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Journal articles on the topic 'Jungle – Au cinéma'

Author: Grafiati

Published: 23 November 2024

Last updated: 31 July 2025

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1

Bernabei, Maria Ida. "La jungle du cinéma." 1895, no. 95 (October 1, 2021): 60–87. http://dx.doi.org/10.4000/1895.8968.

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2

Lempereur, Johann. "Cinéma & séries." Revue Défense Nationale N° 870, no. 5 (2024): 120–26. http://dx.doi.org/10.3917/rdna.870.0120.

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La Légion étrangère et l’Indochine ont été des sujets de prédilection du cinéma. Le film Les derniers Hommes , sorti en France en février 2024, rappelle cette épopée dramatique où une poignée de légionnaires affronta les Japonais et la jungle. Derrière le scénario et les images bien tournées, se révèle toute la dimension humaine de la Légion, une « société multiraciale mais “monoculturelle” » au service de la France depuis 1831.

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3

Duhamel Muller, Marie-Pierre. "Les architectes le font sur la table." Le Visiteur N° 23, no. 1 (2018): 93–104. http://dx.doi.org/10.3917/visit.023.0088.

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La profession d’architecte, dans le cinéma commercial américain, et ce depuis un bon demi-siècle, semble être une de celles qui garantissent non seulement le respect de l’entourage, mais aussi et surtout, l’attention féminine. Du Gary Cooper du Rebelle de King Vidor au bouillant Wesley Snipes de Spike Lee ( Jungle Fever ), en passant par Paul Newman ( La Tour infernale ) ou Woody Harrelson citant Louis Kahn ( Proposition indécente ), l’architecte – de sexe masculin et strictement hétéro – est une figure de l’intellectuel idéalement « sexy », plus que l’écrivain, le peintre ou le professeur. Il

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4

Betancourt, Manuel. "The Natural Order of Things." Film Quarterly 74, no. 4 (2021): 68–71. http://dx.doi.org/10.1525/fq.2021.74.4.68.

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Forced to slow down by the COVID-19 pandemic, Film Quarterly columnist Manuel Betancourt found himself drawn to films that embraced stillness. Marking a refreshing change from the urban settings that dominate much Latin American cinema, Los silencios (Beatriz Seigner, 2018), Selva trágica (Tragic Jungle, Yulene Olaizola, 2020), and Ceniza negra (Land of Ashes, Sofía Quirós Úbeda, 2019) are set in jungle and rural landscapes complete with lush, dreamy soundscapes. Privileging mood over plot, these films revel in their sense of being unmoored from familiar locales, becoming portals that open ont

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Ma, Sheng-mei. "Sino-Anglo-Euro Wolf Fan(g)s from Jiang Rong to Annaud // Fans lupinos sino-anglo-europeos de Jiang Ring a Annaud." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 1 (2016): 76–93. http://dx.doi.org/10.37536/ecozona.2016.7.1.980.

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Fans of Jiang Rong’s Wolf Totem could arguably shapeshift into a wolf’s fangs, the sharp tips of China’s Social Darwinism today. Jiang mourns the killing of Mongolian wolves, erecting a literary totem there after wolves are gone. An elegy for the wild comes to justify the growing of fangs amid the jungle of the socialist-capitalist market. Wolf totem becomes a phallic symbol for power. A Sino-Anglo-Euro morphing materializes in global cinema as Annaud transforms the novel into The Last Wolf. Annaud’s romantic film downplays Jiang’s nationalistic tenor, avoiding to bare “red [in] tooth and claw

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Weaver, Heather A. "“The Teacher's Unexpected Bath”: Plumbing the Meaning of Mayhem in the Celluloid Schoolroom." History of Education Quarterly 54, no. 2 (2014): 145–71. http://dx.doi.org/10.1111/hoeq.12055.

