To see the other types of publications on this topic, follow the link: Film reception.
Journal articles on the topic 'Film reception'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Film reception.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Hanifi, Muhammad Luthfan, and Redyanto Noor. "KRONIK FILMEDIA’S RECEPTION TOWARDS FLORIAN GALLENBERGER’S COLONIA." HUMANIKA 27, no. 1 (June 6, 2020): 11–22. http://dx.doi.org/10.14710/humanika.v27i1.29469.
Full textAbstract:
This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.
2
Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
Full textAbstract:
The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
3
Till, Benedikt, Thomas Niederkrotenthaler, Arno Herberth, Martin Voracek, Gernot Sonneck, and Peter Vitouch. "Coping and Film Reception." Journal of Media Psychology 23, no. 3 (January 2011): 149–60. http://dx.doi.org/10.1027/1864-1105/a000048.
Full textAbstract:
This study investigated the impact of film dramas on the emotional and cognitive state of recipients, as well as mediating effects of different modes of film reception. Furthermore, associations between the modes of reception and individual favored coping strategies were examined. One hundred fifty nondepressive and nonsuicidal adults living in Austria watched one of three films featuring the death of the main character. Data on the viewers’ mood, inner tensions, self-esteem, life satisfaction, depression, suicidal tendencies, attitudes toward suicide, predominantly used modes of reception, and preferred coping strategies were collected with questionnaires that were handed out before and after seeing the movie. Results indicated that drama viewing was linked to both negative and positive effects: on the one hand, to a deterioration of mood as well as an increase of inner tensions and depression scores, and on the other hand, to a rise in self-esteem and life satisfaction as well as a drop in suicidal tendencies. The more a subject was involved in the film, the more pronounced were the negative impacts and the smaller were the positive reactions. The viewers’ preferred coping strategies were partly associated with the modes of reception: the more an individual preferred to seek social support when facing a problem, the more he or she identified with the drama’s protagonist and tried to find behavior patterns in the movie to improve his or her own life.
4
Janet Staiger. "The Revenge of the Film Education Movement:." Reception: Texts, Readers, Audiences, History 1, no. 1 (2008): 43. http://dx.doi.org/10.5325/reception.1.1.0043.
Full text
5
Nurmansyah, Ihsan. "Resepsi Hadis Tuntunan Sebelum dan Setelah Pernikahan Dalam Film Papi dan Kacung Episode 12-13." Living Islam: Journal of Islamic Discourses 2, no. 2 (November 24, 2019): 281. http://dx.doi.org/10.14421/lijid.v2i2.2015.
Full textAbstract:
This paper discusses the study of living hadith in the film “Papi dan Kacung” (read: PdK) episodes 12-13 uploaded by Qoryyan on Instagram in 2019. The film is a short film of Islamic nuances which in each scene shows a reception of the Prophet’s hadith, especially about guidance before and after marriage. In addition, one of the episodes of the film has received more comments from Instagram account users compared to other episodes. Therefore, to find out the variety of receptions on the Prophet’s hadith in the film “PdK” episodes 12-13 using reception theory introduced by Ahmad Rafiq. The results of this study are 1) exegetical reception manifested in the reading of the Book Riyadhus Shalihin and Minhajul Muslim: Konsep Hidup Ideal dalam Islam; 2) the aesthetic reception contained in the reading of the two hadith books accompanied by the backsound "I Came to Know Love"; 3) functional receptions are realized more inclined towards informative ie before men are married they should look for women who are righteous, while after marriage the husband helps with homework.
6
Raw, Laurence. "Film-Kino-Zuschauer: filmrezeption/Film—Cinema—Spectator: film reception." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 161–62. http://dx.doi.org/10.1080/01439685.2013.764729.
Full text
7
Chon, Bum Soo, George Barnett, and Young Choi. "Clustering Local Tastes in Global Culture: The Reception Structure of Hollywood Films." Sociological Research Online 8, no. 1 (February 2003): 1–12. http://dx.doi.org/10.5153/sro.781.
Full textAbstract:
This paper describes the shared structure of Hollywood film consumption based on data obtained from the Variety International Film Guide (1995, 1998, 2000). It focuses on the consumption of the top 10 films in over 30 countries, using a longitudinal study to explain the structure of cultural consumption, how it has transformed over time, and how it is related to cultural factors. The results indicate that the structure of film consumption is comprised of three cultural clusters: local film-based, strong and weak homogenization clusters. The results suggest that countries consume the Hollywood films in different ways and have different selection for foreign films. Also, the results suggest that the film consumption pattern was significantly related to cultural zone network.
8
Tkalec, Gordana, Iva Rosanda Žigo, and Žarka Dolinara. "Film Reception by Means of New Media or How the Film Escaped from the Cinema." European Journal of Interdisciplinary Studies 7, no. 2 (January 21, 2017): 105. http://dx.doi.org/10.26417/ejis.v7i2.p105-111.
