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Journal articles on the topic 'Film genres'
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Corpus, Faye III, Angelique Mira Ticlao, and Joanna Juvyjoy Rojo. "Bala o Hustisya?: A comparative contextual analysis on the representation of extrajudicial killings in selected Filipino narrative films." F1000Research 12 (November 23, 2023): 1496. http://dx.doi.org/10.12688/f1000research.133747.1.
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Background: The war on drugs campaign led by President Duterte increased the prevalence of extrajudicial killing themes in Philippine cinema, reflecting societal issues and influencing the film industry. This study analyzed the representation of extrajudicial killings (EJK) through the mise-en-scene elements of aesthetics and configuration, and the common themes of the genres such as war and society, drama, action, and crime/thriller of the selected extrajudicial killings related films: Buybust (2018), Respeto (2017), and Neomanila (2017). The EJK-related films were selected due to their categorization as narrative films and exposure to the 17th New York Asian Film Festival. This study aims: (1) to identify the representation and the common themes used when representing EJK under the film genres, (2) to analyze the mise-en-scene elements of aesthetics and configuration used in the genres, (3) and to develop an understanding of how EJK-related films can represent the voiceless. Methods: This study analyzed selected films across the respective genres in determining the filmmakers’ creativity using comparative contextual analysis. Results: The results have shown that EJK in films is represented by configuration: genre conventions, aesthetics: cinematic techniques, and common themes. (1) Configuration: the genre conventions of the films similarly fall under the genre of society and war, drama, and crime and thriller which are similar in the portrayal of the catalyst, and avatars in the EJK-related films. (2) Aesthetics: cinematic techniques are only a component of a film, but not all of them can depict real events since they simply provide a filter of roles and materials used. (3) Common themes were structural inequality, competition, and war. Conclusions: The selected EJK-related films have the same commonalities of themes, film elements, and film genres. The study concludes that the three films were represented through their depiction of EJK as an ongoing societal issue in the country.
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Nicholls, Peter, Barry Keith Grant, Robert Lyons, Randall D. Larson, Jan Stacy, Ryder Syvertsen, Thomas Waugh, and Louise Heck-Rabi. "Film Genres." Communication Booknotes 16, no. 7 (July 1985): 80–82. http://dx.doi.org/10.1080/10948008509488326.
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Sitepu, Petrus Damiami, and Kus Sudarsono. "Genre Drama sebagai Favorite di Netflix Periode Januari – Juni 2021." Rekam 19, no. 2 (October 31, 2023): 143–52. http://dx.doi.org/10.24821/rekam.v19i2.9201.
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Netflix is a film exhibition platform in digital format. Netflix is one of the favourite platforms for film enthusiasts, especially among the respondents in this study. Netflix is included in the Non-Theatrical Exhibition Film category with its popular term Over-The-Top. Netflix is categorized explicitly as SVOD (Subscription Video On Demand). In this study, we do not only look at the categorization of films based on the primary genre but also look at the secondary film genres. According to respondents, the secondary genre of films is one aspect of selecting films on the Netflix platform.This study used a quantitative approach with a cluster random sampling method. The sample used in this research was students of the Film Study Program, Faculty of Art and Design, Multimedia Nusantara University. The results of this study show that in the period January - July 2021, the film Ali & Ratu Ratu Queens is an Indonesian film that many Netflix users watch. In addition, the film Sweet & Sour is the most-watched international film by respondents. Respondents in this study stated that there is a need for film categorization. Still, film categorization is not only based on the primary genre but there needs to be a secondary genre as well. Films in the drama genre are the favourite of the respondents in this study, both primary and secondary drama genres.
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Sylvanus, Emaeyak Peter. "Popular Music and Genre in Mainstream Nollywood." Journal of Popular Music Studies 30, no. 3 (September 2018): 99–114. http://dx.doi.org/10.1525/jpms.2018.200005.
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This article examines how genres of Nollywood soundtrack, which draw mainly from Nigerian popular music, effectively give Nollywood film genres their unique identification. This music genre–film genre association not only sets Nollywood apart from other cinema traditions, but also confers a marginal genre identity on its film music. The approach of this study is primarily ethnographic: pooling and teasing out inferences from the local discourse on film music practice, which the experiential evidence from forty classic Nollywood film samples support. The outcome shows that popular music is and can be a critical tool for distinguishing among film genres.
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Švábenický, Jan. "Italian Thrilling Spectacle Between Aesthetics, Ethics, and Ideology. Popular Genres of Italian Cinema in the 1960s and 1970s in Czechoslovak Film and Non-Film Periodicals (1960–1989)." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 361–72. http://dx.doi.org/10.1515/sd-2017-0021.
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Abstract This study examines journalistic, publicist, and critical discourse in relation to the popular genres in the Italian cinema of the 1960s and 1970s in Czechoslovak film and non-film periodical press. Of interest are mainly comprehensive texts that analyse Italian popular genres as a genre system and a specific corpus of films that belong to the same genre. Czech and Slovak translations of foreign studies and texts (with the exception of some examples), interviews with Italian filmmakers, short glosses, or informative texts are beyond the scope of this research. This study reflects critical, journalistic, and publicist interpretations and views by Czechoslovak press of popular genres in national Italian cinema in the selected historical period. Research is divided into two parts that develop specific aspects of these analytic questions. The first part analyses texts about this subject matter in various film a and non-film periodicals, including newspapers and journals with emphasis on long studies and interpretations of a few categories of popular genres viewed in the extensive context of their national, socio-cultural, iconographic, and industrial aspects. The second part deals only with the popular genre of western all’italiana (western in Italian style), which represented an international cinematic and socio-cultural phenomenon in the 1960s and 1970s and was of the greatest interest to Czechoslovak critics, journalists, and publicists in relation to popular genres of Italian cinema in general.
