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Journal articles on the topic 'Film contexts'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.

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This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, sh

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Davydov, Dmitry M., Emmanuelle Zech, and Olivier Luminet. "Affective Context of Sadness and Physiological Response Patterns." Journal of Psychophysiology 25, no. 2 (2011): 67–80. http://dx.doi.org/10.1027/0269-8803/a000031.

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This study was conducted to test the hypothesis that two films that induce a sad feeling would elicit different physiological responses depending on an additional context of the film contents related to either avoidance (disgust) or attachment (tenderness). Reactivity was evaluated for facial behavior, heart rate, pulse transit time, skin conductance, and subjective experience. Participants reported feeling less happy and showed increased facial activity related to the sad content of both films. The sad film related to avoidance induced an increase in skin conductance level and response rate.

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Webb, Dominique. "Contexts of film practice." Media Practice and Education 20, no. 2 (2019): 131–33. http://dx.doi.org/10.1080/25741136.2019.1620474.

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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as

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Noordegraaf, Julia, Kathleen Lotze, and Jaap Boter. "Writing Cinema Histories with Digital Databases." TMG Journal for Media History 21, no. 2 (2018): 106. http://dx.doi.org/10.18146/2213-7653.2018.369.

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The increasing availability of films and cinema-related heritage in digital form, as well as the creation and use of structured datasets related to the contexts of film production, distribution and consumption, have invited the use of new, computational approaches for studying cinema and its history. In this article, we review the online database Cinema Context (www.cinemacontext.nl) and its impact on the study of historical film cultures. Cinema Context is a relational database and research instrument for studying the history of film culture in the Netherlands. After an introduction to Cinema

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Müllner, András. "Displacements. Contexts for a Participatory Media Project." Acta Universitatis Sapientiae, Film and Media Studies 23, no. 1 (2023): 86–109. http://dx.doi.org/10.2478/ausfm-2023-0005.

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Abstract This paper presents a participatory film intervention focused on young people, which was held within the framework of a grant coordinated by the Minor Media/Culture Research Centre and took place in the form of a summer camp in 2021. After revisiting some historical examples and definitions of participatory film, the author focuses on the concept of displacement as used in film theory and psychology, which he attempts to redefine and thereby reverse its negative connotations. The author analyses the catalyst method, one of the various forms of implementing participatory video as a vis

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Mattos, Marina Baltazar, and Gustavo Silveira Ribeiro. "Dois filmes, imensas constelações: Pan-cinema permanente e A paixão de JL / Two Films, Immense Constelations: Permanent Pan-cinema and The passion of JL." Cadernos Benjaminianos 15, no. 1 (2019): 131. http://dx.doi.org/10.17851/2179-8478.15.1.131-143.

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Resumo: Este ensaio tem como ponto central pensar os filmes Pan-cinema permanente (2008) e A paixão de JL (2015), ambos do diretor Carlos Nader, a partir de diferentes chaves de leitura, tentando entender seus distanciamentos e aproximações a partir da análise de seus respectivos contextos e, principalmente, como cada filme elabora as imagens e as narrativas, do passado e do presente, construindo constelações muito particulares. Enquanto o primeiro parte de movimentos tropicalistas e suas expansões, com base na prisão, desejo de ser escritor e a obra multifacetada de Waly Salomão, que, basta s

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Campos, Patrick. "The Intersection of Philippine and Global Film Cultures in the New Urban Realist Film." Plaridel 8, no. 1 (2010): 1–20. http://dx.doi.org/10.52518/2011.8.1-01cmps.

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With the rise of indie cinema in the Philippines, many say that another golden age is again in the making, and, like its predecessor, the films are being produced in the midst of widespread poverty and political instability. Understandably, a significant number of indie films has consciously returned to and explored the limits of the urban realist film of the ‘golden age’ (1975-1984), revisioning city spaces and signifying patterns in Philippine and global film cultures. The essay has three intricately connected sections. On the one hand, it delineates the shifting contexts of Philippine and g

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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.

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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the disp

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Otto, Wojciech. "Wajda autotematyczny. Wszystko na sprzedaż i Tatarak Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 151–70. http://dx.doi.org/10.14746/pt.2017.27.12.

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Mise-en-abîme discourse reveals itself most clearly in 2 films by Andrzej Wajda – Everything for sale and Sweet Rush. These are connected by collective reflexive contexts, as well as by a tendency to promote formal novelty. They can be analysed from the perspective of “a film in a film”, which is a story about making a film or “a film about a film”, which is a reflection on the cinematographic means of expression.