Full textAbstract:
The biggest change in film reception occurred in the moment when the film audience began to watch films over the Internet, or with devices that can connect to it, i.e. computers, laptops and smartphones. The paper redefined notions of contemporary audience and different horizons of expectations, and a new horizon of expectations has been established, and that is the horizon of device expectations. Also, we have redefined the conative function i.e. the empty spaces function, individual and social reception of the film, while the theory of production relations in the case of the production of art has been applied to the film industry. The paper applies to the film received through social networks requirements of all characteristics of new media, which is also a novelty in scientific thinking.
9
Agustian, Jaka Farih, and Budi Irawanto. "STUDI RESEPSI MANTAN ANAK JALANAN TERHADAP FILM ALANGKAH LUCUNYA NEGERI INI." Capture : Jurnal Seni Media Rekam 9, no. 2 (July 27, 2018): 27. http://dx.doi.org/10.33153/capture.v9i2.2106.
Full textAbstract:
<p>Social problems in the aspect of street children in Indonesia is still difficult to solve. The Data 2017 issued by the Minister of Social Khofifah Indar Parawansa said there are 4.1 million Indonesian children who are displaced and need protection. Thus, various media attempts to provide criticisms about social conditions in Indonesia, especially through the construction of street children's films. Film of Alangkah Lucunya Negeri Ini describes social problems of street children happening in Indonesia. This study aims to explain how the reception of exformer street children in watching the film Alangkah Lucunya Negeri Ini using the method of reception proposed by Stuart Hall, namely the concept of dominant hegemony, negotiation, and opposition. The results show that informant receptions arise due to different social and cultural dimensions in life as street children in the past. The informants also made the film Alangkah Lucunya Negeri Ini as reflection based on life experience. Thus, the presence of the film gives negative stigma of street children in social relations of society. Scene of film also brings the informant to feel the pleasure of watching that is expressed through both entertaining and emotional forms. Meanwhile, audience also responded activelly to the construction of street children films in social, educational, and religious discourse. Informants who are in the dominant code express their interest in film programs motivated by behavior and social experience as street children. While informants who are in a negotiating position try to be adaptive in adjusting the message in the film, but also have an attitude of opposition as a form of rejection. While the informants who placed themselves in the opposition expressed a different attitude to the construction offered in the film program. There is an element of discomfort with the presence of street children movies in their lives.</p><p><strong>Keywords</strong>: Reception studies, social film of street children, exformer street children, audience active</p>
10
Kurnia, Novi. "CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM." Jurnal ASPIKOM 3, no. 3 (September 21, 2017): 570. http://dx.doi.org/10.24329/aspikom.v3i3.175.
Full textAbstract:
This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman film director, Mouly Surya, and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, but not their gender, influences their interpretation toward the issue of gender and disabilities in the film.
11
Rochimah, Tri Hastuti Nur, and Fajar Junaedi. "Resepsi Remaja terhadap Pornografi dalam Film Indonesia." Jurnal ASPIKOM 1, no. 4 (January 21, 2012): 315. http://dx.doi.org/10.24329/aspikom.v1i4.28.
Full textAbstract:
Soft core pornography became kind of pornographic on Indonesia movies. The rise of pornography led eventually chose enforce state laws Pornography, which is then invited a lot of controversy. Disagreements about pornography makes research on audience reception of the Indonesian film pornographic contents, as well as research on audience reception against pornography on movie of Mafia Insyaf and Rintihan Kuntilanak Perawan. Reception analysis obtained using the following results: the informants tend to be in a negotiating position by stating that the Mafia Insyaf and Rintihan Kuntilanak Perawan are films that can be categorized as soft core pornography.
12
Young, Gwenda. "Exploring racial politics, personal history and critical reception." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 51–68. http://dx.doi.org/10.33178/alpha.6.04.
Full textAbstract:
Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s.
13
Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 1 (February 28, 2020): 119–23. http://dx.doi.org/10.1017/s0017383519000317.