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Belinskaya, Elena P., and Ekaterina A. Rudik. "ATTITUDES TO RADICALISM AND PREFERENCES OF FILM GENRES IN YOUTH." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2020): 41–52. http://dx.doi.org/10.28995/2073-6398-2020-4-41-52.
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The results of an empirical study of the relationship between radical attitudes and consumer preferences in the field of film production in a sample of young people are presented in the article. Attitudes to radicalism were operationalized through indicators on the scales of relative deprivation, social dominance, and authoritarianism. Horror, melodrama, and arthouse films were considered the preferred film genres. One of the stages of the study was an attempt to determine the possibility of organized influence on radical attitudes through viewing movie trailers of preferred and non-preferred genres by respondents. It is shown that initially the choice of genres of melodrama and arthouse cinema is not associated with any of the supposed components of radical attitudes, and the propensity to watch horror films is associated with a low intensity of the behavioral component of radical attitudes. When organizing the impact by watching trailers, it was found that respondents who prefer the genres of melodrama and arthouse cinema are almost not affected by their socio-political attitudes by consuming film products, while the affective component of their radical attitudes increased among fans of horror films, but only if the genre of the viewed trailer coincided with the preferred one. Thus, the results obtained do not allow us to unambiguously assert that there is a relationship between consumer preferences in film genres and radical attitudes in youth. In general, they indicate an extremely vague relationship between aesthetic preferences and attitudes of the sociopolitical spectrum.
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Sinulingga, Kinanthi N. V. M., and Satrya Wibawa. "GENRE ANALYSIS THE FILM GUNDALA." Capture : Jurnal Seni Media Rekam 14, no. 1 (December 1, 2022): 30–40. http://dx.doi.org/10.33153/capture.v14i1.3832.
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Gundala (2019) is the latest Indonesian action film that was commercially successful, won national and international awards, and even ranked second in viewership in 2019. This study aims to identify the genre characteristics of Gundala. This paper utilized Nick Lacey's genre analysis, which analyzes films based on the repertoire of elements (narratives, characters, settings, iconography, and styles). The research shows that Gundala adopted the action genre characteristics, especially in the narrative, character, and style. However, the setting and iconography of the film have been modified to fit the local cultural context. Hence, the distinctiveness of Indonesian films can expand similar studies in film genres.
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Demeschenko, Violeta. "Features of genre formation in film art of the 21st century." Interdisciplinary Cultural and Humanities Review 2, no. 2 (November 1, 2023): 11–19. http://dx.doi.org/10.59214/2786-7110-2023-2-2-11-19.
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The relevance of the study lies in rethinking the specifics of existing film genres, the processes of their transformation in the cinema of the 21st century. Objective of the study is to recreate the logic of the formation of a modern genre system that includes new hybrid forms. The following methods are used: structural-system, general scientific methods of theoretical research (analysis, synthesis, induction, deduction, generalisation, classification, etc.). The features of the formation of modern film genres were examined. It is established how new hybrid genres are formed, and the features of dialectical development of genre forms are analysed. The genesis of documentary animation is considered, using examples of well-known modern works made in this genre form. The results of the study can be used for further systematic examination of hybrid forms of film genres, which will allow including this material in the training programmes of specialists in the field of film studies, art history, audiovisual journalism, film and television directing, and to define the hybrid genre as a separate category at creative film festivals and screenings
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Stańczyk, Marta. "Liberté, égalité, sororité. Kobiece gatunki cielesne i francuskie „ekstremistki”." Literatura i Kultura Popularna 24 (April 18, 2019): 97–112. http://dx.doi.org/10.19195/0867-7441.24.8.
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Liberté, Égalité, Sororité: Female body genres and the women of the New French ExtremityIn the essay Film Bodies: Gender, Genre, and Excess, Linda Williams coins the concept of body genres. These genres include melodrama, horror and porn, which are linked through their impact on the spectator’s body and intensifying viewing experiences. According to Williams, these three film genres emphasize the notion of spectacle, but they place the female body in its centre. The female body is moving and is being moved, which causes its vulnerability to the hegemony of the male gaze. But we can conduct research from a feminist perspective and find films that simultaneously tell about a visceral excess and develop an intellectual transgression through the body. The best example of this tendency is the New French Extremity, precisely the female directors such as Catherine Breillat, Mariny de Van or Virginie Despentes. They maximize the somatic spectacle in their films, which annihilates the pleasure that the male spectator derives from the fetishized female body.
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Langkjær, Birger. "Realism as a third film practice." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 15. http://dx.doi.org/10.7146/mediekultur.v27i51.4078.
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<p>The concept of realism may owe much of its success to its vague definition. This article suggests that it can be useful as a term that covers a central, mainstream film practice in European and other national cinemas, located somewhere in between genre films and art films. The concept refers to a serious kind of film that does not obey classical genre rules, but nevertheless tells its stories in an accessible and often engaging form that, generally speaking, creates a more popular (yet serious) film than the art film. As a film practice, it cuts across well known but often vaguely defined sub-categories, such as social realism and psychological realism. Finally, it is argued that the dichotomy between Hollywood genre films and European art cinema ignores both national variants of basic genres and a tradition of realism as a mainstream film practice.</p>
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Suprun-Zhyvodrova, Anastasiia. "Genre and stylistic features of Ukrainian fiction cinematography of the period of independence." Folk art and ethnology, no. 1 (March 30, 2024): 75–87. http://dx.doi.org/10.15407/nte2024.01.075.