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Černeckaitė, Irina. "Soviet Documentary Films in Lithuania: Historical and Ideological Contexts (1963–1988)." Genocidas ir rezistencija 1, no. 17 (2025): 35–50. https://doi.org/10.61903/gr.2005.102.

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The entire cinematography and documentary film production of the Soviet Union often created an analogue a country leading an autonomous life on the screen. It sought to integrate society by spreading Communist ideology and maintaining the vision of social order and progress. Based on interviews from the respondents who had worked in various cinematographic institutions in Soviet Lithuania, this article presents a structural analysis of the documentaries, with emphasis on the film-making processes. The high noon of the Lithuanian documentaries of the sixties was determined by interesting proces

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Birkholc, Robert. "Notatki filmowe Piera Paola Pasoliniego na tle literackiej i filmowej poetyki brulionu." Załącznik Kulturoznawczy, no. 8 (2021): 107–40. http://dx.doi.org/10.21697/zk.2021.8.07.

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The article is devoted to the form of film ‘notes’, defined by the author as nonfictional films depicting preparations for the production of fictional works. The author describes this particular subgenre of film essay in the context of other forms of self-referential non-fictional cinema, and also comparatively confronts it with self-referential literary notes, in which writers present their creative process. The subject of the analysis are three works realized by Pier Paolo Pasolini: Sopralluoghi in Palestina per il vangelo secondo Matteo (1965), Appunti per un film sull’India (1968), Appunti

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Higbee, Will. "David Martin-Jones (2006)Deleuze, Cinema and National Identity: Narrative Time in National Contexts." Film-Philosophy 13, no. 1 (2009): 156–64. http://dx.doi.org/10.3366/film.2009.0013.

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Munirul Hakim, Ahmad. "Film dan Mode Ekspresi Keagamaan Masyarakat Muslim Urban." Journal of Religion and Film 2, no. 2 (2023): 313–25. http://dx.doi.org/10.30631/jrf.v2i2.18.

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This research aims to explore the evolution of modes of religious expression in films and understand how urban Muslim communities are represented through religious modes in cinematic works. This research involves the analysis of film as a form of cultural and religious representation, particularly in Muslim urban environments. Through an examination of films representing various time periods, this research will trace the development of religious fashion in Muslim urban contexts. Several approaches are found in looking at the modes of religious expression of Muslim communities in films, namely

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Fong, Benjamin Ruilin. "Learning to Speak Chinese: Defining the Sino-American Film Paradigm." Arts 13, no. 1 (2024): 18. http://dx.doi.org/10.3390/arts13010018.

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This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywoo

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Xi, Zhihui. "Research on the Export Strategy of Chinese Films from Marvel Films." SHS Web of Conferences 181 (2024): 01012. http://dx.doi.org/10.1051/shsconf/202418101012.

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Under the trend of globalization, cross-cultural communication has become a necessary condition for the export of national cultural soft power. Marvel movies have a wide fan base worldwide and are very well-developed in the film industry. Although Chinese films have made great progress in recent years, the domestic film market is also extremely active, and a few Chinese films have won large awards at international film festivals, but the influence on the world is minimal. Therefore, this article will use the case analysis method to analyze in detail the successful cases of Marvel movies export

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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.

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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure

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Dukhovnaya, T. V. "SPECIFICITY OF FILM QUOTE USE AND FUNCTIONING IN SPEECH OF VARIOUS GENRES: CORPUS-ASSISTED STUDY." Modern Linguistic and Methodical-and-Didactic Researches, no. 4(39) (December 31, 2022): 39–47. http://dx.doi.org/10.36622/mlmdr.2023.91.97.004.

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Statement of the problem. This paper aims to identify the features of use and functioning of famous film quotes from Hollywood movies in the context of everyday communication, Internet communication, media discourse, TV discourse, blogs. Results. The study shows possible meanings that film quotes acquire in various contexts, identifies their functions based on their contextual semantics, and describes transformations that film quotes undergo. The main methods of research are corpus analysis, contextual analysis used along with the method of interpretation, and quantitative methods. The analysi

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Herrmann, Gina, and Isabel Jaén-Portillo. "Introduction." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (2020): 11–17. http://dx.doi.org/10.5399/uo/peripherica.1.2.2.