Full textAbstract:
Chris Davies’ Blockbusters and the Ancient World is the latest addition to a growing body of scholarly literature on cinematic receptions of antiquity. The author takes as his focus the swathe of ancient world epics produced since the 9/11 terrorist attacks in 2001, ranging from movies set in the ancient Greek world (including the 2004 films Troy and Alexander, and, from 2007, 300) to the Roman occupation of Britain – as seen in King Arthur (2004), The Last Legion (2007), Centurion (2010), and The Eagle (2011) – as well as those which concentrate on aspects of Christianity (Agora, of 2009, set in Alexandria in the early fifth century ce, as contrasted with the 2004 biblical epic The Passion of the Christ). Structured around a series of case studies of these individual films, the book undoubtedly adds a set of valuable contributions to the scholarly literature on each piece; its real strength lies, however, in the way in which the author draws comparisons between these case studies while simultaneously situating the movies within their wider historical, political, and cultural contexts. Davies’ introduction alone – with a broad overview of the development of cinematic depictions of antiquity from the birth of cinema to contemporary productions, along with definitions of key terms – provides an excellent starting point for those new to thinking about ancient world films, and a comprehensive filmography of works referenced is a useful research tool. There is much here too, however, which will be of value to those seeking more in-depth discussion. Detailed analysis of the films themselves – with attention to staging, casting, and characterization – is accompanied by discussion of critical responses and evidence from published interviews with directors and producers. The author is careful to point out that artistic products often resist straightforward interpretation, and that multiple readings of each film are possible (for example, the critical reception of a movie may infer a different relationship to contemporary politics than the stated intentions of its creative team). He also explores the development and fluidity of genres, and the ways in which several of these films hybridize more than one genre (for example, traces of the western are strongly evident in the Roman Britain epics; and The Passion of the Christ carries striking elements of the horror genre). What results is a sensitive exploration of the films’ relationship to US politics, in the particular context of the ‘War on Terror’ and the US-led invasions of Iraq and Afghanistan, which examines ways in which the films ‘have inspired allegorical and metaphorical readings in which the past has been used to contextualise, warn or parallel the present’ (209).
14
Lee Easton and Kelly Hewson. "Reflections on the Interplay of Race, Whiteness and Canadian Identity in a Film Studies Classroom." Reception: Texts, Readers, Audiences, History 2, no. 2 (2010): 116. http://dx.doi.org/10.5325/reception.2.2.0116.
Full text
15
Latifah, Latifah. "Film as Media of Religious Dialogue: The Reception of Three Indonesian Contemporary Films." DINIKA : Academic Journal of Islamic Studies 1, no. 3 (December 30, 2016): 263. http://dx.doi.org/10.22515/dinika.v1i3.87.
Full textAbstract:
The paper examines the audiences response in consuming of religious representation in three Indonesian contemporary films: Ayat-Ayat Cinta (Verses of Love), 3 Doa 3 Cinta (3 Wishes 3 Loves), and Perempuan Berkalung Sorban (Woman with a Scarf Around her Neck). By examining the audiences response in media, particularly through electronic delivery, the paper shows that the public dispute of the Islam representation in this film serves as communication media of religious dialogue. The examination of audiences response on those three films illuminates the various impacts of Islamic film label embedded in their cinematic representation. Islamic film can be a profitable trademark since it gives more reasons to attract audience than entertainment motive does. Representation of religion analogue to religious teaching and practice creates religious film as media for religious dialogue between people, state, the faith communities, and film makers.Keywords:film, representation, religious-dialogue
16
정소영 and Yunchae NHO. "Transnational Reception of Korean Film: Analyses of Film Reviews." Cross-Cultural Studies 26, no. ll (March 2012): 405–44. http://dx.doi.org/10.21049/ccs.2012.26..405.
Full text
17
Yamazaki, Junko. "Embedded film, embodied reception: Tsurumi Shunsuke’s autobiographical film criticism." Journal of Japanese and Korean Cinema 10, no. 2 (July 3, 2018): 130–46. http://dx.doi.org/10.1080/17564905.2018.1517711.
Full text
18
Halle, R. "German film, European film: transnational production, distribution and reception." Screen 47, no. 2 (January 1, 2006): 251–59. http://dx.doi.org/10.1093/screen/hjl019.
Full text
19
Bardzińska, Joanna. "Kieślowski in Spain: History, Reception and Inspiration." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 117–27. http://dx.doi.org/10.14746/i.2018.33.10.
Full textAbstract:
The films of Krzysztof Kieślowski arrived in Spain comparatively late, and when they did so this was mainly due to the Film Festivals at San Sebastián and Valladolid, as well the efforts of independent producers like the brothers José María and Miguel Morales of Wanda Films. In 1988, A Short Film About Love was presented at the San Sebastián Festival, where it won the Special Prize and the FIPRESCI Prize, and caught the attention of Spanish critics. To this day, Kieślowski remains the Polish director best-known to the Spanish – as was made clear in 2016, by the numerous events and screenings marking the 20th anniversary of his death. There can be no doubt that, in the homeland of Buñuel, no other Polish director evokes as much enthusiasm. Considering the Spanish reaction to the maker of the Three Colours, this article focuses on the distribution of Kieślowski’s works in Spain, as well as the director’s presence at the Spanish Festivals. Further subjects of analysis are reviews by Spanish critics and the state of research into Kieslowski’s creative output in the Spanish language, as well as the release of his films on DVD and Blu-Ray. The above focus on festivals, the attitudes of critics, and the popularity among the Spanish viewing public is supplemented by a study of the impact of Kieślowski’s output on the work of Spanish directors, as well as efforts to discern the direct influence of the former’s films in offering the latter inspiration.
20
Ghassani, Adlina, and Catur Nugroho. "PEMAKNAAN RASISME DALAM FILM (ANALISIS RESEPSI FILM GET OUT)." Jurnal Manajemen Maranatha 18, no. 2 (May 28, 2019): 127–34. http://dx.doi.org/10.28932/jmm.v18i2.1619.