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The article is devoted the definition of genre and stylistic features of fiction films produced in Ukraine from 1991 to 2022. Using the analysis of theoretical works on film studies, genre theory, semiology and film history, it is proposed to define the concept of “genre” as a set of repetitive syntactic and semantic structures, the main connections of the genre with the socio-cultural and historical context are outlined. In particular, after analyzing 949 audiovisual projects from the «Base of National Films of Ukraine», which have been created during the period of Independence, it was found that the largest number of produced audiovisual works belongs to the fiction type of cinema. The presence of syntactic and semantic structures of 46 genres has been identified according to the genre and thematic direction of fiction cinematography. It is proved that the most popular genre in production is drama – 25 % of the total number of feature films. This percentage is a significant advantage over the presence of other genres. Analysis of data from the box office of cinema distribution in Ukraine for 2020 has revealed discrepancies between the number of produced films of a certain genre and thematic direction and the preferences of Ukrainian viewers. In this way, the assumption that the predominance of certain genres in the production of Ukrainian audiovisual art reflects the cultural needs of Ukrainians has been refuted. Such a comparison also disproved the claim that the absence of certain genres in the Ukrainian media space testifies to the foreignness of the narrative structure of such films to the cultural characteristics of Ukrainians, because the top five audience preferences include, for example, the horror genre, which is minimally present in Ukrainian production. The results of the study have theoretical and practical significance for film production in Ukraine, and also form a research field for further study of the development of each individual genre present in Ukrainian audiovisual art of the period of Independence.
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Davids, Evonne Leanna. "The Evolution of Film Genres: A Comparative Analysis of Hollywood and Bollywood." Art and Society 2, no. 4 (August 2023): 15–34. http://dx.doi.org/10.56397/as.2023.08.04.
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This paper provides an analysis of the themes, narratives, and stylistic elements in Hollywood and Bollywood films across various genres. It investigates the reception and critical reception of these films, as well as their box office performance and cultural impact. Additionally, it explores the influence of digital technologies on genre conventions, such as visual effects (VFX) and virtual reality (VR), and how they have opened up new opportunities for filmmakers. The challenges and opportunities in genre evolution, including the cross-pollination and emergence of hybrid genres, are also examined. The conclusion highlights the ever-evolving nature of the film industry and the importance of filmmakers in pushing boundaries and captivating audiences.
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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.
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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
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Shumov, Maksim Vladimirovich. "Evolution of the Russian film festival movement: trends, forms, themes, and genres of children and adult amateur filmmaking in the XX – XXI centuries." Человек и культура, no. 6 (June 2021): 34–48. http://dx.doi.org/10.25136/2409-8744.2021.6.37160.
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The subject of this research of this article is the trends, forms, themes and genres of children and adult amateur filmmaking on the context of development of the national film festival movement. The author traces the evolution of the Russian film festival movement, which is reflected in trends, organizational forms, themes and genres of children, mixed and adult amateur filmmaking in the XX – XXI centuries. Methodological framework of this research is comprised of the dynamics of formation of the experience of emotional-value perception of the visual image of reality (B. M. Nemensky), content analysis, comparative, genre-thematic, statistical, historical-culturological analysis of the themes and genres of works of amateur filmmaking of the Soviet and post-perestroika periods presented at film festivals. As a result of the conducted research, the author divides the traditional filmmaking into enthusiasts of cinemagorahic art and amateur videographers; outlines the organizational forms and development trends of the Russian film festival movement; highlights the thematic peculiarities of modern amateur filmmakers that consist in the successive, traditional, new and lost themes of children and adult amateur films. The traditional amateur film and modern amateur video genres of screen works are determined. The novelty of this research lies in nontraditional approach, as well as comprehensive analysis of the problem of modern development of the amateur film festival movement. The main conclusions are as follows: 1) the division of traditional amateur filmmaking into two groups: enthusiasts of traditional cinematographic art and amateur videographers – creation of the works of new and traditional themes is substantiated by sociocultural peculiarities of modern development of the amateur film festival movement; 2) It is noted that the lost thematic groups, such as the Soviet legacy, would be revived in the works of modern authors; 3) there is an important feature in the development of modern amateur videography in the context of film festival movement and establishment of the new genres.
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Hanchard, Matthew, Peter Merrington, Bridgette Wessels, and Simeon Yates. "Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK." Emerald Open Research 1 (October 30, 2019): 16. http://dx.doi.org/10.35241/emeraldopenres.13196.1.
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This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow ‘feel good’ movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who ‘prefer’ arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.
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Przylipiak, Mirosław. "Defining documentary." Panoptikum, no. 29 (June 30, 2023): 11–38. http://dx.doi.org/10.26881/pan.2023.29.01.
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The aim of this paper is to define documentary film. After a brief review of existing definitions, the author proposes his own. The methods of working on the set and the textual features of the films are considered as distinguishing documentary filmmaking from other film genres. Issues such as the filmmakers’ interference with the filmed reality, the criteria for distinguishing between fictional and non-fictional elements, the admissibility of special effects, the specificity of editing, and the place of the documentary film among other nonfictional genres are considered. The final definition is confronted with the most recent genres of documentary cinema, namely the animated documentary, the mockumentary and the web-documentary.
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Bono, Francesco. "Playing with the Camera. Critical Notes on Two Films by Austrian Director Willi Forst." European Journal of Interdisciplinary Studies 6, no. 1 (January 1, 2020): 13. http://dx.doi.org/10.26417/ejis.v6i1.p13-19.
