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Journal articles on the topic 'Film genre theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Grindon, Leger. "The Boxing Film and Genre Theory." Quarterly Review of Film and Video 24, no. 5 (2007): 403–10. http://dx.doi.org/10.1080/10509200500536066.

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2

Roggen, Sam. "Notions of Genre: Writings on Popular Film Before Genre Theory." Historical Journal of Film, Radio and Television 37, no. 3 (2017): 579–81. http://dx.doi.org/10.1080/01439685.2017.1308144.

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3

Lappin, Lou, and Barry Grant. "Film Genre Reader." Theatre Journal 39, no. 3 (1987): 407. http://dx.doi.org/10.2307/3208173.

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4

Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.

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The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Th

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5

Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.

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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.

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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.

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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and

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7

Wanderer, Jules J. "When Film Critics Agree: Does Film Genre Matter?" Empirical Studies of the Arts 29, no. 1 (2010): 39–50. http://dx.doi.org/10.2190/em.29.1.c.

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8

Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent

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9

Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is

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10

Maras, Steven. "Notes on a Genre to Come: Screenwriting and the 'Thesis-film'." Cultural Studies Review 10, no. 2 (2013): 85–98. http://dx.doi.org/10.5130/csr.v10i2.3473.

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This piece draws together two areas: screenwriting and film or video works (to be jointly referred to as ‘films’) that explicitly try to undertake a conceptual practice. Conceptual practice is to be understood here not within the exclusive framework of conceptual or abstract art, but of acts and interventions in theory of the kind that crossover between the academy and the broader culture. Interventions of this kind have (especially in the form of the essay film, and films by humanities academics) been a part of Australian screen culture since at least the 1980s. While these interventions may

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11

Menne, Jeff. "The Cinema of Defection: Auteur Theory and Institutional Life." Representations 114, no. 1 (2011): 36–64. http://dx.doi.org/10.1525/rep.2011.114.1.36.

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This essay identifies a genre of Hollywood film developed in certain peak years of poststudio reorientation, 1967–1974, the narratives of which might be deemed anticlassical for their tendency to depict protagonists—typically a defecting couple—as objects more than subjects. These films, significantly the work of those directors known as auteurs, can be taken as the aesthetic version of the New Left's political repudiation of institutional life.

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12

Selbo, Jule. "The constructive use of film genre for the screenwriter: mental space of film genre first exploration." Journal of Screenwriting 1, no. 2 (2010): 273–89. http://dx.doi.org/10.1386/josc.1.2.273/1.

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13

Reeck, Laura. "Gender and Genre in Banlieue Film, and the Guerrilla Film Brooklyn." Romance Studies 36, no. 1-2 (2018): 76–90. http://dx.doi.org/10.1080/02639904.2018.1457829.

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14

Frome, Jonathan. "Intuition, Evidence, and Carroll's Theory of Narrative." Projections 14, no. 1 (2020): 37–57. http://dx.doi.org/10.3167/proj.2020.140104.

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AbstractOver the last thirty years, Noël Carroll has elaborated his theory of erotetic narration, which holds that most films have a narrative structure in which early scenes raise questions and later scenes answer them. Carroll's prolific publishing about this theory and his expansion of the theory to issues such as audience engagement, narrative closure, and film genre have bolstered its profile, but, despite its high visibility in the field, virtually no other scholars have either criticized or built upon the theory. This article uses Carroll's own criteria for evaluating film theories—evid

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15

Bochniarz, Marek S., and Przemysław Sztafiej. "Japońskie filmy o Ajnach w perspektywie amerykańskiego westernu." Przestrzenie Teorii, no. 31 (December 6, 2019): 357–72. http://dx.doi.org/10.14746/pt.2019.31.19.

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Recently the topic of transnationalism in the arts has become a popular strand of academic research. Nevertheless, this phenomenon is not an entirely new concept. In cinema it has been a constant element since its inception. One of the most important inspirations for world cinema has been the traditional cinematography of the USA, especially from the period of the great film studios, with the western being one of the most popular and imitated genres. Although it seems to be inextricably connected with the American myth of the frontier, the Wild West, the theme of expansion, and the conflict of

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16

Estes, Jack. "Food, Film, and Culture: A Genre Study." Journal of Popular Culture 40, no. 4 (2007): 738–40. http://dx.doi.org/10.1111/j.1540-5931.2007.00439.x.

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17

Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.

