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Journal articles on the topic 'Film stereotypes'
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Monakhova, Margarita Olegovna. "The Reflection of Ethno-Cultural Stereotypes in Film Art." Journal of Flm Arts and Film Studies 4, no. 1 (February 15, 2012): 114–18. http://dx.doi.org/10.17816/vgik41114-118.
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The article explores the principles and peculiarities of the cinematic language reflecting ethno-cultural stereotypes in recent Russian films. The diversity of expressive means used in modern Russian film art makes it possible to represent the ethno-cultural stereotype from different angles. Films that show visual stereotypes of the lifestyle in Poland creating a settled idea of Polish national identity are cited as an example.
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Trisnawati, Ririn Kurnia, Dian Adiarti, and Mia Fitria Agustina. "Gender stereotypes in Nancy Meyers� �The Intern� (2015): A study of film audience response." EduLite: Journal of English Education, Literature and Culture 6, no. 1 (February 28, 2021): 147. http://dx.doi.org/10.30659/e.6.1.147-164.
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Previous film studies focusing on gender stereotypes have been sufficiently conducted, yet what remains understudied is the study of film audience about dynamic gender stereotypes shown in one film. Conducting film audience study with the issue of dynamic gender stereotype allows discussions about audience�s perceptions, awareness and underlying knowledge of gender stereotypes. This study attempts to unravel responses collected from thirteen audience of Nancy Meyer�s �The Intern� (2015) and formulates two research objectives i.e. first, to discuss how the audience of �The Intern� perceive the dynamics of gender stereotype depicted in the film and, second, to examine the underlying insights of their perceptions. The incorporated theories are film audience study, serving also as methodological approach,�and the discourse of gender stereotype and its changing perspectives. The finding and discussion show that the audience of �The Intern� perceive the inclusion of gender stereotypes and its dynamic change in the film, and their perceptions are followed by several reasons and insights: the story-line of �The Intern� and the audience�s prior knowledge about gender stereotypes. Awareness and sensibility of gender stereotypes are also revealed after watching �The Intern�. Lastly, discussion about the intersection of the audience�s prior knowledge with the exposure about gender stereotype from various resources is also carried out.
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Doghudje, Roselyn Vona. "Balancing gender stereotypes in Nollywood: a consideration of Genevieve Nnaji’s Lionheart." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 83–97. http://dx.doi.org/10.4314/ejotmas.v7i1-2.6.
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The current increase in the protest for women’s right all over the world, amidst the resurgence of feminist critical thinking in mainstream culture, is giving film researchers a lot to reflect on. Based on previous researches, it can be deduced that very little progress has been made to correct the stereotypical portrayal of women in Nollywood films by both male and female producers. In order to examine the stereotypes and investigate the extent to these stereotypes reflect the social reality of both genders in real life, Lionheart, a movie produced by a veteran Nollywood actress, Genevieve Nnaji, with an average rating of 5.6/10 on IMDB (Internet Movie Database) and was nominated for an Oscar award was selected. Quantitative content analysis was applied and findings revealed that there was an effort by the producer to ‘demystify’ the power of men. The issues raised in the movie are topical and relevant to the feminist discourse on women’s representation in film and in the media generally. The movie also provides a way forward for gender-based discourse and serves as a point of reference for other female directors willing to interpret the role of women in a manner that is more accurate and truthfully reflective of their strengths and capacities. The study is anchored on stereotype content model (SCM).
Keywords: Gender stereotypes, Nollywood films, Lionheart, Feminist critical thinking, SCM
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (July 25, 2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.
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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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Lehane, Mike. "Film makers perpetuate mental illness stereotypes." Nursing Standard 15, no. 4 (October 11, 2000): 30. http://dx.doi.org/10.7748/ns.15.4.30.s56.
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Sosnowski, Adam. "Press - magazines - literature - film as the sources of stereotypes about seamen." Szczecińskie Roczniki Naukowe V, no. 3 (1991): 95–110. http://dx.doi.org/10.3750/stn/srn/t05/z3/06.
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Stankevičiūtė, Kristina. "Stereotyping Scandinavia in popular spy films: The image of the female." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 311–28. http://dx.doi.org/10.1386/jsca_00006_1.
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Stereotyping, though considered ‘politically incorrect’, is viewed by some as a culturally economical choice that helps us save energy by simplifying the process of perceiving the world and its people. Spy films, in turn, are often constructed from certain clichés that some viewers expect, while more sophisticated spectators find them discrediting. Yet intentional use of clichés, including national and cultural stereotypes, may serve the purpose of conscious criticism or cultural irony, as is often the case in spy film parodies or spoofs. Referring to the widespread spy narrative character typology embodied in James Bond films, the article considers the popular stereotype of the Scandinavian woman observed in twenty-first-century espionage films for wide audiences, focusing on the Hamilton and Kingsman series to examine the effects that serious or ironic use of the stereotype has on the representation of female characters.
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Mikhailina, Marina Yu, and Vadim Yu Mikhailin. "Evolution of educational milieu psychological safety conceptualizing in Soviet “school film”." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 2 (June 24, 2021): 190–94. http://dx.doi.org/10.18500/1819-7671-2021-21-2-190-194.
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The authors analyze the representations of school as pictured in Soviet films of 1930–1980s seen as a source for reconstruction of the notions concerning the safety of the educational milieu – self-generated as well as imposed by elites – that were characteristic of Soviet society. The discussion seems crucial for critical approach to those social stereotypes underlying modern conceptions of the educational milieu safety that were mostly shaped within the limits of the previous historical period. This material approached both from genetic and comparative perspectives allows to trace the dynamics of propagandistic dispositions in Soviet school film production; also it helps the authors to mark the exact historical moment when another propaganda campaign met the public’s expectations for “sincerely” working through the traumatic experience of growing up as based for the most part at the educational milieu. Appearing in early 1960s, the self-dependent genre of Soviet school film was gradually to become the main source for producing the persistent stereotypes of school experience as well as one of socially acceptable instruments for working through psychological trauma. The renewal of school film in modern Russia bases at the Soviet tradition: the conventions worked out within it are determinant for new films, as well as the stereotypes they transfer.