Full textAbstract:
Movie is one form of mass communication media which often enjoyed by people. The movie Get Out that is directed by Jordan Peele shows about how is the act of white people discrimination towards black people. This research uses the qualitative method with descriptive type and uses Stuart Hall’s reception analysis approach. Reception analysis views the active audiences which are the viewers and readers to produce and reproduce the meaning in an impression of a media. The purpose of this research is to describe audiences’ interpretation and to know the position of the audiences according to Stuart Hall’s three readership position towards the movie Get Out that shows racism. This research uses paradigm of constructivism. The result of this research shows that audiences meaning of the movie Get Out towards the four informants generates different meaning and out of seven scene analysis units studied, the audiences’ position in their acceptance of the racism in the movie Get Out is dominated by oppositional position. There are also some informant that are in dominant hegemonic position. Where in each scene contains different racism material.
Keywords: Communication; Reception Analysis; Film
21
Mocarz-Kleindienst, Maria. "Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji." Acta Polono-Ruthenica 4, no. XXII (October 2, 2018): 57–68. http://dx.doi.org/10.31648/apr.1238.
Full textAbstract:
Eldar Ryazanov directed films including The Irony of Fate, Station for Two, Carnival Night, Beware of the Car, and Office Romance. These films, regarded as cult classics in Russia (the former Soviet Union), are also known to Polish fans of Russian films. This paper takes account of two periods of reception of Ryazanov’s films in Poland: primary reception (1960s – 1980s) and secondary reception (beginning of 2000s). The reception analysis was conducted based on the following materials: press articles, collective monographs, Polish Television archival material and internet forums. Consequently, several areas of interest of critics and viewers were identified, including the following: 1) the plot, 2) aesthetic and artistic impressions, 3) the reference of the director’s works to the works of the Polish film industry, 4) the director’s artistry, 5) the cast, 6) the quality of translation.
22
Cuelenaere, Eduard. "Towards an Integrative Methodological Approach of Film Remake Studies." Adaptation 13, no. 2 (February 28, 2020): 210–23. http://dx.doi.org/10.1093/adaptation/apz033.
Full textAbstract:
Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.
23
Debby, Yohana, Theresia Intan Putri Hartiana, and Nanang Krisdinanto. "Desakralisasi film horor Indonesia dalam kajian reception analysis." ProTVF 4, no. 1 (March 17, 2020): 1. http://dx.doi.org/10.24198/ptvf.v4i1.24171.
Full textAbstract:
Penelitian mendeskripsikan mengenai penerimaan penonton mengenai desakralisasi agama yang tergambarkan dalam film horor Indonesia pasca Orde Baru. Beberapa film yang akan diteliti diantaranya Asih (2018), Danur 2: Maddah (2018), Pengabdi Setan (2017), Ruqyah: The Exorcism (2017), Hantu Jeruk Purut Reborn (2017), dan Hantu Rumah Ampera (2009) menjadi film-film pilihan peneliti. Desakralisasi dalam film tersebut terbagi dalam tiga hal, yakni: tokoh agama, ritual, dan simbol keagamaan. Desakralisasi merupakan penurunan makna dari nilai atau hal-hal yang dianggap sakral dalam kehidupan sosial. Beberapa adegan di film horor Indonesia, menunjukkan desakralisasi, seperti tokoh agama yang kalah dengan setan, diganggu saat beribadah. Sehingga desakralisasi dikatakan sebagai suatu upaya untuk menurunkan sifat religi benda atau hal yang dianggap suci dan mengedepankan rasionalitas dalam menghadapi suatu konflik pada suatu hal. Pemilihan informan didasarkan pada usia, agama, aliran kepercayaan, pendidikan. Penelitian ini dilakukan metode dengan reception analysis, teknik pengambilan wawancara in-depth interview, serta menggolongkan hasil penerimaan informan nantinya ke dalam tiga kategori posisi yang dikemukakan oleh Stuart Hall, yakni: dominan, negosiasi, oposisi. Hasil penelitian menunjukkan bahwa informan memiliki posisi yang berbeda-beda dalam memaknai film horor. Penonton atau informan berada dalam posisi oppositional ketika memaknai desakralisasi ritual keagamaan. Informan cenderung pada posisi oppositional karena dipengaruhi pengalaman dan latar belakang seperti yang pernah melewati ritual pembukaan mata batin, melakukan ritual atau ibadah.
24
Skowronek, Bogusław. "Body, Emotions, Mind – Mechanisms of Film Reception Revisited." Annales Universitatis Mariae Curie-Sklodowska, sectio N, Educatio Nova 2 (February 2, 2018): 163. http://dx.doi.org/10.17951/en.2017.2.163.
Full text
25
Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.
