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Journal articles on the topic 'Film-Thriller'
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1
Pratiwi, Mulyani, Yoki Yusanto, and Husnan Nurjuman. "Konstruksi Maskulinitas Perempuan Melawan Tindak Kekerasan pada Film Thriller." KOMUNIKA 8, no. 2 (2021): 138–49. http://dx.doi.org/10.22236/komunika.v8i1.5670.
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Di tengah konstruksi yang berlangsung di masyarakat tentang perempuan sebagai makhluk yang indah dengan karakter lemah lembut, manja, dan situasi memburuknya berbagai tindak kekerasan dengan memposisikan perempuan sebagai korban, Film Marlina Si Pembunuh Dalam Empat Babak justru hadir dengan sebuah konstruksi tentang maskulinitas perempuan. Tulisan ini menggambarkan suatu riset yang bertujuan untuk mengetahui konstruksi maskulinitas perempuan dalam melawan tindak kekerasan terhadap perempuan. Penelitian tersebut merupakan suatu analisis semiotika terhadap berbagai adegan dan dialog dalam film Marlina Si Pembunuh Dalam Empat Babak karya Mouly Surya dengan pendekatan kualitatif yang kemudian dibedah dengan analisis yang dilandasi teori Konstruksi Sosial Realita pemikiran Peter L. Berger dan Thomas Luckmann. Kajian dalam penelitian ini juga menghubungkan antara proses konstruksi realitas yang terjadi melalui film ini dengan fenoemena maraknya tindak kekerasan yang terjadi pada perempuan. Hasil penelitian yang dapat diidentifikasi antara lain 1) Film Marlina Si Pembunuh Dalam Empat Babak telah mengkonstruksi maskulinitas perempuan dengan beberapa karakter, antara lain a) bersikap tenang, b) mandiri, c) keberanian, d) sedikit bicara, e) berpikir praktis dan simpel, f) woman power. 2) Maskulintas Perempuan sebagai realitas objektif yang dimunculkan dalam film Marlina Si Pembunuh Dalam Empat Babak merupakan bagian dari suatu proses eksternalisasi sebagai bagian dari Konstruksi realitas. Eksternalisasi berupa interaksi sutradara dan pembuat film dengan realitas a) gagasan kesetaraan gender, b) fenomena kekerasan terhadap perempuan, c) konsep maskulinitias. 3) Konstruksi maskulinitas perempuan pada film Marlina Si Pembunuh Dalam Empat Babak merupakan suatu konstruksi yang mencoba menghapus konstruksi sebelumnya tentang perempuan sebagai makhluk yang lemah.
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Bernstein, Matthew H. "The Lives of Others: Matthew H. Bernstein on an Emotive Surveillance Thriller Set in Communist East Germany." Film Quarterly 61, no. 1 (2007): 30–36. http://dx.doi.org/10.1525/fq.2007.61.1.30.
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ABSTRACT This essay explores the film allusions, plot turns, hierarchies of knowledge, and most of all the multiple ironies that contribute to the extraordinary impact of Florian Henckel von Donnersmarck's surveillance thriller set in Communist East Germany.
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Castrillo, Pablo. "Towards a narrative definition of the American political thriller film." Communication & Society 28, no. 4 (2015): 109–23. http://dx.doi.org/10.15581/003.28.4.109-123.
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Clavin, Keith. "Narrating risk: the financial thriller film during the U.S. recession." Textual Practice 31, no. 3 (2017): 477–90. http://dx.doi.org/10.1080/0950236x.2017.1294893.
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Ihidero, Victor Osae. "Terror thrillers and tradition: a postcolonial reading of selected African cinema." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 153–68. http://dx.doi.org/10.4314/ejotmas.v7i1-2.10.
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Nigeria, Kenya and Somalia are few of the countries in Africa faced with terrorism and militancy. The rise and expansion of terrorist groups such as Al-Shabaab, Boko Haram, the Niger-Delta Volunteer Force, the Islamic State West Africa Province (ISWAP) and recently, the Avengers, has risen to vent terror on the peoples of Nigeria, Kenya and Somalia. Whilst each of these countries has its own distinct challenges that led to the formation of such terrorist groups, the emergence of terrorism in Nigeria remains complex. One of the ways an explicit explanation has been given to these complexes in Nigeria is through thriller fiction. Nollywood as well as other film industries in Africa has produced several thriller fictions that attempt to explicate the reasons behind militancy and terrorism in Africa. October 1 and Eye in the Sky are two examples of African cinema that have attempted to film the recent rise of terrorism in Nigeria and Kenya. Within the lens of October 1, terrorism in Nigeria, and by extension Africa, is rooted on ethnic and religious divide fuelled by external contact with other cultures; in this case, the culture of imperial England. This study, using the premise of postcolonial reading, examined Kunle Afolayan's award winning terror thriller, October 1 and attempted to bring out the powercultural interplay that bred terrorism in Nigeria. The study found out that the ideology of Boko Haram ("Western education is a sin") terrorist group, as bad as it seems, is a postcolonial stance against [neo]colonialism. However, the ideology lost its steam because it failed to reassert the Nigerian humanity or show any humanist tendencies to reclaiming the African glorious past.
 Keywords: Terror thriller, Traditionality, African cinema, Postcoloniality, Terrorism
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Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays." Journal of Screenwriting 11, no. 2 (2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.
