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Journal articles on the topic 'National film award'
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1
Amit, Chaturvedi. "Melancholic Existence in "The Last Lear" by Rituparno Ghosh." International Journal of Humanities and Social Science Research 5, no. 6 (2020): 2. https://doi.org/10.5281/zenodo.4277791.
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This research studies and explores the effects of panoptic power and how powerful it is. Basically, the study examines the technological advancement controlling people and their behavior. Aparna Thomas’ source for this study is Rituparno Ghosh’s multiple award winning feature film, “The Last Lear”. Rituparno Ghosh is a Bengali director who won more than a dozen of awards for his contribution to Indian cinema. Rituparno made this film in English language and the film won the National Award from the Govt. of India.
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Sharp, Michael D. "Remaking Medieval Heroism: Nationalism and Sexuality in Braveheart." Florilegium 15, no. 1 (1998): 251–66. http://dx.doi.org/10.3138/flor.15.013.
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Mel Gibson's movie Braveheart tells the story of the life of William Wallace, one of Scodand's great national heroes. Originally released in the late spring of 1995, the film received predominandy glowing reviews, and later in the year enjoyed a second run in theatres as Paramount Studios began marketing the film for consideration in the many end-of-the-year awards shows. Early in 1996 Mel Gibson was honoured at the Golden Globe Awards as the year's Best Director, and in March of the same year, Braveheart won five Academy Awards, including another Best Director award for Gibson as well as the award for Best Motion Picture of the Year.
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Paksiutov, G. "“Soft Power” and “Cultural Capital” of Nations: the Case of Film Industry." World Economy and International Relations 64, no. 11 (2020): 106–13. http://dx.doi.org/10.20542/0131-2227-2020-64-11-106-113.
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The article showcases the similarities between Joseph Nye’s concept of soft power and Pierre Bourdieu’s theory of capital, and attempts to draw upon the latter to deepen the understanding of the role of culture as a source of soft power. This approach is applied to study the role of a national film industry as a soft power tool. First, based on the existing academic literature, some key concepts relevant to the film industry are conceptualized in terms of Bourdieu’s theory of capital. After that, Bourdieu’s research frameworks – particularly, the concept of cultural capital – are used to describe how national film industry contributes to a nation’s cultural influence on the global stage. The author specifically highlights the importance of consideration of “institutionalized cultural capital” (or institutional recognition) and presents some evidence on film awards, namely, the awards from three large European film festivals (Berlin, Venice and Cannes) and Academy Award for Best Foreign Language film. It is emphasized that European countries (such as Italy and France) and the U.S. are in advantageous position in regard to this component of cultural influence: motion pictures produced by these countries receive awards very frequently, while, for instance, African and South American films are awarded scarcely. Such tendencies demonstrate unequal possibilities of countries for the use of national cinema as a tool of cultural influence. The author asserts that a national “soft power strategy” can be seen, in terms of Bourdieu’s theory of capital, as a capital conversion strategy, and discusses the implications of such approach. Furthermore, the applicability of Bourdieu’s theory of capital for the analysis of Russian cinema as a soft power tool is discussed. In conclusion, the author summarizes theoretical and practical implications of the proposed approach, draws attention to some of possible directions for further research.
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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.
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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Galloway, Ann-Christe. "Grants and Acquisitions." College & Research Libraries News 78, no. 8 (2017): 467. http://dx.doi.org/10.5860/crln.78.8.467.
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The Washington University Libraries Film and Media Archive has received a grant from the National Film Preservation Foundation to preserve Code Blue, a 1972 recruitment film aimed at bringing minorities into the medical profession. Code Blue is one of the earliest existing films created by Henry Hampton’s Boston-based documentary company Blackside Inc., which produced the Emmy Award-winning civil rights series Eyes on the Prize. Blackside became the largest African American-owned film production company of its time and was home to many filmmakers from diverse backgrounds, including African Americans, immigrants, and women. The 27-minute documentary includes footage from an emergency room in Harlem, a tour through areas of Nashville with a doctor who did outreach to poor families, and discussions with young men and women from different backgrounds who could explain the value of medical education. Code Blue helped to bring new talent into the medical field and was used in hundreds of high schools and medical training curricula nationwide for more than 20 years. The film won a CINE Golden Eagle Award and was seen around the world, including at film festivals as far away as Venice’s Festival dei Popoli.
