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Journal articles on the topic 'Film/movies'
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1
Gefter, Amanda. "Film special: Science in the movies." New Scientist 208, no. 2782 (October 2010): 50. http://dx.doi.org/10.1016/s0262-4079(10)62546-8.
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Tham, Aaron. "Film Tourism: The Original 3D Movies." Tourism Geographies 15, no. 1 (February 2013): 173–75. http://dx.doi.org/10.1080/14616688.2012.633224.
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Guan, Yun. "On the Art Science of Film and Interaction Design." Review of Educational Theory 3, no. 3 (July 21, 2020): 57. http://dx.doi.org/10.30564/ret.v3i3.1971.
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As one of the most important contemporary art forms, film is a medium to present stories with multi-dimensional stimulation. It seems that movies and interaction design are two unrelated majors, but in fact there are many contents and forms of existence in movies which take interaction design as the design method. In other words, movies and interaction design actually have a lot in common. This paper will analyze and find the interweaving points from the perspective of interaction design and film respectively. Also through some specific interaction or film cases to further explain the relationship between the two.
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Ponnamma Divakaran, Pradeep Kumar, and Sladjana Nørskov. "Are online communities on par with experts in the evaluation of new movies? Evidence from the Fandango community." Information Technology & People 29, no. 1 (March 7, 2016): 120–45. http://dx.doi.org/10.1108/itp-02-2014-0042.
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Purpose – The purpose of this paper is to investigate two questions. First, are movie-based online community evaluations (CE) on par with film expert evaluations of new movies? Second, which group makes more reliable and accurate predictions of movie box office revenues: film reviewers or an online community? Design/methodology/approach – Data were collected from a movie-based online community Fandango for a 16-month period and included all movies released during this time (373 movies). The authors compared film reviewers’ evaluations with the online CE during the first eight weeks of the movie’s release. Findings – The study finds that community members evaluate movies differently than film reviewers. The results also reveal that CE have more predictive power than film reviewers’ evaluations, especially during the opening week of a movie. Research limitations/implications – The investigated online community is based in the USA, hence the findings are limited to this geographic context. Practical implications – The main implication is that film studios and movie-goers can rely more on CE than film reviewers’ evaluation for decision making. Online CE can help film studios in negotiating with distributors, theatre owners for the number of screens. Also, community reviews rather than film reviewers’ reviews are looked upon by future movie-goers for movie choice decisions. Originality/value – The study makes an original contribution to the motion picture performance research as well as to the growing research on online consumer communities by demonstrating the predictive potential of online communities with regards to evaluations of new movies.
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Barlow, Priscilla, and Jonathan Rosenbaum. "Placing Movies: The Practice of Film Criticism." Chicago Review 41, no. 2/3 (1995): 167. http://dx.doi.org/10.2307/25305965.
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Levin, Thomas Y. "Iconology at the Movies: Panofsky's Film Theory." Yale Journal of Criticism 9, no. 1 (1996): 27–55. http://dx.doi.org/10.1353/yale.1996.0008.
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Barus, Daniel Opristanta. "Penyelamat yang Berbalutkan Kekerasan: Dialog Film Bertema Kepahlawanan dan Tradisi Kekristenan." Aradha: Journal of Divinity, Peace and Conflict Studies 1, no. 1 (February 17, 2021): 55. http://dx.doi.org/10.21460/aradha.2021.11.532.
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Superhero movies, filled with violence, are one of the products of popular culture which many people like nowadays. Its popularity shows that those movies refl ect what is going on in society. In the time when young people are exposed more to popular movies than Biblical stories, those movies play a great role in the formation of meaning among Christian youth. When a movie is presented in a more understandable language, the experience of watching the movie becomes a religious experience that is important for the formation of theology in the lives of Christians. Putting aside such experience will only make the church moving away from the life and need of Christians. Therefore a critical dialogue based on a revised correlational approach between what is experienced by Christians when watching superhero movies and what is taught by Christian tradition related to violence is very much needed. This writtng is intended to provide such a proposal.
Abstrak
Film superhero yang sarat akan kekerasan merupakan salah satu produk budaya populer yang sangat disukai oleh masyarakat pada saat ini. Kepopulerannya menunjukkan bahwa film-film tersebut sesungguhnya mencerminkan apa yang terjadi dalam diri masyarakat. Pada masa di saat kaum muda lebih banyak terpapar oleh film populer dibandingkan kisah-kisah dalam teks Alkitab, maka film-film populer ini memiliki peran yang besar dalam pembentukan makna bagi kaum muda Kristen. Ketika kisah dalam fi lm disajikan dalam bahasa yang lebih mudah dipahami, pengalaman menonton telah menjadi pengalaman religius yang memberi peran penting dalam pembentukan teologi yang hidup dalam diri umat. Mengesampingkan realita ini akan membawa Gereja semakin menjauh dari kehidupan dan kebutuhan umat. Karena itu diperlukan suatu dialog yang kritis melalui pendekatan revised correlational antara apa yang dialami umat lewat pengalaman menonton film superhero dengan apa yang diajarkan oleh tradisi Kekristenan terkait kekerasan. Tulisan ini bertujuan untuk menawarkan proposal tentang hal tersebut.