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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of

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18

Wees, William C. ": Direct Theory: Experimental Film/Video As Major Genre . Edward S. Small." Film Quarterly 50, no. 1 (1996): 44–46. http://dx.doi.org/10.1525/fq.1996.50.1.04a00130.

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19

Engell, Lorenz. "Versuch und Irrtum." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 126–35. http://dx.doi.org/10.28937/1000107598.

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Der Beitrag untersucht Lars von Triers metafilmische Komödie The Boss of it all, ausgehend von Jean Francois Lyotards Überlegungen zum ästhetischen und philosophischen Experiment und entlang von Stanley Cavells Annahmen zum Genre als Medium sowie zur Komödie als Genrereflexion. The Boss of it all legt demnach den experimentellen Charakter des Genrefilms, des Filmgenres und speziell des Komischen frei. Der Film zeigt sich als ein paradoxes experimentelles Gebilde, das sich von seinem Autor, von den Genreregeln und von den Zuschauererwartungen ablöst, einen eigenen Handlungs- und Reflexionsstatu

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20

Pedersen, Peter Ole. "The Never-ending Disaster: 9/11 Conspiracy Theory and the Integration of Activist Documentary on Video Websites." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (2013): 49–64. http://dx.doi.org/10.2478/ausfm-2014-0004.

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Abstract The article examines how documentary film is transformed when distributed through video sharing web sites. The conspiracy-theoretical production Loose Change (2005, 2006, 2007, and 2009) is used as a case study of how the mediation process connected with net-based distribution affects the materiality of film and alters our conception of both visual evidence and genre. With a point of departure in the media theory of Jay David Bolter and Richard Grusin and their twin concepts of immediacy and hypermediacy it is discussed how the film culture on the internet develops new media instituti

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21

Akser, Murat. "Nation, Genre and Female Performance in Canadian Cinema." CINEJ Cinema Journal 2, no. 2 (2013): 149–66. http://dx.doi.org/10.5195/cinej.2013.72.

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This paper outlines a theory of sytle and performance in Canadian film based on geography, gender and genre. It is possible to form a theory of Canadian cinema based on theme-genre (strong women, nature as oppressor in dysfunctional family melodramas) in which female characters, as well as their personas, interact with both a physical geography and a social space to define a Canadian identity.

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22

Visch, Valentijn, and Ed Tan. "Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition." Poetics 36, no. 4 (2008): 301–15. http://dx.doi.org/10.1016/j.poetic.2008.03.003.

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23

Kratzke, Peter. "Dark, Darker, Darkest: The Mood and Genre of Sardonic Death in “An Occurrence at Owl Creek Bridge” as Told by Ambrose Bierce, Robert Enrico, and Rod Serling." Genre 52, no. 2 (2019): 109–25. http://dx.doi.org/10.1215/00166928-7585867.

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Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode of The Twilight Zone (as the show’s cultural context was and is perfect for the task) reveals afresh that mood (involving an author’s attitude toward content) is necessarily more important than genre (involving content itself) when narrative content approaches the unknowable. What perhaps surprises in this comparison i

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24

Simonton, Dean Keith. "Film as Art versus Film as Business: Differential Correlates of Screenplay Characteristics." Empirical Studies of the Arts 23, no. 2 (2005): 93–117. http://dx.doi.org/10.2190/dm5y-fhem-cxqt-uexw.

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This investigation determined whether certain screenplay features can differentiate films directed toward artistic expression from those aimed at financial gain. The sample consisted of 1436 English-language, narrative films released between 1968 and 2002. The variables included 4 economic indicators, 5 movie award assessments, 2 composite critical evaluations, and 24 screenplay characteristics. A subset of those characteristics distinguished film as art from film as business. In particular, the two types could be distinguished according to the impact of sequels, adaptations (e.g., from plays)

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25

Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.

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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an import

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26

Chusna, Inayatul. "Stereotip Dunia Ketiga dalam Film Bride and Prejudice." Buletin Al-Turas 22, no. 1 (2016): 65–87. http://dx.doi.org/10.15408/bat.v22i1.3013.

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Abstract The focus of this research is to expose the representation of the Third World (India) in a transnational film, Bride and Prejudice. By using the theory of representation and some concepts in postcolonial studies, the representation of the Third World are revealed through the characters of the First and Third World and their relationship. The representation of the Third World that creates center and peripheral, and the image of Center as everything confirm the stereotypical representation of the Third World. The love story of the film between the First and Third World characters actual

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27

Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.

