotation, made by Schenck et al [6] in 2002, of Don Quixote de la Mancha whose behavior in sleep strongly suggested that Miguel de Servantes actually described RBD, no other artistic work has portrayed this disorder. Only recently we become aware of the cinematic presentation of RBD which by decades precedes the first scientific description. The first presentation of RBD on film was made prior to the era of advanced electroencephalography and polysomnography, and even before the discovery of REM sleep by Aserinsky and Kleitman in 1953. [9]. The artistic and intuitive presentation of RBD was produced in Technicolor in a famous film "Cinderella" created by Walt Disney in 1950, some 35 years prior to its original publication in the journal "Sleep" [2]. Since there is an earlier version of the film initially produced in 1920, presumably containing this similar scene, we can only speculate that the first cinematic presentation of RBD might precede its scientific debut by 65 years. In a scene in a barn, clumsy and goofy dog Bruno is, as dogs usually do, lying on a mat deeply asleep and obviously dreaming of his enemy cat Lucifer. This is clearly implied by a preceding scene showing Lucifer being extremely frightened while observing the dreaming dog in action. The cat Lucifer is instantly aware that the dog is chasing him in a dream and is horrified (Pictures 1-3). In a film sequence lasting only 16 seconds, we see Cinderella being aware that Bruno is firmly asleep, apparently having a terrible dream. While lying on the ground with total absence of any muscle atonia, the dog Bruno chases the cat Lucifer in his dream. He is running and barking, and when in his dream he catches Lucifer, he tries to devour the cat. Cinderella tries to wake him up by calling his name twice, first gently and then more vigorously, as she becomes aware of the content of Lucifer?s dream and his intention. The dog is deeply asleep and does not awake in spite of being exposed to sunlight through the opening door of the barn, and called by name by Cinderella (Pictures 4-14). For such a behavior he is reprimanded by Cinderella who definitely recognized the content of his dream (Pictures 15-36). Immediately upon awakening, Bruno shows his good natured temper and amiable character (Pictures 37-40). The film shows that the producer (Walt Disney) and film directors (Wilfred Jackson, Clyde Geronimi and Hamilton Luske) were obviously aware that a dog might enact the content of a dream. It also implies that their observation from day-to-day (better to say night-to-night) life of the dream enactment is not a rare phenomenon, and that it deserves to be shown in the film. These authors were also aware that dogs having RBD were good-natured during wakefulness and that only in dreams they showed unrestrained aggression; while awake, dog Bruno was only an opponent or enemy to the cat Lucifer, but in dreams the animosity grew to aggression. Disney noticed this peculiar kind of sleep behavior and most probably was aware of its frequency and importance, and certainly not knowing it is a disease, he used it to color his cartoon character making it more likable to the observer. Since the film was nominated for Best Score, Best Song and Best Sound, it not only reflected the artistic and observational abilities of the producer, but also his sense of the importance of the phenomenon, awareness of its frequency and presence in animals. The onlooker is tempted to speculate that Disney, while obviously having been aware of such a behavior in animals, might also have knowledge of its presence in humans. Even more, since Disney?s films frequently present different sleep disturbances (e.g., obstructive sleep apnea (OSA) in dwarfs, hypersomnolence in the dwarf Sleepy, or jactatio capitis nocturna in the dwarf Dopey in film "The Snow White"), it seems plausible that he first observed RBD in man, and then artistically transferred it to his cartoon animal characters. Since the whole incident took place during the day, we assume that Bruno, apart from suffering from RBD, had another sleep disorder causing daytime REM intrusions (possibly narcolepsy and probably not OSA, as is frequent in Disney?s films, since there is no excessive daytime sleepiness). The odd thing about RBD is that it may easily, as it probably did for centuries, go as peculiar behavior in sleep ? rather than disease. While Lucifer was presented as sober and prudent cat, Bruno was clumsy and forgetful dog. We will refrain from speculating that dog?s clumsy nature could be the consequence of the CNS involvement by neuro-degenerative disease (i.e., synucleinopathy). Although we are aware that, in interpreting this episode we assumed to be at least as imaginative as the cartoon films of Walt Disney are, the fact remains that the artistic film presentation of RBD precedes its scientific description by at least 35 years.