Full textAbstract:
What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
26
Kazys, Rymantas J., and Almantas Vilpisauskas. "Air-Coupled Reception of a Slow Ultrasonic A0 Mode Wave Propagating in Thin Plastic Film." Sensors 20, no. 2 (January 16, 2020): 516. http://dx.doi.org/10.3390/s20020516.
Full textAbstract:
At low frequencies, in thin plates the phase velocity of the guided A0 mode can become slower than that of the ultrasound velocity in air. Such waves do not excite leaky waves in the surrounding air, and therefore, it is impossible to excite and receive them by conventional air-coupled methods. The objective of this research was the development of an air-coupled technique for the reception of slow A0 mode in thin plastic films. This study demonstrates the feasibility of picking up a subsonic A0 mode in plastic films by air-coupled ultrasonic arrays. The air-coupled reception was based on an evanescent wave in air accompanying the propagating A0 mode in a film. The efficiency of the reception was enhanced by using a virtual array which was arranged from the data collected by a single air-coupled receiver. The signals measured at the points corresponding to the positions of the phase-matched array were recorded and processed. The transmitting array excited not only the A0 mode in the film, but also a direct wave in air. This wave propagated at ultrasound velocity in air and was faster than the evanescent wave. For efficient reception of the A0 mode, the additional signal-processing procedure based on the application of the 2D Fourier transform in a spatial–temporal domain. The obtained results can be useful for the development of novel air-coupled ultrasonic non-destructive testing techniques.
27
Hughey, Matthew W. "The White Savior Film and Reviewers' Reception." Symbolic Interaction 33, no. 3 (August 2010): 475–96. http://dx.doi.org/10.1525/si.2010.33.3.475.
Full text
28
Klejsa, Konrad, and Anna Miller-Klejsa. "Almost as good as Soviet cinema: Reception of Italian neorealism in Poland: 1946‐56." Journal of Italian Cinema & Media Studies 9, no. 3 (June 1, 2021): 367–84. http://dx.doi.org/10.1386/jicms_00082_1.
Full textAbstract:
With the onset of the Cold War, the cinema culture in the People’s Republic of Poland underwent rigorous transformation. One of its aspects was the new film import schema: most of the international sources dried up to be replaced, for the most part, by films from the Communist Bloc. However, Italian films constituted an important exception. This article investigates the critical reception of Italian neorealist films in Poland in the first decade after the war, focusing mainly on reviews published in Film, the most relevant Polish magazine dedicated to cinema culture. The first part of the article outlines critical debates on differences and similarities between neorealism and socialist realism. The latter part of the article focuses on the critical reception of Vittorio De Sica’s Ladri di biciclette (Bicycle Thieves) and Miracolo a Milano (Miracle in Milan), as evaluations of the Italian director’s cinema fluctuated during the Stalinist period and after the thaw.
29
Prinsloo, J. "Beyond Propp and Oedipus: Towards expanding narrative theory." Literator 13, no. 3 (May 6, 1992): 65–82. http://dx.doi.org/10.4102/lit.v13i3.771.
Full textAbstract:
Aspects of theory surrounding both narrative and reception of film is examined and interrogated. The structural analysis offered by Propp, among other theorists, and insights of psychoanalysis are considered to rework the Oedipal scenario. This paper draws on ideas around transgression and refers to aspects of Oedipus’s life which are largely ignored as the focus of psychic scenario. The narratives of two films. On the Wire and Mississippi Masala are examined in relation to contradictions surrounding their reception.
30
Björklund, Elisabet. "Realism or ‘grotesque clichés’? Jan Halldoff’s The Corridor and the Swedish debate on abortion in the 1960s." Journal of Scandinavian Cinema 9, no. 1 (March 1, 2019): 117–30. http://dx.doi.org/10.1386/jsca.9.1.117_1.
Full textAbstract:
Swedish filmmaker Jan Halldoff’s fiction film Korridoren (The Corridor) premiered in 1968 to a mainly positive Swedish reception. Shot at Karolinska Hospital and criticizing the Swedish healthcare system, the film became much debated and can furthermore be seen as a turning point in Swedish film history regarding the portrayal of medical institutions and professionals. In this article, the film and its reception are analysed in relation to the Swedish debate on abortion at the time. While the film is clearly critical of Swedish welfare society, the way it depicts abortion is more conservative. Highlighting this as well as the role of actual medical professionals in the film, the article demonstrates how the film relates to representations of abortion in the past and discusses connections between the film industry and medicine at this historical moment.
31
Sungkowati, Yulitin. "RESEPSI PEMBACA TERHADAP TJERITA NJAI DASIMA (Reader Reception toward Tjerita Njai Dasima)." METASASTRA: Jurnal Penelitian Sastra 4, no. 2 (March 15, 2016): 195. http://dx.doi.org/10.26610/metasastra.2011.v4i2.195-207.