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This special issue of Periphērica, Image and Storytelling: New Approaches to Hispanic Cinema and Literature, features leading research by scholars of Hispanic cultures at the crossroads of literature, film, mind, and society. The collection showcases cutting-edge fields and themes including cognitive studies, affect studies, embodiment, and empathy, as well as new perspectives on adaptation, film typology, film teaching, gender, and genre. The research presented in this special issue underscores the excitement produced by crossing disciplinary boundaries in the study of verbal and visual narr

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Sewald. "Regeneration in Digital Contexts: Early Black Film." Black Camera 6, no. 2 (2015): 252. http://dx.doi.org/10.2979/blackcamera.6.2.252.

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James, David E. "Art/Film/Art Film:CHIHWASEONAND ITS CINEMATIC CONTEXTS." Film Quarterly 59, no. 2 (2005): 4–17. http://dx.doi.org/10.1525/fq.2005.59.2.4.

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Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major

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Siti Sholihatun Nisa and Muhammad Nur Kholis. "Pragmatic Analysis of Translation Techniques in the Subtitles of the Film 'Theeb' / Analisis Pragmatik Teknik Penerjemahan dalam Subtitle Film 'Theeb”." ATHLA : Journal of Arabic Teaching, Linguistic and Literature 5, no. 1 (2024): 28–47. http://dx.doi.org/10.22515/athla.v5i1.9537.

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Translation in the context of film media is often influenced by the ideologies of the translators and production companies. This influence can significantly shape how meaning is conveyed to audiences from different cultural backgrounds. This study aims to analyze the translation techniques used in the subtitles of the film "Theeb" through a pragmatic approach to understand how translators handle the intentions behind the film's dialogue. A descriptive qualitative research method is employed to analyze the conversation transcripts from the film. Speech act theory is applied to explore how vario

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Bozkurt, Ferdi, and Mandana Kolahdouz Mohammadi. "A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming." CINEJ Cinema Journal 11, no. 2 (2023): 418–45. http://dx.doi.org/10.5195/cinej.2023.589.

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Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were

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Danielsson, Jonas, and Jenna Ng. "Svensk synd och japansk oskuld?" Kulturella Perspektiv – Svensk etnologisk tidskrift 19, no. 2 (2010): 12–24. http://dx.doi.org/10.54807/kp.v19.30112.

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This article comparatively explores the issue of censorship in relation to the film cultures of Swedish sin and Japanese pink film ("pinku eiga") post-World War II until 1980. The two film cultures reflect similar ethos-chilling misogynism, explicit sexuality and graphic violence, and a number of films in that era were landmark cases in pushing the boundaries of censorship. Tracing the role of censorship specifically in the contexts of gender equality in Sweden and the war defeat in Japan, the article also reflects on the ideological premises and cultural agenda of censorship.

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Faisal, Mochamad. "SUFFERED, ALIENATED AND DEATH: REPRESENTATION OF HIV/AIDS IN FILM “MIKA” (2013)." ROLLING 7, no. 1 (2024): 70. http://dx.doi.org/10.19184/rolling.v7i1.45737.

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Films are often used as a medium to address ongoing issues in society, one of the examples is HIV/AIDS. A “death sentence” as results from “deviant behavior” is still stigmatized and remains a major obstacle in mitigating the spread of the HIV up to the present day, since its first case in Indonesia back in 1987. One of Indonesian films that address the issue of HIV/AIDS is "Mika" (2013) revolves around a girl named Indi who falls in love with Mika, an ex-injectable drug user who suffers and eventually dies from AIDS. This film will be studied from an interdisciplinary perspective by analyzing

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Pramana, M. Agung, and Dony Arung Triantoro. "YouTube dan Online Sharing." representamen 11, no. 01 (2025): 45–54. https://doi.org/10.30996/representamen.v11i01.12010.

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Discussions on films in both Indonesian and global contexts have increasingly emphasized the role of audiences as active consumers engaged in the viewing experience. Audience agency is reflected in their negotiation of identities with the values portrayed in films, as well as in their efforts to seek out new sources of cinematic content. However, limited research has explored how audience responses are mediated through YouTube channels. This topic is particularly relevant in the context of new media, where netizens play a significant role in both the consumption and dissemination of content on

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Martin, Florence, and Laura Mason. "Film and History." French Historical Studies 46, no. 2 (2023): 159–76. http://dx.doi.org/10.1215/00161071-10350033.