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BRZEZIŃSKA, ANNA. "Mystification in Czech cinematography and Czech culture." Journal of Education Culture and Society 4, no. 2 (January 9, 2020): 309–15. http://dx.doi.org/10.15503/jecs20132.309.315.
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The article concerns the issue of mystification and hoax in Czech culture. It demon-strates historical aspects of this phenomenon and, basing on the example of various cul-tural texts, shows that the mystification as a means of artistic expression is deeply rooted in Czech culture. Surrealistic and illogical themes that are characteristic for Czech humour are used by artists, especially filmmakers, in creating successive mystifications. The article examines films such as Oil Gobblers (1988), Year of Devil (2002), Czech Dream (2004), Jara Cim-rman Lying, Sleeping (1983), in order to analyse the role of this phenomenon in both films that speak of mystification and the ones that are mystifications themselves.
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Cambon, Marie. "The Dream Palaces of Shanghai: American Films in China's Largest Metropolis Prior to 1949." Asian Cinema 7, no. 2 (August 1, 2012): 34–45. http://dx.doi.org/10.1386/ac.7.2.34_1.
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Zhu, Yanhong. "The Crisis of the American Dream: On Going-Abroad Films in Contemporary Chinese Cinema." American Quarterly 69, no. 3 (2017): 763–68. http://dx.doi.org/10.1353/aq.2017.0060.
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Gschwend, Grégoire C., Evgeny Smirnov, Pekka Peljo, and Hubert H. Girault. "Electrovariable gold nanoparticle films at liquid–liquid interfaces: from redox electrocatalysis to Marangoni-shutters." Faraday Discussions 199 (2017): 565–83. http://dx.doi.org/10.1039/c6fd00238b.
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Control over the physical properties of nanoparticle assemblies at a liquid–liquid interface is a key technological advancement to realize the dream of smart electrovariable nanosystems. Electrified interfaces, such as the interface between two immiscible electrolytes solutions (ITIES), are almost an ideal platform for realizing this dream. Here, we show that the Galvani potential difference across soft interfaces can be effectively used to manipulate: (i) the reactivity of gold nanoparticle assemblies through varying the Fermi level (both chemically and electrochemically); (ii) the location distribution of the nanoparticles at the liquid–liquid interface. In the first case, in addition to our previous studies on electron transfer reactions (ET) across the ITIES, we used intensity modulated photocurrent spectroscopy (IMPS) to study the kinetics of photo-induced electrochemical reactions at the ITIES. As expected, the direct adsorption of gold nanoparticles at the interface modifies the kinetics of the ET reaction (so-called, interfacial redox electrocatalysis), however it did not lead to an increased photocurrent by “plasmonic enhancement”. Rather, we found that the product separation depends on double layer effects while the product recombination is controlled by the Galvani potential difference between the two phases. In the second case, we demonstrated that polarizing the ITIES caused migration of gold nanoparticles from the middle region of the cell to its periphery. We called such systems “Marangoni-type shutters”. This type of electrovariable plasmonic system did not experience diffusion limitation in terms of the adsorption/desorption of nanoparticles and the entire movement of nanoparticle assemblies happened almost instantly (within a second). It opens a fresh view on electrovariable plasmonics and presents new opportunities to create smart nanosystems at the ITIES driven with an electric field.
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Yaqub, Nadia. "Refracted Filmmaking in Muhammad Malas’s The Dream and Kamal Aljafari’s The Roof." Middle East Journal of Culture and Communication 7, no. 2 (2014): 152–68. http://dx.doi.org/10.1163/18739865-00702004.