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Simoni, Paolo. "Eyewitnesses of History." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 48. http://dx.doi.org/10.18146/2213-0969.2015.jethc092.
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The role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a result, to the inaccessibility of the sources. In 2002 the Archivio Nazionale del Film di Famiglia (Italy’s Amateur Film Archive), founded in Bologna by the Home Movies Association, became the reference repository of home movies and amateur cinema, promoting the availability of a cultural heritage that had previously been neglected. Today, it preserves about 5,000 hours of footage, contributes to documentary film productions and acts as a cultural and production center. The impact factor of the Home Movies Archive on the Italian audiovisual scenario and the sustainable perspectives strengthen the awareness that amateur film offers new opportunities to discover and represent the past from a different perspective, the one of an eyewitness “from below”. The article overviews the European and Italian discovery of amateur cinema as historical source from the seventies, and some cases from the Italian panorama during the last fifteen years, which powerfully raised the attention on home movies and amateur archive material.
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Tanaka, Melis, and J. A. Wempi. "Hegemoni Hollywood Pada Film American Sniper." Jurnal Komunikasi Global 8, no. 1 (July 29, 2019): 17–37. http://dx.doi.org/10.24815/jkg.v8i1.13523.
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Most movies shown in Indonesian cinemas are Hollywood movies. From existing genres, war movies tend to be used by Hollywood to spread their hegemonic practices. American Sniper, which was released in 2014, is one of the examples. The heroic scene acted by the main lead persuades the audience that America has a hero involved in Navy SEALs. This study was qualitative research using a critical paradigm. Hollywood’s hegemony in the film American Sniper (2014) could be understood by elaborating the three dimensions of Critical Discourse Analysis by Norman Fairclough, along with the theory of hegemony by Antonio Gramsci. The result of the research shows that in microanalysis, there are universal and idealist elements such as patriotism, nationalism, and loyalty. Meso analysis found that PT. Omega Film is a registered distributor of Film Censorship Institute (LSF) as part of the Political Society, according to Gramsci, which plays a significant role in the distribution of Hollywood films in Indonesia. Based on the macro analysis, the American Sniper (2014) film is one of the hegemonic practices of Hollywood in the era of neo-conservative that contains American centric.
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Muller, Valerie. "Film as Film: Using Movies to Help Students Visualize Literary Theory." English Journal 95, no. 3 (January 1, 2006): 32. http://dx.doi.org/10.2307/30047041.
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Firmansyah, Muchammad Sofyan. "THE FORMULATION OF TASTE AND VALUE IN AMERICAN ACTION-SPY MOVIES: AN ANALYSIS OF THE BOURNE SAGA." Rubikon : Journal of Transnational American Studies 4, no. 1 (July 19, 2019): 30. http://dx.doi.org/10.22146/rubikon.v4i1.47862.
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The popularity of Hollywood action movies is undisputed, especially the ones related to espionage. The movies such as the 007 series and Mission: Impossible series are best known as successful action-spy movies as they are always considered the top blockbuster movies. However, the start of the release of The Bourne movies in 2002 changed audiences’ perspectives toward the depiction of espionage as commonly shown in 007 and Mission: Impossible. Four of The Bourne movies that consist of The Bourne Identity (2002), The Bourne Supremacy (2004), The Bourne Ultimatum (2007), and The Bourne Legacy (2011) are used as the object of this research. Furthermore, the different depictions of espionage in The Bourne movies successfully reached the attention of action-spy audiences. Many audiences from throughout the world expressed their feelings after watching these movies on the movie review site as IMDb.com. The audiences’ responses toward the different portrait of espionage that are presented in the movies may depend on the taste of those audiences with regards to the depictions inside the movies that may present certain American values as the narrative of the movies concerns an American named Jason Bourne. There are two goals of this research. The first is to reveal whether there is any relation between audiences’ taste and the values depicted in film whether these film are products of popular culture or not. The second is to know how these movies mold the American values in their narrative to appeal to the desire of audiences. This research is conducted under the American studies discipline, especially the paradigm of transnational American Studies. Furthermore, some theories are employed as tools to analyze the object in order to achieve the goal of this research. Conducted as qualitative research, books, movies, articles, and videos related to the focus of this research are used as supporting data.Keywords: The Bourne, Audience, Taste, Value.
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Rokhani, Umilia. "PRODUKSI KULTURAL FILM INDIE KE-“TIONGHOA”-AN DI INDONESIA*." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 1. http://dx.doi.org/10.24821/rekam.v13i1.1705.