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The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
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Wilson, Rob. "Snowpiercer as Anthropoetics." boundary 2 46, no. 3 (2019): 199–218. http://dx.doi.org/10.1215/01903659-7614219.
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Crazed with extremity of affect, thriller action, and a cosmopolitical style as befits the Korean-global blockbuster mode of auteur production, Bong Joon-ho’s 2013 film Snowpiercer also prods its audience to confront looming conditions of global warming, ecological disequilibrium, class and resource warfare, trans-species bonding, and the planetary horizon of the Anthropocene.
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Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.
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Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.
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Schäfer, Horst. "„Das Kino heißt jetzt Tengelmann“. Kino-Nostalgie im Film – Ein Essay." Medienwelten – Zeitschrift für Medienpädagogik, no. 10 (March 5, 2019): 107–16. http://dx.doi.org/10.13141/zfm.2019-10.3171.
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Neben seinem Gebrauchswert als Ware impliziert das Medium Film künstlerische und kulturelle Aspekte. Das trifft gleichermaßen für das Kino zu; es ist seit seinen Anfängen Teil der Filmkultur. In unzähligen Filmen werden die Geschichte und Gegenwart des Kinos selbst zum Sujet: als Schauplatz des Geschehens im Genrefilmen von der Love-Story bis hin zum Thriller. Oft sind es kinonostalgische Rückblicke auf die Kindheit oder Jugendzeit in strukturschwachen Regionen, in denen das Kino der Mittelpunkt des Ortes und ein beliebter Treffpunkt war.
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Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.
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While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.
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Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.
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Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then considered as un-German.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.
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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Yustiana, Melia, and Ahmad Junaedi. "Representasi Feminisme dalam Film Marlina si Pembunuh dalam Empat Babak (Analisis Semiotika Roland Barthes)." Koneksi 3, no. 1 (2019): 118. http://dx.doi.org/10.24912/kn.v3i1.6154.
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Tujuan dari penelitian ini adalah menggambarkan nilai feminisme yang ada pada tokoh Marlina dalam film Marlina Si Pembunuh Dalam Empat Babak karya sutradara Mouly Surya. Penelitian ini menggunakan teori semiotika Roland Barthes dengan metode penelitian kualitatif deskriptif. Data-data yang dikumpulkan menggunakan teknik wawancara, observasi, dokumentasi, dan studi pustaka. Data penelitian dianalisis menggunakan teknik semiotika Roland Barthes. Menggunakan model signifikasi dua tahap yaitu denotasi, konotasi, dan mitos. Film Marlina sendiri bercerita tentang sosok permepuan yang ditinggal mati oleh suaminya dan menjadi korban pemerkosaan. Berbeda dari sosok perempuan di film pada umumnya. Hasil dari penelitian ini menunjukkan nilai feminisme yang diperlihatkan oleh tokoh utama Marlina pada film Marlina Si Pembunuh Dalam Empat Babak di mana Marlina adalah seorang perempuan yang kuat, tangguh, pemberani, dan dapat mengambil keputusannya sendiri untuk mencari keadilan. Film ini termasuk ke dalam kategori feminisme liberal karena Marlina yang diceritakan sebagai sosok perempuan yang mencari keadilan yang dimulai dari dirinya sendiri. Meskipun hanya sebatas film ber-genre drama dan thriller film ini memberi penjelasan tentang feminisme di masyarakat.
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Adamski, Tomasz. "Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir." Panoptikum, no. 20 (December 17, 2018): 110–18. http://dx.doi.org/10.26881/pan.2018.20.07.
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The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the Jordskott series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: Nordic noir, ecological thriller, horror or fairy tale.
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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.
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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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Lundberg, Anita, and Jasmin Thamima Peer. "Singapore ‘A Land Imagined’: Rising Seas, Land Reclamation and the Tropical Film-Noir City." eTropic: electronic journal of studies in the tropics 19, no. 2 (2020): 201–27. http://dx.doi.org/10.25120/etropic.19.2.2020.3739.
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Sea level rise due to climate change is predicted to be higher in the Tropics. As a low-lying, highly urbanised island near the equator, Singapore is taking an active response to this problem, including through large land reclamation projects. Incorporating both environmental and aesthetic elements, these projects also serve to bolster Singapore’s reputation as a shining example of a global city, a leading arts centre in Southeast Asia, and an economic hub to the world. This paper draws attention to urban development through an ethnographic reading of Yeo Siew Hua’s film A Land Imagined. A Singaporean tropical-noir mystery thriller, the film follows the rhizomatic path of a police investigator and his partner as they attempt to solve the disappearance of two foreign labourers. Interwoven within the film is a critique of Singapore’s treatment of migrant workers as it constructs the imaginary of the ‘Singapore Dream’.
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Selvaggi, Caterina. "Pulp Fiction. Il cinema postmoderno di Quentin Tarantino." PSICOBIETTIVO, no. 1 (March 2012): 151–72. http://dx.doi.org/10.3280/psob2012-001011.
