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Journal articles on the topic 'English Cinema'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

López, Ana M. "The State of Things: New Directions in Latin American Film History." Americas 63, no. 2 (2006): 197–203. http://dx.doi.org/10.1017/s0003161500062969.

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Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (fo

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2

Vidal, B. "English Heritage, English Cinema: Costume Drama since 1980." Screen 44, no. 3 (2003): 351–54. http://dx.doi.org/10.1093/screen/44.3.351.

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Fuica, Beatriz Tadeo. "The Foundational Manifesto of New Argentine Cinema? Israel Adrián Caetanos ‘Agustín Tosco Propaganda‘ (1995)." Film Studies 16, no. 1 (2017): 89–93. http://dx.doi.org/10.7227/fs.16.0007.

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Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have ma

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Aune, M. G. "Shakespeare and the English-speaking Cinema." Shakespeare 12, no. 1 (2015): 99–100. http://dx.doi.org/10.1080/17450918.2015.1064988.

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5

Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.

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‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main

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Ahmed, Sardi, . Nanning, Firmansyah JN Muh., Muchtar Jumardin, and Jannah Miftahul. "Fostering Auditory English Proficiency through Cinematic Exposure." International Journal of Current Science Research and Review 08, no. 05 (2025): 2355–65. https://doi.org/10.5281/zenodo.15470987.

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Abstract : Students want to foster Listening in English, there are various efforts that are often made. In this context, one technique that can be applied to determine students’ listening skills is through English Cinemas. This method leads students to fun learning. Not only watching a cinema but also being able to know how to pronounce a sentence delivered directly by a native speaker (Native Speaker). This study uses a pre-experimental design with pre- and post-testing. The Pre-test, treatment, and Post-test are all completed by the students. Students in second grade at Junior High Sch

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Pradhan, Dr Kalyani, and Noorul Hoda. "The Impact of English Language Films on the Indian Media Industry." Indian Journal of Mass Communication and Journalism 2, no. 4 (2023): 16–22. http://dx.doi.org/10.54105/ijmcj.a1045.062423.

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This research investigates the transformative impact of English language films on the Indian media industry, analyzing their influence across content creation, distribution, exhibition, and audience preferences. The ascendancy of English films, driven by global cinematic trends and digital accessibility, has spurred a creative renaissance, fostering cross-cultural narratives and reshaping storytelling techniques. The study explores the dynamic shift in distribution and exhibition patterns, with English films challenging traditional regional cinema in both theaters and digital platforms. The ev

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Sultana, Nasreen. "Bangla to English Code Switching in Bangladeshi Commercial Cinema." Stamford Journal of English 7 (April 7, 2013): 263–85. http://dx.doi.org/10.3329/sje.v7i0.14479.

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The language of media, especially language of cinema is relatively an unexplored area in the field of academic research. In Bangladeshi commercial cinema, it is often noticed that actors switch their codes from Bangla to English while speaking. However, it should not be thought that in cinema code switching is done without any reason; rather code switching in the dialogues is designed to convey the intended meaning. Therefore, it is important to investigate the phenomenon of code switching in Bangladeshi commercial cinema from an academic point of view. This research is descriptive and qualita

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9

Vanderburgh, Jennifer. "Ghostbusted! Popular Perceptions of English-Canadian Cinema." Canadian Journal of Film Studies 12, no. 2 (2004): 81–98. http://dx.doi.org/10.3138/cjfs.12.2.81.

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10

Surve, Anshu, and Janki Bhatt. "Motherhood, Cinema & Diaspora: Exploring the struggle of Motherhood in Diasporic Association through Cinemas." International Journal of Science and Social Science Research 2, no. 4 (2025): 101–8. https://doi.org/10.5281/zenodo.14888468.

