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Journal articles on the topic 'Film language'
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Usó-Juan, Esther, and Alicia Martínez-Flor. "Fostering learners’ (meta)pragmatic awareness through film analysis." Language Value 14, no. 1 (July 27, 2021): 85–111. http://dx.doi.org/10.6035/languagev.5821.
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Film-based dialogues have been praised in the current work on pragmatics as a potentially useful source that can enhance learners’ (meta)pragmatic awareness of the pragmatic phenomena in actual communicative events. Following this view, this paper first outlines the concept of (meta)pragmatic awareness and explains, drawing on McConachy and Spencer-Oatey (2020), the different theoretical perspectives examining the role that awareness plays in developing learners’ pragmatic ability. Then, it surveys studies that have reported benefits of bringing audiovisual input through films into the classroom. Finally, the analysis of two film-dialogues is presented to illustrate how it may foster learners’ awareness of communication as a context-dependent act. Along the way, it also highlights selected research-based techniques that can engage learners in critical film analysis.
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Ruiz, José Santaemilia, and Betlem Soler Pardo. "Translating film titles." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 193–215. http://dx.doi.org/10.1075/babel.60.2.04rui.
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In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino’s film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino’s films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of ‘fidelity” in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.
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Corrius, Montse, and Patrick Zabalbeascoa. "Translating Code-Switching on the Screen." Journal of Audiovisual Translation 2, no. 2 (December 31, 2019): 72–91. http://dx.doi.org/10.47476/jat.v2i2.96.
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This paper outlines the complexity of accounting for multilingual audiovisual films for the purpose of their translation. In particular it focuses on an issue that has not received much scholarly attention so far, the fictional representation of code-switching in feature films, with particular attention to Spanglish, given that language and its interlinguistic barriers towards interpersonal communication is one of the main themes of the film. The paper distinguishes different types of language shifts (alternations) as part of a film’s plot or script, like straightforward translation between characters, in order to better characterize code-switching as concept borrowed from sociolinguistics. This, in turns allows for a broader notion of language shifts, of which code-shifting is a part. Finally, the paper also includes a three-type classification of films depending on the amount and importance of languages other than the main language of a film: anecdotal, recurrent, and L3-as-theme, L3 being the notation system used to label all instances of languages in a text (written, oral or audiovisual) other than the main language.
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Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.
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SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
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Smith, Adrian. "The Language of Love: Swedish Sex Education in 1970s London." Film Studies 18, no. 1 (2018): 34–51. http://dx.doi.org/10.7227/fs.18.0003.
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In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.
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VanPatten, Bill. "Film and Language Acquisition." Hispania 98, no. 3 (2015): 391–93. http://dx.doi.org/10.1353/hpn.2015.0086.
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TILLMAN, FRANK. "Film, thought and language." World Englishes 5, no. 2-3 (July 1986): 265–72. http://dx.doi.org/10.1111/j.1467-971x.1986.tb00732.x.
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Giampieri, Patrizia. "Spoken language features (and anomalies) in films for ESL classes." Language Learning in Higher Education 8, no. 2 (September 25, 2018): 399–425. http://dx.doi.org/10.1515/cercles-2018-0022.
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Abstract It is argued that learning a language through films is enjoyable, useful and motivating. At the same time, despite being scripted, film dialogues are claimed to mirror authentic conversational language. This paper is aimed at exploring whether films provide useful and interesting instances of spoken language. These can be used in ESL (English as a Second Language) classes in order to foster second language (L2) learners’ communication skills. To this aim, a trial pedagogical intervention was carried out in which students were exposed to film excerpts and prompted to highlight spoken language features and anomalies. In order to foster learners’ noticing and comparing, the dubbed versions of the film excerpts were also addressed. The paper argues that the many instances of authentic colloquial language in film can be exploited in ESL classes. As far as the dubbed versions are concerned, this paper will demonstrate that not all dialogues are dubbed faithfully and many features of spoken language are unfortunately “lost in translation”. Nonetheless, exposing L2 learners to film sequences in both the original and dubbed versions can be useful in order to raise their awareness and foster noticing and comparing.
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Levshina, Natalia. "Online film subtitles as a corpus: ann-gram approach." Corpora 12, no. 3 (November 2017): 311–38. http://dx.doi.org/10.3366/cor.2017.0123.
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In this paper, I investigate online film subtitles from a quantitative perspective, treating them as a separate register of communication. Subtitles from films in English and other languages translated into English are compared with registers of spoken and written communication represented by large corpora of British and American English. A series of quantitative analyses based of n-gram frequencies demonstrate that subtitles are not fundamentally different from other registers of English and that they represent a close approximation of British and American informal conversations. However, I show that the subtitles are different from the conversations with regard to several functional characteristics, which are typical of the language of scripted dialogues in films and TV series in general. Namely, the language of subtitles is more emotional and dynamic, but less spontaneous, vague and narrative than that of normally occurring conversations. The paper also compares subtitles in original English and subtitles translated from other languages and detects variation that can be explained by differences in communicative styles.
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Malíčková, Michaela, and Juraj Malíček. "Theatricality of Film Language in Baz Luhrmann’s Films." Slovenske divadlo /The Slovak Theatre 68, no. 3 (October 14, 2020): 209–28. http://dx.doi.org/10.31577/sd-2020-0013.