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L'Autore analizza "Pulp Fiction" di Tarantino (1994) che č il cineasta piů significativo del gusto post-moderno; la relazione sistemica č protagonista del film e di altri dello stesso autore ed evidenzia come il singolo personaggio non abbia né coerenza né consistenza come individuo a se stante. Lo stile postmoderno č una delle forme culturali piů proprie della cosiddetta "globalizzazione", cioč delle progressiva interdipendenza dei sistemi nel pianeta. Il film racconta 5 storie intrecciate, mettendo in crisi l'ordine causale lineare a favore di una concezione di causalitŕ circolare espressa anche dalla regia stessa. Significativo č anche il gusto della citazione di altri testi e film di culture ed epoche diverse, proprio del postmoderno, e la mescolanza dei vari generi, dal thriller al western al musical ai cartoons" Ma questo gioco di citazioni per Tarantino esprime la condizione di intellegibilitŕ psicologica e culturale di un sistema ormai globale.
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Hidayah, Imas Rahmadhtul. "Representasi Social Engineering Dalam Tindak Kejahatan Dunia Maya (Analisis Semiotika Pada Film Firewall)." Tibanndaru : Jurnal Ilmu Perpustakaan dan Informasi 4, no. 1 (2020): 30. http://dx.doi.org/10.30742/tb.v4i1.905.
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In the current technological era, information is represented as a valuable asset for every individual or organization. There are three important components in information security such as ; (1) human; (2) process; and (3) technology. For perpetrators of cybercrime will look for gaps in the three components, not infrequently the human component becomes the target. From the above problems, researchers are interested in conducting studies by placing the film Firewall as research objects. The film is interesting because it's one of the action-thriller films with a cybercrime theme in banking. Through the film, researchers will examine the related representation of social engineering in cybercrime using the semiotic analysis method developed by Roland Barthes. The results show that social engineering representation is reflected in reverse social engineering based on social interaction. The implicit meaning in the Firewall film that is protecting company information must pay attention to the three components above because attacks from the inside are just as dangerous from outside attacks. Keywords: Social Engineering, Cyber World, Film
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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
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This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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PARK KWANGTAEK and Sang-Joon Bae. "A Study on Directing of the Portrait Photograph in the Film Poster: Focusing on Korean Thriller Film Released in 2016." Film Studies ll, no. 74 (2017): 155–94. http://dx.doi.org/10.17947/kfa..74.201712.006.
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Bettinson, Gary. "Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge." Film Studies 5, no. 1 (2004): 66–79. http://dx.doi.org/10.7227/fs.5.6.
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In Sean Penn‘s crime thriller The Pledge (2000), a crucial stage of story action is determined by a purely chance event. Neither prefigured by narrative signposting nor sutured into the films system of causation, the chance event both mystifies the fictive agents and distresses audience expectation. This essay explores the issues at stake in the films reliance on chance action, arguing that its usage represents a significant risk on the part of the dramaturgist. Moreover, the essay examines the alterations that the film makes in Friedrich Dürrenmatts source novel, and considers the ways in which these alterations radically transform the effects created by the story‘s chance event.
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Jungbum Shin. "A study of Jacques Audiard Film - Recreation of Genre by Repetition and Variation of Hitchcock Thriller -." Korean Journal of Art and Media 13, no. 3 (2014): 151–66. http://dx.doi.org/10.36726/cammp.2014.13.3.151.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
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Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Nowakowski, Jacek. "Filmowe dybuki: od żydowskiej legendy do polskiego koszmaru sennego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 231–47. http://dx.doi.org/10.14746/pspsl.2016.28.12.
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The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon by M. Wrona, drawing from the tradition of the national drama as defined by Wesele [The Wedding ] by S. Wyspiański and its screen adaptations and travestations.
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Betancourt, Manuel. "Cineando: The Master's House: Latin American Cinema's New Class-Warfare Genre." Film Quarterly 74, no. 1 (2020): 80–83. http://dx.doi.org/10.1525/fq.2020.74.1.80.
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While Bong Joon-ho's Parasite is the most well-known recent example of the home-invasion thriller, Latin American cinema has produced a number of other films—many made before Bong's Oscar-winning film premiered at the 2019 Cannes Film Festival—using similar settings to create urgent stories about economic inequality. Emerging during a period of political and economic instability, these films present the luxury home as a stand in for an antiseptic capitalist order and a dulled bourgeois complacency, providing its occupants with a sense of safety and comfort that is as arbitrary as it is illusory. These films may focus on the rift between economic classes, but they are equally driven by a desire to unravel and dismantle the systems that put the working class at the mercy of moneyed homeowners. FQ columnist Manuel Betancourt examines these trends in relation to two recent films: Mexico's Mano de obra (Workforce, 2019, dir. David Zonana) and Argentina's Marea alta (High Tide, 2020, dir. Verónica Chen).
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Krämer, Peter. "The politics of independence." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 89–103. http://dx.doi.org/10.33178/alpha.6.06.
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This article draws, among other things, on press clippings files and scripts found in various archives to reconstruct the complex production history, the marketing and the critical reception of the nuclear thriller The China Syndrome (1979). It shows that with this project, several politically motivated filmmakers, most notably Jane Fonda, who starred in the film and whose company IPC Films produced it, managed to inject their antinuclear stance into Hollywood entertainment. Helped by the accident at the Three Mile Island nuclear power plant two weeks into the film’s release, The China Syndrome gained a high profile in public debates about nuclear energy in the U.S. Jane Fonda, together with her then husband Tom Hayden, a founding member of the 1960s “New Left” who had entered mainstream politics in the California Democratic Party by the late 1970s, complemented her involvement in the film with activities aimed at grass roots mobilisation against nuclear power.