Full textAbstract:
Tulisan ini bertujuan mendeskripsikan bentuk dan perubahan resepsi pembaca terhadap Tjerita Njai Dasima dengan teori resepsi sastra dan metode resepsi diakronis. Penelitian ini menghasilkan temuan bahwa sejak era kolonial hingga era reformasi Tjerita Njai Dasima telah mendapat tanggapan berupa karya-karya baru dalam bentuk puisi, prosa, teks drama, skenario film, film, sinetron, dan drama musikal. Perubahan resepsi terjadi dari generasi ke generasi seiring dengan perubahan zaman dan perubahan horison harapan pembacanya. Resepsi pada masa sebelum kemerdekaan menunjukkan ideologi prokolonial dan pada era awal kemerdekaan sebaliknya, antikolonial. Resepsi pembaca yang muncul di era Orde Baru berisi kritik sosial terhadap pembangunan dan di era reformasi memperlihatkan semangat pluralisme dan kebebasan.Abstract:This paper is aimed at describing the form and the change reader reception toward Tjerita Njai Dasima by using reception of literary theory and diachronic reception method. This research revealed that since colonial period until reformation period, Tjerita Njai Dasima got appreciation in the form of new literary works such as poem, prose, drama text, film scenario, film, series, and musical drama. The change of reception can be seen from generation to generation, together with the development and reader ’s horizon expectation. The reception before indepen- dence showed procolonial ideology. While, in the early independence period tended to be antico- lonial. Reader reception emerged in the new era period showed social critic toward development, while in the reformation period was in the form of spirit of pluralism and freedom.
32
Muttaqin, Khoirul, and Helmi Wicaksono. "Resepsi Penonton Alumni Pondok Pesantren terhadap Film “Negeri 5 Menara”." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 7, no. 3 (August 25, 2021): 267. http://dx.doi.org/10.32884/ideas.v7i3.405.
Full textAbstract:
Penelitian ini dilatarbelakangi oleh fenomena film “Negeri 5 Menara” yang mengulas secara detail kehidupan pondok pesantren. Tujuan penelitian ini untuk mendeskripsikan resepsi penonton alumni pondok pesantren terhadap film tersebut. Metode pengumpulan data melalui kuesioner dan populasi penelitan ini adalah 50 alumni pondok pesantren yang dikerucutkan menjadi 16 responden terpilih. Hasil penelitian ini memaparkan isi pesan film berkaitan dengan usaha keras meraih cita-cita, resepsi penonton berkaitan dengan tema menarik serta bahasa dan alur mudah dipahami, faktor yang mempegaruhi resepsi adalah keterlibatan emosi dan kesamaan harapan, dan juga pengaruh film terhadap penonton adalah keinginan melanjutkan pendidikan tinggi. Simpulan penelitian ini adalah film tersebut secara tekstual dan nontekstual dapat sampai kepada penontonnya.
Background of this study is a phenomenon in “Negeri 5 Menara” which reviewing about life in Islamic boarding school in detail. This study aims to describe the receptions of the audience which happen to be Islamic boarding school alumni to this film. Data collecting method in this study is done by collecting questionnaires. The study population is 50 islamic boarding school alumni and then narrowed down into 16 selected respondent. The result of this study describe the content of the film related to striving for goals. The audience’s reception related to interesting themes and easy to understand language and plot. Factors that affect the audience’s reception are emotional involvement, common expectation and also how this film influence them to continue their education. As conclusion, this study shows that “Negeri 5 Menara” film successfully reach their audience both textually and non textually.
33
Altman, Rick. "Reading Positions, the Cow Bell Effect, and the Sounds of Silent Film." Cinémas 2, no. 2-3 (March 8, 2011): 19–31. http://dx.doi.org/10.7202/1001076ar.
Full textAbstract:
This article demonstrates that both the historical hypothesis and the hermeneutic hypothesis are misleading in the approach regarding the problems of reception. Studying certain performance practices of American silent film, the author concludes that instead of positing cultural conditions for audiences as the basic catalyst for changes in reception, we need to pay greater attention to the capacity of texts to contain and control their own reception.
34
Arrow, Michelle, Bridget Griffen-Foley, and Marnie Hughes-Warrington. "Australian Media Reception Histories." Media International Australia 131, no. 1 (May 2009): 68–69. http://dx.doi.org/10.1177/1329878x0913100108.
Full textAbstract:
As the field of Australian media history expands, so too does the need for a broader and more innovative range of questions, issues and debates. This special issue of MIA responds to that need by considering the sources and research questions raised by media reception historians working on film, radio, television and the press. From print to new media, the papers assembled highlight the ingenuity of Australian historians working to recover the experiences of audiences in urban and regional settings.
35
Dornfeld, Barry. "Representation and Authority in Ethnographic Film/Video: Reception." Ethnomusicology 36, no. 1 (1992): 95. http://dx.doi.org/10.2307/852087.
Full text
36
O'Regan, Tom. "Reception and Exposure in Architecture, Film and Television." Architectural Theory Review 18, no. 3 (December 2013): 272–78. http://dx.doi.org/10.1080/13264826.2014.875611.