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Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (December 2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.
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What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.
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Fitch, John C. "Making a College Professor Film: A Case Study." Journal of Creative Communications 15, no. 1 (September 16, 2019): 90–105. http://dx.doi.org/10.1177/0973258619866353.
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Investigations on cinematic representations of higher education have sought to provide a deeper understanding of popular culture images and how they intersect with real-life academia. Moreover, such projects have examined how such mass communication texts may influence popular opinion surrounding colleges and universities. The existing literature on specific depictions of college professors in American films has explored a number of themes from various perspectives. Many scholars claim that such cinematic representations of higher education and faculty are negative and reinforce cultural stereotypes. Yet, little has been written about how filmmakers create such images. This article examines cinematic college professors from the viewpoint of the filmmaker by completing a case study of a recently produced college professor film and members of its creative team. Interviews with the screenwriter/director, production designer, and costume designer of a pseudonymously titled film investigates how the work of these film professionals was influenced by a number of factors, including their own experiences in higher education, their personal conceptions of college professors, previously viewed college-themed films, and existing stereotypes about professors.
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Wałachowska, Karolina, Konrad Janowski, and Małgorzata Tatala. "The Efficacy of Three Interventions Modifying Stereotypes and Prejudice Towards People with Schizophrenia." Polish Psychological Bulletin 40, no. 4 (January 1, 2009): 251–57. http://dx.doi.org/10.2478/s10059-009-0020-4.
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The Efficacy of Three Interventions Modifying Stereotypes and Prejudice Towards People with Schizophrenia Little is known about the efficacy of various interventions aimed at fighting stereotypes and prejudice towards people with schizophrenia. This study evaluated the efficacy of three interventions: film, meeting a person with schizophrenia, and educational presentation, in reducing stereotypes and prejudice towards people with schizophrenia. Three groups of students were assessed by the Stereotypes and Prejudice Questionnaire before, directly after, and one month after the intervention. A reduction in both stereotypes and prejudice was observed following the educational presentation, and a further decrease in the unfavorable attitudes was observed a month later. Watching the film was found effective in reducing prejudice, however it did not lower stereotypes. Meeting a person suffering from schizophrenia was found to minimize stereotypes but its effects on prejudice were relatively insignificant and temporary. The findings from this study showed that various types of intervention had diverse effects in reducing stereotypes and prejudice.
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Schwartz, Diane, Elfreda Blue, Mary McDonald, George Giuliani, Genevieve Weber, Holly Seirup, Sage Rose, Deborah Elkis‐Albuhoff, Jeffrey Rosenfeld, and Andrea Perkins. "Dispelling stereotypes: promoting disability equality through film." Disability & Society 25, no. 7 (November 19, 2010): 841–48. http://dx.doi.org/10.1080/09687599.2010.520898.
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Sutkutė, Rūta. "REPRESENTATION OF ISLAM AND MUSLIMS IN WESTERN FILMS: AN “IMAGINARY” MUSLIM COMMUNITY." EUREKA: Social and Humanities 4 (July 31, 2020): 25–40. http://dx.doi.org/10.21303/2504-5571.2020.001380.
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This article provides a textual and visual analysis of Hirsi Ali and van Gogh’s controversial short film Submission (2004) and Marc Forster’s The Kite Runner (2007). Emphasis is placed on rhetorical and plot strategies, aimed at reinforcing unproductive Orientalist stereotypes of Islam and Muslims. The aim of this analysis is to find out how Muslims and Islam are presented in Submission and The Kite Runner, based on E. Said's (1978) work “Orientalism” and to identify Theo van Gogh's assassination, influenced public attitudes towards Muslims. The following means are used to reach the aim: to analyze the concept of Orientalism and stereotypes, connections with the media and the influence of popular culture on their expression; to find out the role of the Muslim minority in the process of constructing social reality (stereotypes); to analyze how Muslims and Islam are presented in the films Submission and The Kite Runner. Summarizing the analysis of the film Submission, it should be noted, that the main character is supposedly portrayed as being oppressed by Islamic culture, who lived in complete isolation, thus reinforcing the negative attitudes and stereotypes in society towards Muslims, especially women. However, the subject of Submission, feminism or the oppression of women was never the main subject of discussion, on the contrary, it was Islamic radicalism, extremism and terrorism. Meanwhile, after analyzing the film The Kite Runner, it should be noted, that the plot reveals stereotypes about Islam and Muslims that exist in both Western and Eastern societies. Oriental characters are portrayed in the film as much lower in morality and values than, for example, Westerners. The film’s episodes emphasize the fanatical consequences of both terrorism and Islamism, and the relationship between the main characters reflects the orientalist culture of Afghanistan.
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Hall, Þorbjörg Daphne. "Can the Core of Icelanders be Found in the Wilderness?:." European Journal of Musicology 18, no. 1 (February 21, 2020): 57–72. http://dx.doi.org/10.5450/ejm.18.1.2019.57.
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This article investigates how Iceland is presented in Heima: A Film by Sigur Rós and how it relates to the issues of nationalism and national identity in Iceland. In this article stereotypes of the North and Iceland are introduced, and concerns regarding nature and nationalism are presented. The indie band Sigur Rós and the film are discussed, and the relationship between nature and music and their conjunction is analysed. The stereotypes of Icelandic national identity appearing in the film are examined and put in context with the ideas from the national romantic movement and its modern counterparts. This is likewise intertwined with an analysis of the attitudes towards nature conservation in the film. The findings show how the film can be understood as a contribution to nation building based on an “othering” process constructed on stereotypes and nationalism, which originates from both urban and foreign viewpoints.