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Angelina, Ayu Mella, Zainal Abidin, and FX Yatno Karyadi. "FILM FIKSI TUAN X: Pendekatan Gestur sebagai Penanda Psikologi Tokoh Utama." Capture : Jurnal Seni Media Rekam 10, no. 1 (2018): 14. http://dx.doi.org/10.33153/capture.v10i1.2186.
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<p><em>The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of </em><em>Tuan X</em><em> film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gestures succeeded in becoming a signifier of the psychological reality of the character.</em></p><p><strong><em>Keywords</em></strong><em>: Film, Tuan X, </em><em>psychology</em><em>, signifier, and gesture</em></p>
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Steven, Mark. "Nietzsche on Film." Film-Philosophy 21, no. 1 (2017): 95–113. http://dx.doi.org/10.3366/film.2017.0033.
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This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style.
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Bettinson, Gary. "Staging and Performance in Sidney Lumet’s Deathtrap." Projections 15, no. 2 (2021): 30–55. http://dx.doi.org/10.3167/proj.2021.150202.
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This article provides a stylistic examination of Sidney Lumet’s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet’s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet’s stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses—and identifies the functions of—the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer’s cognitive uptake in substantive ways.
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Kallitsis, Phevos. "Fear, city, cinema: Urban regeneration as a mental trap in Alexis Alexiou’s film Istoria 52 (Tale 52) (2008)." Journal of Greek Media & Culture 6, no. 1 (2020): 51–69. http://dx.doi.org/10.1386/jgmc_00003_1.
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The article analyses Alexis Alexiou’s thriller Istoria 52 (Tale 52) (2008) in relation to media and academic discourses on fear and safety in the city. The film’s mise-en-scène does not include any shots of the city; however, the off-screen presence of the city is implied as the main driver for the main character’s actions. The film was produced at a time when Athens was undergoing a huge urban regeneration, which remained incomplete, leading to the unwilling coexistence of people from different walks of life. The article offers an analysis of the film’s narrative and, in particular, its spatial dimension, placing it in the context of the contemporaneous urban condition of the Greek capital, which is implied, but not shown, in the film. I argue that the main character’s disturbed mental state, which drives much of the action in the film, is not just a result of an unbalanced psychology. Rather, his desire for isolation and the hyper-protection of private space are reflections of a conservative view on fear and safety in the city, where urban regeneration strategies are simultaneously the solution and the cause of fear and insecurity, trapping people in an endless closed loop.
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Fraser, Ryan. "What’s Up, Tiger Lily? On Woody Allen and the Screen Translator’s Trojan Horse1." TTR 23, no. 1 (2010): 17–39. http://dx.doi.org/10.7202/044927ar.
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Woody Allen made his transition from stand-up comedy to cinema not as an author, but as a dialogue adaptor and film dubber. In 1966, he transformed a Japanese spy thriller into an American comedy by removing the film’s original dialogue and soundtracks, and then synchronizing a new dialogue of his own penning with the original film’s images. The result wasWhat’s Up, Tiger Lily?(1966), a film where Allen forces a cast of unwitting Japanese characters to act out one narrative visibly as they speak out another audibly. The film suggests a number of intriguing theoretical vectors for those interested in the subject of screen translation as a mode of intercultural appropriation (or misappropriation).What’s Up, Tiger Lily?,first of all, is a comedic exploration of authorial status in cinema. Indeed, the lesser status of “re-writer” becomes Allen’s cover, a way to avoid taking responsibility for a film that not only indulges in the most counterintuitive of experiments in the sound-image relationship, but also creates a particularly condescending form of Asian exploitation. Perhaps most important, however, is the perspective that the film offers on the voice-image antagonism implicit in any foreign-language dubbed film. Allen’s film may well offer a way for theory to transcend the aura of negativity with which academic discourse tends to surround the practice of dubbing, specifically by putting the latter to use in the service of intercultural parody. Michael Cronin’s latest work on globalization and Hollywood (2009) offers some helpful concepts for examining Allen’s film.
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Mayer, Sophie, and Selina Robertson. "“We Can Make Something Out of Anything”: Sally Potter's Thriller and London's History of Queer Feminist Film Spaces." Film Quarterly 70, no. 4 (2017): 39–46. http://dx.doi.org/10.1525/fq.2017.70.4.39.
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The National Trust, a British charity founded in 1895 that manages heritage buildings and open spaces for the UK, is now running daytime tours of London's queer club culture from 1918 to 1967 (when the Sexual Offences Act decriminalized private homosexual acts between men over the age of 21), ending at a version of the Caravan, a queer-friendly members' club from 1934 recreated from police records and court reports. Further, the queer activists Sexual Avengers marked 2017's LGBT History month by placing unofficial “Queer Heritage” blue plaques on London landmarks, including one that commemorated the 1988 action against Section 28 in which four lesbians rappelled into the second chamber of the UK Parliament, the House of Lords. The fiftieth anniversary of the passing of the Sexual Offences Act is being marked this summer by programming at the British Film Institute and other UK cultural institutions. With the National Trust also showcasing the portrait of the Lord Orlando, it is a time when queer histories are clearly entering the mainstream curatorial and cultural spaces and interpretations, making 2017 a productive time to offer a thick description of the complexities of labor, politics, and creative practice that may be smoothed over by this move. At the same time, current queer and feminist spaces in London (as elsewhere in the overdeveloped world) are encountering a recapitulation and intensification of the 1970s version of austerity and precarity that formed both the pretext and subtext of Potter's first film, Thriller (1979), making it an ideal text through which to examine these issues.