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Since the late 1930s, cinematic depictions of schooling have generally affirmed the necessity of school as a social institution and underscored the importance of formalized education for children and youth. Movies ranging fromGoodbye, Mr. Chips(1939) toDead Poets Society(1989) have represented school as a place of tradition and order, and films such asThe Corn Is Green(1945);Blackboard Jungle(1955);Good Morning, Miss Dove(1955);Up the Down Staircase(1967); andStand and Deliver(1988) have portrayed teachers as heroic figures. It could seem that the film industry has always portrayed schooling i

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7

Ingawanij, May Adadol, and Richard Lowell MacDonald. "Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur." New Cinemas: Journal of Contemporary Film 4, no. 1 (2006): 37–54. http://dx.doi.org/10.1386/ncin.4.1.37_1.

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Rountree, Cathleen. "Cinema." Jung Journal 1, no. 4 (2007): 97–100. http://dx.doi.org/10.1525/jung.2007.1.4.97.

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9

Yebra, José María. "Transmodern Motion or the Rhizomatic Updated in In a Strange Room, “Take me to Church” and Babel." Anglia 136, no. 3 (2018): 508–29. http://dx.doi.org/10.1515/ang-2018-0050.

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Abstract The article aims at exploring how the concept of the transmodern fits, comprises and helps to understand transcultural events from a wider perspective. To do so, three metaphors will be addressed, namely Enrique Dussel’s ‘jungle’, Gilles Deleuze’s and Félix Guattari’s ‘rhizome’ and Sarah Dillon’s ‘palimpsestuous palimpsest’. In all three cases, issues like multiplicity, connectedness and a sense of motility are present. And, the article proves, they prove valid to render the aesthetic, ethical and political possibilities of contemporary texts that range from literature, Damon Galgut’s

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10

Zucconi, Francesco. "Mediazione radicale, coscienza impersonale: "Qu'ils reposent en révolte" di Sylvain George." Fata Morgana 31 (June 1, 2017): 245–52. https://doi.org/10.5281/zenodo.822632.

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Sylvain George realized two documentaries and several short films within the refugee camps of Calais, commonly called “The Jungle”. Examining one of the key scenes of <em>Qu’ils reposent en revolte</em> (2010) the article analyses his ability to investigate and restore visibility to the everyday gestures and tactics through which refugees avoid surveillance and make the environment of the border area habitable. Rethinking the concepts of “consciousness” and “mediation” in light of this film, the article concludes by arguing that George’s cinema constitutes an attempt to generate a visual frame

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Gordon, Robert J., and Glen Elder. "In Darkest Hollywood: Cinema and Apartheid/ In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema:In Darkest Hollywood: Cinema and Apartheid.;In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema." American Anthropologist 100, no. 4 (1998): 1018–21. http://dx.doi.org/10.1525/aa.1998.100.4.1018.

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Luna, Maria, and Philippe Meers. "The films of Ciro Guerra and the making of cosmopolitan spaces in Colombian cinema." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 126–42. http://dx.doi.org/10.33178/alpha.14.07.

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This article proposes to use the concept of “cosmopolitan cinematic margins” to analyse the paradoxical meeting of the cosmopolitan meaning and discourses of Ciro Guerra’s Colombian films and the spatial restrictions and immobility of the rural and remote places in which they are set. Such areas as seen on screen are usually interpreted by urban audiences as exotic locations, independently of their actual distance from cities. The article explores how films that, at first sight, show images of marginal and remote places like the Colombian Amazonian Jungle, when inserted into a global context—s

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Cristina Mendes, Ana. "Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu." Journal of British Cinema and Television 15, no. 4 (2018): 532–52. http://dx.doi.org/10.3366/jbctv.2018.0441.

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The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and A

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Rountree, Cathleen. "Cinema Culture and Psyche." Jung Journal 1, no. 3 (2007): 81–83. http://dx.doi.org/10.1525/jung.2007.1.3.81.

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Sharp. "Interspecies Labor in Early Cinema: Making Animal Pictures at David Horsley's Bostock Jungle and Film Company." Film History 33, no. 2 (2021): 34. http://dx.doi.org/10.2979/filmhistory.33.2.02.

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Rountree, Cathleen, and Nancy J. Membrez. "The Poet of Argentine Cinema." Jung Journal 1, no. 3 (2007): 86–111. http://dx.doi.org/10.1525/jung.2007.1.3.86.

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Dovalis, Joanna, and John Izod. "Grieving, Therapy, Cinema, and Kieslowski’sTrois Couleurs: Blanc." Jung Journal 2, no. 3 (2008): 39–57. http://dx.doi.org/10.1525/jung.2008.2.3.39.