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Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then cons

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Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.

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AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foregrou

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Cefalu, Paul. "What's So Funny about Obsessive-Compulsive Disorder?" PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 44–58. http://dx.doi.org/10.1632/pmla.2009.124.1.44.

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During the past several decades, obsessive-compulsive disorder (OCD) has been widely represented in novels, memoirs, film, television, and other genres and media. What distinguishes representations of OCD from depictions of other mental disorders is the frequency with which OCD is treated with humor and levity. Drawing on genre theory, disability studies, and philosophies of humor, this essay explains why OCD symptomatology evokes laughter and resonates with contemporary popular culture. The essay focuses on the ways in which popular portrayals of OCD distort the actual experience of the disor

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Scafirimuto, Guglielmo. "Introduction to the diasporic autobiographical documentary." Journal of Global Diaspora 1, no. 1 (2020): 107–22. http://dx.doi.org/10.1386/gdm_00007_1.

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This article aims to introduce a new film genre that I call ‘diasporic autobiographical documentary’ that I have been working on during my last years of research, first in France and now in a broader context. In this genre, diasporic cinema and autobiographical documentary meet and create an original ensemble, especially produced in the last twenty years, in order to give place to the search for identity by individuals belonging to more than one nation and culture. In the first part, the present text exposes the principal axes of definition of this body of work, following Raphaëlle Moine’s the

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HANTKE, STEFFEN. "The Military Horror Film: Speculations on a Hybrid Genre." Journal of Popular Culture 43, no. 4 (2010): 701–19. http://dx.doi.org/10.1111/j.1540-5931.2010.00766.x.

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Haralambidou, Penelope. "The architectural essay film." Architectural Research Quarterly 19, no. 3 (2015): 234–48. http://dx.doi.org/10.1017/s1359135515000524.

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Recent advancements in digital technology, have not only deeply transformed the production of film and architecture but brought the two disciplines closer than ever before. The digital has allowed ground-breaking, if not hasty, changes in the way that architecture is not only produced, but also designed and conceived. In contrast, however, to the extensive use of computational design to interrogate the formal, material and structural possibilities of architecture, this article explores how new time-based media and computer generated imagery in film can unlock the story-telling, political and p

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Prokhorova, Svetlana N. "Advertising insert as a special genre of advertising text." Socialʹnye i gumanitarnye znania 6, no. 4 (2020): 388. http://dx.doi.org/10.18255/2412-6519-2020-4-388-397.

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The article deals with the translation of feminine film titles on the example of English filmonyms of the last decade. The article is aimed at the study of the filmonyms’ translation in the Russian film discourse, which leaves its specific imprint on the translator’s decisions. The paper treats the translation of feminine-marked filmonyms as a topical problem of the linguistics of gender and the theory of translation - the study of the means of translation of feature film titles from English to Russian from the point if view of gender-marked translators’ slant. The application of the method of

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34

Wees, William C. "Review: Direct Theory: Experimental Film/Video As Major Genre by Edward S. Small." Film Quarterly 50, no. 1 (1996): 44–46. http://dx.doi.org/10.2307/1213333.

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35

Christopher, Renny. "Negotiating the Viet Nam war through permeable genre borders:Aliensas Viet Nam War film;Platoonas horror film." Lit: Literature Interpretation Theory 5, no. 1 (1994): 53–66. http://dx.doi.org/10.1080/10436929408580126.

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36

Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.

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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of di

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Szczęsna, Ewa. "O twórczym przekraczaniu granic. Przetworzenia i reprezentacje w przestrzeni sztuki." Przestrzenie Teorii, no. 31 (December 6, 2019): 209–26. http://dx.doi.org/10.14746/pt.2019.31.11.

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The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the sem

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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.

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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as e

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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.

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Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory a

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Cowan, Philip. "Post-Carroll." Projections 14, no. 3 (2020): 72–89. http://dx.doi.org/10.3167/proj.2020.140306.

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Analyzing moving images is one of the fundamental practices in our attempt to understand the medium. Building on Noël Carroll’s functional theory of film style, this article attempts to define a taxonomy of functional elements of shot composition in order to establish a clear methodology for the analysis of a moving image. Carroll criticizes forms of stylistic analysis that limit themselves to a few pre-selected aspects of the moving image, for example, genre motifs, individual filmmakers’ personal traits, or broad studies of film movements. Numerous writers have presented breakdowns of compon

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Токоева, Жумабубу. "ЖАНРОВОЕ СВОЕОБРАЗИЕ СОВРЕМЕННОГО КЫРГЫЗСКОГО КИНО". Vestnik Bishkek Humanities University, № 51 (19 березня 2020): 20–24. http://dx.doi.org/10.35254/bhu.2020.51.15.