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Hutchings, Peter. "‘I'm the Girl He Wants to Kill’: The ‘Women in Peril’ Thriller in 1970s British Film and Television." Visual Culture in Britain 10, no. 1 (2009): 53–69. http://dx.doi.org/10.1080/14714780802686571.
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MAKSOUD, SIBELLE, KHALED TALEB, and DANY AZAR. "Four new Lower Barremian amber outcrops from Northern Lebanon." Palaeoentomology 2, no. 4 (2019): 333–39. http://dx.doi.org/10.11646/palaeoentomology.2.4.6.
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Amber is a fossilized plant resin that is preserved and modified throughout geological time (Langenheim, 1969). The complexity of the chemical composition of amber makes it unique considering the preservation of biological inclusions in their 3D pristine and minute details (Langenheim, 2003). Its age ranges between a few millions and 320 million years (mid-Carboniferous) (Sargent Bray & Anderson, 2009). During the past two to three decades, the discoveries worldwide of new amber outcrops have increased. There is no doubt that Jurassic Park in 1993, the famous American science fiction adventure thriller film directed by Steven Spielberg and based on the novel of the same name by Michael Crichton, played a noticeable role in making amber more popular. Before this date, interest in amber was mainly restricted to Baltic and Caribbean countries, though amber occurrence was known from several localities worldwide.
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Larsen, Susan. "National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleksei Balabanov." Slavic Review 62, no. 3 (2003): 491–511. http://dx.doi.org/10.2307/3185803.
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In this article, Susan Larsen argues that the plot lines, aesthetic choices and marketing strategies of the four most commercially successful Russian films of the last decade—Nikita Mikhalkov’sBurnt by the SunandBarber of Siberiaand Aleksei Balabanov’sBrotherandBrother-2—are shaped by anxieties about Russian national identity and cultural authority that these films articulate in gendered terms as threats to paternal bonds and fraternal communities. Aiming both to emulate and to displace the Hollywood films that dominate the Russian film market, Mikhalkov and Balabanov exploit the conventions of the historical melodrama and the crime thriller to construct an explicitly Russian and emphatically masculine heroism in stories of charismatic, vanished fathers and dangerous, but irresistible brothers who defy the moral decay, crass materialism, economic imperialism and cultural solipsism that all four films associate with the west and, in particular, the United States.
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Mokkil, Navaneetha. "Anxieties of Seeing: The Sensational World of Cinema, Digital Media and Politics." BioScope: South Asian Screen Studies 9, no. 2 (2018): 165–83. http://dx.doi.org/10.1177/0974927618813478.
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This article analyses the super-hit Malayalam film Drishyam (Sight) in relation to the modalities of protest in the Chumbanasamaram (Kiss of Love [KoL] campaign) in 2014 in Kerala in which the kiss was deployed as a form of public protest. It brings together a popular thriller and a political protest that made waves in the entire nation in order to explore how shifting media technologies choreograph performative modes of doing politics. Drishyam stages the convergence of different media forms and legitimises the conventions of older forms such as cinema that hinges on the spectacle of women’s bodies and sexual acts on screen. At the same time, digital technology and the modes of circulation and reception it facilitates function as a node of heightened anxiety. Although Drishyam precedes the KoL campaign, this film can be seen as a response to precisely the (hyper) visibility of bodies and sexuality in the public domain through the workings of new media technologies. The film is driven by an overwhelming concern about the public performance of intimacy—contiguous with the secret filming and the threat of circulation of the naked woman’s body that is the cause of crisis in the film. Thus, I argue that the energies that drive Drishyam and finds a resonance with a national audience, in fact, anticipates KoL-type display of sexuality which is at once unauthorised and out of place but also mediated by unruly technologies.
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Hulme, Peter. "Graham Greene and Cuba: Our man in Havana?" New West Indian Guide / Nieuwe West-Indische Gids 82, no. 3-4 (2008): 185–209. http://dx.doi.org/10.1163/13822373-90002469.
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[First paragraph]Graham Greene’s novel Our Man in Havana was published on October 6, 1958. Seven days later Greene arrived in Havana with Carol Reed to arrange for the filming of the script of the novel, on which they had both been working. Meanwhile, after his defeat of the summer offensive mounted by the Cuban dictator, Fulgencio Batista, in the mountains of eastern Cuba, just south of Bayamo, Fidel Castro had recently taken the military initiative: the day after Greene and Reed’s arrival on the island, Che Guevara reached Las Villas, moving westwards towards Havana. Six weeks later, on January 1, 1959, after Batista had fled the island, Castro and his Cuban Revolution took power. In April 1959 Greene and Reed were back in Havana with a film crew to film Our Man in Havana. The film was released in January 1960. A note at the beginning of the film says that it is “set before the recent revolution.” In terms of timing, Our Man in Havana could therefore hardly be more closely associated with the triumph of the Cuban Revolution. But is that association merely accidental, or does it involve any deeper implications? On the fiftieth anniversary of novel, film, and Revolution, that seems a question worth investigating, not with a view to turning Our Man in Havana into a serious political novel, but rather to exploring the complexities of the genre of comedy thriller and to bringing back into view some of the local contexts which might be less visible now than they were when the novel was published and the film released.