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18

Hauke, Christopher. "‘A cinema of small gestures’: Derek Jarman's Super 8 – image, alchemy, individuation." International Journal of Jungian Studies 6, no. 2 (2014): 159–64. http://dx.doi.org/10.1080/19409052.2014.905969.

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The Super-8 films of Derek Jarman (1942–94) are discussed in the light of the artist's involvement with gay politics and his sense of being an outsider. This led him to identify with elements in Jung's psychology, especially his work on alchemy. Jarman's manipulation of Super-8 film images was comparable to an alchemical processing of the material contributing to his personal development – a process that Jung called individuation. The author argues that Jarman's radical approach to filmmaking is not only an active challenge to the assumption of film images as representative of reality but, in

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Izod, John, and Joanna Dovalis. "Grieving, Therapy, Cinema and Kieslowski’sTrois Couleurs: Rouge(Switzerland / Poland / France 1994)." Jung Journal 2, no. 4 (2008): 70–94. http://dx.doi.org/10.1525/jung.2008.2.4.70.

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Izod, John, and Joanna Dovalis. "Grieving, Therapy, Cinema and Kieslowski'sTrois Couleurs: BleuTrois Couleurs: Bleu. Screenplay by Krzysztof Kieslowski . Directed by Krzysztof Kieslowski ." San Francisco Jung Institute Library Journal 25, no. 3 (2006): 49–73. http://dx.doi.org/10.1525/jung.1.2006.25.3.49.

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21

Martens, Emiel. "The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’." Humanities 10, no. 2 (2021): 62. http://dx.doi.org/10.3390/h10020062.

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In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s a

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22

Zsófia, Novák. "Narrating Nonhumans: Anthropomorhism and Trans-species Empathy in Our Planet and Gunda." Pulse: the Journal of Science and Culture 10 (June 5, 2023): 1–25. https://doi.org/10.5281/zenodo.12600874.

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Resorting to “benevolent” anthropomorphism, David Attenborough’s Our Planet (2019) uses voiceover narration to construct a comprehensive understanding of the vulnerability of wildlife, with the intention of inspiring empathy towards the nonhuman beings pictured on-screen. As Alexa Weik von Mossner notes, “the commercialism and sentimentalism of popular films does not necessarily stop them from being effective eco-films; their affective appeal may in fact give rise to both enjoyment and reflection.”2 Though the comfortable immersion offered by conventional wildlife

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23

Ş. AKPINAR, Neslihan. "AN EXAMINATION OF THE FILM “MATRIX RESURRECTIONS” IN THE CONTEXT OF JUNGIAN CONCEPT OF ARCHETYPE." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 38 (2023): 146–53. http://dx.doi.org/10.31567/ssd.959.

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While the common ground of art and popular culture products is human creativity, popular culture products, as the name suggests, are the products of the people. But it is possible that the productions that the public will like, turn into mass culture today, where the economic determinant is dominant. However, regardless of its basic motivation, it is possible to say that every work that contains the core of creativity has a relationship with the unconscious, which is the field of creativity. What can we see by considering movies with an analytical psychology approach? What do these productions

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24

Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is comp

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Lohfink, Nicole. "Berlinale 2021." merz | medien + erziehung 65, no. 2 (2021): 84–86. http://dx.doi.org/10.21240/merz/2021.2.22.

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Pandemiefolgen und Formatänderung Wie viele Veranstalter haben auch die Verantwortlichen bei der Berlinale lange gehofft, das Festival in seiner kohärenten Struktur in Präsenz durchführen zu können. Ende 2020 stand schließlich fest, dass aufgrund der aktuellen COVID-19-Situation ein anderes Festivalformat für 2021 entstehen musste. Entwickelt wurde ein zweistufiges Format, dessen erste Etappe vom 01. bis 05. März online angeboten wurde. So machten den Auftakt der 71. Berlinale die Branchenplattformen European Film Market (EFM), Berlinale Co-Production Market, Berlinale Talents und der World Ci

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Achatz, Markus. "Annäherungen ans Anderssein." merz | medien + erziehung 54, no. 3 (2010): 78–81. https://doi.org/10.21240/merz/2010.3.23.