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Islam, Md Mohiul. "Madam Fuli: An Echo of the Struggles of Women in Bangladeshi Society." Jurnal Pengajian Media Malaysia 22, no. 2 (2020): 17–30. http://dx.doi.org/10.22452/jpmm.vol22no2.2.
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Madam Fuli(1999) is an award winning creation of Shahidul Islam, the director of the film. It is one of the most remarkable films in Dhallywood, the Film Industry of Bangladesh, which won the National Film Award afterwards for its storyline and stunning acting by the protagonist’s (Fuli) cast Shimla. This film gave a jolt to the contemporary social systems of Bangladesh regarding our attitude towards the skin color of women and also towards our concept of beauty. Through the portrayal of various stage of Fuli’s life, the director, Shahidul Islam Khokon, who is the producer and the screen-play writer of this film, takes attempts to show what are the things and incidents a girl or a woman go through in the society in Bangladesh. By putting a tagline as ‘Fight for Right’ the director wants to visualize the struggle of a woman in the society of Bangladesh. But somehow, this film actually encourages the same follies and vices of the social practices that it intends to resist. This article shows how Madam Fuli actually waters into the roots of the same old racist concept of beauty.
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Berbey Álvarez, Aranzazu, and Rodney Delgado-Serrano. "Interview with Dr. Shirin Haque, Astronomer and National Outreach Coordinator (IAU) University of the West Indies, Dept of Physics, St Augustine, Trinidad & Tobago." Prisma Tecnológico 13, no. 1 (2022): 58–60. http://dx.doi.org/10.33412/pri.v13.1.3470.
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Dr Shirin Haque was born in the village of Patna, India and came to Trinidad at the age of seven without being able to speak English and having no formal education. Dr Haque has pioneered the cutting-edge field of Astrobiology at the University of the West Indies and was interviewed by the BBC for a feature Science in Action for the research on the Pitch Lake, the largest natural hydrocarbon lake in the world. She is the founding member of CARINA (Caribbean Institute of Astronomy) and the founder/CEO of W.I.S.H. (Women In Science for Hope) Foundation. She holds numerous teaching and research awards regionally and internationally. She has also distinguished herself as a film producer with three science documentaries. She has hosted and produced two television series “Exploring our place in the Universe with Dr. Shirin Haque” and “Full S-T-E-A-M Ahead!” She is currently the editor of the magazine “The Intellectual – Art, Science and Architecture”. Her Honours and Awards corresponds to: • Anthony N. Sabga Caribbean Awards for Excellence in Science and Technology 2020• CARICOM Science Award 2018 – first female recipient• Outstanding women of UWI Award – 2018 • Rudranath Capildeo Award for Applied Science and Technology - 2013• “Women in Science and Technology” medal award from NIHERST - 2011• Vice Chancellor’s Award for Excellence in Teaching 2005 - UWI• Distinguished Teacher award from Association of Atlantic Universities - 2004• UWI/ Guardian Life premium teaching award - 2002• “The Most Outstanding Thesis Award, 1997 and 1998” UWI (PhD)• Program Director for the NINE hub programme for the Caribbean through for the National Science foundation and NRAO.
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Martonova, Andronika. "Your Communism Is Not Ours Communism’: the Contexts of Post-Totalitarian Bulgarian Cinema and Mina Mileva, Vesela Kazakova’s Disobedient Films." Balkanistic Forum 28, no. 3 (2019): 227–49. http://dx.doi.org/10.37708/bf.swu.v28i3.13.
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The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and dealing with subjects easier for the audiences to identity themselves with. The plots revolving around the present day and the ramifications of the socialist era prevail. In general, Bulgarian films of the recent decade are in visible demand at international film festivals, attracting the attention of foreign film critics. Awards, however, are not necessarily passports for good reception in the homeland`s milieu. Such is the case with Mina Mileva, Vesela Kazakova’s directorial duo (Actvist 38) and their two controversially documentary films Uncle Tony, Three Fools and the Secret Service (2013) and The Beast Is Still Alive (2016). An analysis of their works shows that reverting to the subject of totalitarianism and the attempt at reaching a consensus-based memory onscreen are still risky in Bulgaria’s cultural environment. Their new full-length future film – the emigrant social comedy-drama Cat in the Wall (2019, warmly accepted and awarded abroad) - surprisingly received the national Golden Rose Debut Award 2019, but the Bulgarian critics` stays still undeservedly reserved.