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Motherhood is a multifaceted concept that encompasses biological, psychological, social, and cultural dimensions. In English literature, motherhood has been explored through various critical perspectives, focusing on different aspects of this complex phenomenon. Some of the critical perspectives include Feminist Perspective, Psychoanalytic Perspective, Post Colonial Perspective, Diasporic Perspective etc. These perspectives offer diverse frameworks for understanding motherhood highlighting its rich and complex significance as a cultural phenomenon. Popular media, cinemas serve as a creative me

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11

Lazar, Alon, and Tal Litvak Hirsch. "Holocaust Cinema as Depicted by Film Advisory Boards in Five English Speaking Countries." CINEJ Cinema Journal 6, no. 2 (2018): 88–111. http://dx.doi.org/10.5195/cinej.2017.171.

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Holocaust cinema is important constituent in conveying the events of the Holocaust and its aftermath within present day culture. Recommendations by film advisory boards can encourage or deject exposure to Holocaust cinema. Age-classifications and their justifications of Holocaust movies produced between 1993 and 2015, by film advisory boards in five English speaking countries, were investigated. Differences in age classifications, and similarity in depicting Holocaust movies as mainly heavy with violence, sex, profanity and mature contents, were noted. In order to capture more fully the comple

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12

Munro, Robert. "Performing the National? Scottish Cinema in the Time of Indyref." Journal of British Cinema and Television 17, no. 4 (2020): 425–48. http://dx.doi.org/10.3366/jbctv.2020.0541.

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This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of national identity were engaged with thematically by films produced in this period. It argues that Scottish cinema in this period ‘performs the national’, in that a number of films flag their national status and engage with discourses of national identity at a distance, unburdened by any serious demand for national representativeness, as might be the case with a ‘national cinema’. From a corpus of texts in the period which

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13

서은미. "Cinema-based English learning: Focusing on About time." STEM Journal 19, no. 3 (2018): 45–64. http://dx.doi.org/10.16875/stem.2018.19.3.45.

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14

Földváry, Kinga. ":Shakespeare and the English-Speaking Cinema." Sixteenth Century Journal 46, no. 4 (2015): 1148–49. http://dx.doi.org/10.1086/scj4604162.

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15

Morozova, Irina Victorovna. "Phenomenon of Political Biopic in the English-Language Cinema." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 98–109. http://dx.doi.org/10.17816/vgik6498-109.

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The English-language historical and biographical films are booming currently. Every year large number of biopics appears on the screen. Films devoted to political figures' biographies rank special place among them. The author treats American and British traditions of political biopic, examines their origins, singles out evolution stages of biographical genre in the English-language cinema as well as political biopic's characteristics. The article also contains the brief overview of Western scholarly literature devoted to historical and biographical genres in cinema. Main conclusions: Political

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Soares, Marcos César De Paula. "O trabalho colaborativo no cinema de Ken Loach." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 251–64. http://dx.doi.org/10.5007/2175-8026.2019v72n1p251.

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The article begins with an analysis of the initial scene of the film I, Daniel Blake by the British filmmaker Ken Loach, to discuss the context in which the filmmaker's career began, amid the English debate about the legacies of Naturalism in literature and cinema. The article then turns to some of the practical consequences of this discussion of the collaborative working methods adopted by the director to ensure what he calls "portrait authenticity of the life of the English working classes."

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Isnaini Ma'rifah and Risna Mardiah Mardiah. "The Effectiveness of Cinema Therapy in Increasing Empathy in Students of English Education Study Program." Journal of Psychology and Social Sciences 2, no. 4 (2025): 137–43. https://doi.org/10.61994/jpss.v2i4.881.

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Empathy is a form of attention that involves emotional connection to understand the feelings of others. However, many adolescents are unable to explore their empathy so there needs to be an effort to increase it. On way that can be done to increase empathy is by using cinema theraoy techniques. Cinema therapy is a counseling method using films to have a positive effect on the counselee. In this film, treatments that contain empathy values are used. The purpose of this study is to analyze the effectiveness in increasing empathy in students. This study uses a quantitative approach with a pre-exp

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18

Sánchez Baltazar, Alba Nidia. "Contemporary realism, and modernity in the northern mexican border cinema (English version)." Ñawi 7, no. 1 (2023): 275–92. https://doi.org/10.37785/nw.v7n1.a14e.