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This essay aims to critically reflect on the work of Austrian film director Willi Forst, devoting special attention to two of Forst’s films of the 1930s, Mazurka and Allotria. Forst’s career developed successfully in both Austria and Germany between the 1930s and the end of the 1950s and Forst has been widely counted among the major figures in German-speaking cinema of the time. In scholarly works on the history of Austrian film, Forst’s name has been typically associated with the musical genre and the so-called Viennese Film, of which Forst has been regarded as the indisputable master. In this association of Forst’s work with the Viennese Film and the musical genre, long predominant among film historians, one may detect a reason for the scant consideration dedicated so far to films such as Mazurka and Allotria which, not belonging to the above genres, have been usually regarded as of minor relevance in Forst’s work. With the aim of correcting this assumption, the present essay intends to critically focus on Mazurka and Allotria, placing them within the wider context of Forst’s work. Though the two films belong to different genres, Mazurka being a melodrama, Allotria a comedy, they appear to have a significant number of points in common, and through their discussion and comparison, this essay hopes to contribute to a better understanding of Forst’s oeuvre, shedding light on a number of facets of Forst’s work to which scarse attention has been devoted so far.
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Fadhilah, Hadiatul, Meri Erawati, and Zulfa. "Perfilman Nasional Tahun 1970-an Hingga 1980-an." HEURISTIK: Jurnal Pendidikan Sejarah 3, no. 1 (April 30, 2023): 48–54. http://dx.doi.org/10.31258/hjps.3.1.48-54.
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This research aims to look at the development of Indonesian film from the 1970s - 1980s based on the increase in film genres and the increase in film production in Indonesia, so that the technology that began to become sophisticated in Indonesian filmmaking was a form of the glorious decade of film. The results of this study are the number of films produced during the years 1970-1980 as many as 618 titles. With a classification of 370 drama genres, 72 action genres, 23 horrors, 26 fantasy, and 127 comedy titles. The 1970-1980s also gave birth to phenomenal artists and films such as Remadja Bride (1971), Sidoel anak Betawi (1973), First Love (1973), My Love on the Blue Campus (1976), Hurricane Pasti Berlalu (1977), Sexy Waitress Inem (1977), and Gita Cinta dari SMA (1979) also gave birth to the nickname Sex Bomb for female artists who dared to appear open to the adult scene in the film, Suzana, Yati Oktavia, is an artist who gets the nickname Sex Bomb.
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Bolarinwa, Abidemi. "Recreation of Oral Poetic Genres in Selected Yorùbá Home-Video Films." Afrika Focus 32, no. 1 (February 27, 2019): 13–34. http://dx.doi.org/10.1163/2031356x-03201003.
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The Yorùbá film as audio-visual literature is thought of as one of the most educative components building society. “Modernization” and responses to global change brought about the Yorùbá films which are an offshoot of the Yorùbá Travelling Theatre Movement. The indigenous theatre practitioners who are versatile in practicing the oral poetic genre and have successfully emerged as producers, directors and film-script writers employ and recreate oral poetic genres by adding feelings, beliefs and knowledge they had acquired in the past. This paper attempts a descriptive analysis of five purposively-selected Yorùbá video films by using the sociological approach: Ẹfúnsetán Aníwúrà; Basọ̀run Gáà, Ogun Àgbẹ́kọ̀ya, Ogun Ìdàhọ̀mì and Ọ̀rànmíyàn; which are replete with instances of ingenious recreations of Yorùbá oral poetic genres. The analysis is conducted with a view to elucidating the attempts of Yorùbá home-video scriptwriters in recreating and reconstructing their experiences. The analyses of the selected Yorùbá home-video films reveal that the Yorùbá home-video script writers make artistic use of Yorùbá oral genres in their films through the creative exploitation of proverbs, songs, chants and mythical allusions. The allusions to myths in the selected films suggest that Yorùbá home-video films share apparent inter-textual links with Yorùbá oral poetry. The study concludes that Yorùbá home-video scriptwriters deploy oral poetic genres in their films as one of the ways in which the artistic experiences of the Yorùbá people can resonate.
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Kiseleva, Yulia I., and Marina A. Myasnikova. "Genre Solutions in Contemporary Popular Science Cinema. Experience of Practical Application." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, no. 4 (2023): 40–49. http://dx.doi.org/10.15826/izv1.2023.29.4.064.
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The article studies the current situation in Russian popular science cinema, as well as its essence as a separate type of cinema with its own genre system, different from documentary film, television and television journalism genres. The authors consider such famous researchers points of view on the genre problem as G. Pospelov, G. Abramovich, L. Timofeev, V. Kozhinov, G. Gachev, V. Poznin, G. Prozhiko, N. Zorkaya, and offer their opinion concerning the differentiation of the concepts “types” and “genres” in relation to popular science cinema. The problem of its future existence is characterized considering the modern viewer being attracted by entertainment, mysticism and pseudoscience, as well as limited funding and the disappearance of popular science or educational film studios in Russia. Solutions to the problem are mentioned among which are, in particular, activities of the “Scientific Film Laboratory 2.0” are described, within which films are created that present scientific agenda to the viewer with the help of clear use of genre. During the study, methods of participant observation, analysis and synthesis were used.
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Zhurkova, D. A. "The Role of Song in Leonid Gaidai’s Films." Art & Culture Studies, no. 1 (March 2023): 104–33. http://dx.doi.org/10.51678/2226-0072-2023-1-104-133.