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Abstract The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices silenced by abuses of state power or antistate terror, adding to existing work on how visual media preserves evidence of violence and so broad

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Wijnker, Winnifred, Ed S. Tan, Arthur Bakker, Tamara A. J. M. van Gog, and Paul H. M. Drijvers. "Film as the Engine for Learning." Projections 15, no. 2 (2021): 56–90. http://dx.doi.org/10.3167/proj.2021.150203.

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Film has been used for education ever since educators recognized its powerful potential for learning. But its educational application has been criticized throughout the decades for underuse of the distinctive potential of film: to raise interest. To understand more fully film’s potential for learning, we propose a dynamic model of viewer interest and its underlying cognitive and emotional mechanisms (film’s interest raising mechanisms or FIRM model). In addition, we present an analysis method for assessing the interestingness of films in learning contexts. Our model marries interest theories f

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Nighman, Emily. "Orientalist Stereotypes and Transnational Feminisms in Disney’s 1998 and 2020 Mulan." Film Matters 12, no. 3 (2021): 96–108. http://dx.doi.org/10.1386/fm_00179_1.

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The Walt Disney Company is immensely influential around the globe, but in the near future, the world’s largest film market will reside in China rather than the United States. It is thus important to examine how Disney’s 1998 Mulan and its 2020 remake contribute to the advancement and oppression of Chinese/Americans within Hollywood. This paper will compare both films by analyzing each film’s casts and crews, reception in the global film market, critical responses, treatment of racial and gender identity within each narrative, and the sociohistorical contexts in which the films were produced.

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Kang, Jeong su, and Hanbyul Kim. "Exploring the Meaning of Film Texts as a Popular Culture for Lifelong Education: From the Public Pedagogy Perspective." Korean Journal of Teacher Education 40, no. 4 (2024): 121–44. http://dx.doi.org/10.14333/kjte.2024.40.4.06.

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Purpose: This study examined popular culture, which is closely related to our daily lives, from the perspective of public pedagogy, and explored the educational possibilities of movies, especially among the various genres that make up popular culture. Based on this, the educational implications of film texts were identified and this study proposes their role in the field of lifelong education, as well as suggests implications for 'film education' currently practiced in schools. Methods: For this purpose, the relationship between our lives and popular culture and its influence were examined and

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Lehnert, Sigrun. "Filmgeräusch im Fokus." Kieler Beiträge zur Filmmusikforschung 18 (November 1, 2024): 35–63. http://dx.doi.org/10.59056/kbzf.2024.18.p35-63.

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Die Geschichte der Einbindung von Geräuscheffekten in Filme reicht bis in die frühen 1910er Jahre zurück, als Kinoorgeln stumme Filme mit Klängen und Pfeifen begleiteten. Mit der Weiterentwicklung des Kinos wurde der Filmsound auch dazu eingesetzt, um das Publikumsengagement zu intensivieren. Dieser Beitrag präsentiert ein didaktisches Konzept für Masterstudierende der Medienwissenschaft, das darauf abzielt, die Ursprünge und Produktionshintergründe von Filmtongestaltungen zu erkunden. Blended Learning, eine Kombination aus synchronen und asynchronen Elementen, wird als Modell für den umgedreh

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Ezzedeen, Souha R. "Portrayals of career women in Hollywood films: implications for the glass ceiling’s persistence." Gender in Management: An International Journal 30, no. 3 (2015): 239–64. http://dx.doi.org/10.1108/gm-07-2013-0073.

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Purpose – The purpose of this study was to explore negative and stereotype-threatening depictions of career women in Hollywood films. The study draws on stereotype threat research to reflect on how such portrayals might undermine women’s career aspirations and contribute to the glass ceiling’s persistence, and proposes an agenda for future research. Design/methodology/approach – Bridging social role theories with conceptual models of films as social “texts”, the author explored depictions of 165 career women presented by 137 films, focusing on negative and potentially stereotype-threatening pe

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Houran, James. "Predicting Anomalous Effects on Film: An Empirical Test." Perceptual and Motor Skills 84, no. 2 (1997): 691–94. http://dx.doi.org/10.2466/pms.1997.84.2.691.