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Mamta Singh. "The Portrayal of Girl Child in Ruskin Bond’s The Blue Umbrella." Creative Launcher 4, no. 5 (2019): 97–103. http://dx.doi.org/10.53032/tcl.2019.4.5.15.
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Ruskin Bond, Indian author of British decent, was born on 19 May 1935 at Kasauli, Himachal Pradesh. He was raised at Jamnagar (Gujarat), Shimla and Dehradun. He is a well-known Indian writer in English. He has written more than hundred short stories, six novels, three collection of verse and over thirty books for children. He is considered to be an icon among Indian writers and children’s author and a top novelist. He received Sahitya Academy award for his book; Our Trees Still Grow at Dehra in 1992, and was honored with Padam Shree in 1999 for his lifetime contribution to Indian literature in English. He was awarded with Padam Bhusham in 2014. He has been writing for the last fifty years in different genre of literature. His stories and novels got wide publicity worldwide in India. Various directors produced films on his novels. He was also appreciated by various prizes and awards at national level. In 2005, the Bollywood director Vishal Bhardwaj made a film based on his popular novel for children, The Blue Umbrella. The movie won the National Award for best Children’s film. It is a fine specimen published in 1992. This novella has also been filmed in 2007. It is set in a small village of Garhwal, where a little highland girl, Binya lives. She trades her lucky leopard claw pendent with a picknicker lady for a pretty blue umbrella.
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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.
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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
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Karatsu, Rie. "Innovation as Conservation: Reflexivity, National Cinema, and Male Hegemony in Takeshi Kitano’s Hana-bi." Arts 7, no. 4 (2018): 71. http://dx.doi.org/10.3390/arts7040071.
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The article aims to illuminate the intersections of reflexivity, national cinema, and male hegemony in Takeshi Kitano’s award-winning film Hana-bi (1997). Hana-bi marks a transition to a discourse espousing Japaneseness, particularly the dominant male versions of national identity in Kitano’s filmmaking. The article assesses the impact of reflexivity that plays a crucial role in the discourse. To demonstrate these ideas, this article is separated into two sections. The first section discusses the problematic concepts of national cinema, analyzes the cultural and industrial contexts that informed Hana-bi, and illustrates the way in which the film reinforces the Japanese national essence and gender norms. The second section highlights the functions of reflexivity used in the film, drawing from the critical concept developed by film and television scholar Jane Feuer (1982).
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Hoang, Thi Thanh Huyen, and Thuy Vi Tran. "“LA HAINE”: CINEMATIC INSIGHTS INTO PERIPHERY INEQUITY AND FRENCH NATIONAL IDENTITY." VNU Journal of Foreign Studies 40, no. 4 (2024): 181–99. http://dx.doi.org/10.63023/2525-2445/jfs.ulis.5351.
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The multicultural suburban areas, known as banlieues, surrounding French cities are marked by social inequalities, systemic discrimination, crime, and violence. Mathieu Kassovitz’s film “La Haine” (1995) is set in one such Paris suburb, capturing the daily lives of a group of multi-ethnic friends amidst escalating tensions between the French police and immigrant residents. The film “La Haine”, which received critical acclaim and won the César Award in 1996, serves as a powerful portrayal of life in the banlieues, capturing the essence of marginal inequality. By focusing on the contrasting experiences of suburban youth and the disparities between Paris and its outskirts, the film highlights societal issues that remain relevant even two decades later. This study uses “La Haine” as a lens to explore whether the challenges depicted in the film persist in contemporary society, demonstrating the enduring impact of marginal inequality. Through this analysis, the film emerges as a significant cultural artifact that challenges national identities in France.
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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.
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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.
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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Schoneveld, Erin. "Naomi Kawase’s “Cinema of Place”." Arts 8, no. 2 (2019): 43. http://dx.doi.org/10.3390/arts8020043.