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Casas-Tost, Helena, and Sandra Bustins. "role of pivot translations in Asian film festivals in Catalonia." Journal of Audiovisual Translation 4, no. 1 (June 4, 2021): 96–113. http://dx.doi.org/10.47476/jat.v4i1.2021.85.
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Pivot translations are very often used in film festivals, but have been granted little consideration from an academic viewpoint. This article analyses the role of pivot languages in audiovisual translation within the framework of Asian film festivals held in Catalonia. There are three aims of this paper: (i) to examine to what extent pivot translations are part of the translation process in films screened in such festivals, (ii) to determine the justifications for their use, and (iii) to analyse the effects of their use from a qualitative perspective. In order to do so, the answers from a questionnaire distributed among the most relevant agents in Asian film festivals in Catalonia will be analysed. Additionally, the Chinese film Old Stone by Johnny Ma that has been translated into and subtitled in Catalan through English as its pivot language, will be presented as a case study. Lay abstract The use of a third language or pivot translation is widespread in film festivals, although very few studies focus on this practice, which usually remains unnoticed by the average spectator. This article seeks to examine just how common this phenomenon is in film festivals and to analyse its impact with a case study, taking the Chinese film Old Stone by Johnny Ma and its translation into Catalan as an example. More precisely, the article aims to answer two questions regarding the use of pivot languages in audiovisual translation. Firstly, to what extent and for what exact purpose are pivot translations currently being used in Asian film festivals in Catalonia? Secondly, how does using a pivot language, in our case English, affect quality?
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Küppers, Almut, and Maik Walter. "Is Shakespeare a Foreign Language?" Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 1 (January 1, 2012): 146. http://dx.doi.org/10.33178/scenario.6.1.11.
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An Interview with Peadar Donohoe, Artistic Director of Cyclone Repertory Company, Cork Cyclone Repertory Company Ltd. is a core group of actors & technicians based in Cork who are devoted to the art of theatre to serve the wider community through quality productions that entertain and educate. More recently the company has been very successful in Ireland with performances of their ‘pedagogic adaptations’ of plays by William Shakespeare. Scenario readers may also wish to view short films which give a first impression of the unique way in which Cyclone have managed to make Shakespeare’s texts accessible and interesting to Irish secondary school students. The SCENARIO interview with Peadar Donohoe can be downloaded hereFor a short film on Cyclone’s approach to Macbeth click here, for a short film on Hamlet click here
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Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (April 2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.
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IntroductionThe commercial Hindi language cinema is among the largest and oldest music film traditions on the planet. One of the most widely remarked and inflexible conventions of this highly stylised popular film genre is the regular appearance of song and dance scenes in almost every commercial Hindi film. A huge body of over 40,000 film songs (filmī gīt, as they are known in Hindi) has grown along with the thousands of Hindi sound films produced since 1931; unlike the more recent development of music video in the west, Hindi film songs have been intimately connected with larger narrative traditions and visual images from their very inception. Filmī gīt comprise one of the most intensely consumed popular music repertoires on the planet. Across the range of visual and sound media and on into live performance, the audience for film song must be numbered in the hundreds of millions throughout the South Asian subcontinent and diaspora.
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Et.al, Ariff Mohamad. "The Novel Adaptation Film as a Teaching Language and Literature Media." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 1138–46. http://dx.doi.org/10.17762/turcomat.v12i3.857.
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This research examined the film (movie) adaptation of the novel as a media or materials of instruction that can be used in the teaching of Malay language and literature in schools, particularly secondary schools. This film adaptation involves a movie whose story is taken from novels. The transfer from text to film is a relevant attempt for understanding in the learning process. Film as a medium is not extensively accepted and planned as a learning activity in the classroom or self-learning at home. The advancement of internet and smartphone technology, as well as media such as mp4, YouTube and DVD facilitates access to these films. The analysis of this study was based on the Learning Theory of Constructivism. This study attempted to state the elements of language style and moral values in selected fiction film clips, analyse the frequency of language style elements and moral values. The films were Hang Tuah (1956), Hang Jebat (1961), Langit Petang (1982), Perempuan Berkalung Sorban (2009), and Langit Cinta (2016). The completion of the study revealed elements of language style employed and moral values recognised based on the film clips adaptation of the novel. The conclusions of this research determined that the movie clips met the characteristics of Constructivism Learning Theory and relevant in the teaching and learning of Malay Language and Malay Literature at school
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Ruiz-del-Olmo, Francisco-Javier. "Language and collective identity in Buñuel. Propaganda in the film «España 1936»." Comunicar 18, no. 35 (October 1, 2010): 69–77. http://dx.doi.org/10.3916/c35-2010-02-07.