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Choudhary, Mona. "The Bollywood Bureaucrat." Public Voices 4, no. 2 (January 19, 2017): 63. http://dx.doi.org/10.22140/pv.317.
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Film makers in India cash in on the negative stereotypes of the corrupt, incompetent and uncaring bureaucrat. The assault on the public servant in mainstream cinema is incessant and devastating. Most films feed on the negative and dysfunctional aspects of bureaucracy.
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Holohan, Conn. "Disturbing types: gender stereotypes and the short film." Short Film Studies 1, no. 2 (February 1, 2011): 287–90. http://dx.doi.org/10.1386/sfs.1.2.287_1.
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Ascárate, Richard John. "Latino Images in Film: Stereotypes, Subversion, and Resistance." Film Quarterly 57, no. 2 (December 2003): 57–58. http://dx.doi.org/10.1525/fq.2004.57.2.57.
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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.
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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity
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Parker, Alexandra. "The spatial stereotype: The representation and reception of urban films in Johannesburg." Urban Studies 55, no. 9 (May 9, 2017): 2057–72. http://dx.doi.org/10.1177/0042098017706885.
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Stereotypes are people or things categorised by general characteristics of the group based on a truth that is widely recognised and function to reduce ideas to a simpler form (Dyer, 1993). Not all stereotypes are pejorative but can be a form of othering of people (Bhabha, 1996) and come about through a friction with difference (Jameson, 1995). In Johannesburg, South Africa, there is a conflation of people and space that results in a form of spatial categorisation or stereotyping. Under the apartheid government the city’s spaces were divided by race and ethnicity and are currently shifting towards divisions of class and inequality deepening the fragmented post-apartheid conditions in the city. These spatial categories have been represented in films of Johannesburg and contribute to the construction of the city’s image but also construct images for particular neighbourhoods. In this paper I examine the use of space in film as a narrative device and explore the reception and understanding of Johannesburg’s spaces by its residents to illustrate the construction and reception of spatial stereotypes. The paper discusses three dominant spatial stereotypes of Johannesburg through key films and the reception of these films through quantitative and qualitative interviews conducted with residents in four locations (Chiawelo; CBD; Fordsburg and Melville) in Johannesburg. Stereotypes have negative consequences and these spatial stereotypes reflect the ‘city of extremes’ (Murray, 2011) but their use indicates a process of navigation and negotiation across differences in space and identity in the fragmented city of Johannesburg.
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Cuelenaere, Eduard, Gertjan Willems, and Stijn Joye. "Remaking identities and stereotypes: How film remakes transform and reinforce nationality, disability, and gender." European Journal of Cultural Studies 22, no. 5-6 (February 19, 2019): 613–29. http://dx.doi.org/10.1177/1367549418821850.
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When films are being remade, they undergo several transformations, including changes related to (the representation of) national, disability, and gender identities. By drawing on the case of the Flemish film Hasta La Vista and its Dutch remake Adios Amigos, this article critically investigates the (dis)similarities on these levels through the prism of the film remake. Both films are popular road trip movies dealing with the adventure of three friends with disabilities who overcome boundaries in multiple ways not only by figuratively (and almost literally) escaping their parents and their disabilities but also through traveling, exploring sexuality, and eventually by dying. Although the films deal with almost exactly the same themes, their interpretation and contextualization differ considerably. Our findings show that as a consequence of the localizing processes embedded in film remakes, subtexts which were ‘originally’ ingrained in the source text were ignored or even withheld in the newer version. As the involved filmmakers built on particular stereotypical visions and myths about these specific cultures and national identities, often with the purpose of recreating a socio-cultural context, such narrowed perceptions were occasionally subverted but also reconsolidated. Finally, we argue that, through the remake process, some ableist and patronizing representations of, respectively, disability and gender identities were subverted, while others were kept or even reinforced. Our results show that such transformations point toward specific socio-culturally defined disability and gender identities but also toward a shared and almost universally shaped disability and gender culture.
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Bonjour, Mini Mark. "Thuggee and Sati Revisited." Artha - Journal of Social Sciences 15, no. 3 (July 1, 2016): 21. http://dx.doi.org/10.12724/ajss.38.2.
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Films on Indian themes made by western filmmakers have often been ridden with stereotypes and clichés. The wave of Raj films that came out of British and American production companies in the years since India‟s independence have largely been nostalgia-driven, and they almost invariably end up exoticising the region. However, with regard to films made by the nonHollywood film company named Merchant-Ivory Productions, audiences had come to expect more sophisticated and nuanced treatments of themes drawn from Indian history. This paper examines one of their films, The Deceivers, which deals with the twin themes of Thuggee and Sati. The discussion of the film is set against the broader context of the literature and cinema spawned by Western interest in the Raj era. While it is certainly more aesthetically sophisticated than the Hollywood type of Raj films, The Deceivers nevertheless falls short of engaging with the complexities of 19th century India in any meaningful way and is especially blind to the tendency of colonial propaganda to criminalise entire ethnic groups. Such attempts at cross-cultural representation are nevertheless valuable from a pedagogic point of view in the specific context of postcolonial approaches in the humanities classrooms in our colleges.
Keywords: Colonial, Empire, Gender, Sati, Stereotypes, Thuggee
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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.
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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.
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Frey, David S. "Aristocrats, Gypsies, and Cowboys All: Film Stereotypes and Hungarian National Identity in the 1930s." Nationalities Papers 30, no. 3 (September 2002): 383–401. http://dx.doi.org/10.1080/0090599022000011688.
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Among social psychologists, there has long been a debate over the concept of the stereotype. Are stereotypes meant mainly for consumption by an in-group or are they designed by and for curious outsiders? Are they primarily individual or collective? Are they benign generalizations and categories that make it easier for individuals or groups to perceive and organize the world around them? Or are they insipid and unsustainable generalizations, based on false information, exaggeration, unfairly rigid conceptual categories, or even the observer's laziness? Do they beget understanding or prejudice? These questions, many of which were first raised by Walter Lippmann when he published Public Opinion in 1922, still polarize the psychological profession today. They also continue to confound politicians who wish to construct coherent, distinct, and vibrant identities for their nations.