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Produksi kultural film indie ke-“tionghoa”-an berada pada struktur ruang yang membangunrelasi antarposisi dengan produksi karya lainnya. Keberadaan masyarakat Tionghoa yangsenantiasa dipermasalahkan menyebabkan agen-agen sosial berupaya membuka ruangkemungkinan melalui produksi karya. Metode yang dipergunakan adalah konstruktivismesosial yang melibatkan agen melalui production activity sehingga agen akan terlibat dalamdunianya sendiri. Dalam hal ini, upaya yang dilakukan dalam struktur ruang tersebut adalahberusaha mencapai legitimasi dalam suatu struktur kuasa. Hal tersebutdiupayakan oleh agenpemroduksi film indie ke-“tionghoa”-an yang kapital modalnya lebih rendah bila dibandingkandengan produksi film komersial atau layar lebar. Strategi yang dipergunakan untuk memperolehlegitimasi film indie ke-“tionghoa-“an adalah dengan mengikuti festival film di luar negerisebagai tataran legitimasi yang lebih tinggi dibandingkan dengan legitimasi yang terbangundi Indonesia melalui habitus. Dengan menempatkan Indonesia sebagai bagian dari masyarakatdunia, dominasi struktur kuasa akan mengecil. Melalui karya film indie tersebut dibanguneksistensi dan prestise melalui ekspresi karya sebagai suatu kesempatan untuk mendapatkanpengakuan dan kepercayaan masyarakat dunia mengenai ke-“tionghoa”-an di Indonesia. Cultural Production of Indie Movies With Chineseness Theme in Indonesia. Culturalproduction in indie movies telling story about chineseness exists within a space structure thatestablishes a relation between the position and the production of other movies. The existenceof Chinese society that always inflicts polemic drives the social agents to try to open roomsof possibility by producing opuses. The method employed is social constructivism involvingagents through production activities so that those agents will get involved in their own world.In this case, the effort carried out is struggling to gain legitimation in a power structure. It ispracticed by indie movie producer agents who have lower production budget compared to thecommercial movie producers. In doing this, the strategy employed is joining movie festivalsabroad, considered as a higher level of legitimation, legitimation built in Indonesia via habitus.By posing Indonesian society as a part of the international society, the domination of powerstructure will lessen. Acknowledged through indie movies, existence and prestige are built bythe expression of their works in the form of movies as an opportunity to get recognition andtrust from the world society regarding the chineseness in Indonesia.
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Smoodin, Eric. "The French Who Dont Go to the Movies: Government and Industry Assess the Audience, 1948–54." Film Studies 13, no. 1 (2015): 24–39. http://dx.doi.org/10.7227/fs.13.0003.
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Who were the French who wouldnt go to movies? The question was a vexing one in France after the Second World War, to which the film industry and the national government sought answers. In 1948 the Gaumont Film Company commissioned a survey of who went to the movies, who didnt, and why. In 1954, the Centre National de la Cinématographie, acknowledging La crise du cinéma, published an ominously titled Inquest about movies and the French public. Thus audience studies in France took on national importance, and created a sociological and psychological profile of viewers that could be used to enhance business practice and government policy.
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Sánchez, Manuel. "Bugs and Movies: Using Film to Teach Microbiology." Journal of Microbiology & Biology Education 12, no. 2 (December 1, 2011): 206–7. http://dx.doi.org/10.1128/jmbe.v12i2.268.
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Stanfield, P. "Maximum movies: Lawrence Alloway's pop art film criticism." Screen 49, no. 2 (January 1, 2008): 179–93. http://dx.doi.org/10.1093/screen/hjn032.
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Domke, Matthias, Stephan Rapp, Michael Schmidt, and Heinz P. Huber. "Ultra-fast movies of thin-film laser ablation." Applied Physics A 109, no. 2 (July 31, 2012): 409–20. http://dx.doi.org/10.1007/s00339-012-7072-6.
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Jacka, Liz. "The Film Industry in Australia: Trends in the Eighties." Media Information Australia 42, no. 1 (November 1986): 17–21. http://dx.doi.org/10.1177/1329878x8604200103.
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In this companion to Thomas Guback's paper on the American film industry I survey the changes in the film industry in Australia. One could as well say, echoing his title, the American film industry in Australia because the cinema trade here is still dominated by Hollywood. To illustrate this, in 1980 there were 223 movies from the US registered in Australia and only 20 from Australia.1 Although 827 films in total were registered that year (including 176 from Hong Kong), the vast majority of these films received no major theatrical release. Movies emanating from the traditional American-owned sources continue to dominate the major city cinemas.
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Riyadi, Sugeng. "PENGGUNAAN FILM ADAPTASI SEBAGAI MEDIA PENGAJARAN SASTRA." Jurnal Pendidikan Bahasa dan Sastra 14, no. 2 (October 1, 2014): 241. http://dx.doi.org/10.17509/bs_jpbsp.v14i2.722.
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It has become a trend in film industry, either in national scope or international scope, that literary works are adapted into movies. Some people think that it decreases people interest on reading literary works, which is already low, as most people tend to prefer watching the movies instead of reading the literary works. However, if we study this matter further, it is very possible that it happens the other way around. This article tries to highlight some important points of film adaptation from literary works, its possible roles in literary learning, and some practical applications of its utilization in literary learning in the classroom.
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Putri, Larisa Indriani, and Lucia Lusi Ani Handayani. "Women Emancipation and Empowerment in The Incredibles 1 and 2." Journal of Urban Society's Arts 7, no. 1 (September 20, 2020): 30–42. http://dx.doi.org/10.24821/jousa.v7i1.4356.