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The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionage and propaganda. Buñuel’s main task was to gather, organize and edit pro-Republican footage. Unlike films made for viewing in Spain, the Paris-produced propaganda films were aimed at audiences in Europe with the objective of changing the doctrine of non-intervention in the conflict. They are also characterized by Buñuel’s theories and conception of documentary film-making, in which reflection and the psychological resources that motivate action or move an individual conscience predominate. This paper describes and analyses the film language and practice of that era, in particular the unique and emblematic film «España 1936» (1937). En la memoria colectiva de los europeos, la Guerra Civil española ocupa un lugar destacado. El lenguaje cinematográfico y la representación fílmica de esa contienda forman un ámbito relevante en el que estudiar algunos rasgos de la matriz cultural europea. El presente trabajo selecciona parte de la producción fílmica de propaganda del gobierno republicano, en concreto los filmes de montaje supervisados por Luis Buñuel. Al inicio de la contienda el cineasta aragonés vuelve a París siguiendo las indicaciones del Ministerio español de Asuntos Exteriores para colaborar, en la embajada española en la capital francesa, en diversas labores de contraespionaje y propaganda. Entre ellas y principalmente, Buñuel se ocupa de reunir, organizar y montar diverso material fílmico prorrepublicano. A diferencia de otras producciones proyectadas en España, los filmes parisinos de propaganda republicana se caracterizaron, en términos generales, por estar dirigidas a públicos de distintos países europeos con el objetivo de romper la doctrina de no intervención en el conflicto y se inscriben dentro de las teorías y concepción de Buñuel sobre el documentalismo filmado, donde primaba lo reflexivo y los recursos psicológicos que motivaran a la acción o a la toma de conciencia individual. El presente texto se ocupa, en ese contexto, de la descripción y el análisis del lenguaje y las prácticas fílmicas en esos años. De todas ellas, el filme «España, 1936» (1937), es a la vez un ejemplo emblemático y singular.
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Chen, Jialiang. "A Comparative Study of English and Chinese Film Title Translation——from the Perspective of "Four Values"." International Linguistics Research 3, no. 4 (December 23, 2020): p120. http://dx.doi.org/10.30560/ilr.v3n4p120.
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With the deepening of cultural exchanges between China and western countries, interaction and dissemination of film works have become a common trend. A film title is the "eye" of a film; therefore, concerning the differences between English and Chinese languages, film title translation should not only convey necessary information about the films to the corresponding audience in the target language, but also arouse the interest of the audience to achieve a satisfactory box office. Based on the theories of functional equivalence and communicative translation, and especially the evaluation standard of film title translation—the realization of "four values", the thesis makes a comparative analysis of English and Chinese in film title translation and evaluates it with evidence from the successful experience of C-E (Chinese to English) and E-C (English to Chinese) film title translation from 2016 to 2019 in order to provide references for C-E film title translation under three translating techniques, thus promoting the value of title translation and the entrance of Chinese films to international markets.
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Anissimov, Vladislav E., Anna S. Borissova, and Grigoriy R. Konson. "Linguocultural Localization of Movie Titles." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 435–59. http://dx.doi.org/10.22363/2312-9182-2019-23-2-435-459.
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Due to intensive growth of film production and the expansion of the “market of film consumption”, the need for high-quality translation of feature films into different languages is becoming more and more pressing. While a foreign language film is localized, text elements are not only translated, but also adapted to the culture of the target audience, i.e. we are witnessing transition from one language and cultural code to another. Taking into account their structural, semantic, and functional pragmatic features, film titles are vivid representative materials for the study of modern translation practices in the light of the cultural transference concept (Bassnett 2005, Bastin 1990, Cranmer 2015, Jurt 2007, Кatan 1999, Leinen 2007, Thill 2007, Schreiber 1998, Slyshkin, Efremova 2004, Obolenskaya 2013, Snetkova 2009, Fedorova 2009). The purpose of the article is to identify the strategies of linguocultural localization of French film names for the modern Russian-speaking audience, as well as to determine the degree of its adequacy. Regardless of the choice of the translation strategy, the title should correspond to the plot, thematic focus and ideological and figurative content of the film, while remaining interesting and attractive to the audience. We analysed of eighty-seven French feature films of various genre affiliations (detectives, action films, dramas, melodramas, comedies, thrillers and fantasy), released in Russian from 2000 to 2018, and their translation equivalents. We used the methods of semantic, pragmatic, contextual and linguocultural analysis to identify a set of problems arising in the process of localization of film titles and to offer recommendations for their translation into Russian, considering the communicative specifics of the modern film discourse and the ethnic and cultural characteristics of the target audience.
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SHAWBACK, MICHAEL J., and N. M. TERHUNE. "Online interactive courseware: using movies to promote cultural understanding in a CALL environment." ReCALL 14, no. 1 (May 2002): 85–95. http://dx.doi.org/10.1017/s095834400200071x.
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Student interest in films as a medium for ESL education is high. Interest, however, is not enough to foster understanding in a traditional classroom environment. A more hands-on interactive approach to studying a second language via film is needed. By using online interactive exercises to study the language and culture in film, students are able to gain a better understanding of the language used in the film. This paper outlines a course that was developed using online interactive exercises and film to study language and culture. The course incorporates several modern technologies to allow students to take an active role in their learning and to increase their skills in areas that the students perceive to be of value in the future, namely listening, reading, and presentation skills. Automated feedback functions let the students, as well as the instructors, constantly monitor their progress. These technologies allow a more efficient use of classroom time and permit the students to go into the content of the film – especially the cultural aspects – much more deeply. Through this course, students are able to boost their confidence and their motivation to continue the study of language and culture via films on their own
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Mikheeva, Yuliya V. "Music as a Part of the Theatrical Game of the Movie." Journal of Flm Arts and Film Studies 9, no. 1 (March 15, 2017): 60–73. http://dx.doi.org/10.17816/vgik9160-73.