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Sultana, Noreen. "PRIORITIES, CONCERNS AND EXPECTATIONS OF LOCAL YOUNG SPECTATORS REGARDING 21ST CENTURY FILM AND CINEMA." Advanced Humanities & Social Sciences 5 (2020): 5.1. http://dx.doi.org/10.21065/25205985.5.1.
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The aim of present paper is to investigate the psychological outcomes of 21st century Pakistani movies on viewers. The most important four outcomes are as following: (a) Violent behavior (b) Sensuality and Depression (c) Stereotypes (d) Misconception about Islam and Pakistani culture. By psychologically examining the theme of the film, we can take a look at the producer’s psychological methods and analyze the performance of the theme in the film. This paper is psychological analysis of five film themes and their carriage in productions. The films under analysis are Khuda Kay Liay (2007), Bol (2011), Bin Roye(2015), Malik (2016) Waar (2013). It is inferred from this study that these films have strong psychological impact on audience’s conscious and unconscious.
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Sultana, Noreen. "PSYCHOLOGICAL EFFECTS OF PAKISTANI FILMS ON SPECTATORS WITH SPECIAL REFERENCE TO THE 21ST CENTURY FILMS." Advanced Humanities & Social Sciences 5 (2020): 5.1. http://dx.doi.org/10.21065/25205986.5.1.
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The aim of present paper is to investigate the psychological outcomes of 21st century Pakistani movies on viewers. The most important four outcomes are as following: (a) Violent behavior (b) Sensuality and Depression (c) Stereotypes (d) Misconception about Islam and Pakistani culture. By psychologically examining the theme of the film, we can take a look at the producer’s psychological methods and analyze the performance of the theme in the film. This paper is psychological analysis of five film themes and their carriage in productions. The films under analysis are Khuda Kay Liay (2007), Bol (2011), Bin Roye(2015), Malik (2016) Waar (2013). It is inferred from this study that these films have strong psychological impact on audience’s conscious and unconscious
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Sutandio, Anton, and Sonny Angjaya. "THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 26, 2019): 81–103. http://dx.doi.org/10.33153/capture.v11i1.2665.
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This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform. Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.
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Byrne, Peter. "Why psychiatrists should watch films (or What has cinema ever done for psychiatry?)." Advances in Psychiatric Treatment 15, no. 4 (July 2009): 286–96. http://dx.doi.org/10.1192/apt.bp.107.005306.
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SummaryCinema is at once a powerful medium, art, entertainment, an industry and an instrument of social change; psychiatrists should neither ignore nor censor it. Representations of psychiatrists are mixed but psychiatric treatments are rarely portrayed positively. In this article, five rules of movie psychiatry are proposed, supported by over 370 films. Commercial and artistic pressures reduce verisimilitude in fictional and factual films, although many are useful to advance understanding of phenomenology, shared history and social contexts in psychiatry. Acknowledging some negative representations, three areas are explored where cinema gets it mostly right: addictions, bereavement and personality disorder. Although there are excellent representations of psychosis on film, film-makers have more often portrayed it violently – ultimately demonising people as psychokillers in more than 100 films cited. When people with mental illness are stigmatised through stereotypes, examining unwelcome depictions can uncover important truths. Psychiatrists' engagement with film will ensure professional and artistic gains.
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Chuck Tatum. "Latino Images in Film. Stereotypes, Subversion, Resistance (review)." Arizona Journal of Hispanic Cultural Studies 7, no. 1 (2003): 306–8. http://dx.doi.org/10.1353/hcs.2011.0153.
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Manzoor, Seema, Dua-e. Rehma, and Samina Rauf. "Analysis Of Gender Stereotypes In Movies." Pakistan Journal of Applied Social Sciences 4, no. 1 (September 8, 2016): 95–109. http://dx.doi.org/10.46568/pjass.v4i1.298.
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Structure of the society is the arrangement of various factors on the basis of traditions and ethics, and these values are transferred from generation to generation. The most important thing is that the pattern of the society should be balanced, which is obviously not practical in our society as this trend is seen in all aspects of our life. Media is a very important institution, yet it has not portrayed women in positive manner. If we see film medium, women are represented as sex object and commodity in a stereotypical roles. This under representation of women in movies created imbalance in the society, yet it also embeds a negative and inferior image of women in people’s mind. In this study, to highlight these issues library research and content analysis is used to analyze gender stereotype in movies because women are projected and used as commodity in movies which distorts their image.
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Wielde, Beth A., and David Schultz. "Wonks and Warriors: Depictions of Government Professionals in Popular Film." Public Voices 9, no. 2 (January 5, 2017): 61. http://dx.doi.org/10.22140/pv.217.
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The importance of studying public service portrayals in popular film lies in theimportance of popular culture itself. Popular culture defines generations, both creating and reflecting trends. It provides a window to worlds that may otherwise be a mystery. Popular film messages merge with other media and environmental factors to form a perceived reality for many (Kelly and Elliott 2000).This article examines the depiction of non-elected public servants in movies. It seeks to identify how these individuals are depicted in film and to determine if there are any specific stereotypes or patterns that emerge regarding how Hollywood describes nonelected government officials. It will do this by undertaking a content analysis of a small sample of recent government-themed feature films, ones that have entered into the popular culture mainstream since the late 1980s and early 1990s, as well as certain earlier films that have entrenched themselves into the popular culture vernacular.
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Uzuegbunam, Chikezie E. "Oppositional gaze or revenge? A critical ideological analysis of foreignness and foreign identities in Nollywood feature films." Catalan Journal of Communication & Cultural Studies 13, no. 1 (April 1, 2021): 121–39. http://dx.doi.org/10.1386/cjcs_00042_1.