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Based on the review of the strategies of realism and modern cinema, and from the analysis of the film La Paloma y el Lobo (2019) directed by Carlos Lenin, this essay seeks to investigate the role played by the cinema of Mexico's northern border in understanding both the current contextual conditions of the region, as well as the historical evolution to which the border has been subjected since the establishment of neoliberalism in the country. Spanish version: https://nawi.espol.edu.ec/index.php/nawi/article/view/1040/1030

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19

Shemer, Yaron. "Thematics and Hermeneutics in Four Recently Published Books on Middle Eastern/Arab Cinema." Review of Middle East Studies 50, no. 1 (2016): 58–66. http://dx.doi.org/10.1017/rms.2016.68.

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Along with the periodic irreverence towards Area Studies by its disciplinary counterparts, there has also been some discomfort within the narrow confines of Film Studies for scholarship that focuses on individual national or regional cinemas. And yet, the growing interest in the cinema of the Middle East (North Africa included) is unquestionable. The four books reviewed here are part of this trend; dozens of other publications on Middle Eastern cinema have been authored in English alone in the new millennium. Explanations for this (re)ignited interest go beyond the obvious political currents i

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20

Shamova, Nadezhda A. "WORD FORMATION PATTERNS IN CONTEMPORARY ENGLISH CINEMA DISCOURSE TERMINOLOGY." Theoretical and Applied Linguistics, no. 4 (2019): 152–62. http://dx.doi.org/10.22250/2410-7190_2019_5_4_152_162.

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This article explores the natural enlargement of English vocabulary of the subject field «cinematography», describes contemporary ways of word formation and their peculiarities in English cinema discourse. The following word formation patterns were viewed: affixation, composition, blending, shortening and derivational neologisms. Each pattern was illustrated by the examples from the corpus that comprises 1051528 words and from additional modern resources. The total amount of the analyzed material was 298 terms. A graphical representation of the results was given and a conclusion was drawn abou

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21

Lemieux, David. "North of Everything: English-Canadian Cinema since 1980 (review)." Moving Image 4, no. 1 (2004): 154–57. http://dx.doi.org/10.1353/mov.2004.0013.

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22

Yingjin, Zhang. "Screening China: Recent studies of Chinese cinema in English." Bulletin of Concerned Asian Scholars 29, no. 3 (1997): 59–66. http://dx.doi.org/10.1080/14672715.1997.10413094.

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23

Stepanov, Boris. "“Coming Soon?”: Cinematic Sociology and the Cultural Turn." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 152–77. http://dx.doi.org/10.17323/1728-192x-2020-4-152-177.

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Throughout the 20th century, cinema has played, and, to some extent, continues to play a key role in shaping the social imagination and anthropology of modern human. Nevertheless, as a review of English scholarly literature shows, cinema, unlike art and music, remains a marginal subject of analysis for sociologists. The article attempts to consider the state of sociological reflection on cinema in the context of the cultural turn in sociology in both the international and national contexts. By reconstructing the history of the interaction between sociology, film studies, and cultural studies,

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24

Zhang, Yingjin. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. By Poshek Fu. [Stanford, CA: Stanford University Press, 2003. 288 pp. £14.95. ISBN 0804745188.]." China Quarterly 180 (December 2004): 1111–12. http://dx.doi.org/10.1017/s030574100432076x.