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Аннотация: Предметом исследования статьи является рассмотрение жанрового разнообразия современного кыргызского кино. Основное внимание автор акцентирует на культурологическом анализе всех «авторских» фильмов кыргызских режиссеров в постсоветский и современный периоды. Главной целью исследования является выявление жанрового своеобразия современного отечественного кино. Новизна статьи заключается в том, что автор впервые в отечественной кинотеории рассматривает особенности и своеобразие киножанров в современном кыргызском кино на примере таких известных всему миру фильмов, как кинотрилогия А. Аб

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Ragpot, Lara. "Film as teacher education genre: Developing student agency in the production of #Taximaths – How children make their world mathematical." South African Journal of Childhood Education 4, no. 2 (2014): 18. http://dx.doi.org/10.4102/sajce.v4i2.210.

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The article reports on the process of producing a film for students in a university course. The purpose of the production was to make local film material that could assist students in their learning of developmental cognitive psychology theory in general, but specifically also the mathematical cognition of children. Although the students in the production team set out as actors and technical helpers, they gradually appropriated their acting roles and the plot of the story to the extent that they learned the theory that the film was portraying. Not only did they show interest in the psychology

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Fried, Daniel. "Riding Off into the Sunrise: Genre Contingency and the Origin of the Chinese Western." PMLA/Publications of the Modern Language Association of America 122, no. 5 (2007): 1482–98. http://dx.doi.org/10.1632/pmla.2007.122.5.1482.

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The paradoxical dependence of genre histories on historically accidental acts of naming and on transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that has become a major part of Chineselanguage cinema over the past two decades. After the genre was proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for larger cultural battles over China's place in an American-dominated international cultu

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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.

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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imagina

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Haley, Madigan. "Toward Contemporary Novelism." Genre 53, no. 2 (2020): 135–57. http://dx.doi.org/10.1215/00166928-8562669.

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This essay challenges a dominant way of plotting the novel genre’s history as a story of individual development, which is increasingly characterized by an identity crisis within the contemporary media landscape. As an alternative to this story, it develops a provisional account of “novelism” (adjacent to notions like lyricism and essayism) as a flexible and mobile mode of associative world-building across the arts. We can see novelism at play in the intermedial history of how novelistic forms and concerns informed the cinematic genre of the essay film. By recovering that history, from Sergei E

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; h

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; h

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Booker, M. Keith, and Isra Daraiseh. "Lost in the funhouse: Allegorical horror and cognitive mapping in Jordan Peele’s Us." Horror Studies 12, no. 1 (2021): 119–31. http://dx.doi.org/10.1386/host_00032_1.

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Jordan Peele’s Us (2019) is an entertaining horror film that also contains a number of interesting interpretive complications. The film is undoubtedly meant as a commentary on the inequity, inequality and injustice that saturate our supposedly egalitarian American society. Beyond that vague and general characterization, though, the film offers a number of interesting (and more specific) allegorical interpretations, none of which in themselves seem quite adequate. This article explores the plethora of signs that circulate through Us, demanding interpretation but defeating any definitive interpr

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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.

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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television

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Yasa, Desak Putu Yogi Antari Tirta, and I. Nyoman Payuyasa. "PEMANFAATAN FILM DOKUMENTER THE COVE SEBAGAI MEDIA KAMPANYE PENYELAMATAN LUMBA." Gorga : Jurnal Seni Rupa 8, no. 2 (2019): 440. http://dx.doi.org/10.24114/gr.v8i2.16072.

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AbstrakFilm dokumenter merupakan sebuah film yang menyajikan fakta kepada penontonnya dan dapat menjadi sebuah media kampanye mengenai suatu permasalahan. Film The Cove menampilkan kekejaman industri penangkaran dan pertunjukkan lumba-lumba dari sudut pandang seorang aktivis bernama Richard O’ Barry. The Cove kemudian tidak hanya menjadi sebuah film dokumenter, tapi juga menjadi media kampanye untuk bergerak melawan kekejaman terhadap industri tersebut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dimana metode analisis data yang digunakan adalah metode kualitatif-inter

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