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This article analyzes two films, The Dream (Muhammad Malas, 1987) and The Roof (Kamal Aljafari, 2006) to define a particular mode of filmmaking. By avoiding direct representations of violence and employing what I call refraction, filmmakers create experiences for viewers that make agential understandings of particular Palestinian times, places and experiences possible. Through refraction, filmmakers refrain from providing new information or explanations, but rather create for spectators a new experience that leads to an affective understanding of a circumstance or event. Refraction can encompass different forms of counter-hegemonic practices. It can deconstruct or queer dominant discursive practices. Through refraction filmmakers can circumvent the discourse of claims-making that viewers have widely come to expect in the Palestinian context, instead creating a point of encounter through which characters and viewers can meet on the basis of equality.
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Adriaensens, Vito, and Steven Jacobs. "The sculptor’s dream: Tableaux vivants and living statues in the films of Méliès and Saturn." Early Popular Visual Culture 13, no. 1 (January 2, 2015): 41–65. http://dx.doi.org/10.1080/17460654.2014.985692.
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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.
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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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NONOSE, Shinji, and Tamotsu KONDOW. "Cluster Science and a Dream of Its Potential Applications." SHINKU 35, no. 8 (1992): 668–76. http://dx.doi.org/10.3131/jvsj.35.668.
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Brasil, André. "Confronting Devastation." Film Quarterly 74, no. 2 (2020): 26–31. http://dx.doi.org/10.1525/fq.2020.74.2.26.
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Two recent films made by Guajajara people show how cinema allies with indigenous groups to confront the environmental destruction underway in Brazil. Guardians of the Forest follows a large group of young Guajajara, Awá-Guajá, Ka'apor, and Tupi-Guarani peoples assembled to resist the constant and increasing invasion of their lands by loggers and land grabbers (grileiros). Where Guardians makes the devastation visible on screen, depicting a growing concentration of forces on the verge of a violent outbreak, The History of Chants is dedicated to the mysteries of the preserved forest, experienced like the modulations of a chant, the paths of a dream, the breath of a shaman.
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Medina, Manuel. "The other side of immigration in Prometeo Deportado (‘Prometheus deported’) and Vengo Volviendo (‘Here and there’)." Crossings: Journal of Migration & Culture 11, no. 1 (April 1, 2020): 27–41. http://dx.doi.org/10.1386/cjmc_00014_1.
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This article focuses on two films ‐ Prometeo Deportado (‘Prometheus deported’) directed by Fernando Mieles and Vengo Volviendo (‘Here and there’) directed by Isabel Rodas León and Gabriel Paez Hernandez ‐ that relate to Ecuadorian emigration and immigration. Both cultural products call attention to the realities behind the traditional presumption that the economic benefit of living outside the Ecuadorian borders outweighs the human price most people must pay in return. Using a border studies theoretical framework, this article analyses concepts such as dehumanization and deterritorialization within the conversation about emigration, immigration, cultural adaptation and assimilation of Ecuadorians who venture abroad or dream of relocating outside of their country.
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Klootwijk, J. H., K. B. Jinesh, and F. Roozeboom. "MIM in 3D: Dream or reality? (invited)." Microelectronic Engineering 88, no. 7 (July 2011): 1507–13. http://dx.doi.org/10.1016/j.mee.2011.03.137.
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Rose, Alexander S. "Star Wars: The Force Awakens [the Western Pleasure Principle]." CINEJ Cinema Journal 7, no. 2 (September 20, 2019): 48–81. http://dx.doi.org/10.5195/cinej.2019.216.
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It is difficult to identify the contradictions that serve as the foundation for value propositions in the cultural branding model. To address this, I propose the use of psychoanalysissto analyze market- and cultural-level collectives. To demonstrate, I analyze a recent installment in the popular film franchise Star Wars in order to demonstrate how extant product preferences can be used as subjects of analysis much like dream images in traditional psychoanalysis. I find that the western market which enjoys the films likely does so due to a defense mechanism known as inversion. On the market level, this offers opportunities for identity-related branding. Implications for the cultural branding model and commercial mythologizing are discussed.
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marin, alma. "The Unbearable Lightness of Wartime Cuisine." Gastronomica 5, no. 2 (2005): 26–36. http://dx.doi.org/10.1525/gfc.2005.5.2.26.