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In many contemporary films the theatricalization of separate elements or the film as a whole is used as a means to renovate and individualize the film language. In some cases this process attains an extraordinary freedom (both technical and aesthetic) while using audiovisual means not yet adequately analyzed theoretically but influencing the artistic language and style of the film. The article deals with the role of music and more widely with the audiovisual film solutions in the process.
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서대정. "An Analysis of Film Language of John Cassavetes` Films." Contemporary Film Studies 4, no. 1 (May 2008): 101–28. http://dx.doi.org/10.15751/cofis.2008.4.1.101.
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Russo, Mariachiara. "Simultaneous film interpreting and users’ feedback." Interpreting. International Journal of Research and Practice in Interpreting 7, no. 1 (June 1, 2005): 1–26. http://dx.doi.org/10.1075/intp.7.1.02rus.
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Simultaneous film interpreting is a mode of screen language transfer often required of professional interpreters in Italy for international film festivals. The paper briefly discusses similarities and dissimilarities between film interpreting and conference interpreting, subtitling and dubbing. It focuses on interpreting quality evaluation, discussing results of questionnaires distributed to users watching films interpreted by professionals and students. Comparisons are drawn with the results of published surveys on users’ preferences for television and conference interpreting.
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Osokina, S. "LOCALIZATION: A TRANSLATION STRATEGY OR A SEPARATE TOOL?" East European Scientific Journal 6, no. 11(75) (December 16, 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.6.75.186.
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The article discusses different approaches to localization – as one of translation strategies and as a separate tool for rendering language messages in another language. The study is done with the help of comparative linguistic analysis of original movie titles in the English language and their official Russian versions. We study ways of rendering of the film titles in the target language and reveal some reasons for localization. In conclusion, we provide a list of motives for language localization of the movie titles: 1) tendency to build the name of a new film into the system of films already known to the Russian viewer or other cultural realities with the help of socalled "references" to familiar nominations; 2) give additional advertising to the film, 3) make the film more attractive to a specific target audience.
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Baddock, Barry. "Film, authenticity and language teaching." Language Learning Journal 3, no. 1 (March 1991): 16–18. http://dx.doi.org/10.1080/09571739185200061.
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Ayuningtyas, Nawang Asri, and Sulis Triyono. "SATIRE LANGUAGE STYLE BY BU TEJO IN THE SHORT FILM “TILIK”." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 16, no. 2 (January 6, 2022): 261–70. http://dx.doi.org/10.18860/ling.v16i2.11355.
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The use of satire language style by a film creator aims to convey meaning to the public. This study aims at analyzing the use of satire language styles used by Bu Tejo in a short film entitled "Tilik." This research used a qualitative descriptive method. The object of this research is satire utterances spoken by Bu Tejo in the film "Tilik." The data collection techniques in this study used observation, listening, and note-taking techniques. The results demonstrate three types of satire languages used by Bu Tejo in the film “Tilik": cynicism, irony, and sarcasm. It is also found that cynicism is the most spoken language than sarcasm. The study highlights that the use of satire language uttered by Bu Tejo aims to convey ideas and perspectives related to problems occurring in society and express dissatisfaction.
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Abecassis, Michael. "Lukas Bleichenbacher (2008) Multilingualism in the Movies: Hollywood Characters and their Language Choices." Film-Philosophy 14, no. 2 (October 2010): 118–24. http://dx.doi.org/10.3366/film.2010.0048.
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Grodź, Iwona. "Religia i film. Stylizacje na język religijny w filmach Wojciecha Jerzego Hasa." Studia Filmoznawcze 40 (June 27, 2019): 187–200. http://dx.doi.org/10.19195/0860-116x.40.15.
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Religion and film. Stylizationson religious language in films made by Wojciech Jerzy HasThe main aim of the article is to answer the question about, how religious language functions in cinematography. It is both about specifying an aim of introducing it to a plot or narration of a film and about when it is introduced. It will be crucial to specify what goal the director attains by using religious language in his films. How important it is for the plot development. Is it connected with the will to remind the viewers about the world which does not exist currently or is it rather parodying the defined view.The next stage is an analysis of the particular examples of the use of religious language in Wojciech Has’s films, for example The Codes, The Sandglass, The Manuscript Found in Saragossa, The Personal Diary of the Wicked… Written by Himself, The Amazing Journey of Balthazar Kober. Next, the ways of showing its functioning in cinematography: stylization, allusion, form of quotations, collage, parody, pastiche, travesty.Concluding, the director uses the religious language stylisations and quotations for example the Holy Scripture or other cultural texts, like Juliusz Słowacki’s Anhelli in the considerate way. Using the religious language, he characterizes setting and time of action, the film characters and, above all, his attitude towards religion. Love language gets the markers of religious language in his films. In this way, Has approaches to understanding the new version of religion and religiousness, not consistent with the Old Testament, but rather with New Testament’s message which means: “Love your neighbor as yourself”.
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Barrowman, Kyle. "Morals of Encounter in Steve Jobs." Film and Philosophy 24 (2020): 134–55. http://dx.doi.org/10.5840/filmphil2020249.