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The media, including popular media such as music and films, often generate conversations about different spectrums of society. Due to an overabundance of imagery and sounds from the media, including television, film, advertising, social media and the internet, audiences are constantly bombarded with stereotypes and ideologies about other races and identities. As an exponentially growing popular culture industry, Nollywood – the Nigerian movie industry – positions itself as a source of knowledge and popular discourse about issues emanating from the continent and other places. With this growth, Nollywood seems to have been given a spot in the political circle of identity politics, giving it the power to represent the ‘Others’. This study interrogates the theme of identity construction in African films by focusing on the ways in which some select Nollywood films of the early and late 2000s and early 2010s frame and construct foreign races and foreign societies, using critical ideological analysis and the framework of critical race theory. Representations and portrayals of difference in the analysed movies could be serving some ‘revenge’ of sorts, transgressing age-long representations of Black people in Blaxploitation films. The multiplex representations as seen in the analyses serve the primary purpose of such stereotypes: to reproduce and to reaffirm prejudices that over time become naturalized and normalized. The study thematically specifies the significant use of labels, stereotypes and certain orthodoxies that aim to frame and characterize foreign societies in popular Nigerian films and suggests some broader implications of the findings.
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Kubeisy, Sumaya, and Bradley C. Freeman. "Bridging or Widening the Gap? Narrative Discourses of the West and Westerners in Jordan’s My American Neighbor Television Program." Contemporary Review of the Middle East 7, no. 4 (August 23, 2020): 431–45. http://dx.doi.org/10.1177/2347798920939840.
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Media researchers have often examined how film and television can have an impact on audiences. Media have various effects on audience members. When it comes to representing ‘the other’, the media often rely on stereotypes. Research has shown that ethnic Arabs are under-represented in US film and television, and their depictions are distorted with stereotypical portrayals. The current study joins the discussion on ‘media representation’ (in this case, informed by the construct of Occidentalism) by conducting a qualitative, thematic, content analysis (informed by narrative analysis, both socio-linguistic and socio-cultural) of the Jordanian television show My American Neighbor. Stereotypes can be both positive and negative, and they are often used by media storytellers regardless of their background or location in the World.
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Schiff, Rebecca Adler. "The Roma and documentary film: Considerations for collection development." Journal of Librarianship and Information Science 51, no. 4 (February 21, 2018): 1022–32. http://dx.doi.org/10.1177/0961000618759592.
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This paper explores the issues and criteria involved in developing a creditable documentary film collection about the Romani people for an academic library. Throughout their history, the Roma, or Gypsies, have dealt with biased, romanticized versions of their story, perpetuated by stereotypes found in legend, literature, song, and film. The expectation in the present undertaking is that the evidence coming from documentary films provides an effective antidote for misrepresentations. The paper reviews pertinent literature, suggests a selection process, and furnishes commentaries on individual titles as they relate to a framework based on the Romani historical and geographical narrative. A critical lens, namely, an awareness of the misrepresentations that abound in all media, is recommended as the instrument through which the films should be viewed. It is this dual approach – applying a historical framework and a critical lens – that can offer librarians a foundation upon which to build and grow a well-balanced collection.
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Krems, Jaimie Arona, Ahra Ko, Jordan W. Moon, and Michael E. W. Varnum. "Lay Beliefs About Gender and Sexual Behavior: First Evidence for a Pervasive, Robust (but Seemingly Unfounded) Stereotype." Psychological Science 32, no. 6 (May 4, 2021): 871–89. http://dx.doi.org/10.1177/0956797620983829.
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Although casual sex is increasingly socially acceptable, negative stereotypes toward women who pursue casual sex remain pervasive. For example, a common trope in television, film, and other media is that women who engage in casual sex have low self-esteem. Despite robust work on prejudice against women who engage in casual sex, little empirical work has focused on the lay theories individuals hold about them. Across six experiments with U.S. adults ( N = 1,469), we found that both men and women stereotype women (but not men) who engage in casual sex as having low self-esteem. This stereotype is held explicitly and semi-implicitly; is not driven by individual differences in religiosity, conservatism, or sexism; and is mediated by inferences that women who have casual sex are unsatisfied with their mating strategy—yet the stereotype persists when women are explicitly described as choosing to have casual sex. Finally, the stereotype appears to be unfounded; across experiments, the same participants’ sexual behavior was not significantly correlated with their self-esteem.
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LUCAS, PETER. "Communication, stereotypes and dignity: The inadequacy of the liberal case against censorship." Empedocles: European Journal for the Philosophy of Communication 2, no. 2 (December 8, 2011): 255–65. http://dx.doi.org/10.1386/ejpc.2.2.255_1.
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J. S. Mill's case against censorship rests on a conception of relevant communications as truth apt. If the communication is true, everyone benefits from the opportunity to exchange error for truth. If it is false, we benefit from the livelier impression truth makes when it collides with error. This classical liberal model is not however adequate for today's world. In particular, it is inadequate for dealing with the problem of stereotyping. Much contemporary communication is not truth apt. Advertising and journalism, film and fashion portray images that can be neither verified nor refuted. Moreover, where these images do bear some relation to reality, any truth they may possess is not necessarily beneficial. Cultural stereotypes, for example, can be harmful even when true, to the extent that they reflect a distorted reality (the realities of life under conditions of injustice and exploitation). Exposure to such stereotypes affects a community's self-conception. The resulting harms may be direct or indirect. Indirect harm is done when a stereotype affects a community's capacity for self-determination, perpetuating existing inequalities by restricting the options its members understand to be available to them. Direct harm is done when a stereotype induces a distorted self-conception. Pace Kant, human dignity is not purely a function of our capacity to be authors of a universal moral law. It also resides in our capacity to achieve an undistorted self-conception. Thus true communications that reflect a distorted historical reality may threaten our dignity, through their effects on our self-conception, independent of any consequences they may have for self-determining action.