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Khalid, Haleema, Muhammad Shahbaz, and Behzad Anwar. "Politicotainment: Fictionalizing Politics in Pakistani Cinema." Global Regional Review II, no. I (2017): 273–88. http://dx.doi.org/10.31703/grr.2017(ii-i).19.
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This article aims to investigate Maalik, Pakistani political thriller as the product of ‘politicotainment’, a genre combining politics and entertainment. Keeping in view the nexus of politics, media and language, Discourse Historical Approach from the perspective of Critical Discourse Analysis with a particular focus on media, discourse, and society is employed. Maalik, is exceptional movie because it is explicitly related to real life socio-political and socio-cultural events of Pakistan; its focus on social and political issues such as exploitation of power and corrupt political system shifts the focus towards the ownership of Pakistan and accepting responsibilities. Therefore, the film connects the emerging political discourse in Pakistan with the rising public pulse against corruption and call for accountability. This research provides insights regarding the discursive construction of contemporary Pakistani narrative in the time of national crisis in order to reveal the projected and recontextualized norms in the context of Pakistan.
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Scrivner, Coltan. "An Infectious Curiosity: Morbid Curiosity and Media Preferences during a Pandemic." Evolutionary Studies in Imaginative Culture 5, no. 1 (2021): 1–12. http://dx.doi.org/10.26613/esic.5.1.206.
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Abstract In this study conducted during the 2020 Coronavirus pandemic, I explored how trait morbid curiosity was related to interest in 1) factual information about Coronavirus that was specifically morbid; 2) general factual information about Coronavirus; 3) pandemic and virus genres of films and TV shows; and 4) genres of film and TV shows that center around threat more broadly. Participants (n = 125) who scored high in morbid curiosity reported increased interest, compared to usual, in pandemic/virus genres as well as horror and thriller genres. Morbidly curious participants were also more interested specifically in morbid information about Coronavirus. Furthermore, disgust sensitivity was unrelated to these preferences. These results provide initial evidence that trait morbid curiosity can predict particular media preferences in the face of a real threat, and that morbid curiosity may reflect an adaptive predisposition in some individuals toward learning about the dangerous and disgusting aspects of a threat.
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Moore, Kevin C. "Readapting Pandemic Premediation and Propaganda: Soderbergh’s Contagion amid COVID-19." Arts 9, no. 4 (2020): 112. http://dx.doi.org/10.3390/arts9040112.
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Steven Soderbergh’s pandemic thriller Contagion (2011) was trending strongly on streaming services in the US in the early days of COVID-19 restrictions, where the fiction took on an unforeseen afterlife amid a real pandemic. In this new context, many viewers and critics reported that the film seemed “uncanny,” if not prophetic. Frameworks such as Priscilla Wald’s notion of the “outbreak narrative,” as well Richard Grusin’s “premediation,” may help to theorize this affective experience on the part of viewers. Yet the film was also designed as a public health propaganda film to make people fear and better prepare for pandemics, and the present account works to recover this history. Although the film takes liberties with reality, in particular by proposing an unlikely vaccine-development narrative, Soderbergh and screenwriter Scott Z. Burns consulted prominent scientists and policymakers as they wrote the film, in particular Larry Brilliant and Ian Lipkin. These same scientists were consulted again in March 2020, when an effort spearheaded by Columbia University’s Mailman School of Public health reunited the star-studded cast of Contagion, who created at home a series of public health announcement videos that might be thought of as a kind of re-adaptation of the film for the COVID-19 era. These public service announcements touch on key aspects of pandemic experience premediated by the original film, such as social distancing and vaccine development. Yet their very production as “work-from-home” illustrates how the film neglected to address the status of work during a pandemic. Recovering this history via Contagion allows us to rethink the film as a cultural placeholder marking a shift from post-9/11 security politics to the pandemic moment. It also becomes possible to map the cultural meaning of the technologies and practices that have facilitated the pandemic, which shape a new social order dictated by the fears and desires of an emerging work-from-home class.
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Mišikova, Katarina. "Red is the New Black. Storytelling and Style in Candidate (2013) and The Red Captain (2016)." Panoptikum, no. 19 (June 30, 2018): 69–77. http://dx.doi.org/10.26881/pan.2018.19.05.
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The non-existence or deficiency in the production of popular genres in the history of Slovak cinema after the split from Czech Republic in 1993 has been a much discussed subject in the Slovak filmmaking community. It is a common belief among both filmmakers and film critics, that due to the lack of popular genre traditions and financial difficulties of film production, Slovak cinema is not able to attract domestic audiences and is primarily focused on the arthouse and festival circuit. This overt simplification, however, has in recent years been challenged by the emergence of several films that introduced generic novelties into Slovak cinema.
 The paper deals with two major representatives of this popular genre upheaval that were successful at the box office: the political thriller Candidate (2013) by Jonaš Karasek and the detective story The Red Captain (2016) by Michal Kollar. Both films are literary adaptations touching upon the subject of continuity of the communist regime after the democratic turn in 1989. Although not unanimously critically praised, they both gained considerable attention thanks to presenting an alternative to the realistic arthouse social drama trend of Slovak fiction film. The text examines innovations that these films introduced into popular genre discourse of Slovak cinema by concentrating on prominent storytelling and stylistic techniques derived mainly from mainstream popular cinema and offer some preliminary thoughts on reasons underlying their successful reception among domestic audiences.