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This article evaluates contemporary filmmaker Naomi Kawase’s (b. 1969–) status within Japan’s film industry as well as her place among women directors. Using Kawase’s three award winning features Suzaku (Moe no suzaku, 1997), Shara (Sharasōju, 2003), and Mogari (Mogari no mori, 2007) as the basis of my analysis, I examine the way in which these films illuminate the construction of Kawase’s female authorship in relation to a specific location. While Kawase has made a number of critically and commercially successful films since 2007, I limit my discussion to her early narrative works set in Nara, Japan in order to illuminate the significance of the international film festival apparatus in establishing and upholding the discourse of auteurism in relation to regional identity. Through my analysis I argue that Kawase successfully negotiates this discourse through a strategy of self-promotion that emphasizes a “cinema of place” within the broader context of international film festivals such as Cannes. Kawase’s “cinema of place” ultimately allows her to rearticulate the meaning of female authorship within an art cinema context by representing a new national cinema that challenges the structures and boundaries of Japan’s studio system.
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Klein, Christina. "Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema." Journal of Korean Studies 22, no. 2 (2017): 281–316. http://dx.doi.org/10.1215/21581665-4226460.
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Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.
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Tostões, Ana. "Manuel Salgado interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 74–77. http://dx.doi.org/10.52200/55.a.wdsh9h4l.
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On August 2016, Ana Tostões interviewed the architect Manuel Salgado, councilor of the Municipality of Lisbon since 2007, in order to discuss the main policies undertaken and his ideas on urban planning in its connection to mobility infrastructures, public space and the continuous reconstruction of park and green areas, in Lisbon. Manuel Salgado was born in 1944, Lisbon, and studied architecture at the Lisbon School of Fine Art (1968). From 1971 to 1982, he was the technical responsible for the architectural office CIPRO and in 1984 he became manager of the architectural office Risco. From 2002 to 2008, he was architecture professor, at Instituto Superior Técnico. He has participated in conferences worldwide and widely published, on urban planning, and has designed major urban projects and buildings in Portugal: the Belém Cultural Centre (with Vittorio Gregotti), the Lisbon Theatre and Film School, the Polytechnic Institute of Setúbal, the Expo’98 public areas, the FC Porto Dragão Stadium, the Lisbon Luz Hospital, etc. His architectural and public space projects received several awards: the Valmor Award (1980, 1998), the International Award Architecture in Stone (1993), the AICA Award (1998); the Portuguese National Design Award (1999) and the Brick in Architecture Award (2003). Within the Municipality of Lisbon, he took the position of councilor of the Urbanism and Strategic Planning Department in 2007, which accumulates, from 2009 to 2013, with the Municipality Vice-Presidency. Currently, as councilor, heads the Department of Planning, Urbanism, Urban Rehabilitation, Public Space and Construction of the Municipality of Lisbon.
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Huang, Phyllis Yu-ting. "The Returnee as an Outsider: Reunion and Division in Wang Quan’an’s Apart Together (團圓, tuan yuan)". International Journal of Taiwan Studies 4, № 1 (2021): 143–62. http://dx.doi.org/10.1163/24688800-20201179.
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Abstract Mainland Chinese director Wang Quan’an’s Apart Together, which won the Silver Bear Award for Best Screenplay in 2010, tackles the issue of cross-Strait relations by telling the story of Kuomintang veteran Liu Yansheng’s return to mainland China after nearly 40 years of separation from his wife and son. Shanghainese is the main language of the film, a dialect that is used to suggest a local attitude towards the national issue. While earlier Chinese films on similar themes often emphasise the cultural and emotional ties between Taiwan and China, in Wang’s film Liu is characterised as an unwelcome Taiwanese guest, an intruder in his wife’s Chinese family. This essay argues that Wang’s Apart Together contests the People’s Republic of China’s official discourse of cross-Strait reunification by demonstrating the cultural and identity divisions between the Taiwanese character and his Chinese family. Wang provides an alternative perspective on the ‘Taiwan issue’, showing that ordinary people’s experience of cross-Strait reunion might be painful and problematic.
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Moskalenko-Vysotska, Оlena. "Semiotic Documentary Measurement by Pavel Faryenyuk." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 1, no. 1 (2018): 38–48. https://doi.org/10.31866/2617-2674.1.2018.140833.