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In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs (2015). In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions between the titular character and his daughter through this unique Austinian/Cavellian lens. In so doing, the author endeavors to encourage more scholars in the field of film-philosophy to explore the key concepts and arguments in ordinary language philosophy for use in analyzing films. Despite its having been virtually ignored by film scholars over the last half century, one of many regrettable effects of the Continental bias of film scholars generally and film-philosophers specifically, the author contends that ordinary language philosophy provides powerful tools for the analysis of dialogue and communication in film, with Steve Jobs serving as a particularly insightful test case of the broad utility of ordinary language philosophy for film studies.
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Parisi, Leonardo Lucena, and Nick Andon. "THE USE OF FILM-BASED MATERIAL FOR AN ADULT ENGLISH LANGUAGE COURSE IN BRAZIL." Trabalhos em Linguística Aplicada 55, no. 1 (April 2016): 101–28. http://dx.doi.org/10.1590/010318134870172321.
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ABSTRACT Advances in technology and accessibility to films motivated the research and writing of this paper. Its main goal was to design a set of criteria to develop film-based materials that can be used to improve the experience of learning English on an adult conversation course in Brazil. Given that the purpose of this adult course is to enhance participants' speaking skills, an investigation was conducted into the theories related to the teaching of speaking. A literature review suggests why films should be used through an investigation into the advantages they offer. Principles related to language learning, material development, and current studies on the use of film provide insights on how films might be used. Drawing on these principles, a set of criteria was created as a resourceful guide for material development. Finally, I suggest there should be further study on how films are being used in class and a possible research study on the effectiveness of film-based materials.
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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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Bateman, John A., and Chiaoi Tseng. "The establishment of interpretative expectations in film." Review of Cognitive Linguistics 11, no. 2 (November 28, 2013): 353–68. http://dx.doi.org/10.1075/rcl.11.2.09bat.
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In this paper we show that some notions from the textual organisation of verbal texts appear also to give insights to the organisation of films. In particular, the beginnings of films are suggested to operate as indicators of those films’ ‘method of development’ and so serve to set up expectations for guiding hypotheses and selective attention during film viewing. By means of a small exploratory study, we demonstrate that film beginnings exhibit differing organisational features that correlate with the overall narrative strategies pursued in the films as a whole. These features may then function as useful indicators for viewers concerning just what interpretative challenges they will face later in the film.
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Rheindorf, Markus. "Film as language: The politics of early film theory (19201960)." Journal of Language and Politics 4, no. 1 (June 8, 2005): 161–68. http://dx.doi.org/10.1075/jlp.4.1.08rhe.
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While conventional accounts of the history of film theory portray early theoretical writings as ‘naïve’, ‘unsystematic’, and ‘impressionistic’, this paper argues that, although there is a factual basis for this dismissive appraisal, such accounts thoroughly ignore the many contradictions that mark these writings. This paper focuses on a historically specific case, the film theory of Siegfried Kracauer, and relates the major contradictions in Kracauer’s theory of film and his conception of ‘film as language’ to a changing socio-cultural context. This case study serves to illustrate the fact that theoretical discourses, especially in their formative, pre-institutionalised stages, are open to a variety of ideological and political struggles. The specifics of early film theory also throw some light on the politics of discursive strategies establishing analogies (and difference) between ‘film’ and ‘language’ decades before the ‘structuralist turn’ in film theory.
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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.
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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.
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Ibrahim, Muhammad Muhsin, and Aliyu Yakubu Yusuf. "Going Beyond Boundaries: There is a Way and the Use of English Medium in Hausa Film Industry." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 205–24. http://dx.doi.org/10.5195/cinej.2018.206.
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Since its inception in 1990, Kannywood, the Northern Nigerian film industry, produced films only in Hausa, the dominant language of the region. The film, There is a Way (2016, dir. Falalu A. Dorayi) has recently debuted a new “genre” in the English language in the industry. However, the place of English or any non-African language in African arts (film, inclusive) is a topic of scholarly debate, especially within the discourse of postcolonial studies. Many pan-African writers and critics query the justification of that as the language is, they argue, foreign to African audience and is used only by and for the elites. Kannywood filmmakers, nevertheless, claim that theirs is rather a response to the Southern Nigerian filmmakers whose industry, Nollywood is enormously successful and far ahead for, among other reasons, their use of English. This paper attempts an evaluation of the English language and the subtitle of the film in question, to access the success or otherwise of its narrative essence.
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Value, Language. "Preface in memoriam of Raquel Segovia Martín: TRANSLATION STUDIES AND FILM STUDIES: NEW TRENDS." Language Value 14, no. 1 (July 27, 2021): i—v. http://dx.doi.org/10.6035/languagev.6063.
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This is the fourteenth issue of Language Value, the journal created by the Department of English Studies at Universitat Jaume I (UJI) over 12 years ago. Since its beginning, the journal has grown and progressed, and, at this moment, it is already indexed and recognised internationally. In this evolution, many persons have left their imprint, some of them from the department that devised this journal. One of these persons was Raquel Segovia Martín, who unfortunately left us one year ago. Raquel arrived at Universitat Jaume I from the University of Pittsburgh (USA), where she had obtained her PhD degree in Languages and Film Studies and taught Spanish language and culture courses. Since very young, she had been interested in the Spanish language: she had finished her bachelor’s degree in Hispanic Philology at the Universidad Autónoma de Madrid. However, she saw an opportunity to adapt her profile and to participate in the new project of Universitat Jaume I in 1994, once she had decided to come back to Spain. At this university, she could combine her knowledge of Spanish and English in translation courses and add to it her expertise in film and communication studies. She was a good teacher and a good colleague who left us much too soon. This volume is in memorial of Raquel Segovia Martín, and the articles included in it are all related to her profile: translation, cinema and communication.