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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.
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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.
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Barker, Anthony. "On Not Being Porn: Intimacy and the Sexually Explicit Art Film." Text Matters, no. 3 (November 1, 2013): 186–202. http://dx.doi.org/10.2478/texmat-2013-0034.
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Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to be political or aesthetic in nature rather than moralistic. Commercial cinema still seems wary of a frank exploration of sexuality, preferring to address it tangentially in genres such as the erotic thriller. In Europe, an art house canon of sexually explicit movies has formed, starting with Bertolucci’s Last Tango in Paris (1972) and the French-produced In the Realm of the Senses (1976). This article looks at the steps taken since the 1970s to challenge out-of-date taboos and yet at the same time differentiate the serious film about se Xfrom both pornography (operating in parallel with mainstream cinema but in its shadow) and the exploitation film. After reviewing the art film’s relationship with both hard and soft core, two recent films, Intimacy (2000) and 9 Songs (2005), are analyzed for their explicit content and for the way they articulate their ideas about sex through graphic depictions of sexual acts. Compulsive and/or claustrophobic unsimulated sexual behaviour is used as a way of asking probing questions of intimacy (and its filmability). This is shown to be a very different thing from the highly visual and staged satisfactions of pornography.
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Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (2020): 11–34. http://dx.doi.org/10.32798/dlk.350.
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 A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.
 
 
 
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Kisiel, Michał. "Violence Hates Games? Revolting (against) Violence in Michael Haneke’s Funny Games U.S." Review of International American Studies 13, no. 1 (2020): 183–96. http://dx.doi.org/10.31261/rias.7412.
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Violence Hates Games? Revolting (against) Violence 
 in Michael Haneke’s Funny Games U.S.
 Abstract: This article aims at exploring Haneke’s Funny Games U.S. as a protest against violence employed in the mainstream cinema. Satisfying compensatory needs of the spectators, constructing their identities, and even contributing to the biopolitics of neoliberalism, proliferating bloodthirsty fantasies put scholars in a suspicious position of treating them as either purely aesthetical phenomena or exclusively ethical ones. Haneke’s film seems to resist such a clear-cut binary; what is more, it contributes immensely to the criticism of mainstream cinematic violence. Misleading with its initial setting of a conventional thriller, Haneke employs absurd brutality in order to overload violence itself. The scenes of ruthless tortures are entangled in the ongoing masquerade, during which swapping roles, theatrical gestures, and temporary identities destabilize seemingly fixed positions of perpetrators and their victims, and tamper with the motives behind the carnage. As I would argue, by confronting its spectators with unbearable cruelty devoid of closing catharsis, Funny Games deconstructs their bloodthirsty desire of retaliation and unmasks them as the very reason for the violence on screen. Following, among others, Jean-Luc Nancy and Henry A. Giroux, I would like to demonstrate how Haneke exhausts the norm of acceptable violence to reinstate such a limit anew.
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Demas, Alexis, and David Tillot. "Pathological laughing and psychotic disorder: the medical evaluation of the Joker." Acta Neurologica Belgica 120, no. 6 (2020): 1379–82. http://dx.doi.org/10.1007/s13760-020-01332-3.
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Abstract In the psychological thriller film Joker, released in 2019 and starring Joaquin Phoenix in the first role, another possible origin story for this iconic character is reported. Above all, it brings us medical elements for the understanding of the development of this complex character. Contrary to other interpretations, we discover a lonely, timid and uncharismatic man (Arthur Fleck). He seems to be suffering from psychobehavioral disorders and seems depressed. There is a strangeness in his behavior along with social withdrawal. He suffers from fits of laughter that occur at socially inappropriate times. He also suffers from psychotic symptoms with visual delusions. We learn through the film that he was a beaten child, psychologically and physically abused with severe traumatic brain injury (TBI). The uncontrollable outbursts of laughter, behavioral and psychotic disorders followed these elements. As a neurologist, I was intrigued by these symptoms. I have explored the neuropsychiatric symptoms complicating TBI from which he seems to suffer and which have been reported in the literature. We can assume that the Joker is suffering from neuropsychiatric sequelae related to childhood TBI involving the frontotemporal regions and, in particular, the lateral aspect of the left frontal lobe. The movie Joker has medical significance and covers social aspects of medicine and health care. First, it allows us to discuss whether psychotic disorder due to TBI should be considered a neurobiological syndrome. More broadly, albeit fictitious, it asks us about the management of patients with neuropsychiatric illness, which is a public health problem. It also reminds us that semiological descriptions of patients with neuropsychiatric disorders have served as inspiration for many authors.
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Wisłocka, Kamila. "PORTRAYAL OF LOSS AND SUFFERING IN LITERATURE AND ART- A REVIEW OF “LORENZO’S OIL”." Researchers' Guild 2, no. 1 (2020): 68–71. http://dx.doi.org/10.15503/rg2019.7.