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The purpose of the research is to reveal the construction of the system of images and signs in the documentary films of the famous Ukrainian film director Pavel Nikolaevich Faryenyuk. The urgency of the problem, which the article is devoted to, is that Ukrainian art critics, in fact, did not investigate the use of artistic images in the national documentary documentary of our time. The methodology of the research is based on the logical-analytical method (for elucidating the artistic means of using technical director’s techniques when creating screen images); formalization method (for studying various screen episodes, which are reflected in a symbolic form with the help of artistic symbols); hypothetical method (to explain the relationships between various components of the author’s semantic system of images and to identify algorithms for the development of copyright marks). The scientific novelty of the article consists in the study of the imagery palette used in documentary documentary in the context of the author’s artistic film language, manifested in the work of the well-known film director, honored art worker of Ukraine, winner of the Alexander Dovzhenko National Award, PM Faryenuk, whose work has not been sufficiently studied by contemporary art historians. Conclusions. The author’s originality of documentary films is based not only on the choice of an actual topic, the mandatory author’s interpretation and modern multi-genre combination. To the above, there is also a factor, which is denoted by semioticness of creative decisions in the disclosure of any ideas, screen characters and film events. The creative skill of one of the most prominent representatives of the author’s documentary film of Ukraine, Pavel Faryenyuk, as proof of this, testifies to the compulsory necessity of the presence in modern documentaries of a wide palette of obvious and encrypted signs that grow into artistic images, enrich the depth of the screen, materialize the need for an authentic national chronotope, which explains the age-old interconnection of temporal and spatial relations in artistic prose Institution. The acquired fact from the image system of one of the masters of documentary literature will expand the luggage of the knowledge of the film and art fields.
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Chowdhury, Elora Halim. "Ethical Reckoning." Meridians 20, no. 1 (2021): 151–73. http://dx.doi.org/10.1215/15366936-8913151.
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Abstract In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins’s conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patterns of legibility, recognition, and rejection for discursive practices of national inclusion and exclusion. Specifically, the author analyzes Nasiruddin Yousuff’s Guerrilla (2011), an award-winning film featuring the story of Bilqis Banu, a middle-class, Muslim female combatant who takes on at once the national struggle for self-determination and the gender struggle against patriarchal cultural norms. The film opens up new ways of imagining the category birangona and elicits a deeper appreciation of differentiated agency, vulnerability, and humanity.
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Thomas, Aparna. "Plaintive Survival under Panoptical Surveillance: A Reading of Rituparno Ghosh’s The Last Lear." SMART MOVES JOURNAL IJELLH 7, no. 1 (2019): 9. http://dx.doi.org/10.24113/ijellh.v7i1.6285.
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This paper is an attempt to explore how the powerful gaze of the panoptical power relation through the technological aids of this neocolonial era which forms the ‘Self,’ distorts the identity, privacy and liberty of the lives under this surveillance who becomes the ‘other’. The study is based on the reading of Rituparno Ghosh’s 2007 English–language film The Last Lear. The film which won the National Award of India for the best feature film in English in 2007 is based on a 1985 Bengali play, Ajker Shajahan ( Today’s Shakespeare) written by Utpala Dutt. The film unfolds the story of an aging Shakespearean actor persuaded by a young ambitious director to take up acting again. But the retired actor is unwilling to adjust the new world of cinema and its complex technical tricks. The film also expose how the powerful camera gaze and mobile phones turn as the new colonizer who distorts truth and induce fears in the minds of the people under surveillance. This study is carried out based on the Post-Panoptical theories of Surveillance.
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Innes, Christopher. "Bridging Opposites – Drama and Science – in the Plays of John Mighton." Canadian Theatre Review 131 (June 2007): 20–26. http://dx.doi.org/10.3138/ctr.131.003.
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In terms of drama that deals with science, the award-winning Canadian playwright John Mighton is almost unique in being a practising scientist as well as a professional playwright. Indeed, he holds two PhD degrees: one in philosophy and one in mathematics. He has published a highly regarded book on mathematics, under the title of The Myth of Ability, and is the founder and coordinator of a highly innovative school program designed to help students who are having difficulty with math, called JUMP (which stands for “Junior Undiscovered Math Prodigies”). He has also written six plays to date, which have been staged widely across Canada as well as being performed in Europe, Japan and the United States. One of these, Possible Worlds, has been turned into a film by the Canadian director Robert Lepage; and Mighton is currently working with Lepage again, adapting for the stage a science book, titled The Elegant Universe: Superstrings, Hidden Dimensions and the Quest for the Ultimate Theory – a title that demonstrates the ambitiousness of Mighton’s aims. He has also won a number of prestigious national prizes, including no fewer than two Governor General’s Awards for Drama. And, in 2006, he was awarded the Siminovitch Prize (the most prestigious and valuable theatre award in Canada).