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Despite its short length (152 pages excluding reference matters), this pioneering study in English of “the Shanghai–Hong Kong nexus” in Chinese cinema succeeds in placing wartime Shanghai and Hong Kong cinemas in specific (albeit not always “proper” as Poshek Fu claims (p. xvi)) institutional and industrial contexts, bringing to light the “humanity” of the filmmakers, the “multiplicity of the historical situations,” and the “complexity of the cultural politics” of filmmaking and film criticism (p. xv). Most impressive of all is Fu's dedication to primary research, reading hard-to-find print ma

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25

Masterman, Len. "Managing the media." English Today 3, no. 1 (1987): 9–12. http://dx.doi.org/10.1017/s0266078400002583.

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26

Knight, Deborah. "Metafiction, Pararealism and the "Canon" of Canadian Cinema." Articles divers 3, no. 1 (2011): 125–46. http://dx.doi.org/10.7202/1001184ar.

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Critical thinking about the English-Canadian and Quebec cinemas has focused lo a large degree on the realist tendencies of our fiction filmmaking-tendencies, it is argued, which fiction filmaking has, historically inherited from Canadian documentary film practices. But in recent fiction filmmaking, Canadian filmmakers have moved beyond social realism. Indeed, the emergence in English-Canada and Quebec of filmmaking that is metafictional and pararealist — in films like Léa Pool's La Femme de l'hôtel, Bruce McDonald's Roadkill and Patricia Rozema's White Room — gives us occasion not only to reth

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Connon, Daisy. "Towards a Theory for African Cinema (Férid Boughedir, 1974)." Film Studies 16, no. 1 (2017): 78–88. http://dx.doi.org/10.7227/fs.16.0006.

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Towards a Theory for African Cinema is an English translation of a talk given in French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference on international cinema, which took place in Montreal in 1974. In his presentation Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing to the escapism and entertainment values of Western cinema and instead strive to reflect the contradictions and tensions of the colonised African identity, while promoting a revitalisation of African culture. Drawing on the example of the 1968 film Mandabi (The Money

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Dyshlyuk, Liubov. "Esfir Shub." Feminist Media Histories 2, no. 3 (2016): 11–28. http://dx.doi.org/10.1525/fmh.2016.2.3.11.

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An unsurpassed master of compilation cinema, Esfir Shub is a major figure in the history of Soviet film. Shub's concept of film editing emerges clearly in the four articles that are presented here for the first time in English. They are selected from Zhizn' moya – kinematograf (Cinema Is My Life, 1972), a collection of her essays, public speeches, and letters as well as descriptions of unfinished projects. The texts document Shub's thoughts on montage and her important work as a pioneer of found footage cinema, offering insights into the making of such groundbreaking archival compilation films

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29

Freiberg, Freda. "A guide to English-Language works on the Japanese Cinema." Japanese Studies 11, no. 1 (1991): 88–92. http://dx.doi.org/10.1080/10371399108521953.

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30

Wheeler, Duncan. "The representation of domestic violence in popular English-language cinema." New Cinemas: Journal of Contemporary Film 7, no. 2 (2009): 155–75. http://dx.doi.org/10.1386/ncin.7.2.155/1.

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31

Haltof, Marek. "The Endurance of Authorship Theory." Kwartalnik Filmowy, no. 130 (July 2, 2025): 236–41. https://doi.org/10.36744/kf.4336.

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The article is a review of Elżbieta Ostrowska’s 2024 book ReFocus: The Films of Agnieszka Holland. It highlights the pioneering nature of this English-language publication and the methodological challenges of describing the rich and diverse output of a director who has been equally successful in European arthouse cinema, Hollywood, and global streaming platforms. The book explores the multifaceted, chameleon-like nature of Holland’s authorship, paying particular attention to the context of transnational women’s cinema, Holland’s artistic biography, and her political activism.

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32

Casas-Tost, Helena, and Sara Rovira-Esteva. "Chinese cinema in Spain." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 4 (2019): 581–603. http://dx.doi.org/10.1075/babel.00109.cas.