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The world has always been imperfect. I just didn't pay much attention, like so many people who go about their lives ignoring atrocities, war, hunger as if such things happened only in books or films. And even when I found myself in the middle of the chaos of war, for a long time I thought that I would awaken into a beautiful spring morning and realize it was all a bad dream. In those years, my life spun around one word: survival. That meant coping with existence without water, electricity, and with very little food; queuing in lines for hours under incessant shell and sniper fire to get basic things that are normally taken for granted.
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Martins, José Manuel. "‘Crows’ vs. ‘Avatar,’ or: 3D vs. Total-Dimension Immersion." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 79–96. http://dx.doi.org/10.2478/ausfm-2014-0027.
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Abstract 3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that “cinema as such is from the outset a ‘special effect’” should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished “fourth wall effect,” enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode Crows in Kurosawa’s Dreams (1990). Such a space requires the actual effacement of the empirical status of spectator, screen, and film as separate dimensions, and it is precisely the 3D characteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat (L’Arrivée d’un train en gare de la Ciotat, 1896) seminal demonstration. Through an analysis of crucial aspects in Avatar (James Cameron, 2009) and the recent Cave of Forgotten Dreams (Werner Herzog, 2010), both dealing with historical and ontological deepening processes of ‘going inside,’ we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.
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Kulczycka, Dorota. "Jan Paweł II w surrealistycznych odsłonach. Dwa filmy – o teatrach i teatrzykach i nie tylko – „z udziałem” Papieża." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 523–38. http://dx.doi.org/10.18290/rh.2068s-35.
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The subject of this paper are such surrealistic films as Conspirators of Pleasure (Czech: Spiklenci slasti, by Jan Švankmajer, 1996) and Being John Malkovich (by Spike Jonze, 1999), in which John Paul II is featured in the form of a montage, and theatre also plays an important role, as either one of the leading topics or else as an artistic convention. The author questions the sense of these references and what can they possibly communicate. In both of the films analysed, the interpolations of John Paul II usually break out of the normal order of things; they are additions to the represented world, elements of another reality, and thus constitute a perfect component of surrealist art, which aims – among other things – to increase confusion by the intentional incongruity of the elements presented. In these montages, John Paul II becomes an icon of seriousness, gravitas and the most important events in the world, but also a sort of “star,” a celebrity, a media person. The clash between this gravitas and the grotesque world of the movie characters often elicits dissonance and confusion, as both movies are concerned with yielding to various, sometimes completely absurd, passions. In Conspirators of Pleasure this means – above all – erotic and sexual desires; in Being John Malkovich – a desire for success and fame (apart from various configurations of sensual lust). Additionally, there is the clearly emphasised dream of being somebody else, as well as dreams of earthly immortality. John Paul II did not share such dreams, believing that the most important things are conforming to God’s will, one’s self-esteem in the light of the evangelical truth about Transcendence and Christ’s love towards men, and the “return to oneself” – playing one’s own role, not somebody else’s. The Pope exemplified with his own life how to go beyond one’s own habits, how to worship God above everything else, how to respond to other people, defeat egoism and resign from comfort, and how to live a real life in a real space, not an illusory one, unlike the characters in the above-mentioned movies.
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Boyarshinova, Nina Alexandrovna. "“Moscow text” in Russian cinema in the 1920s-1940s." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 23–32. http://dx.doi.org/10.17816/vgik6123-32.