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This research tested the hypothesis that anomalous images on film can be attributed to the specific recording medium. Using five different film media, a total of 96 photogtaphs and 8 min. of 8-mm motion picture film were obtained during a field study of a reported haunting. Multiple covariates were also recorded including electromagnetic field fluctuations, time of day, and geographic position. No anomalous images were obtained, although approximately half of the frames on both the infrared and black and white films were unexposed. The results are discussed in terms of ambiguous events being i

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Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.

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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inher

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Martonova, Andronika. "Your Communism Is Not Ours Communism’: the Contexts of Post-Totalitarian Bulgarian Cinema and Mina Mileva, Vesela Kazakova’s Disobedient Films." Balkanistic Forum 28, no. 3 (2019): 227–49. http://dx.doi.org/10.37708/bf.swu.v28i3.13.

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The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and de

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Rebrina, Larisa, and Ekatherina Chukina. "Transfer of Evaluative Contexts When Subtitling Film Translation (in German and Russian Languages)." SHS Web of Conferences 50 (2018): 01143. http://dx.doi.org/10.1051/shsconf/20185001143.

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The article presents the results of studying the patterns of evaluative meanings transfer when translating and subtitling films of various genres from German to Russian. Material for the study serves the original version and the translation of a military drama, a melodrama, a comedy, and a detective. The authors used the descriptive, comparative method, the methods of contextual, definitional analysis, quantitative calculations. The object of study includes the fragments of film dialogues in the source (German) language and the language of translation (Russian). The specificity of subtitling d

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STANCIU, CRISTINA. "Making Americans: Spectacular Nationalism, Americanization, and Silent Film." Journal of American Studies 56, no. 1 (2022): 1–37. http://dx.doi.org/10.1017/s0021875821000542.

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Examining archival footage and documents about the cultural work of silent film during the 1910s and 1920s, this essay reveals the complicity of film with the work of organized Americanization at both federal and industrial levels. Specifically, it argues that early American cinema is complicit with and critical of Americanization, as it negotiates multiple new immigrant concerns. Joining the recent work of film and immigration historians, it argues that just as Americanization did not produce compliant citizens overnight, silent film as a new and powerful medium of persuasion could influence

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Powers, John. "SuperFilmShow! Experimental Film and Children’s Art Education." Film History: An International Journal 35, no. 3 (2024): 33–57. https://doi.org/10.2979/fih.00008.

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ABSTRACT: This article examines the history and legacy of SuperFilmShow!, a traveling exhibition of experimental films for elementary and secondary schoolchildren presented between 1979 and 1986. Curated by the American Federation of Arts for museums in over thirty US cities, SuperFilmShow! frequently complemented films by Stan Brakhage, Kenneth Anger, and other avant-garde luminaries with maker-oriented activities and art-appreciation workshops. I argue that SuperFilmShow! challenges our received ideas about experimental film’s accessibility, complicates our understanding of the contexts with

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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The

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Klímová, Eva. "Dalla sintassi alla pragmatica nel linguaggio filmico di generazioni diverse: “Il Gattopardo” e “Perfetti sconosciuti” messi a confronto." Italica Wratislaviensia 14, no. 2 (2023): 137–51. http://dx.doi.org/10.15804/iw.2023.14.2.07.

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The paper analyses the language of two Italian films set in different historical and social contexts. The Leopard (Il Gattopardo) by Luchino Visconti is set in Sicily in 1860, on the background of contemporary political events, with a language corresponding both with the historical period and the social setting. In the film Perfect Strangers (Perfetti sconosciuti) by Paolo Genovese, old friends meet at a dinner table. With their informal talk, the characters’ language strives to be as close as possible to everyday language. The aim of the article is to demonstrate the differences between the l

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West, Nancy, and James Naremore. "More Than Night: Film Noir in Its Contexts." Journal of American History 86, no. 3 (1999): 1380. http://dx.doi.org/10.2307/2568690.

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Emery, Meaghan. "French Film: Texts and Contexts (review)." L'Esprit Créateur 42, no. 3 (2002): 92. http://dx.doi.org/10.1353/esp.2010.0245.

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Bai, Zhihong. "On Translation Strategies of English Movie Titles." Journal of Language Teaching and Research 9, no. 1 (2018): 119. http://dx.doi.org/10.17507/jltr.0901.15.