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Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding

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33

MATVEEVA, M. "PRECEDENT NAMES FROM DIFFERENT SOURCES IN ENGLISH LANGUAGE PRINT MEDIA." Herald of Polotsk State University. Series A. Humanity sciences, no. 2 (February 28, 2024): 67–71. http://dx.doi.org/10.52928/2070-1608-2024-70-2-67-71.

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The article, based on precedent names identified in the English-language print media, establishes their source areas (politics, cinema, literature, music, religion), the frequency and relevance of individual precedent names and their source, use in texts and, mainly, in article headings to attract the reader's attention and increase the impact on his opinion.

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Ferri, Loris. "Selected Border Poems." Borders in Globalization Review 5, no. 2 (2024): 95–99. http://dx.doi.org/10.18357/bigr52202422081.

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These texts, published in the Italian collection Cinema Sarajevo (Ensemble 2022) and translated in English by Katie Webb, are born from a rib of the European project: REFEST, Images & Words on Refugee Routes (2018), which started in Sarajevo and developed in Croatia, Italy, and Spain, with eight Italian poets, sixteen Balkan photographers, and eight Spanish illustrators. These poems recount a cinema of lives with their pain, youthful dreams and delusions, the fear riding between two centuries, the truce of the war, and the desire for redemption beyond every exodus.

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De Medeiros, Paulo. "Memory’s ransom: silences, postmemory, cinema." Abril – NEPA / UFF 13, no. 27 (2021): 45–60. http://dx.doi.org/10.22409/abriluff.v13i27.51241.

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Close to half a century after their end, the colonial wars Portugal waged in a desperate and doomed attempt to hold on to its African colonies in 1974 remain still largely unprocessed. This article examines the multiple silences surrounding the colonial wars and the 25th April Revolution in Portugal drawing from the concept of postmemory and the notion of a traumatic past whose wounds have never healed. It argues that silence in the end does nothing more than allow those open wounds to go on festering. The combined silence over the dictatorship and the colonial wars was never more than a mild

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36

Al-Ahdal, Arif Ahmed Mohammed Hassan, Addullah H. A. Alfauzan, and Nasser Mohammed Saleh Al-Sa’egh. "Getting Cinema into the Saudi EFL Classroom: Catering to Changing Learner Needs." Tobacco Regulatory Science 7, no. 5 (2021): 3826–43. http://dx.doi.org/10.18001/trs.7.5.1.156.

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Objectives: The language proficiency of English as a foreign language (EFL, henceforth) learners at Qassim University is currently below the expected standards. Even with pedagogical innovations taking the place of conventional methods in the classrooms, and feature films being increasingly used as authentic language exposure, the inclusion of feature films for teaching English is not welcomed in Saudi Arabia though English films are quite popular with the EFL learners in other parts of the globe. Pilot studies, before the current research, demonstrated positive outcomes with using feature fil

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Hicks, Jeremy, and Leonid Machulin. "Special joint issue of “Studies in Russian and Soviet Cinema” and “Culture of Ukraine” (Kul’tura Ukrainy)." Culture of Ukraine, no. 87 (January 22, 2025): 7–18. https://doi.org/10.31516/2410-5325.087.01.

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This introduction is aimed at both those reading the Ukrainian version, published in Culture of Ukraine and the English-language version, published in Studies in Russian and Soviet Cinema. This collaboration between a Ukrainian and a UK-based journal is intended as an expression of support for Ukrainian culture, and specifically, scholarship on Ukrainian film history, in the context of Russia’s full-scale invasion against that country, launched in February 2022. Over one hundred years after its beginnings, Ukrainian cinema remains as relevant domestically as it does for the whole world. To ill

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Azura Fazira, Dinda Gustiana, and Yani Lubis. "English vowels." Jurnal Pendidikan dan Sastra Inggris 3, no. 2 (2023): 111–18. http://dx.doi.org/10.55606/jupensi.v3i2.2007.