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The article is devoted to Leonid Gaidai’s work with soundtrack. The emphasis is made on the analysis of both original and borrowed songs in the entire filmography of the director. In the first part of the article, the author analyses the principles of Gaidai’s work with various musical genres and outlines the range of musical genres and styles used by the director. The article investigates how their meaning (reputation) changes, refracted through the prism of the comedy genre, and discusses various ways in which the director interprets the genres of an old-time sentimental gypsy romance, folk and criminal underworld songs. The second part of the article reveals the role of songs in the dramaturgy of Gaidai’s comedies. The author demonstrates that with the help of songs, Gaidai creates an interconnected musical universe both within one film and between films. The study presents the analysis of the contrast between the visual-narrative side of an episode and its soundtrack and provides a detailed examination of how Gaidai challenged stereotypes as to what characters can perform what genre songs in a comedy film.
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (May 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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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
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Montaño, Jose. "When the World Laughs. Film Comedy East and West – William V. Costanzo." Mutual Images Journal, no. 10 (December 20, 2021): 335–42. http://dx.doi.org/10.32926/2021.10.r.mon.comed.
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While film genres have risen or declined along with the times and its trends, according to Aldredge (2019), comedy has remained steady in high popularity through all the years since 1910, which is practically to say throughout the whole history of cinema as an industry. Furthermore, it can be said that comedy stands as the second genre in the number of films produced. Furthermore, it can be said that comedy stands as the second genre in number of films produced when considering only a single genre tagging. However, [...]
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Asrul, Wina Witanti, and Fajri Rakhmat Umbara. "PERAMALAN GENRE FILM TERPOPULER BERDASARKAN DATASET MYMOVIE MENGGUNAKAN METODE AUTOREGRESSIVE INTEGRATED MOVING AVERAGE (ARIMA)." INFOTECH journal 9, no. 2 (November 14, 2023): 610–17. http://dx.doi.org/10.31949/infotech.v9i2.7358.
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At this time the film industry is experiencing very rapid progress, this is because extraordinary technological developments have had a major influence on the film industry. Successful films tend to have a large audience. To find out why the audience likes a film, there are several variables that must be considered, one of which is the genre of the film. This research was conducted to predict what film genres the audience is most interested in. To predict the genre of this film using the autoregressive integrated moving average (arima) method. The autoregressive integrated moving average (arima) method or commonly known as the Box-Jenkins method is a method used to make precise and accurate short-term forecasts, compared to long-term forecasts which usually tend to be flat (flat/constant). From this research a prediction of the popularity or number of viewers of each film genre will be generated which can be used as a reference to find out what genre of film the audience is interested in. So that film production companies can adjust film releases according to their interests. audience, in order to gain greater profits.
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Ayurianti, Rininta, and Rista Ihwanny. "Character Convention of The Heist Film Subgenre in “Stealing Raden Saleh” (2022)." Deiksis 16, no. 2 (June 5, 2024): 155. http://dx.doi.org/10.30998/deiksis.v16i2.21270.
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<p class="8Abstractcontent">In terms of genre study, film critics have engaged in lengthy discourses to figure out a consistent determining variable. Heist film is one of the genres that has also gone into overdrive due to the many variations that arise from the flexibility of its genre conventions. “Stealing Raden Saleh” (2022) is therefore chosen as the object of this research because it reflects the similarity of patterns with many films in the heist film subgenre. Furthermore, the film also markets itself as an action-heist film. This prompted the author to investigate how the characters in “Stealing Raden Saleh” (2022) are related to the heist film subgenre conventions. This study uses a qualitative method, particularly observation and literature studies, in which several sources discussing the conventions of the heist film are used as supporting theories. Through thorough comparison and analysis, it can be concluded that the characters in “Stealing Raden Saleh” (2022) are related to the conventions of the heist film subgenre, especially in terms of character roles and motivations. These aspects are instruments of social criticism that are generally contained in heist films, including class resistance and power relations.</p>
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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 Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
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Monovich, Jonathan. "The “Eagle Scout Film”: David Lynch as Auteur and Genre Filmmaker." Film Matters 12, no. 2 (September 1, 2021): 81–97. http://dx.doi.org/10.1386/fm_00156_7.
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Knowing David Lynch’s background as an Eagle Scout, this article explores that many of Lynch’s films and their protagonists, particularly Jeffrey Beaumont (Kyle MacLachlan) in Blue Velvet (1986), embody Eagle Scout-like heroes and serve as genre-like “Eagle Scout films.” These films and their protagonists have similarities with the film noir and western genres and their detective/cowboy heroes through their dealings with ethics, morality, and justice in sadistic worlds. In his genre-hybrid films, Lynch acts as an auteur in using recurring thematic preoccupations/stylistic tendencies, while exemplifying hostile environments offset by a central protagonist with an Eagle Scout-like set of morals.
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Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.
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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.
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Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.
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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.
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Marmysz, John. "David Martin-Jones (2010) Scotland: Global Cinema: Genres, Modes and Identities." Film-Philosophy 15, no. 2 (October 2011): 159–65. http://dx.doi.org/10.3366/film.2011.0038.
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Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures." Reference & User Services Quarterly 57, no. 4 (June 15, 2018): 300. http://dx.doi.org/10.5860/rusq.57.4.6711.
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’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures is a work that sets out to examine the evolution of action movies from their cheesy low-budget origins and how they influenced the development of the action film genre. The author states that his interest in exploring the topic stems from his belief that the 1980s was the birth of the modern-day action film (1). There are 284 entries arranged chronologically that examine the films’ plots and their influencers. The entries have an informal tone, but they are well researched and use examples from other film genres to make connections. The book is intended for use by a variety of researchers, but its tone and content make it most suitable for use as an introduction to 1980s action and adventure films for action movie lovers or film students.