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Movies represent women differently from men. Some try to raise women’s dignity, and some still impose traditional values on them. This paper studies the representation of the characters of female superhero in The Incredibles 1 and 2 which seem to support women’s emancipation. However, there are some ideas conveyed through the mise- en-scéne which still indicate that the movie series do not fully emancipate women. The Incredibles 1 and 2 movie series have been chosen as the object of the study for their typical characteristics when female superhero plays the role. The purpose of this paper is to examine how women are represented through visuals and character roles in The Incredibles 1 and 2. The movies were analyzed through a critical discourse approach. The analysis focused on the language beyond sentences and aspects outside the language, such as power relation, social context, and ideology. The result of the analysis shows that the female character in the movies still upholds traditional values, such as male domination, revealing that these movies are not emancipatory for women. Moreover, women are still degraded and objectified through their body. Therefore, these movies can be seen as a form of pseudo-empowerment, where something is seen as empowering but actually it is not. Emansipasi dan Pemberdayaan Perempuan dalam Film Incredibles 1 dan 2. Film menggambarkan perempuan dan laki-laki dengan cara yang berbeda. Sebagian mencoba untuk menaikkan derajat perempuan, dan sebagian masih menyajikan nilai- nilai tradisional. Artikel ini meneliti representasi karakter perempuan utama pada film The Incredibles 1 dan 2 yang terlihat mendukung emansipasi perempuan melalui karakter superhero. Namun, terdapat gagasan yang menunjukkan bahwa kedua film ini tidak sepenuhnya mengemansipasi perempuan. Artikel ini bertujuan untuk meneliti bagaimana perempuan digambarkan melalui visual dan peran pada setiap karakter di The Incredibles 1 dan 2. Kedua film ini dianalisa menggunakan pendekatan analisis wacana. Analisis dilakukan pada tingkat bahasa yang digunakan yang tidak terbatas pada kalimat dan aspek-aspek di luar bahasa, seperti hubungan kekuasaan, konteks social, dan ideologi. Hasil analisis menunjukkan bahwa karakter perempuan pada kedua film ini masih menjunjung tinggi nilai-nilai tradisional, seperti dominasi oleh laki-laki. Hal ini membuktikan bahwa film-film ini tidak merepresentasikan kebebasan pada perempuan. Lebih lagi, melalui tubuhnya, perempuan masih terlihat direndahkan dan dijadikan sebagai objek. Oleh karena itu, dapat disimpulkan bahwa film-film ini merupakan suatu pseudo-empowerment, yaitu ketika sesuatu terlihat seperti memberikan kebebasan namun dalam kenyataanya tidak sama sekali.
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Prince, Stephen. ": Listening to Movies: The Film Lover's Guide to Film Music . Fred Karlin." Film Quarterly 49, no. 1 (October 1995): 64. http://dx.doi.org/10.1525/fq.1995.49.1.04a00290.
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Goctu, Ramazan. "Using Movies in Efl Classrooms." European Journal of Language and Literature 8, no. 1 (May 19, 2017): 121. http://dx.doi.org/10.26417/ejls.v8i1.p121-124.
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This research examines the attitudes and awareness of foreign language (EFL) learners to the integration of English movies in their classes in terms improving their foreign language skills. 25 intermediate level students studying English in Faculty of Education and Humanities in Philology Department at International Black Sea University, Tbilisi, Georgia, participated in this study. Students watched the movies at home and films were analyzed at the lectures. After analyzing the films, 7 various questions were asked to students in order to obtain their awareness towards the using films in ELT classrooms. The findings of the study indicated that students have positive attitudes towards the use of movies in their classes in terms of improving their language skills. Until quite recently, it was difficult to find pedagogically sound film material to help students improve their language through watching film, and teachers had to spend many hours creating their own materials. However, with the advent of the internet there is now a wealth of online resources for both language teachers and their students. This study is remarkable for teachers who are willing to use movies in their classes as a tool to improve their learners` foreign language level.
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Zestanakis, Panagiotis. "Historicizing Early 1980s Greek ‘Denunciation Movies’." Cultural History 7, no. 1 (April 2018): 48–75. http://dx.doi.org/10.3366/cult.2018.0158.
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This article explores representations of youth, masculinity, family and modernity in ‘denunciation movies’, a film genre criticizing juvenile lifestyles that experienced noticeable success in early-1980s Greece. Based on six movies launched between 1981 and 1983 the article approaches denunciation movies as documents expressing sociocultural developments and as presenting a darker view than the frequent more optimistic characterization of the period. Scrutinizing the historicity of the movies, the article examines representations of ‘youth’ and the ‘city’, highlighting politics of consumption, sexuality and family relations. Finally, it investigates how music was used as a medium of critique of foreign cultural influences.
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Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.
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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.
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Sarvaharana, P., P. Thiyagarajan, and S. Manikandan. "A Study On Bharat Ratna Dr.M.G.Ramachandran’s Philosophical Film Songs With Special Reference to the Socialistic And Communistic Ideas It Contains - An Academic Comparative Analysis with the Theory of Socialism as Propounded by Karl Marx." World Journal of Social Science 5, no. 1 (December 15, 2017): 46. http://dx.doi.org/10.5430/wjss.v5n1p46.