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Das Programm der Sektion Generation auf den 60. Internationalen Filmfestspielen 2010 in Berlin befasste sich in vielen Fällen mit der Frage nach „Fremdheit“ und was dies bedeuten kann. Hervorgestochen sind Filme, die Andersartigkeit als Chance begreifen, die offen sind für neue Perspektiven und die Neugier ihrer Protagonistinnen und Protagonisten. Die Zugänge zu den teils schwierigen Themen wurden durch Verknüpfungen von Fantasie und Realität erleichtert. Neben rein fiktionalen Kurz- und Langfilmen wurden in diesem Jahr vermehrt Dokumentationen und Mischformen zwischen Doku und Fiktion in die

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27

Engélibert, Jean-Paul. "Utopies et robinsonnades contemporaines." Cartographier des îles et des identités Deuxième série - 27 (2024). http://dx.doi.org/10.4000/11p99.

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Les genres insulaires que sont la robinsonnade et l’utopie, que l’on pourrait penser obsolètes au XXIe siècle, conservent une place importante dans la littérature et le cinéma français contemporains. Le roman de Xabi Molia Les Jours sauvages et d’Alain Damasio Les Furtifs et le film d’Arthur Harari Onoda, 10 000 nuits dans la jungle renouvellent ces genres en jouant des stéréotypes des aventures insulaires en les tournant vers des questions contemporaines : l’île utopique de Damasio évoque une « zone à défendre » inspirée des luttes sociales et écologiques des années 2010, la robinsonnade coll

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Burchett, George. "In the Jungles With The Viet Cong: The War on Nature Then and Today." Asia-Pacific Journal 15, no. 17 (2017). https://doi.org/10.1017/s1557466017013687.

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In April 2015, I was invited by the Cercle des Francophones (Francophone Association) of Hanoi to present the film Loin du Vietnam (Far from Vietnam) at Hanoi Cinémathèque. The film was made collectively in 1967 by some of the great names of new French cinéma: Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker and Alain Resnais, in support of Vietnam's resistance to US aggression.

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Vermoesen, Sofie, and Lennart Soberon. "A tale that time forgot: contemporary jungle-adventure cinema, imperial power, and the tourist gaze." Postcolonial Studies, May 2, 2025, 1–20. https://doi.org/10.1080/13688790.2025.2493887.

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de Carvalho, Deolinda Maria Soares, João Carlos de Carvalho, and Maria Dolores de O. Soares Pinto. "THE AMAZON, CINEMA AND THE GREAT MOTHER: TEACHING BETWEEN ARCHETYPES AND SYMBOLS." LUMEN ET VIRTUS 15, no. 41 (2024). http://dx.doi.org/10.56238/levv15n41-064.

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This article sought to provide teachers with possible action strategies to address some controversial points in the history and narrative productions about the hylaea in South America through the seventh art, presenting itself as a challenge for a more in-depth reading of five films about the Amazon region in the classroom. Based on the principle of ignorance of the archetypal and symbolic forces that move man within the forest, the films studied – The Naked Jungle (1954), Fitzcarraldo (1982), Anaconda (1997), Z – The Lost City (2016) and Into the Wild (2017) – in light of Neumann's (2021) und

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SUNAL, Gözde. "ARCHETYPAL ANALYSIS OF THE CINEMA OF CHRISTOPHER NOLAN." İstanbul Ticaret Üniversitesi Sosyal Bilimler Dergisi, June 19, 2023. http://dx.doi.org/10.46928/iticusbe.1218412.

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Bu çalışma, auteur bir yönetmen olan Christopher Nolan’ın yazıp yönettiği filmlerinin Arketipsel Analizi niteliğindedir. İsviçreli bir psikolog olan ve psikolojinin ayrı bir bilim dalı olmasını sağlayan üç isimden (Sigmund Freud, Alfred Adler) birisi olan Carl Gustav Jung’un arketipler kuramına göre, tüm insanların zihinlerinde paylaştıkları ortak bir bilinçdışı vardır ve arketipler de insan zihninde bulunan bu kolektif bilinçdışı alanın yapısını meydana getirirler. Arketiplerin özü, biçimi bilinemez olsa da sahip oldukları özellikler görüntü olarak rüyalarda, mitlerde, öykülerde, efsanelerde,

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ERGİN, Büşra, Esra ERGİN, and Huriye HAMARAT. "HİDDEN GEM İN CHRİSTOPHER ROBİN'S JUNGLE THE BİRTH OF WİNNİE THE POOH: A CONTENT ANALYSİS." Folklor Akademi Dergisi, October 24, 2022. http://dx.doi.org/10.55666/folklor.1143587.