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PAWŁOWSKA, JOANNA. "GENDER STEREOTYPES PRESENTED IN POPULAR CHILDREN’S FAIRY TALES." Society Register 5, no. 2 (May 15, 2021): 155–70. http://dx.doi.org/10.14746/sr.2021.5.2.10.
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The article aims to contribute to the discussion on gender stereotypes in stories for children by mapping gender stereotypes in traditional fairy tales. The article presents fairy tales' value in children’s education and indicates potential dangers in traditional cultural transmissions, paying special attention to gender stereotypes. A selection of texts was analyzed in terms of their stereotypical gender portrayals. The methodological framework represents an interpretative paradigm in social sciences, using a qualitative method of analysis. The texts were purposely selected, and the most popular fairy tales were chosen: Cinderella, Snow White and Sleeping Beauty, which despite the passing of time, are still popular, widely read and also used in film adaptations. It was shown that in all analyzed fairy tales, there was a stereotypical division of roles according to gender. The article also presents possible ways to counteract gender stereotypes. A limitation of the article is that the analysis is limited to three fairy tales only, but the overarching value raises awareness of gender stereotypes in fairy tales for children.
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Surahman, Sigit, Meliana Pratiwi, and Annisarizki Annisarizki. "Cross Culture Generasi Milenial dalam Film “My Generation”." REKAM 15, no. 1 (September 26, 2019): 13–32. http://dx.doi.org/10.24821/rekam.v15i1.2576.
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This research aims to explore the signs that represent the millennial generation cross culture in the film My Generation (2017) by Upi Avianto. This film, shows the dynamics of life for generations of millennials in the era of technological development. Unlike teen films in general, this film dares to portray the reality of a teenager's life from the results of two years of director research through social media. So that the film portrays the cross-culture of the millennial generation with what is positive and negative. With Roland Barthes's semiotic analysis method and qualitative descriptive approach and constructivist paradigm. The theory used by researchers is the Representation theory of Stuart Hall. From this research shows the millennial cross culture is represented by various scenes that describe habits and characters that are different from the previous generation. Millennial generation's cross culture is shown in differences in social norms which do not care about politeness values, millennial generation stereotypes, differences in life perspectives that tend to be free or liberal, broader, open and courageous to show differences, and a strong and optimistic mindset.
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Blanco-Molina, Mauricio, and Sacramento Pinazo-Hernandis. "INFORMACIÓN Y EXPOSICIÓN INDIRECTA PARA REDUCIR ESTEREOTIPOS HACIA EL ENVEJECIMIENTO." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 1, no. 2 (October 28, 2016): 367. http://dx.doi.org/10.17060/ijodaep.2016.n2.v1.707.
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Abstract.Purpose: The Image that society has about older people has been built on a base of stereotypes, far away from reality. This social image will have a determinant influence on attitudes and behaviors from all those people related with them, including health care professionals. It should be mandatory to eradicate negative stereotypes against aging during university formation, and in this practice get sensitive professionals who will attend people in their final state of life. Method: the treatment “Information plus indirect experience” was set throw the viewing of the short film “Como un Rolling” (Castilla, 2013). This film exposes the concept of active aging, and had the purpose to become the way of changing stereotype toward aging and older people in university students. Using a non-probabilistic sampling 187 students were selected (age: M=21.88, SD=4.15) from Spain (N= 112) and Costa Rica (N=75). The “Diferencial Semántico del Envejecimiento” (Villar, 1997) and the CENVE scale (Blanca, Sánchez, Tríanes, 2005) were applied before and after watching the film. t test for related samples and correlation analysis on the variables studied were run. Furthermore, the concept of active aging was qualitatively analyzed before and after viewing the documentary. Results: Higher values were identified at the level of negative stereotypes before viewing the documentary, significant differences between pre and post measures of scales were found, identifying a decrease of negative stereotypes after exposure and more positive views of aging. No significant differences between countries were found. Conclusions: It is possible to sensitize young people and get changes in stereotypes from a combined program that mixed information and experience.Keywords: Stereotypes, Old People, Aging, University Students.Resumen.Propósito:La imagen que la sociedad tiene de las personas mayores se ha construido sobre una base de estereotipos, en su mayoría lejanos a la realidad. Esta imagen social tendrá una influencia determinante sobre las actitudes y comportamientos de todos aquellos que de una forma u otra se relacionan con ellos, incluidos aquellos que van a trabajar en tareas de cuidado. Durante la formación universitaria, es necesario disminuir los estereotipos negativos hacia la vejez y el envejecimiento de los futuros profesionales que atenderán a las personas al final de su ciclo vital. Método: La intervención “Información más experiencia indirecta” a partir del visionado de un corto-documental “Como un Rolling” (dir: P. Castilla, 2013) que expone el concepto de envejecimiento activo y muestra diferentes ejemplos, iba dirigida a lograr un cambio en los estereotipos hacia la vejez y el envejecimiento en estudiantes universitarios. Mediante un muestreo no probabilístico se seleccionaron 187 estudiantes (Edad: M=21.88, DE=4.15) de España (N= 112) y de Costa Rica (N=75). Se aplicó el Diferencial Semántico del Envejecimiento (Villar, 1997) y el Cuestionario CENVE (Blanca, Sánchez, Tríanes, 2005) antes y después del visionado. Se realizaron pruebas t para muestras relacionadas y análisis de correlaciones sobre las variables estudiadas. Además, se analizó cualitativamente el concepto de envejecimiento activo antes y después del visionado del documental. Resultados: Se identificaron valores altos en el nivel de estereotipos negativos antes del visionado del documental. Se encontraron diferencias significativas entre las medidas pre y post de las escalas, identificando una disminución de los estereotipos negativos tras la exposición y unas visiones más positivas de la vejez y envejecimiento. No se encontraron diferencias significativas entre las muestras de los países analizados. Conclusiones: Es posible sensibilizar a la población joven y conseguir cambios en los estereotipos a partir de un programa combinado que aúne información y experiencia.Palabras clave: Estereotipos, Envejecimiento, Vejez, Estudiantes Universitarios
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Nadolu, Delia. "Can Meta-Stereotyping Account for Unwarranted Negative Reception of the UK TV Documentary “The Romanians are Coming”?" European Review Of Applied Sociology 13, no. 20 (June 1, 2020): 24–32. http://dx.doi.org/10.1515/eras-2020-0003.