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Miller, Michael T., and James Batcho. "Allowing the Fly to Leave: The Chance Meeting of Wittgenstein and Buñuel at a Mexican Dinner Table." Film-Philosophy 22, no. 3 (October 2018): 384–405. http://dx.doi.org/10.3366/film.2018.0086.
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Within Luis Buñuel's classic surrealist film The Exterminating Angel (El ángel exterminador, 1962) is a philosophical motif which expresses, demonstrates, and develops two of Ludwig Wittgenstein's central concepts: (1) language lays traps for the unwary that can lead to illogical thought and mind-bending quests; and (2) any picture of the world (Weltbild) is formed through cultural habits that cannot be rationally expressed but can be changed. This article argues that what we find in Buñuel's Angel is a “picture” that is at one level rational and habitual and at another entirely absurd. These apparently rational preconceptions – the insular habits of privilege and the language that maintains it – produce a certain “aspect” which, when clung to, can entrap us. In this effort we thread a series of chance meetings into a web of encounters: of people at a dinner party, of a philosopher and a filmmaker, and perhaps most significantly, of games that form a totality of gamesmanship – a chance meeting of the game of language and the game of cinema.
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Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (September 5, 2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.
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‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.
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Chew, Hui Yan. "Debating ‘Chineseness’ and ‘national identity’ in the Sinophone Malaysian films The Journey (2014) and Ola Bola (2016)." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 53–69. http://dx.doi.org/10.1386/eapc_00062_1.
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Adopting the theoretical framework employed in Sinophone studies, this article focuses on Sinophone Malaysian filmmaker Chiu Keng Guan, whose films mark the revival of commercial Sinitic language filmmaking in Malaysia. Through textual analysis of Chiu’s two films The Journey (2014) and Ola Bola (2016), this article examines how the narratives and languages used in these Sinophone Malaysian films portray the place-based culture and experience of the Sinophone communities and other ethnic groups in Malaysia. It also looks at how ‘Chineseness’ is employed by Chiu as a strategy to construct a collective identity and memory for Sinophone community members in order to connect them with their cultural roots as well as generate interest in the film, as demonstrated in the film The Journey. The example of the movie Ola Bola is used to assess how the filmmaker Chiu, who is Malaysian Chinese, questions the idea of ‘national identity’ by twisting the film plot, which was itself inspired by a real event.
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Zaiets, Anna Viktorovna. "AUDIOVISUAL MEANS IN THE PROCESS OF TEACHING RUSSIAN LANGUAGE AS FOREIGN LANGUAGE." Problems of General and Slavic Linguistics, no. 3 (July 1, 2019): 24–30. http://dx.doi.org/10.15421/251904.
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The purpose of the research is elucidation of audiovisual media in the process of teaching Russian language as a foreign language. The task of the work is to study the existing types of audiovisual means of training; analysis of the possibilities of using audiovisual means as a modern type of training. The object of the research is audiovisual media, through which while learning of the Russian language as a foreign language appropriate mastering of the material is carried out. Descriptive method and method of analysis of intelligence information are used. As a result of the research, the main methodological aspects of work with audiovisual means of education on Russian as foreign language lessons were highlighted. Conclusions: 1. The key stages of the work are chosen according to the scheme «task – viewing a film – task». 2. The task before watching a movie involves analyzing information about the movie. 3. The tasks after watching a movie include exercises on understanding of the content, as well as the consolidation and introduction of the new vocabulary in the broadcast. 4. The broadcast of feature films has both an emotional effect, and serves as an impetus for activating an additional stimulus in the next educational, practical, and creative activity. The analysis made it possible for us to determine that the film's review must include the appropriate purpose, everyday situations, clear dialogues, in which repetitive words and phrases that occur on the film repeatedly help to better remember the new vocabulary and as a result – the development of speech activity students The ability to compare read and seen causes excessive interest of students and activates them into cognitive activity. The feature film is not a universal admission, but it has certain prerogatives: it provides work of educational value, which helps in the process of intensive language proficiency; suppresses the psychological potential of the student (development of attention, memory, thinking); promotes the interconnection of various types of speech activity; takes into account peculiarities of language usage in various stylistic aspects, etc.
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Ezejideaku, Emmanuel, and Esther Nkiru Ugwu. "Igbo English in the Nigerian video film." English World-Wide 30, no. 1 (February 17, 2009): 52–67. http://dx.doi.org/10.1075/eww.30.1.04eze.