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In the article the Russian films of the period 1920-1940 are considered, the image of Moscow is analyzed in the context of the concept of city text. The concept city text sprang into being as a certain sample of the supra text concept, a complex set of semantically bound texts. This issue is underexplored in the Russian film studies. The urgency of the investigation is stipulated by the fact, that under cultural dissimilation reflection of the separate text integrity, the capitals cityscape expressed in cinema terms in particular, will contribute to the perception of ways of urbanization on socio-cultural level as well as peculiarities of city culture shaping Three concepts of Moscow are specified: Moscow as a Third Rome, with prevaing symbols of power, Moscow as a new Kitezh with bi-worldness images, and Moscow as a new Babylon paralleling the Russian capital with the Bible city. Also such concepts as Moscow as a female protagonist and festive Moscow, rendering the mood of warm hospitality, friendship and cordiality are considered. Different manifestations of all three concepts are displayed in the 1920-s cinema: novelized images of Moscow as a reborn symbol of power, as a two-layered city and as a new Babylon. In the 1930-s the capital in the cinema is represented by comedies, showing Moscow as a dream-city, where all wishes come true, as a conflict-free space with the female protagonist delivering the key semantics of festive Moscow. In the 1940-s the continuation of the previous years tendency is traced - the war themes dont emerge, but the idea of dream city is still popular, elaborated by the ideas of power and domination, materialized in the images of the parades. Next decades the idea of the Moscow as a dream city will be changed, but the power of its influence will reveal itself, whereas the idea of bi-worldness starts to develop in completely different facets.
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Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.
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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.
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Zvereva, T. V. "Day Stars and Pervorossiisk by Olga Berggolts in the Light of Poetic Cinematograph." Critique and Semiotics 39, no. 1 (2021): 403–22. http://dx.doi.org/10.25205/2307-1737-2021-1-403-422.
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The paper considers the book Day Stars and the narrative poem Pervorossiisk by Olga Berggolts from an interdisciplinary perspective. The works were screened by Igor Talankin and Evgenii Shiffers. According to the author of the research, it is these films that define meaning-making mechanisms of Berggolts’s creative activity. A night dream mode of film narration is determinant for I. Talankin’s Day Stars; the search for the form, which is able to communicate the book structure as well as a whimsical game of human memory, comes to the fore. The film making became a testing site for Evgenii Shiffers where his religious and philosophical ideas were performed. The film Pervorossiyane is not just setting an event line in terms of visual patterns but the narrative poem reproduced via a film and thought solely in a religious and drama mystery light.
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Adji, Alberta Natasia. "REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS." Paradigma, Jurnal Kajian Budaya 8, no. 1 (July 31, 2018): 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.
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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Hallot, Maxime, Borja Caja-Munoz, Clement Leviel, Oleg I. Lebedev, Richard Retoux, José Avila, Pascal Roussel, Maria Carmen Asensio, and Christophe Lethien. "Atomic Layer Deposition of a Nanometer-Thick Li3PO4 Protective Layer on LiNi0.5Mn1.5O4 Films: Dream or Reality for Long-Term Cycling?" ACS Applied Materials & Interfaces 13, no. 13 (March 25, 2021): 15761–73. http://dx.doi.org/10.1021/acsami.0c21961.
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Suffren, Yan, Davood Zare, Svetlana V. Eliseeva, Laure Guénée, Homayoun Nozary, Timothée Lathion, Lilit Aboshyan-Sorgho, Stéphane Petoud, Andreas Hauser, and Claude Piguet. "Near-Infrared to Visible Light-Upconversion in Molecules: From Dream to Reality." Journal of Physical Chemistry C 117, no. 51 (December 12, 2013): 26957–63. http://dx.doi.org/10.1021/jp4107519.
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Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (December 1, 2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.
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Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]
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Fell, John. ": The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films . Anthony N. Fragola, Roch C. Smith, Alain Robbe-Grillet." Film Quarterly 46, no. 4 (July 1993): 62. http://dx.doi.org/10.1525/fq.1993.46.4.04a00400.
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Shamash, Sarah. "Cosmopolitical technologies and the demarcation of screen space at Cine Kurumin." Media-N 14, no. 1 (September 26, 2018): 11–23. http://dx.doi.org/10.21900/j.median.v14i1.62.