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Vowels in English are pronounced with the mouth open, they can be sung. Also, vowels in English can be long vowels and short short vowels. The number of short vowels is seven long: five diphthongs and eight diphthongs. Diphthongs: Combinations of two vowels in a syllable. In English it is very important to respect the abbreviations and the length of the vowels, as the length of a sound can depend on the meaning of the word. For example: boat - sheep The first word of the sound i is short, and in the second vowel combination it is a sound that I owe only i. Translation of the first word - ship

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Mammadzada, Sevinj. "American English and Its Influence on British English." International Journal of English Linguistics 13, no. 1 (2022): 21. http://dx.doi.org/10.5539/ijel.v13n1p21.

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This article deals with the regional variants of English language and describes in detail the currently relevant reasons for the appearance of language dialects and their existence in modern English. The main theoretical basis of this research proves that one person&rsquo;s individual speech is the result of mixing the regional varieties and their features. The research analyses foreign linguistical discussions about American variant of English and its influence on British English within different aspects. Various materials of scientific discussions, different authors&rsquo; ideas and

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Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.

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The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in t

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RADETSKA, Svitlana. "THE SYNTHETIC-COMPOSITE CHARACTER OF THE ENGLISH FIELD OF CINEMA TERMINOLOGY." Humanities science current issues 4, no. 61 (2023): 73–78. http://dx.doi.org/10.24919/2308-4863/61-4-12.

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42

Vega, Alicia. "Taking wonders to the margins ( Maravillas al Margen )." Film Education Journal 3, no. 2 (2020): 87–122. http://dx.doi.org/10.14324/fej.03.2.01.

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Translated into English for the first time, this article by film educator and outreach worker Alicia Vega describes her experiences conducting a series of Cinema Workshops in highly disadvantaged communities across Chile, which sought to provide younger children with early, formative understandings of cinema. A rich account of the experience, incorporating a variety of images drawn from the workshops, the article provides an intimate, detailed reflection on a remarkable film education and humanitarian endeavour. It concludes with a series of testimonials from children who participated in the p

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Xiao, Zhiwei. "Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932–1937. By Laikwan Pang. [Lanham, MD, Boulder, New York and Oxford: Rowman and Littlefield, 2002. xvi+279 pp. £22.95. ISBN 0-7425-0946-X.]." China Quarterly 175 (September 2003): 844–46. http://dx.doi.org/10.1017/s0305741003330474.

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As the first monograph on the Chinese left-wing cinema movement published in English, this book makes a significant contribution to the growing literature on pre-1949 Chinese film. Based on extensive research in both primary and secondary sources, Pang traces the historical development of the leftist cinema movement and makes several insightful observations about 1930s film culture in China in general and the leftist cinema movement in particular. She argues that during the 1930s, a group of Chinese filmmakers, despite their individual differences in social and political backgrounds, shared so

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Sánchez Auñón, Estefanía, and Pedro Antonio Férez Mora. "Environmentalism in the English classroom: An autoethnographic analysis of a cinema-based didactic proposal." Didáctica. Lengua y Literatura 36 (May 17, 2024): 153–71. http://dx.doi.org/10.5209/dill.87742.

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Environmental degradation is a global concern with cross-curricular significance. However, it is often absent from English classrooms due to educators' limited pedagogical expertise in this domain. This article endeavours to promote the integration of environmental themes into English language instruction by presenting and analysing an instructional didactic proposal centred on the film Avatar (2009). As such, the article explores the principles of eco-education and the possible advantages of employing cinema as an educational tool. The authors implemented a film-based eco-education teaching u

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Jenner, Bryan R. A. "Articulation and phonation in non-native English: The example of Dutch-English." Journal of the International Phonetic Association 17, no. 2 (1987): 125–38. http://dx.doi.org/10.1017/s0025100300003352.