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Providing quality songs in movies has become paramount importance on the part of film Producers and Directors. Of late the heroes of the movies are also concerned about the contents of the song; as they play the main role in the movies and are watched by millions of fans. Super-hero who attained matinée idol status like Makkal Thilagam Bharat Ratna Dr.M.G.Ramachandran took upon himself the responsibility of not only producing quality movies but also paid personal attention to produce quality songs as he thought that good messages can be disseminated through his film songs to millions of his fans. It is due to this fact Bharat Ratna Dr.M.G.Ramachandran sought the assistance of eminent lyric-writers like the great Kannadasan, Valli, Marudhakasi, Udumalai Narayana Kavi and also encouraged other emerging writers like Na Muthulingam to write songs for his movies. In view of such extraordinary efforts made by Puratchi Thalaivar Dr.MG Ramachandran, his film songs contain ideas of ethics, education, equity and justice (communism), eradication of corruptive practice. In this paper an attempt has been made to deal with Twelve of such songs that contain SOCIALISTIC AND COMMUNISTIC IDEAS and a comparative analysis has been made with the Socialistic and Communistic theory as propounded by the Great Karl Marx. This paper consist of:- Need of the Present Study; Scenario of Cinema; Scenario in Tamil Film Industry; A Bird’s Eye View of Dr.M.G.Ramachandran’s life history. After introducing Karl Marx, the theories propounded by him such as the Alienation and Materialism are discussed; thereafter the Grounds for Comparison has been arrived; then the efforts taken by Dr.MG.Ramachandran to produce quality songs has been discussed. Finally a Comparative Analysis of the twelve songs identified that contain the ideas of Socialism and Communism has been discussed in detail.
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Wan, Yijie, and Mengqi Ren. "New Visual Expression of Anime Film Based on Artificial Intelligence and Machine Learning Technology." Journal of Sensors 2021 (June 26, 2021): 1–10. http://dx.doi.org/10.1155/2021/9945187.
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With the improvement of material living standards, spiritual entertainment has become more and more important. As a more popular spiritual entertainment project, film and television entertainment is gradually receiving attention from people. However, in recent years, the film industry has developed rapidly, and the output of animation movies has also increased year by year. How to quickly and accurately find the user’s favorite movies in the huge amount of animation movie data has become an urgent problem. Based on the above background, the purpose of this article is to study the new visual expression of animation movies based on artificial intelligence and machine learning technology. This article takes the film industry’s informatization and intelligent development and upgrading as the background, uses computer vision and machine learning technology as the basis to explore new methods and new models for realizing film visual expression, and proposes relevant thinking to promote the innovative development of film visual expression from a strategic level. This article takes the Hollywood anime movie “Kung Fu Panda” as a sample and uses convolutional neural algorithms to study its new visual expression. The study found that after the parameters of the model were determined, the accuracy of the test set did not change much, all around 57%. This is of great significance for improving the audiovisual quality and creative standards of film works and promoting the healthy and sustainable development of the film industry.
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Ruomei, Fu. "Teaching Design and Practice of Chinese Film Course at Binus University." Humaniora 6, no. 3 (July 30, 2015): 319. http://dx.doi.org/10.21512/humaniora.v6i3.3353.
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The Chinese department of Binus University opened the course of Chinese film. This course aims to improve the students’ Chinese language skill, and at the same time, on the basis of Chinese proficiency, to improve their knowledge of Chinese history and cultural understanding of China, to cultivate their connoisseurship of Chinese film. Two versions of the course syllabus i.e. version 2008 and version 2013 wereintroduced in this article. Syllabus and teaching practice figured out the most suitable teaching content and teaching method for the course. Research found that the combination of classic movies and popular movies, the course of Chinese film, in conjunction with the literature course is the best way. By this method, the course of Chinese Film plays a better role in improving students' Chinese proficiency and virtuosity level.
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Tuurosong, Damasus. "The Role of Dagbani Movies in Promoting Peaceful Co-existence in Northern Region, Ghana." Ghana Journal of Development Studies 18, no. 1 (May 27, 2021): 97–119. http://dx.doi.org/10.4314/gjds.v18i1.5.
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This study explores themes in Dagbani movies which enhance peace-building, and discusses cultural conflict resolution techniques employed in Dagbani movies for peace-building. Qualitative research design was employed for the study. Focus group discussions and interviews were used for data collection. The study used Agenda Setting theory as analytical framework, and undertook thematic analysis to tease out messages in the content of selected movies. It showed that Dagbani movies contain lessons on peace-building and have become reference materials for opinion leaders and peace campaigners within Dagbon. Out of 11 movies sampled, six exposed bad traditional leadership with a view to admonishing Dagbon chiefs to desist from acts that could promote conflicts. Dagbani movies, re-establish working relations among warring factions, deal with systemic issues underlying conflicts and rebuild mutual relationships. The movies advocate the use of traditional peace-building techniques for conflict resolution. The study concludes that if movie producers get the support of relevant stakeholders, Dagbon movies could be effective in resolving conflicts. It recommends that film makers solicit funding from donor agencies and non-governmental organisations (NGOs) to produce movies targeted at maintaining peace in Dagbon.