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Movie titles are films’ eyes, having double effect of art appreciation and commercial advertisement, and directly playing the role of guidance and promotion. Good film names could convey the films' content as well as arouse audience's interest to get great box. With the continuous development of international cultural exchanges, film begins to get the attention of every nation increasingly as an important media in cultural exchange. With the opening of the Chinese market, we have more and more English movies. The Chinese audiences need to understand the movie titles before they enjoy the movie

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Archer, Neil. "‘The shit just got real’: Parody and National Film Culture inThe StrikeandHot Fuzz." Journal of British Cinema and Television 13, no. 1 (2016): 42–60. http://dx.doi.org/10.3366/jbctv.2016.0295.

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This article argues for the productive function of parody within British film-making, both as an aesthetic strategy for wider distribution, but also as an important approach to the depiction and construction of a national film culture. Going against the conception that parody in the British context negatively signifies what British film is not (in this case, Hollywood), and implicitly asserts a more authentic model for a national cinema (typically, realism), the article argues for parody's value as a mode of representation, particularly within the broader contexts of globalisation. Using the C

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Byrne, Peter. "Why psychiatrists should watch films (or What has cinema ever done for psychiatry?)." Advances in Psychiatric Treatment 15, no. 4 (2009): 286–96. http://dx.doi.org/10.1192/apt.bp.107.005306.

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SummaryCinema is at once a powerful medium, art, entertainment, an industry and an instrument of social change; psychiatrists should neither ignore nor censor it. Representations of psychiatrists are mixed but psychiatric treatments are rarely portrayed positively. In this article, five rules of movie psychiatry are proposed, supported by over 370 films. Commercial and artistic pressures reduce verisimilitude in fictional and factual films, although many are useful to advance understanding of phenomenology, shared history and social contexts in psychiatry. Acknowledging some negative represent

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Wang, Xinyue. "From Invisible to Visible." Screen Bodies 9, no. 1 (2024): 82–96. http://dx.doi.org/10.3167/screen.2024.090108.

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Abstract Asian women are often marginalized in global contexts, and they are often disembodied or presented in sexualized images in film and television productions. Even in the Asian region, Asian women have difficulty giving themselves a voice in popular culture. This essay has selected three films and tends to explore the gender connotation, body, and sexuality in the film works of East Asian female directors in recent decades, with the intent to explore the female sexual desire that is expressed and reflected in those female directors’ works.

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Jo, Sunja. "Formation and development of Korean film music: A Historical Analysis of the Evolution of Joseon Film Music (1897-1945)." Korean Society of Human and Nature 5, no. 2 (2024): 59–92. https://doi.org/10.54913/hn.2024.5.2.59.

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The purpose of this study is to examine the emergence and development of Joseon film music in Korea from 1897 to 1945, and to reveal the characteristics and significance of film music history. The researcher divided the emergence and development of Korean cinema into four stages and summarized the characteristics of each period as follows: First, in the era of motion pictures, music based on Western scores allowed Joseon audiences to experience Western culture, but it lacked creativity and identity. In the era of serial dramas, there were attempts to reflect Joseon sentiments by coexisting wit

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Li, Qizhi, and Narongruch Woramitmaitree. "Analyzing the Form and Function of Film Music in Crouching Tiger Hidden Dragon within Anthropological Contexts." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 4 (2024): 77–90. http://dx.doi.org/10.60027/ijsasr.2024.4287.

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Background and Aims: This research delves into the intricate world of film music, focusing on the iconic film "Crouching Tiger, Hidden Dragon" within anthropological contexts. The objective is to analyze the form and function of the film music in "Crouching Tiger, Hidden Dragon" within anthropological contexts. Materials and Methods: Employing a multifaceted methodology that combines anthropological, musical, and cinematic analyses, the study explores how music shapes psychological states, maintains sensory continuity, reveals character's inner activities, and intensifies emotional landscapes

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Fornia, S.I.Kom, M.I.Kom, Fornia, S. I. Kom, M. I. Kom. "Melodi dalam Gambar." Profilm Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 3, no. 1 (2025): 105–19. https://doi.org/10.56849/jpf.v3i1.50.

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This research addresses several important aspects of the use of music in film, including how music can convey emotions, increase tension and anticipation, aid memory and film recognition, and reinforce emotional points. In addition, this study also discusses how music can strengthen emotional points. The study used data analysis from both film content analysis to determine the use of music in various narrative contexts and analyzed the relationship between the type of music used in the film, the atmosphere created, and the emotional response of the audience. The results discuss the important r

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