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This paper examines the use of Igbo English, one of the ethnic varieties of Nigerian English, in the Nigerian video film. By Nigerian video film, we mean video films produced in, and/or about Nigeria in English as opposed to those produced in Nigerian indigenous languages which are variously known as Igbo video films, Yoruba video films, or Edo video films, among others. The data for this study come from a random selection from video films produced in Nigeria between 2003 and 2006. In all the films studied, it is observed that Igbo English is essentially the medium of communication. Igbo English is one of the three major ethnic varieties of Nigerian English and is characterized by the fact that, while the vocabulary is mostly English, the sentence pattern is essentially Igbo. The choice of Igbo English as the medium for the films seems to be part of the efforts by the producers to retain, as much as possible, the “Nigerianness” of the films, which inevitably have to be produced in English to accommodate the international audience. This study observes that Igbo English, as used in the films studied, manifests itself in four forms: Igbo English proper, composed of English vocabulary in Igbo sentence structure; Engligbo, a form of code-mixing that is almost a fifty-fifty blend of English and Igbo; translation, in which Igbo idiomatic and other rhetorical expressions are transferred literally into English; and errors induced by the influence of the mother tongue (Igbo) on English.
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Kulidzhanyan, Syuzanna S. "The name of a comedy film in the aspect of linguistic creativity." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 736–49. http://dx.doi.org/10.21638/spbu09.2021.406.
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The article aims to identify the specific features for forming the name of a comedy film from the point of view of linguistic creativity. The research is based on 30 British comedy films, which were released between the 1960s and 2010s. Five highly rated films were selected from each decade. The developed algorithm for analysis includes several steps which makes it possible to sequentially study the following aspects, in terms of linguistic creativity, that are critical for specific features in the formation of comedy films’ names: 1) source of the name, 2) structure of the name and 3) correlation between the name and the whole verbal structure of a comedy film. It was found that the degree of structurally semantic modifications of a film name’s initial source presupposes a film name’s creative potential. The influence of comedy film names’ creative potential on the choice of certain expressive means for constructing and developing the plot line of a comedy film was also determined. Data obtained in the study indicates that a film name can produce a certain multitude of verbal components, which are pivotal to the whole language structure of a comedy film. Moreover, the quantity of verbal components, ‘produced’ by a comedy film name, allows one to judge its linguo-creative possibilities.
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Haina, Jin. "Intertitle translation of Chinese silent films." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 2, 2020): 719–32. http://dx.doi.org/10.1075/babel.00183.jin.
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Abstract There is a misconception that film translation did not exist in China before 1949. The paper argues that the translation of Chinese silent films was vibrant in the 1920s and the early 1930s. Most of the extant copies of Chinese films from that period have bilingual intertitles. Chinese film companies have two purposes in translating their productions: the potential profit obtained from international audiences, and the desire to change the negative image of Chinese people portrayed in Hollywood films and project a positive image of China. Driven by these two objectives, Chinese film companies placed considerable emphasis on translation quality and hired both Chinese translators and foreign translators to translate their productions.
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Moss-Wellington, Wyatt. "Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out." Film-Philosophy 25, no. 2 (June 2021): 187–206. http://dx.doi.org/10.3366/film.2021.0168.
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Inside Out (Pete Docter & Ronnie Del Carmen, 2015) develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation.
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Andestend, Andestend. "UPIN AND IPIN FILM TRANSLATION ERRORS (MALAYSIA LANGUAGE TO INDONESIA LANGUAGE)." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no. 1 (July 31, 2019): 44–51. http://dx.doi.org/10.30998/jh.v3i1.88.
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Abstract:The focus of this study is the translation errors contained in the subtitle film Upin and Ipin Terlajak Laris part one (Malaysian language into Indonesian. The research method uses a qualitative approach. Data sources are in the form of documents (translation results). Data collection techniques use document analysis. Data analysis techniques 1. Transcribe the conversations in the movie Upin and Ipin, 2. Group the languages of Malaysia and Indonesian 3. Analyze the incompatibility between Malay and Indonesian languages, 4. Conclude the results of the analysis. The results are 20 words that are not accurate in translation.
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Polikarpova, D. A. "LINGUISTIC APPROACHES IN FILM-THEORY: A MOVEMENT AGAINST FILM LANGUAGE." Discourse 5, no. 3 (2015): 24–33. http://dx.doi.org/10.32603/2412-8562-2019-5-3-24-33.
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Heiss, Christine. "Dubbing Multilingual Films: A New Challenge?" Meta 49, no. 1 (September 13, 2004): 208–20. http://dx.doi.org/10.7202/009035ar.
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Abstract Over the last ten years the number of films produced in the German speaking countries in which the communication takes place in more than one language has increased substantially. In addition to the necessity to render the information on the characters and plot transmitted by ‘intralinguistic’ variations which should never be flattened out in the dubbed version, interlinguistic differentiation must be taken into account in these films as well. A multiplicity of languages and different linguistic variations might therefore require a multiplicity of modes in film translation. Technical innovations like DVD might now open new possibilities to offer products of film translation which are better suited to deal with the new challenges presented by plurilinguistic films and to meet the linguistic sensibilities of different audience groups in the target culture.
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Ma, Lingyao. "The Overlap of Confusion: Self and Dreams in Maya Deren’s Experimental Film." Scientific and Social Research 4, no. 2 (February 18, 2022): 139–43. http://dx.doi.org/10.26689/ssr.v4i2.3620.
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“Meshes of the Afternoon” was directed by Maya Deren and Alexander Hammid. The experimental expressions in the film, such as the continuous repetition of dreams, shaking scenes, dancing movements, no audio-visual language, and so on, have formally shattered the establishment of the traditional film language system. It broke through traditional narrative thinking and logical thinking as well as took its own perception as the only clue of the film, the overlap between dream and reality, as well as the relationship between subconsciousness and sex, especially the layers of metaphor for reality from the feminist perspective, so as to explore the possibility of experimental film expressions being completely independent from mainstream films. In today’s digital film era, reviewing the past images is not only to return to important historical nodes, but also to retrospectively sort out, reflect, and think forward about the significance of the concept and practice of current experimental films.