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Cinema has always been a powerful means of cultural, social and educational propaganda and people seem to be more receptive to the audio-visual media than just audio or print. Thus, films or movies have become a very effective means of social dissemination of information. The films are a reflection of the society and their stories come from society itself. The stories of the films do not just come from the present situation of societies around the world, rather since the time societies have been in existence. They revolve around a variety of themes ranging from romance to thriller or from science fiction to serious documentaries. A very crucial genre of films which began during the era of the ’70s communicated about the sufferings in human lives. The pivotal role in this genre was played by the films which revolved around the depiction of life-threatening diseases. This paper discusses the role and significance of cinema in unfolding the atrocities faced by the sufferers and how they handle it. The aim of this paper is to present the subject of suffering and death in contemporary cinema with the example of the film “Lorenzo’s oil”. The research not only explains how suffering is shown on the big screen, but also reveals the medical community's approach to patients in case of diagnosing and treating serious and rare diseases.
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Rachmijati, Cynantia. "An analysis of teaching character education technique and values found in �Confession� directed by Tetsuya Nakashima." Journal of Advanced Multidisciplinary Research 1, no. 1 (2020): 10. http://dx.doi.org/10.30659/jamr.1.1.10-21.
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�Confession� is a Japanese thriller drama movie about a teacher named Yuko Moriguchi who lost her daughter where she believed that some of her students involved in her daughter�s death. The objectives of this research are (1) to explain character education teaching technique (2) to explain the character education values found in the �Confession movie�.� This research is descriptive qualitative by content analysis. The data source was taken from scene in the �Confession� movie. The object of this research is movie �Confession� directed by Tetsuya Nakashima with 106 minutes running time. The research data are in the form of speech, behaviour, context displayed by the characters through visualization in the film. And analysed based on character education principals teaching and character educational values proposed by Ministry of National Education (2010). The researcher finds 16 data, include 5 data of character education teaching techniques and 11 data of values. Therefore it can be concluded that the character education teaching technique based on this movie are : promoting basic values and explained to the students what makes a good person, be friends with the students and understand their characters, be close to them and talk to them as friends, believe in them and always motivate, praise and encourage them. Whereas the characters values found are: honesty, tolerance, discipline, hard-working, creative, democratic, patriotic, appreciative, peace-loving and social care. It is also noted that movie can be used as aid in teaching character education where it can be obtained through themes, messages, and advice in the values of the movie storyline.��
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Forecki, Piotr. "„Pokłosie”, poGrossie i kibice polskości." Studia Litteraria et Historica, no. 2 (June 30, 2014): 211–35. http://dx.doi.org/10.11649/slh.2013.009.
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"Aftermath", after-Gross and the fans of PolishnessAftermath was released in the late 2012. Its director, Władysław Pasikowski, had previously been famous for his violent action films with strong male protagonists. He has also written some of the most sexist dialogues in the history of Polish cinema, as well as a number of lines, often obscene, which have become catchphrases and slogans present every day in the pop culture.His latest film, however, tackles a completely different issue – this thriller-cum-western tells a story that is decidedly contemporary, but nevertheless inspired by the events that took place in Jedwabne (described by Jan Tomasz Gross in his book Neighbors). Aftermath does not attempt to provide a reconstruction of the events that took place “on the margins of the Holocaust” (including Jedwabne). However, it clearly hints at the issue of the Polish contribution to the extermination of Jews and the impact of the conspiracy of silence having been broken. The film gave rise to a heated debate, which rippled through the Polish media for as long as two months after its release. This article is an attempt to analyse and interpret the words and ideas that appeared in the debate. „Pokłosie”, poGrossie i kibice polskościWraz z końcem 2012 roku odbyła się premiera filmu fabularnego Pokłosie w reżyserii Władysława Pasikowskiego. Ten bardzo popularny polski reżyser znany był dotychczas przede wszystkim z mocnych filmów sensacyjnych o twardych mężczyznach. Zasłynął także jako autor bodaj najbardziej seksistowskich dialogów w polskim kinie oraz rozmaitych i częstokroć wulgarnych kwestii wypowiadanych przez bohaterów, z których wiele do dziś funkcjonuje w popkulturze na prawach popularnych cytatów.W swoim najnowszym filmie Pasikowski sięgnął jednak po zupełnie inny temat. W konwencji thrillera z elementami westernu opowiedział historię jak najbardziej współczesną, ale w zdecydowany spósob zainspirowaną wydarzeniami w Jedwabnem, opisanymi przez Jana Tomasza Grossa w książce Sąsiedzi. Pokłosie nie stanowi jednak próby faktograficznej rekonstrukcji tego, co działo się na „obrzeżach Zagłady”, w tym również w Jedwabnem, lecz jednoznacznie dotyka problemu polskiego współudziału w zagładzie Żydów i konsekwencji związanych ze złamaniem ukonstytuowanej wokół tego faktu społecznej zmowy milczenia. Film wywołał gorącą dyskusję, która toczyła się w ogólnopolskich mediach przez niemal dwa miesiące od jego premiery. Podstawowym celem artykułu jest próba analizy oraz interpretacji słów i myśli wypowiedzianych w czasie jej trwania.
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Yuhee Park. "From the Era of Melodrama to the Age of the Comedy and the Thriller: The Simultaneous Transformations of Korean Society and Film Genre From the 1990s to the Present." Korea Journal 59, no. 4 (2019): 103–35. http://dx.doi.org/10.25024/kj.2019.59.4.103.
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