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AbstractIn February 2015 the UK TV station Channel 4 started screening James Bluemel’s series “The Romanians Are Coming”, a three-part documentary film about “the lives of poor Romanian people who seek work in Great Britain, seen through the eyes of the British people”. This documentary provoked strong opposition from some Romanian politicians and mass media outlets. In the UK the reaction was a contrasting one: sympathy, understanding and compassion. We showed the series to three Romanian university classes in 2017-18 and the students largely had a negative reaction similar to that of those Romanian commentators. A standard content analysis of the film, however, suggests that it gives a positive image of Romanian immigrants in the UK. Despite this, our audiences tended to form a negative perception of the film. We attribute this disparity to the wording of its title activating two classical stereotypes: that Romanians are often Roma, and that poor people are a source of social problems. The film as a whole in fact projects an opposite message, but once these stereotypes have been activated the content is automatically perceived as negative.
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Wahid, Sri Wijayati, and Rhesa Zuhriya Briyan Pratiwi. "The Construction of Tionghoa Ethnic Stereotype in Ngenest Movie." JURNAL ILMU KOMUNIKASI, no. 2 (December 10, 2018): 54–66. http://dx.doi.org/10.33005/jkom.v0i2.24.
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Media, basically give a role in constructing second hand reality for audiences. Referring to the debates and stereotypes about ethnic and tribal issues, media became one of the contributing aspects. The emergence of stereotypes on the basis of generalization of assumption in a particular group tends to rise some mistakes, even on radically, it will lead into a conflict. Therefore, this research want to describe how the stereotypical construction of Chinese or Tionghoa ethnic in the packaging of comedy movie today, entitled Ngenest, by Ernest Prakasa. This light comedy genre film was also created and starred by Ernest Prakasa, recounted his life as an indigenous Tionghoa descendant who had to deal with social stereotypes of his Chinese. Through the analysis of critical discourse of Teun A. Van Dijk, this research give further analyzes in how the construction of reality towards Tionghoa ethnic stereotypes that raised in three basic aspects, i.e: text, cognitive, and social analysis.
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Chusna, Inayatul. "Stereotip Dunia Ketiga dalam Film Bride and Prejudice." Buletin Al-Turas 22, no. 1 (January 31, 2016): 65–87. http://dx.doi.org/10.15408/bat.v22i1.3013.
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Abstract The focus of this research is to expose the representation of the Third World (India) in a transnational film, Bride and Prejudice. By using the theory of representation and some concepts in postcolonial studies, the representation of the Third World are revealed through the characters of the First and Third World and their relationship. The representation of the Third World that creates center and peripheral, and the image of Center as everything confirm the stereotypical representation of the Third World. The love story of the film between the First and Third World characters actually creates prejudices which once again reflecting the First and Third World stereotypes. The genre of the film, the transnational genre, expected to give space for the Third World to be visualized equal cannot remove the stereotypical representation. Bride and Prejudice becomes a transnational film that presents colonial voices. Keywords: Postcolonialism, Representation, First and Third World, Stereotype. ------- Abstrak Fokus penelitian ini menjelaskan tentang representasi dunia ketiga (India) dalam sebuah film transnasional, Bride dan Prejudice. Dengan menggunakan teori representasi dan beberapa konsep kajian poskolonial, representasi dunia ketiga digambarkan melalui hubungan dunia pertama dan ketiga para tokoh film tersebut. Representasi dunia ketiga yang menyebabkan terjadinya pusat dan pinggiran, dan penggambaran pusat sebagai pengokohan stereotip representasi dunia ketiga. Cerita cinta dalam film tersebut, antara para tokoh dunia pertama dan ketigapada dasarnya menimbulkan praduga yang menggambarkan stereotipe dunia pertama dan ketiga. Genre film ini, genre transnasional, diharapkan dapat memberikan ruang bagi dunia ketiga mengenai kesetaraan tidak dapat menghapus stereotip terhadapnya. Bride dan Prejudice menjadi sebuah film transnasional yang merepresentasikan suara-suara kolonial. Katakunci: poskolonial, representasi, dunia pertama dan ketiga, stereotip.
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Rohimi, Primi. "Islam in the Digital Films Expose the Good Sides of Muslims." KnE Social Sciences 2, no. 4 (June 13, 2017): 354. http://dx.doi.org/10.18502/kss.v2i4.908.
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Film studies mostly show Islam in negative representation. From streaming film website, we can easily find many films that show Muslims stories. For example, Children of Heaven, Le Grand Voyage, My Name is Khan, etc. Those films do not seem to show Muslims as terrorist. They show Muslims life in various cultures and stories. The problem is what good sides of Muslims in the films can counter the negative stereotypes of Muslims in Hollywood images. Using Critical Discourse Analysis, this research exposes the good sides of Muslims in films. There is an Islamic world view in Children of Heaven. Some things may seem bad but then turn out to be good in the long run. My Name is Khan has a very important message about Islam. That is Islam is a peace and love religion. Le Grand Voyage shows a signification generation gap of Muslims. They are secular and devout Muslims. But they can communicate moderately.
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Papazafeiropoulou, Sofia-Alexia. "Modernityscapes, ‘Sweet Consumer Nightmares’ and Clumsy Chauffeurines." Film Studies 21, no. 1 (November 2019): 22–37. http://dx.doi.org/10.7227/fs.21.0003.