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Künüçen, Hale. "A NEW FILM LANGUAGE: “AMATEUR VIDEO”." Turkish Online Journal of Design, Art and Communication 2, no. 2 (April 1, 2012): 1–9. http://dx.doi.org/10.7456/10202100/001.
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Anisimov, Vladislav E., Elzara V. Gafiyatova, and Ekatherina D. Kalinnikova. "Realization of the Patriotism Idea in Film Discourse Based on Russian Patriotic Cinema." RUDN Journal of Language Studies, Semiotics and Semantics 13, no. 1 (March 31, 2022): 96–124. http://dx.doi.org/10.22363/2313-2299-2022-13-1-96-124.
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In recent years due to a significant increase in the interest of the Russian film audience to the patriotism topic and the emergence of a social demand for Patriotic cinema, there has been a significant growth in the film distribution share that affects the historical and social aspects of patriotism. The reflection of the idea of patriotism in the modern Russian film discourse has a number of specific structural and semantic features, which present an extensive representative material for linguistic and cultural studies of modern discursive practices. The purpose of this article is to identify the structural and semantic features of functional and pragmatic units of the small texts of the modern Russian film discourse (movie titles, synopses and slogans) in terms of representation of the idea of patriotism and statistical processing of the data obtained as a result of the study. The research material includes 21 Russian films released in the period 2014-2019, which are directly related to the idea of patriotism in their genre and stylistic orientation. In the course of the analysis, the authors define the concept of patriotism as a complex sociopsychological phenomenon characterized by a high emotional saturation of semantic and pragmatic categories of representation associated with it. This article analyses the main ways of representing the idea of patriotism in the modern Russian film discourse. The paper uses methods of semantic, pragmatic, contextual, linguoculturological and statistical analysis. The object of the analysis are the functional and pragmatic elements of the film text: movie titles, slogans and synopses. The subject is syntactic-grammatical and semantic (structural-content) features of the movie titles, slogans and synopses creation. Structural analysis of parts of speech and syntactic components of functional and pragmatic units of the film text of Russian Patriotic films allowed us to identify the relationship between the structures of movie titles, synopses and slogans of the films under consideration. A distinctive feature of the structural and content characteristics of the analyzed functional and pragmatic elements of the film text is their relationship with each other within this class of elements. The idea of patriotism in the functional and pragmatic elements of the film text of the films under consideration is conveyed by means of emotionally colored vocabulary, which encourages potential viewers to be proud of their country, the feat of its outstanding citizens, and also to feel part of a great country and syntactic features, such as the chopped narrative style and the presence of exclamation and question sentences in synopsis texts and movie slogans. The special significance in transmitting the idea of patriotism in Russian Patriotic films to the audience are played by precedent names, situations and statements aimed at activating the associative ties of a potential viewer and awakening in him a sense of pride in his Homeland.
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Verchery, Lina. "Blindness, Blinking and Boredom: Seeing and Being in Buddhism and Film." Religions 9, no. 8 (July 25, 2018): 228. http://dx.doi.org/10.3390/rel9080228.
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This essay takes up a paradoxical problem articulated by Buddhist philosopher, Nishitani Keiji: the eye does not see the eye itself. It argues that film has a therapeutic function by virtue of its ability to draw our attention to this precise aspect of our existential situation; namely, that we alternate between being in our experience and perceiving ourselves in our experience. Or, to borrow Nishitani’s terms, we alternate between the act of seeing and the quest to see the eye itself. The essay explores this theme with reference to specific elements of formal cinematic language. Rather than focus on a particular film or set of films for analysis, we focus instead on how the grammar of cinematic language draws our attention to aspects of our existential situation that ordinarily escape our awareness. Insofar as this may also be a goal of Buddhist practice—that is, to expand one’s ability to perceive reality for what it is, beginning with one’s own experience of it—this essay highlights a few of the salient ways that perennial aspects of the human condition have been articulated through the languages of both Buddhism and film.
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Cahyani, Via, and Tristanti Apriyani. "KARAKTERISTIK KEBAHASAAN TOKOH PEREMPUAN DAN LAKI-LAKI DALAM FILM PENDEK." MIMESIS 3, no. 1 (January 31, 2022): 48–57. http://dx.doi.org/10.12928/mms.v3i1.5558.
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Research is motivated by the differences in the language used by men and women. Environmental factors and society assume that women are gentle creatures, causing women to be careful about the choice of words in speech. Characteristics of women's language coined by Lakoff (1975) became a reference in this study. The problem discussed in this research is how the characteristics of women's language in the short film Reunian and the characteristics of men's language in the short film Dodit Not Penculik. This study aims to describe the linguistic characteristics of women and men in the two short films. The method used in this paper is descriptive qualitative, and quantitative with the subject of the short film Reunian and the short film Dodit Not The Kidnapper. The data acquisition in this study used the method of observing the free-engagement technique and the note-taking technique. Then the analysis in this study is that women tend to be unsure of their speech because women are very concerned about social norms and protect their self-esteem by using more polite speech.