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The study was carried out in order to examine the suitability of the film "Goodbye Christopher Robin" about Christopher Robin Milne's biography, which was determined by the Turkish Radio and Television Corporation (TRT) in the "Family and Children's Films" category with the recommendations of the critics. In this research, the movie "Goodbye Christopher Robin"; a) the fact that children spend most of their time in front of the screen as a habit that is an achievement of the pandemic period, b) The film, which was screened in cinemas in our country in 2017, is broadcast in the broadcast zone on

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K., Abish Vignesh, and Sundararaman V. "PSYCHOANALYSIS OF SCENES THAT TRIGGER ALCOHOLISM AND SMOKING IN THE PAN INDIA FILM KGF 2." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1SE (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1se.2023.395.

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Psychoanalysis is a clinical treatment approach for psychopathology. Sigmund Freud used it to treat his patients by interpreting dreams and unconscious desires. It was later applied to film as a psychoanalytic film theory Margolis (2013). Many film theorists and critics support this theory because cinema has an irrational relationship with the spectator's subconscious. Neither view nor Psychoanalytic film theory can describe the film spectator's unconscious Allen (1999). The fiery treatment of heroic booze and smoking moments in the Pan-Indian Film KGF 2 affected many viewers unconscious. Thes

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Arunadevi, A., B. Ajantha, S. Amirtha, and Keerthi Surendren. "JUXTAPOSITION OF ECOCRITICAL CONSCIOUSNESS IN THE MOVIE 'KADAMBAN' AND SARAH JOSEPH'S GIFT IN GREEN." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2SE (2023). http://dx.doi.org/10.29121/shodhkosh.v3.i2se.2022.254.

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Literature and Cinema are interconnected but they are also distinct in their own ways. It has long been one of the most intriguing fields of science with a profound effect on the human psyche. These are the forms of expression that can be accessed by all ages and employed as a medium to depict the social and environmental catastrophe in their works. The research paper focuses on the ecocritical consciousness in the movie 'Kadamban' and the fiction, Sarah Joseph's Gift in Green. The research article is about corporate greed and strong interests going up against a native, local population that w

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Oria Gómez, Beatriz. "“Living in Reality Means Living in Pain, Fear, or Brooklyn”: the Representation of New York in Sex and the City." ODISEA. Revista de estudios ingleses, no. 12 (March 17, 2017). http://dx.doi.org/10.25115/odisea.v0i12.247.

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Abstract:The importance of New York in Sex and the City (HBO, 1998-2004) is explicitly acknowledged in its very title. The opening credits already announce that “the City” is going to play an essential role in the series, virtually becoming its fifth character. The aim of this article is to discuss Sex and the City’s representation of New York, which is clearly reminiscent of Woody Allen’s cinema: as is often the case in Allen’s lms, the Big Apple is realistically portrayed and highly romanticised at the same time. This article analyses Allen’s in uence on Sex and the City’s depiction of this

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Downing, Leanne. "Media Synergies and the Politics of Affect in Tim Burton’s Charlie and the Chocolate Factory (2005)." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2464.

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   “What if we were to go into culture tongue-first to see how things taste?” (Jenkins 5)   Released in June of 2005, Tim Burton’s Charlie and the Chocolate Factory has all the ingredients of a blockbuster success; a well known story-line, a target youth demographic, a nostalgic adult audience and a multi-million dollar synergy between media giants AOL Time Warner and transnational food corporation Nestlé. Yet, when it comes to discussing the affect-oriented components of the marketing campaign behind this film, much contemporary academic scholarship falls s

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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho

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Cuningham, Phillip Lamarr, and Melinda Lewis. "“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.669.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA h

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