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This article examines the role of automobility in the Greek cinema of the 1960s. It focuses on the representations of the automobile’s domestication in selected films. Particular attention is paid to the technical and symbolic reconstruction of space and the redefinition of socioeconomic and gender stereotypes. The article’s conclusions concern the role of the automobile in a specific period within Greek film history, as well as its place within cinema in general and in the theoretical and material construction of what is perceived as ‘modernity’.
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Van den Bulck, Jan. "SIDESHOW BOBBY IMAGES OF THE POLICE IN FLEMISH FILM AND TELEVISION." Public Voices 4, no. 2 (January 19, 2017): 39. http://dx.doi.org/10.22140/pv.315.
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Images of Law Enforcement in Flanders have actually moved away from culture-specific stereotypes, which may have been typical of Flemish storytelling or myth, towards storylines and ways of telling the story which resemble the mainstream of what is internationally distributed.
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Macedo, Isabel. "Youth and portuguese cinema: the (de)colonisation of the imaginary?" Comunicação e Sociedade 29 (June 27, 2016): 291–309. http://dx.doi.org/10.17231/comsoc.29(2016).2421.
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The narratives constructed and disseminated over various decades about the colonial past have profoundly influenced the relations established between the Portuguese population and ‘immigrants’. The stereotypes conveyed are deeply embedded in the social memory of the Portuguese, influencing intercultural relations. In order to analyse the perceptions of young people about intercultural relations, we conducted focus groups with secondary school students involving the viewing of the film Li ké Terra (2010) and subsequent group discussion. In this article we present the results of the focus groups in articulation with the narrative of the film. The results demonstrate the persistence of certain negative stereotypes concerning the populations descendent from African immigrants, indicating that the memory of the colonial past significantly influences the imaginary and social identity of young people, also contributing to this youth perceiving young black people born in Portugal as immigrants. We argue that documentary and film literacy can play a central role in the reflexive and critical transformation of auto- and hetero-representations of young people, contributing to the decolonisation of the national imaginary.
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Giroux, Henry. "Pulp Fiction and the Culture of Violence." Harvard Educational Review 65, no. 2 (July 1, 1995): 299–315. http://dx.doi.org/10.17763/haer.65.2.4032133560105811.
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Exploring the intersection of entertainment, politics, and pedagogy, Henry Giroux analyzes some recent films as popular cultural texts, arguing that the cinematic violence and racist stereotypes portrayed are inextricably linked to what has been called the rising culture of violence in the United States. Offering a schematic definition of different representations of violence in film, particularly focusing on what he refers to as the "hyper-real" violence of Pulp Fiction, Giroux challenges educators to engage critically the pedagogical and political implications of popular culture with students and others.
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Summerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly 58, no. 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.
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Abstract In her vividly textured, complicated, and passionate film, beDevil, Australian Aboriginal artist and filmmaker Tracey Moffatt avoids easy stereotypes of victims and oppressors. She not only inspects some of the repressed stories of indigenous Australians, but also looks at the bewildered, bedeviled ways in which non-indigenous and indigenous Australians live with each other. Moffatt draws on all aspects of her artistic practice in this feature-length film.
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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.
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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.
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Vásquez-Guarnizo, Jhonatan, Maribel Chía-Ríos, and Mairon Felipe Tobar-Gómez. "EFL Students’ perceptions on Gender Stereotypes through their Narratives." GIST – Education and Learning Research Journal 21 (December 21, 2020): 141–66. http://dx.doi.org/10.26817/16925777.836.
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This article reports a case study conducted with twelve students from the Modern/Foreign Languages program at a public university in Colombia. It sought to unveil EFL Student’s perceptions on Gender Stereotypes through three different moments. At first, students expressed their thoughts after being exposed to a film. Then, their point of views were heard through the exposure of some before/now photographs; and lastly, they provided their insights through their own artwork. Data was gathered through focus group interviews, field notes and students’ artifacts. Findings showed that students’ perceptions on gender stereotypes differ from their past generations and the way they see their future have made their minds change over the time.
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Lopes, Rafael De Figueiredo. "A AMAZÔNIA DE TAINÁ: UMA ANÁLISE SOBRE A REPRODUÇÃO DE CLICHÊS CULTURAIS NO CINEMA INFANTO-JUVENIL." Espaço Ameríndio 10, no. 1 (June 30, 2016): 145. http://dx.doi.org/10.22456/1982-6524.58713.
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Este artigo analisa como a Amazônia é representada no filme “Tainá – Uma aventura na Amazônia” (2001). O objetivo é verificar se a obra citada está apoiada no reforço de estereótipos regionais e clichês culturais. Como embasamento teórico, optou-se por seguir o pensamento complexo de Edgar Morin, em diálogo com a ideia de “invenção da Amazônia”, trabalhada por Neide Gondim, e com as noções trabalhadas em “A Sociedade do Espetáculo”, por Guy Debord. O trabalho foi elaborado a partir de pesquisas bibliográficas e da observação do filme em questão. Conforme a análise realizada, foi possível constatar que a região é representada de forma exótica e seus personagens reforçam estereótipos cristalizados pelo senso comum. A bandeira da sustentabilidade e da preservação ambiental serve como um discurso superficial para justificar a proposta ecológica do filme.
Abstract
This paper examines how the Amazon is represented in the film Taina - An adventure in the Amazon (2001). The aim is to check that the aforementioned work is supported in strengthening stereotypes regional and cultural pastiche. As theoretical basis opted for Edgar Morin in dialogue with the idea of the Invention of the Amazon, crafted by Neide Gondim and The Society of the Spectacle by Guy Debord. The work was developed from literature searches and empirical observation of the film in question. According to the analysis, it was found that the region is represented exotically and his characters reinforce stereotypes crystallized by common sense. The flag of sustainability and environmental protection serves only as a superficial speech to justify the ecological proposal of the movie.
Keywords: cinema; indian; Amazon; cultural pastiche.