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Makhasi, Ghifari Yuristiadhi Masyhari. "Citra Kepahlawanan dalam Film-Film Berlatar Sejarah Pada Layar Lebar Indonesia Pasca-Runtuhnya Rezim Soeharto (Studi Kasus Film Soegija, Habibie-Ainun, dan Hadrotussyaikh Sang Kiai)." Diplomatika: Jurnal Kearsipan Terapan 2, no. 1 (November 22, 2018): 54. http://dx.doi.org/10.22146/diplomatika.39768.
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In Indonesia, film as a popular media developed significantly with the presence of films in various genres, one of which is historical film. Post-reform, various historical films emerged that were not previously discovered during the New Order era. As is known, historical films in the New Order era were dominated by Soeharto as an actor, these historical films seemed to voice that there were many other heroes who also had contributions to Indonesia. These films then seem to want to show the self (keakuan) and nationalism possessed by these figures. This research wants to show the contestation of the self (keakuan) and nationalism of three films: Soegija, Habibie-Ainun, and Hadrotusyaikh the Kiai. This research is a qualitative descriptive study with a phenomenological approach.Di Indonesia, film sebagai media populer berkembang cukup signifikan dengan hadirnya film dalam berbagai genre, salah satunya film sejarah. Pasca reformasi, muncul berbagai film sejarah yang sebelumnya tidak ditemukan pada masa Orde Baru. Sebagaimana diketahui, film-film kesejarahan di masa Orde Baru lebih didominasi Soeharto sebagai aktor, film-film sejarah ini seakan ingin menyuarakan bahwa ada banyak sosok pahlawan lain yang juga memiliki kontribusi untuk Indonesia. Film-film ini kemudian terkesan ingin menunjukkan keakuan dan nasionalisme yang dimiliki oleh sosok-sosok tersebut. Penelitian ini ingin menunjukkan kontestasi keakuan dan nasionalisme dari tiga film: Soegija, Habibie-Ainun, dan Hadrotusyaikh Sang Kiai. Penelitian ini adalah penelitian deskriptif kualitatif dengan pendekatan fenomenologis.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
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Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Han, Jiaoran. "An Exploration of the Genre of Korean Space Science Fiction Movies — Taking the Movie Space Sweepers as an Example." Studies in Art and Architecture 3, no. 2 (June 2024): 87–94. http://dx.doi.org/10.56397/saa.2024.06.18.
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Although Korean science fiction films started late and developed slowly, the Korean film industry is developed and has never stagnated in the exploration of film genres. The movie Space Sweepers is South Korea’s first exploration and attempt at the science fiction sub-genre of space science fiction. Since its launch on the streaming media platform Netflix in February 2021, it has topped the global movie popularity list for five consecutive days and won 29 countries. It ranks first in broadcasts in the region, and it has also made space science fiction a genre trend in South Korea. This article will take the movie Space Sweepers as an example to sort out South Korea’s development path for the space science fiction film genre, and analyze the reasons for Space Sweepers’ global success.
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Ma, Benjamin, Timothy Greer, Dillon Knox, and Shrikanth Narayanan. "A computational lens into how music characterizes genre in film." PLOS ONE 16, no. 4 (April 8, 2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.
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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features against VGGish audio embedding features, finding similar performance with the top-performing architectures. We examine the best-performing MIR feature model through permutation feature importance (PFI), determining that mel-frequency cepstral coefficient (MFCC) and tonal features are most indicative of musical differences between genres. We investigate the interaction between musical and visual features with a cross-modal analysis, and do not find compelling evidence that music characteristic of a certain genre implies low-level visual features associated with that genre. Furthermore, we provide software code to replicate this study at https://github.com/usc-sail/mica-music-in-media. This work adds to our understanding of music’s use in multi-modal contexts and offers the potential for future inquiry into human affective experiences.
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LEROY, Vincent. "De la littérature au cinéma : l’adaptation dans le cinéma de Jean-Pierre Melville." Transcr(é)ation 4, no. 1 (March 25, 2024): 1–19. http://dx.doi.org/10.5206/tc.v4i1.15511.
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Jean-Pierre Melville a réalisé treize longs-métrages dans sa carrière cinématographique. Parmi ces treize films réalisés entre 1946 et 1972, sept sont des adaptations. Le réalisateur et scénariste, à travers ces films tirés de classiques de la littérature française, aborde deux genres littéraires : le roman historique et le roman policier. C’est en conjuguant ses souvenirs autobiographiques de guerre et de Résistance à la fiction littéraire, que Melville s’intéresse au roman historique dans son premier film Le Silence de la mer (1949). Dans les années 60, il reprend le genre historique afin d’adapter Léon Morin, prêtre (1961) puis L’Armée des ombres (1969). En parallèle, Melville développe une passion immodérée pour le cinéma américain qui l’entraîne tout naturellement vers l’adaptation du roman policier. Melville en adaptant Le Doulos (1962), L’Aîné des Ferchaux (1963) puis Le Deuxième Souffle (1967), devient un véritable maître dans le genre du film noir. Cet article s’intéresse ainsi à l’adaptation dans le cinéma de Melville, à travers ces deux genres littéraires, ainsi qu’à l’évolution de la pratique de l’adaptation au fil de sa carrière cinématographique mais également à ses choix de mise en scène.
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Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (October 1, 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.
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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.
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Ulya, Muflikhah, and Muhammad Altaf Rezaian. "The Representation of Multicultural Education in Film “Raya and The Last Dragon”." Proceedings Series on Physical & Formal Sciences 3 (March 9, 2022): 59–62. http://dx.doi.org/10.30595/pspfs.v3i.265.