Keywords: Dagbani Movies, Peaceful Co-existence, Chieftaincy Disputes, Conflict Resolution and Culture
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Lazar, Alon, and Tal Litvak Hirsch. "Holocaust Cinema as Depicted by Film Advisory Boards in Five English Speaking Countries." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 88–111. http://dx.doi.org/10.5195/cinej.2017.171.
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Holocaust cinema is important constituent in conveying the events of the Holocaust and its aftermath within present day culture. Recommendations by film advisory boards can encourage or deject exposure to Holocaust cinema. Age-classifications and their justifications of Holocaust movies produced between 1993 and 2015, by film advisory boards in five English speaking countries, were investigated. Differences in age classifications, and similarity in depicting Holocaust movies as mainly heavy with violence, sex, profanity and mature contents, were noted. In order to capture more fully the complexities marking Holocaust cinema, expansion of the vocabulary used by these boards is needed.
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Shaw, Daniel. "Stanley Cavell on the Magic of the Movies." Film-Philosophy 21, no. 1 (February 2017): 114–32. http://dx.doi.org/10.3366/film.2017.0034.
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In order to explain Cavell's account of what makes movies so magical, this article will offer a chronological survey of his major writings on film, beginning with the first edition of The World Viewed (1971), where he poses an intriguing theoretical hypothesis about what distinguishes the movies from the other major art forms. The survey will continue by considering the expanded edition of The World Viewed (1979), Pursuits of Happiness: The Hollywood Comedy of Remarriage (1984), and Contesting Tears: The Hollywood Melodrama of the Unknown Woman (1997), and will conclude with an analysis of Cavell's discussion of Emersonian perfectionism in Cities of Words (2005). Throughout, I show how the specific film interpretations he proposes serve as archetypal examples of crucial features of his philosophy. Cavell's general thesis, I take it, is that films can pose particularly satisfying responses to the skepticism we all harbour about our most deeply held values. In a nutshell, the movies are magical because they tell us myths that allow us to see our lives as worth living, helping to restore our faith in the wellsprings of human value: romantic love, individual autonomy, nonconformity, and the search for self-improvement.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.
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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Sesonske, Alexander, and Noel Carroll. "Mystifying Movies: Fads and Fallacies in Contemporary Film Theory." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 284. http://dx.doi.org/10.2307/431009.
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Lehman, Peter, and Noel Carroll. "Mystifying Movies: Fads and Fallacies in Contemporary Film Theory." Rocky Mountain Review of Language and Literature 43, no. 4 (1989): 243. http://dx.doi.org/10.2307/1347013.
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Hanson, Karen, and Noel Carroll. "Mystifying Movies: Fads and Fallacies in Contemporary Film Theory." Philosophical Review 100, no. 4 (October 1991): 663. http://dx.doi.org/10.2307/2185184.
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Greene, Ronald Walter. "Y Movies: Film and the Modernization of Pastoral Power." Communication and Critical/Cultural Studies 2, no. 1 (March 2005): 20–36. http://dx.doi.org/10.1080/1479142042000332125.
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Zanger, Anat. "Blind Space: Roadblock Movies in the Contemporary Israeli Film." Shofar: An Interdisciplinary Journal of Jewish Studies 24, no. 1 (2005): 37–48. http://dx.doi.org/10.1353/sho.2005.0209.
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Kuzmanovich, Zoran. "Nabokov at the Movies: Film Perspectives in Fiction (review)." Nabokov Studies 9, no. 1 (2005): 223–27. http://dx.doi.org/10.1353/nab.2005.0014.
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Wilson, Sandra. "Film and Soldier: Japanese War Movies in the 1950s." Journal of Contemporary History 48, no. 3 (July 2013): 537–55. http://dx.doi.org/10.1177/0022009413481830.
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Zhao, Jing, and Renyu Liu. "Promoting stroke awareness through short movies and film festivals." CNS Neuroscience & Therapeutics 27, no. 9 (July 26, 2021): 991–93. http://dx.doi.org/10.1111/cns.13710.
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Abbass, Ansar, Abdul Khaliq, and Roman Khan. "Service Marketing Analysis of Movies in Pakistan." Journal of Social Sciences Research, no. 68 (August 11, 2020): 745–54. http://dx.doi.org/10.32861/jssr.68.745.754.
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One of the features of films compared to other cultural products is the possibility of their use for advertising and information activities and influence on the formation of needs and audience preferences, as well as different patterns of consumer behavior. The urgency of this scientific problem is that the sale of cinema products today is impossible without a marketing system. The applications of different marketing strategies depending on the specific tasks allows a differentiated approach to each project and achieve the goals both from the standpoint of contribution to the development of culture, and in terms of obtaining economic effects from the film industry. The main purpose of the study is to substantiate and determine the features of the use of marketing tools in the film industry. The study of marketing services for film production was carried out in accordance with the logical structure of the concept of "7P" (product, promotion, location, price, staff, physical environment and the process of providing services). Recommendations for the marketing of services in the film industry: first, the choice of methods for watching movies depends on the type of media environment (traditional, digital), secondly, the choice of ways to obtain movies depending on their genre and subject, thirdly, in order to effective promotion of content and perception of the film identified the basic requirements for its trailer. The article proves that the marketing of services in the film industry is aimed not only at meeting the socio-cultural needs of the population, but also at the commercialization of the industry, ensuring audience access to films, as well as creating market conditions for its sustainable development. The research materials are the basis for further research on current issues of modern film practice, integration of film production and film consumption.