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Any attempt to define and describe a non-native pronunciation of English is beset with a variety of difficulties. In the first place the researcher is dealing with something acquired, at least in part, by a conscious effort of the speaker. Although, as I have argued elsewhere (Jenner, 1984), English has a special status in the Netherlands, approximating to that of a second language in other countries, it is nonetheless true that the average Dutch learner has no opportunity for actual productive practice of the language until he is already 10 or 12 years old. His ears may be familiar with the s

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Andrew, Dudley. "The “Three Ages” of Cinema Studies and the Age to Come." PMLA/Publications of the Modern Language Association of America 115, no. 3 (2000): 341–51. http://dx.doi.org/10.2307/463455.

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The october 1999 job list prepared by the society for cinema studies has just appeared: fifty-one teaching positions involving film. What does it mean that only ten of these are situated in designated film programs, while thirty-six are hosted by departments of literature, primarily English? It means, among other things, that departments of literature are redefining and deregulating themselves. They may have cautiously welcomed film for a half century but hardly at this scale: fifty-one open positions suggest hundreds of positions permanently in place and thousands of students studying this su

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FERREIRA, Ana Tereza Ramos de Jesus, Vannini de Medeiros Mendes RIBEIRO, Fauston NEGREIROS, SOBRINHO Asdrúbal Borges FORMIGA, and Fabrícia Borges TEIXEIRA. "THE REPRESENTATIVENESS OF LATIN WOMEN IN MOTION PICTURES: SYSTEMATIC REVIEW." Boletim de Conjuntura (BOCA) 14, no. 42 (2023): 36–55. https://doi.org/10.5281/zenodo.7995589.

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Cinema is a form of artistic expression that has great social impact, contributing to the formation of values, opinion, dissemination of ideas, ideologies and cultures. Thus, the present study is a systematic review whose objective was to analyze, in the human sciences, articles, theses and dissertations published on the participation of Latina women in cinema. The research was carried out in four databases: PePSIC, Google Scholar, Biblioteca Digital Brasileira de Teses e Dissertações (BDTD) and ProQuest, and the last one includes nine other databases, chosen by convenience in th

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Bateman-Coe, Majorca, and Jonah Henkle. "Statement from the Editors." Stachka! 1, no. 1 (2024): 1. http://dx.doi.org/10.33682/63bp-7vj9.

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Stachka! Is a journal of Marxist-Leninist Film Studies and Visual Culture. We aim to make accessible new scholarship that advances theory and practice at the intersection of visual me- dia and communist politics. Work published in Stachka! will seek to advance anti-imperialist, feminist, anti-racist, decolonial, and class-conscious perspectives in film and media analysis, emphasizing cultivating a constructive and inclusive environment for underrepresented voices. Analysis ranging from Marxist cultural theory applied to American and European Cinema, to historical content on the cinema of socia

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Wu, Biyu, and Jing Hua. "Echoes Across Cultures: Tracing the Evolution and Prospects of Translating Chinese Minority-themed Films into English." European Journal of Language and Culture Studies 4, no. 2 (2025): 1–10. https://doi.org/10.24018/ejlang.2025.4.2.144.

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This paper delves into the English translation challenges associated with Chinese minority-themed films. The complexities of translating Chinese minority-themed films into English are examined with their historical context, significance, and translation obstacles. By addressing these challenges, the study aims to enhance cross-cultural communication in cinema and promote global cultural exchange. Through a detailed analysis of translation issues, this research contributes to a deeper understanding of the intricacies involved in bridging linguistic and cultural gaps in film translation.

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S, Suresh Kumar. "Sanga Tamil in Visual Media." International Research Journal of Tamil 4, S-23 (2022): 67–71. http://dx.doi.org/10.34256/irjt224s222310.

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Media has the power to make huge changes in society. People trust the media to the extent that they define food, clothing, culture, lifestyle through the media and especially the power of visual media such as film, television, advertisements, and the Internet which cannot be explained in words plays a major role in people’s day-to-day life. Today media rules the whole world and it also led to the formation and overthrow of regimes in many countries. Through media even the opinion of a common man in a corner of the world is spread to all. When we look into telecasted television stories we can c

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