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The film is one of the media that represents the multicultural concept. Representation in films can create a paradigm that indirectly influences the audience's mindset. Among various genres of film, film animation is one genre that can attract the attention of various levels of society of all ages. Animated films are easier to accept because they have a weak storyline and are full of moral messages. One of the public's animated films in great demand is "Raya and The Last Dragon." This film tells the story of life in a fantasy land called Kandra. A land where people from different tribes can live in harmony with guardian dragons. Therefore, this research was conducted to know what forms of representation of multiculturalism in the film "Raya and The Last Dragon." This research was conducted using the descriptive qualitative method. While the theory used in this study is the semiotic theory of John Fiske: the level of reality, representation, and ideology. The result of this research is discovering a form of representation of multiculturalism which is the basis of multicultural education.
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Abdul Muni and Khairul Ihwan. "Perangcangan Sistem Informasi Film Berbasis WEB." JUTI UNISI 5, no. 2 (December 19, 2021): 28–33. http://dx.doi.org/10.32520/juti.v5i2.1809.
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WEB-Based Film Information System was created to facilitate the storage of film data. The purpose of this research is to develop an information system for storing films that are owned easily and efficiently in managing film types, genres and types. The development of an increasingly advanced modern market can be seen from the large number of films that continue to be released and the number of people watching films and choosing the desired film title. The purpose of this research is to produce a data processing that will be processed into information to improve the selection of films in the database. This system is made using the PHP programming language (Hypertext Preprocessor) and uses a MySQL database.
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Švábenický, Jan. "Italian Thrilling Spectacle Between Aesthetics, Enthusiasm and Nostalgia." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 67–78. http://dx.doi.org/10.2478/sd-2018-0005.
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Abstract This study focuses on the reflection of popular genres from Italian cinema during the 1960’s to 1980’s in Czecho(Slovakian) film and non film press during the years 1990 to 2000. The subject for analysis will only be comprehensive and compact texts that deal with concrete popular genres or with the productions of filmmakers that represent various models of a thrilling spectacle. We will mention only one example from Czech and Slovak translations, because this study deals purely with original published Czech and Slovak texts. This study aims to emphasize the themes chosen by Czech and Slovak film publicists, critics, and journalists in relation to popular Italian genres and in what way they developed interpretative thinking and historical, socio-cultural and industrial context of various models of a thrilling spectacle. Part of our study examines the point of view of film journalism in Czecho(Slovak) periodical press, in the sense of a historical document about period thinking on popular genres of Italian cinema, it will also take into account the enthusiastic and nostalgic approach taken by some of the authors that became a parallel line to the aesthetic interpretation of the films. The study will also touch on social, cultural and medial transformations after the year 1989 which led in Czecho(Slovak) film journalism to a greater critical interest in Italian popular genres. The text will be divided into two parts. The first part will deal only with the Italian western that belonged to the most often reflected and analyzed categories of spectacular spectacle. The second part will point to other lines of thrilling spectacle in Italian popular cinema and to some filmmakers whose work was repeatedly reflected in film journalism.
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Voeltz, Richard Andrew. "The Black Tent (1956) and Bengazi (1955): The Image of Arabs in Two post-Empire Journeys into the Deserts of Libya." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 169–88. http://dx.doi.org/10.5195/cinej.2018.200.
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These two little known films are both part of the cycle of post-imperial films dealing with the decline of the British Empire. They are perhaps the only films set in or near the historical period of the British Military Administration of Libya after 1945. The Black Tent frequently gets lumped in with the genre of World War II British war films. Bengazi marks the cinematic journey of the actor Victor McLaglen from The Lost Patrol (1934) to Bengazi (1955), his career encapsulating the beginning and end of the Hollywood British Empire film genre. Both films contain redemptive dramatic journeys into the deserts of Libya involving the loss of British imperial male power. The case studies of The Black Tent and Bengazi show the beginnings of new post-empire film genres and new mentalities toward the Arab “Other” that partially promotes a decolonization of western cinema.
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Yusoff, Norman. "Purba film as a prototype of Malay film genre: A preliminary exploration." Asian Cinema 32, no. 2 (October 1, 2021): 203–22. http://dx.doi.org/10.1386/ac_00042_1.
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This article attempts to trace the historical development of the period costume dramas known as Purba films, a prototyped genre for Malay cinema produced in Singapore and Kuala Lumpur during the ‘studio era’ from the late 1940s to early 1970s. Either adapted from folk literature/theatre and historical texts or based on original ideas by the screenwriters/directors, Purba films are set in the pre-colonial era, invariably in a kampong and glorify the Malay world prior to the arrival of the imperialists. I argue that the genre, which encompasses diverse variants and subdivisions, has undergone several phases of transformation and evolution, in particular, while drawing out the genre’s codes, conventions and ideologies. Additionally, I demonstrate that they are, on the one hand, culturally and cinematically specific, and, on the other, are borrowed from, and shaped by, other cinematic genres, forms and practices. The discussion also provides evidence on how Purba films were situated within the cultural and industrial contexts.
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Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (January 26, 2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.
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Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were released. Certain films kill humans with a deadly virus and turn them into zombies emphasizing and pushing forward to a cinema of genre its entertainment features, such as I Am Legend (2007), Train to Busan (2016), or Blood Quantum (2020). However, they also use horror, science fiction, and fantasy genres to portray a realistic compelling family drama or discuss structural racism and systemic colonialism against America’s indigenous peoples. In all these films, scientific ambition, political greed, and economic power intermingle, becoming the unknown forces and real detractors behind these catastrophes. Whether or not the end of the world is an appropriate story for entertainment attracts most viewers to Hollywood cinema. Conventional postapocalyptic tropes create a film riddled with relevant political concerns. Every year, hundreds of films transpose to the screen compelling narratives related to pandemics and their effects. In Coronavirus’s times, I analyze and contextualize several of Hollywood’s viral outbreaks to situate their narratives to current political subjects and understand how disaster and pandemic films have become entertaining.