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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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Pratiwi, Yuni. "FILM ANIMASI CERITA DENGAN KONTEKS MULTIBUDAYA UNTUK MENDUKUNG PENGEMBANGAN KEKRITISAN PENALARAN ANAK USIA SD." LITERA 15, no. 2 (November 29, 2016): 292–304. http://dx.doi.org/10.21831/ltr.v15i2.11830.
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FILM ANIMASI CERITA DENGAN KONTEKS MULTIBUDAYAUNTUK MENDUKUNG PENGEMBANGAN KEKRITISANPENALARAN ANAK USIA SDYuni PratiwiFakultas Sastra Universitas Negeri Malangemail: yunipratiwi.fsum@gmail.comAbstrakPenelitian ini bertujuan menghasilkan enam judul film animasi serial cerita dengankonteks sosial multibudaya untuk mendukung proses pengembangan kemampuan berpikirkritis anak usia SD. Penelitian menggunakan desain penelitian dan pengembangan modelR2D2 (recursive, reflective, design, and development) yang dikemukakan oleh Willis. Hasilpenelitian sebagai berikut. Pertama, tema film dikembangkan dengan mempertimbangkanpengalaman kehidupan sehari-hari, perkembangan kognitif, dan perkembangan mental.Kedua, tokoh film yakni anak dan orang-orang di sekitar anak dikembangkan dengan latarbelakang multietnik. Ketiga, alur cerita dikembangkan dengan mengintegrasikan masalahyang mendorong anak berpikir kritis. Keempat, dialog dikembangkan dengan bahasasehari-hari. Kelima, aspek audio-visual dikembangkan untuk memperkaya pengalamananak tentang realitas kehidupan sehari-hari bangsa Indonesia dengan latar masyarakatagraris (pertanian dan peternakan).Kata kunci: film animasi, multibudaya, kekritisan, usia SDANIMATED STORY MOVIES WITH MULTICULTURAL CONTEXTSTO SUPPORT THE DEVELOPMENT OF PRIMARY SCHOOL AGED CHILDREN’SCRITICAL REASONINGAbstractThis study aims to produce six titles of animated story movies with multicultural socialcontexts to support the process of the development of primary school aged children’scritical thinking skills. This was a research and development study using the R2D2(recursive, reflective, design, and development) model proposed by Willis. The results ofthe study were as follows. First, the theme of the movies was developed by taking accountof the daily life experience, cognitive development, and mental development. Second,the movie characters, namely children and people around them, were developed withmulti-ethnic backgrounds. Third, the plot was developed by integrating the problemsencouraging children to think critically. Fourth, the dialogs were developed in dailylanguage. Fifth, the audio-visual aspect was developed to enrich children’s experiencesabout the realities of the daily life of Indonesian people with the background of an agrariansociety (agriculture and livestock).Kata kunci: animated movies, multicultural, critical, primary school aged children’s
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Plantinga, Carl. "Disgusted at the Movies." Film Studies 8, no. 1 (2006): 81–92. http://dx.doi.org/10.7227/fs.8.9.
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This essay explores the elicitation of disgust in movies, focusing on the major rhetorical uses of such elicitation. The essay first defines disgust and shows the means and nature of its elicitation in the movies. Drawing on a distinction between physical and sociomoral disgust, the essay goes on to show how filmmakers either conflate and confuse the two (as in Don Siegel‘s Dirty Harry) or maintain a strict separation between them (as in David Lynch‘s The Elephant Man), in each case to serve the rhetorical purpose of the film. Finally, I discuss the ironic use of disgust in John Water‘s Polyester.
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Yazdi, Mohammad Rezaie. "Hollywood Mission: America the New Israel." Asian Journal of Social Science 37, no. 2 (2009): 305–14. http://dx.doi.org/10.1163/156853109x415408.
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AbstractThis article centres on the fact that American politicians tend to introduce America as “the New Israel.” By adherence to the religious beliefs, they identify themselves as the chosen nation. The substantial question is how the movies with so wide a range of popular viewers would reflect the new American religion. One of the ways to answer this question is to overview the movies that take up the parallel between America and Israel. If America is the new Israel, then an American film about Israel is probably a film that is (indirectly) about America as well. This article centres on two movies to go along with its proposal: the Technicolor The Ten Commandments (Demille, 1995) and the animated feature The Prince of Egypt (Chapman et.al., 1998). The two movies compare America and Israel to pose the new American civil religion in the form of the old ones. Moreover, it bears on the historical importance of the equation between America and Israel. The movie — the modern media — has converted these themes to “Californication” values and effects. Hollywood mediates the new religion that, compared with the old religion, is quite individual and does not so much refer to the whole society.