Full text
37
French, Lisa. "The international reception of Australian women film-makers." Continuum 28, no. 5 (August 12, 2014): 654–65. http://dx.doi.org/10.1080/10304312.2014.942024.
Full text
38
Marques. "Old Corporate Films and Former Factory Workers: Film Reception as Social Memory." Film History 31, no. 1 (2019): 102. http://dx.doi.org/10.2979/filmhistory.31.1.0102.
Full text
39
Guth, Christine M. E. "From Book to Film." Journal of Japonisme 6, no. 1 (January 22, 2021): 1–26. http://dx.doi.org/10.1163/24054992-06010001.
Full textAbstract:
Abstract Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made familiar through art and literature. The silent film, produced in Hollywood, by and co-starring Sessue Hayakawa and his wife Tsuru Aoki, expanded and complicated the modes of visualizing Japan by featuring a Japanese couple in starring roles. This article addresses the relationship between the novel, an allegory of Japanese cultural loss and renewal, and the film, a romance inflected with American concerns about race, drawing particular attention to gender and Japanism in their reception and interpretation.
40
Björk, Ulf Jonas. "Tricky Film: The Critical and Legal Reception of I Am Curious (Yellow) in America." American Studies in Scandinavia 44, no. 2 (September 1, 2012): 113–34. http://dx.doi.org/10.22439/asca.v44i2.4919.
Full textAbstract:
This study examines the reception of the Swedish film I am Curious (Yellow) in America. As a mixture of political satire and a chronicle of a sexual affair, with fictional and documentary material, the film was referred to by a U.S. government official as “the most explicit movie ever imported” when it arrived in America in 1968 and was released only after a federal appeals court reversed a lower-court verdict that had found it legally obscene. Although cleared for importation, I am Curious (Yellow) continued to be dogged by whether its sex scenes violated local and state obscenity laws. While the legal actions at times impeded distribution of the film, they also generated publicity for it, eventually making it one of the most profitable foreign-language films in U.S. motionpicture history. This paper discusses several court cases where the film’s social value—or lack thereof—was the factor deciding whether it could be shown, and it also looks at critical reaction to the film. Noting that all popular-culture products are products of the societies they spring from, the paper also looks at how the film was received in Sweden.
41
Ercole, Pierluigi, and Gwenda Young. ""The greatest film of the fascist era"." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 37–50. http://dx.doi.org/10.33178/alpha.6.03.
Full textAbstract:
During the Fascist era in Italy, the state-controlled L'Unione Cinematografica Educativa produced newsreels and documentaries promoting the regime's achievements. By the 1930s, LUCE's films were screened to Italian immigrant audiences abroad in order to engage spectators already sympathetic or potentially allied to the Fascist agenda. In this article, I discuss the distribution and reception in Britain of Camicia nera (1933), a film produced by LUCE to mark the tenth anniversary of Mussolini's rise to power and often referred to as "the film of the Decennial". Employing records retrieved from state archives and contemporary British sources from the period of the film's release, I revisit the history of one of the most important official films of the Fascist era and offer a new perspective on the dynamics and actual applications of Italian propaganda operations abroad during the 1930s.
42
de la Mora, Sergio. "Roma: Reparation versus Exploitation." Film Quarterly 72, no. 4 (2019): 46–53. http://dx.doi.org/10.1525/fq.2019.72.4.46.
Full textAbstract:
Sergio de la Mora reviews Roma's reception in Mexico and reflects upon the film's intimate relationship with the nation's political history. Situating Roma with the broader trend in Latin American cinema for films that explore servant-employer relations, he examines how Roma visualizes the ways in which Indigenous domestic and intimate labor has been historically racialized and gendered in Mexico. He discusses the controversy surrounding Cleo's voice and agency in the film along with the aesthetic debates prompted by Cuarón's decision to film in black and white.
43
Nevin, Barry. "Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)." Nottingham French Studies 59, no. 1 (March 2020): 97–116. http://dx.doi.org/10.3366/nfs.2020.0274.
Full textAbstract:
This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustration of his authorial signature, looking towards the complex portrayals of women which feature in his most famous French films of the 1930s. Key to this analysis is how Feyder mobilizes mirrors to confront spectators with their own collusion in the construction of Greta Garbo's star persona in her films and portraits, and to open broader debates regarding the intersection between authorship and star personae.
44
Zelenskiy, Vladimir I., and Pavel E. Troyan. "Properties moulded thin-film nanostructure." Yugra State University Bulletin 11, no. 2 (June 15, 2015): 53–57. http://dx.doi.org/10.17816/byusu201511253-57.
Full textAbstract:
Are considered: technology of reception of thin-film frame metal-dielectric-metal; the properties got by frame as a result of electrical moulding in strong electric field in vacuo: volt-ampere characteristic, issue of electrons in vacuum. The model of resulting electrical moulding of nanostructure is discussed.