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“Our fight today is to demarcate our space on the screen, when we can no longer demarcate our lands.” I cite Ailton Krenak, one of Brazil’s most influential Indigenous leaders, at his keynote address at the opening of the Cine Kurumin film festival in Salvador, Brazil, to engage with cinematic languages on the margins of dominant media. I experience the festival as an active immersion into imaginaries that forward the process of “decoloniality” (Mignolo). As Sueli Maxakali articulated during a roundtable of Indigenous women filmmakers, the Shaman must dream in order to choose the name of the films made in her community. The production processes of these films were conceived outside the structures of any capitalist market economy; rather, the festival offered an alternate space to take a deliberate leap into expressive audio and oral visual experiences, cultures, languages, politics, and imaginaries resisting ongoing violence entrenched in capital and coloniality. Through a discussion of the festival curation, roundtable discussion, and through a film analysis, I elaborate how the sacred, spiritual, and social are constituent elements of cosmopolitical visions. I argue that film and video as cosmopolitical technologies are unsettling established conceptions of nature and culture, of politics and representation both on and off-screen. Witnessing the Cine Kurumin festival – the totality of the experience becomes an immersive and transformative space for decolonizing the imaginary while disturbing hegemonic political, conceptual, and representational agendas.
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Xie, Zheng. "The Symmetries in Film and Television Production Areas Based on Virtual Reality and Internet of Things Technology." Symmetry 12, no. 8 (August 18, 2020): 1377. http://dx.doi.org/10.3390/sym12081377.
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To enrich the form of film and television production, improve the level of film and television production, and satisfy the film-watching experiences of audiences, based on Virtual Reality (VR) and the Internet of Things (IoT) technology, with the help of S3 Studio Max and Photoshop software, a VR film-watching system is built, which realizes the interaction with users on different devices through somatosensory interaction sensors. In addition, by utilizing Twirling720, the panoramic sound recording is achieved. Through this system, a smart IoT platform between users, films, and devices is built. Finally, this platform is utilized to produce the film and television work Van Gogh in Dream, which is evaluated and analyzed through questionnaires. The results show that the technology system of this set of film and television production is complete, and the production level of film and television works have been significantly improved. The audience recognition of film and television production based on this technology is 55%, and the impression evaluation is over 56%. However, knowledge acquisition is only 20%, and historical understanding is above 50%. These dimensions show that compared with traditional film production, artificial intelligence films can bring a better experience to audiences, but knowledge acquisition is less. Therefore, professional knowledge will be improved at the later stage. The above results provide a theoretical basis for the application of artificial intelligence technology in film production and production mode.
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Garðarsdóttir, Hólmfríður. "Ante la indiferencia: Representaciones visuales que reafirman cómo la decepción utópica se vuelve distópica." Bergen Language and Linguistics Studies 10, no. 1 (November 14, 2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1449.
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Faced with indifference: Visual representations that endorse utopian expectations turning dystopic.
Every year, in an attempt to reach the United States, hundreds of thousands of undocumented migrants from Central America cross Mexico atop freight trains that are referred to by names such as “The Beast” or “The Train of Death.” Driven by extreme economic conditions, civil unrest and violence in their home countries, and, in some cases, the desire to reunite with relatives already living in the United States, adult individuals, families, and even unaccompanied children and adolescents embark on this perilous journey. In doing so, they risk falling victim to abuse, extortion, sexual assault, and other forms of violence at the hands of brutal gangs, organized crime, and corrupt officials. Many lose their lives.
This study examines various aspects of the passage of undocumented Central American migrants through Mexico, viewing the situation from the perspective of human rights violations and social exclusion. It addresses the specifics and realities of the migrants’ dangerous journey north, and reviews the main factors that lead these people, who are mostly from El Salvador, Guatemala, and Honduras, to leave their home countries in search of better conditions and a chance to live what they regard as the American Dream.
The experiences of Central American migrants have been the subject of several documentary films which provide both a narrative and visual representation of the journey north through Mexico. This study will analyze a series of documentaries as well as the feature films Sin nombre (2009) y La jaula de oro (2013) and consider whether the films accurately illustrate the harsh realities that undocumented migrants face while attempting to reach the United States and the extent to which they provide insight into their lives and experiences.
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.
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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.