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Toplin, Robert Brent. "Cinematic History: Where Do We Go From Here?" Public Historian 25, no. 3 (2003): 79–91. http://dx.doi.org/10.1525/tph.2003.25.3.79.
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The study of film and history has made remarkable progress in recent years, but an assessment of those advances leads historians to consider the challenges that lie ahead. With specific reference to Hollywood movies about historical subjects, the author identifies five questions that are likely to engage historians: (1) Should historians focus on blockbusters or experimental films? (2) Are movies about the past essentially about the present? (3) How can scholarship move beyond a political history of movies? (4) In which directions can research on Hollywood films move to achieve deeper levels of understanding? (5) Is "cinematic history" essentially a genre?
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Lv, Yuyong, and Min Li. "On the New Features of Online Film and TV Subtitle Translation in China." International Journal of English Linguistics 5, no. 6 (November 30, 2015): 122. http://dx.doi.org/10.5539/ijel.v5n6p122.
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The advent and popularity of the Internet offers people all over the world easier, quicker and cheaper access to foreign movies and TV programs. The Chinese audience’s increased demand for online subtitled foreign movies and TV has brought many new changes to the traditional field of subtitle translation. This paper, by collecting and studying many cases of online subtitled English movies and TV in China, has found some changes in the main features of the subtitle translation on the Internet, such as the de-professionalization of the subtitle translators, a wider choice of translation strategies, the audience’s longing for active participation and interaction and the extended functions of subtitles. A study of these new changes is intended to be of value to the adaptation and development of film and TV translation in the new media age.
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Minakar, Milad, and Amir Hossein Chitsazian. "The Study of Rubaiyat attributed to Khayyam in Movies." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 324–52. http://dx.doi.org/10.5195/cinej.2020.271.
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Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, non- English, non- Persian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.
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Lee, Mordecai. "How a Bill Becomes a Law, Hollywood Style." Public Voices 11, no. 1 (December 8, 2016): 66. http://dx.doi.org/10.22140/pv.102.
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While film studies have become common in public administration, no inquiries have related to the cinematic depiction of the process of public law, a subject that is the underpinning of all public administration. This inquiry identified thirteen movies that present scenes of how a bill becomes a law. From these movies the American public learns about lawmaking, as a civics lesson writ large. In large part, these movies are relatively accurate about both the technical steps involved in legislation as well as the political and behind- the-scenes aspects of decision-making in Congress. This means the movies are making a positive contribution to understanding public administration. Given the contemporary sense of a decline in the quality of Congress, these movies have contributed not just to a relatively realistic understanding of how a bill becomes a law, but probably also to public support for reform. Public administration would be one of the beneficiaries ofreforms that improve Congressional decision-making.
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Horváth, Ádám, and Balázs Gyenge. "Service Marketing Analysis Of Movies As Unique Service-Products." SocioEconomic Challenges 4, no. 2 (2020): 44–55. http://dx.doi.org/10.21272/sec.4(2).44-55.2020.
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One of the features of films compared to other cultural products is the possibility of their use for advertising and information activities and influence on the formation of needs and audience preferences, as well as different patterns of consumer behavior. The urgency of this scientific problem is that the sale of cinema products today is impossible without a marketing system. The application of different marketing strategies depending on the specific tasks allows a differentiated approach to each project and achieve the goals both from the standpoint of contribution to the development of culture and in terms of obtaining economic effects from the film industry. The main purpose of the study is to substantiate and determine the features of the use of marketing tools in the film industry. The study of marketing services for film production was carried out in accordance with the logical structure of the concept of “7P” (product, promotion, location, price, staff, physical environment, and the process of providing services). Recommendations for the marketing of services in the film industry: first, the choice of methods for watching movies depends on the type of media environment (traditional, digital), secondly, the choice of ways to obtain movies depending on their genre and subject, thirdly, in order to effective promotion of content and perception of the film identified the basic requirements for its trailer. The article proves that the marketing of services in the film industry is aimed not only at meeting the socio-cultural needs of the population but also at the commercialization of the industry, ensuring audience access to films, as well as creating market conditions for its sustainable development. The research materials are the basis for further research on current issues of modern film practice, integration of film production and film consumption. Keywords: movie consumption, service marketing, consumer behavior, cultural marketing.
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Song, Xu. "Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market." Global Media and China 3, no. 3 (September 2018): 177–94. http://dx.doi.org/10.1177/2059436418805538.
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China’s cinema market has been growing dramatically in recent years. Hollywood exports revenue-sharing movies to China to receive additional box-office revenues. Although globalization accelerates Hollywood movies’ domination in most global film markets, that is not the case in China. Hollywood studios encounter cultural and political complications in China’s cinema market. This research reviews the interplay of Hollywood globalization and the complexity of China’s cinema market, applies a relationship management perspective in analyzing Hollywood studios’ China-focused endeavors, identifies and discusses five key relations, and analyzes why and how Hollywood studios have strategically managed the key relations to boost their revenue-sharing movies’ box-office performance in China.
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Prince, Stephen. "Review: Listening to Movies: The Film Lover's Guide to Film Music by Fred Karlin." Film Quarterly 49, no. 1 (1995): 64. http://dx.doi.org/10.2307/1213515.
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