45
Rich, B. Ruby. "THE RIGHT TIME AND PLACE." Film Quarterly 68, no. 1 (2014): 42–47. http://dx.doi.org/10.1525/fq.2014.68.1.42.
Full textAbstract:
Paradigmatic American filmmaker Richard Linklater’s Boyhood has been much praised from the moment of its release (2014). The scope of this twelve-year project is more than a stunt, and the making of the film has become a birthright. This article weighs in on the film and its reception, considers Linklater’s French New Wave influences, and addresses how gender has been so muted, rendered illegible, if not irrelevant in the film’s reception.
46
Macarthur, David. "A Vision of Blindness:Blade Runnerand Moral Redemption." Film-Philosophy 21, no. 3 (October 2017): 371–91. http://dx.doi.org/10.3366/film.2017.0056.
Full textAbstract:
Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner (Theatrical Cuts (1982); Director's Cut (1992); Final Cut (2007)) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has been devoted to putative criteria of being human and the question whether the once-retired blade runner, Rick Deckard, is or is not a replicant. I aim to explore a radically different course of interpretation, which sees the film in fundamentally moral and religious terms. Put in the starkest light, the film is not about what makes us human but whether we can be saved from ourselves, from our terrifying inhumanity, our moral blindness.
47
Boochani, Behrouz. "Film as folklore." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 185–87. http://dx.doi.org/10.33178/alpha.18.15.
Full textAbstract:
Codirector Behrouz Boochani offers a critical reflection on Chauka, Please Tell Us the Time in which he discusses the multilayered meanings of the film. He shares his thoughts about his cinematic vision and how it is connected to the land. In this respect, the film cherishes the sanctity of the island’s ecosystem and knowledge system and also criticises the way the Australia-run detention centre degrades nature and the social fabric of the island. Boochani also elaborates on issues pertaining to reception and the way folklore (both Kurdish and Manusian) frames his resistance and critique.
48
Endong, Floribert Patrick C. "Nollywood in Cameroon: Transnationalisation and Reception of a Dynamic Cinematic Culture." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 129–43. http://dx.doi.org/10.5195/cinej.2017.175.
Full textAbstract:
The Nigerian film industry (Nollywood) has phenomenally exploded to the extent of affecting audiences and social institutions in various African countries. In Cameroon particularly, various indications suggest that the industry is positively received, despite the persistence of perceptible anti-Nigerian and nationalist feelings among sections of the country’s audiences and communities of cinema ideologues. Using empirical understandings, observations and secondary sources, this paper seeks to explore how the Nollywood phenomenon is manifested and received in the Cameroonian market. It precisely examines the various indexes of Nollywood presence in the country which can be seen in (i) the place Nollywood films have in television broadcast in the country, (ii) the extent to which Nollywood films affect local cinema production in Cameroon and (iii) Cameroonian audiences’ attitudes towards Nollywood films and actors.
49
Enríquez-Aranda, Mercedes, and Francisca García Luque. "The reception of subtitled films from a sociological perspective." Babel. Revue internationale de la traduction / International Journal of Translation 64, no. 3 (September 26, 2018): 464–89. http://dx.doi.org/10.1075/babel.00041.enr.
Full textAbstract:
Abstract Spain has traditionally been a dubbing country. Nevertheless, subtitled versions are becoming more visible nowadays. One of the reasons that explain the increasing presence of subtitled films may be the growing concentration of English-speaking people in some areas. But it is not the only factor that explains this often unnoticed transformation: the ease of access to subtitled versions of TV series on the Internet, and the habit of watching subtitled films in other contexts such as film festivals or cinema forums, might help to understand why audiences seem attracted to the subtitled versions of films. In any case, while there may be many surmises, there is little data to confirm them. This article analyses the results of an empirical study thought to provide some information about the reception of subtitled films within the context of a cinema forum held on a weekly basis in a specific Spanish area. The overall purpose of the work is to shed some light on both the audience’s profile and its opinion about subtitling as an alternative way of watching foreign films in a dubbing country. The study is carried out through a survey that allows us to interpret the resulting conclusions from a sociological perspective.
50
Have, Iben. "The musicalized soundtracks of Armadillo. Emotional realism and real emotions." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 155–70. http://dx.doi.org/10.7146/se.v2i1.5196.
Full textAbstract:
“To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan. The article uses this headline as a framework for analyzing, comparing and discussing the film’s “musicalized” soundtracks on various media platforms (cinema, YouTube, television, DVD), and it argues that these soundtracks contribute to the viewer’s experience of emotional realism, as well as to an experience of the emotional reality – the soldiers’ or the viewer’s own. The political, journalistic and in particular aesthetic ambitions of producers and directors have contributed to developing Danish documentary films into a successful brand within the last decade. Using examples from the public reception of and debate on Armadillo, the article discusses how this development may have led to an increased emphasis on the emotional impact of musicalized soundtracks and a new premise for documentary reception.