Keywords
Hollywood cinema, Film Genres, Pandemics, Coronavirus, Racism, Indigenous, Covid19, Politics, Film Aesthetic, Disaster Films.
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HANSON, PHILIP. "The Arc of National Confidence and the Birth of Film Noir, 1929–1941." Journal of American Studies 42, no. 3 (December 2008): 387–414. http://dx.doi.org/10.1017/s0021875808005501.
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Early in the Great Depression, Gerald W. Johnson remarked on the “fathomless pessimism” that had overtaken the American People: “The energy of the country has suffered a strange paralysis … We are in the doldrums, waiting not even hopefully for the wind which never comes.” Film developments of the decade were entwined with the ongoing economic crisis. This article offers an analysis of the extreme shifts in confidence in this period and argues for their relationship with the evolution of film noir, which had its roots in two film genres prominent in the period, the gangster and fallen-woman films, but which breaks with these genres, not after the onset of World War II, which has long been believed, but in the closing years of the 1930s.
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Abdullah, Nur Afifah Vanitha, Siti Nur Izra Safra’ Abd Halim, and Fatimah Muhd Shukri. "Menyelusuri Filem Melayu dengan Subjek Sastera Melayu (Tracing Malay Films with Malay Literary Subject)." Malaysian Journal of History, Politics & Strategic Studies 51, no. 2 (June 28, 2024): 1–15. http://dx.doi.org/10.17576/jebat.2024.5102.01.
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Malay literary materials had been transformed into narratives of Malay films since 1956. Nevertheless, there is an obvious knowledge gap that needs to be addressed immediately in the context of the emergence and development of Malay literary works as narratives of Malay films. Thus, this article aims to provide answers to the question of “what are the Malay literary genres and when was it made into Malay film narrative? This article is based on data gained from a fundamental research type with a qualitative research design, employing a historical approach as its framework. Content analysis was carried out on printed and digital research materials. The main research materials are Malay films to extract data on Malay literary narrative subjects, besides website of FINAS, newspapers and previous academic documentations. This article documents that various Malay literary genres such as oral literature, prolific and popular novels have been made subject of Malay films since 1956. The first Malay film to have Malay literature as its narrative is Hikayat Hang Tuah2 . Malay films with Malay literature as its narrative have been made my Indian and Malay film directors during the early development of Malay films in Singapore. The Malay directors made five other movies that was based on Malay hikayat, while Malay novels were only made film since the 1980a. The findings also proofs that many Malay films with Malay literature narratives had won numerous acknowledgements through film festivals local and internationally, as well as made box office sales.
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Yeo, Jinsook. "A Study on the Affinity of Kim Jong-sam’s Poetry and Film." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 721–31. http://dx.doi.org/10.33645/cnc.2022.7.44.7.721.
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The purpose of this paper is to reveal the affinity between Kim Jong-sam’s poetry and film. Under the setting that the audiovisual image and rhetorical qualities that appear in Kim Jong-sam’s poems can be realized in movies, the interface between the two genres was examined. We focused on image presentation and rhetorical devices for films that are closely related to Kim Jong-sam’s poetry. This method is an inferred hypothesis that the artistic achievement of his poetry was specifically reproduced and expanded in a specific film. In a reality where the demand and value of visual aesthetics are increasing, the image operation of poetry expands the aesthetic framework and forms an axis of fusion art. Combining the poems of Kim Jong-sam, who preempted cinematic sensibility, with actual films is to promote fusion between genres. It is the discovery of a literary film that reads poetry in film. This is a work that finally confirms that Kim Jong-sam recognized himself as an ‘artist’, and is a poetic possibility that visual aesthetics can reproduce.
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Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.
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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
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Zacmane, Daniela. "THE MODALITY OF MELODRAMA AND DOCUMENTARY : JURIS PODNIEKS ’ FILM “ IS IT EASY TO BE YOUNG ?” ( 1986 )." Culture Crossroads 18 (October 31, 2022): 66–74. http://dx.doi.org/10.55877/cc.vol18.52.
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Although it is common for genres to be different for fiction films and documentaries, a productive element of genres can also be identified in documentary cinema. The film “Is It Easy to Be Young?” was made at the time when historic changes in the Soviet Union were in the air and tension, pathos and hope were offered by the time itself. The main characters of the film are young, and so is Latvia, the country that regained its independence a few years after the documentary was made. The characters seek, have doubts, cross the boundaries and make choices. Till the 1950s melodrama was treated more as a genre with its characteristic narrative and stylistic features. The main characteristics of melodrama: emotion, dynamic activities; the main goal of melodrama is to raise emotional response in the audience. In contemporary cinema theory (Linda Williams, Christine Gledhill and others), melodrama is also interpreted as a modality that permeates art forms and genres. The concept of melodrama modality gives melodrama an ontological status. That is, melodrama, if we look at it as a basic code of culture, from the aesthetic phenomenon becomes a form of existence. In “Is It Easy to Be Young?” the use of codes and artistic techniques makes it possible to analyse film as a melodrama, while melodrama modality challenges an attempt to obtain a detached view of the form of existence in which the observer is located. Keywords:
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Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (April 1, 2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.
Full textAbstract:
This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.