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Qasmiyeh, Yousif M., and Saiful Huq Omi. "Photography as Archive." Migration and Society 4, no. 1 (2021): 195–202. http://dx.doi.org/10.3167/arms.2021.040118.
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In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).
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Santesso, Esra Mirze. "Problematizing the Hyphen: Disorientation and Doubled Otherness in Fatih Akin's Head-On." Postcolonial Interventions: An Interdisciplinary Journal of Postcolonial Studies (ISSN 2455 6564) Vol. II, Issue 1 (January 31, 2017): 80–100. https://doi.org/10.5281/zenodo.1343565.
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This essay investigates the multiple layers of disorientation experienced by German-born Turks in Fatih Akin’s award-winning film, <em>Head-On</em>. Akin’s skillful illustration of the generation gap that exists between first-wave immigrants and their children living in Hamburg provide a context through which to analyze the challenges of constructing hyphenated identities. Unable to negotiate their religious and gender identities, the second-generation immigrant is often unequipped to find useful ways to balance the expectations of their diasporic communities with their personal desire to establish a sense of autonomy that can put an end to their segregation from the national sphere.
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Zucconi, Francesco. "Hot and Cold Borders: Sketches for a Geopolitics of Environmental Media." Diacritics 50, no. 4 (2022): 48–70. http://dx.doi.org/10.1353/dia.2022.a916402.
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Abstract: In recent years, the concept of the border has undergone profound transformations and become central to a broad debate investigating the complexity of its political and social practices. The centrality of the border topic in public debate has contributed to the development of something akin to a “frontier cinema” or, better, a propensity for “filming at the border.” This essay investigates political borders as media environments and seeks to develop the idea of the “border mediascape” as a new framework at the crossroads of multiple disciplines. A documentary film shot on the island of Lampedusa during the so-called European migrant crisis, the award-winning and critically acclaimed Fuocoammare ( Fire at Sea , 2016) by Gianfranco Rosi, is used as a case study to reflect on the functioning of technological devices placed along borders and, thus, on the geopolitics of environmental media. The original take this documentary offers on the media devices that operate along national borders—as well as on the environmental, social, and political effects of those technologies—is an aspect that has gone unnoticed by critics. Watching this film through the eyes of media and border studies provides the opportunity to conceive contemporary national borders as a form of geopolitical asymmetry implanted in media technology.
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Prayogo, Matheus, Acep Iwan Saidi, and Wegig Murwonugroho. "The Message and Meaning on Short Animation Film "Surat Untuk Jakarta"." VCD 3, no. 1 (2019): 21–34. http://dx.doi.org/10.37715/vcd.v3i1.799.
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Jakarta is the center of business and government in Indonesian Republic that have population density about 15.000 citizen per kilometer. Jakarta have many major problem like different political view, high population density, traffic jam, increase of waste product, air population, etc. “Surat Untuk Jakarta” Animation short is about condition in Jakarta from day to night. For about two minutes, the winner of the Best Animation Category in Festival Film Indonesia show us about the architecture in Jakarta in exquisites 2D animation media. Despite of the success for gaining many award like “Best Picture Hellofest 2016”, this film just show the sequence of Jakarta. We can see the iconic building like Monumen National, Dirgantara Statue, Istiqlal Mosque, etc. But the problem is, there is no narrator that tell us what’s going on there. The shot change to another shot, but just segmented people that know the meaning and message of this film. This research purpose is to analyze the meaning and message of “Surat Untuk Jakarta” with semiotic metodolgy. The conclusion of this research is with visual element that have no narrator makes the meaning and the responds to target audience ineffective. The conclusion we have is this film is about the complexity of Jakarta, there are too many social gap in Jakarta, and we still need more pluralism in this city.
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Paksiutov, Georgii D. "Transformation of the Global Film Industry: Prospects for Asian Countries." Russia in Global Affairs 19, no. 2 (2021): 111–32. http://dx.doi.org/10.31278/1810-6374-2021-19-2-111-132.
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The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian cinema is becoming increasingly important in terms of the size of national film markets, but for a variety of reasons the U.S. remains the world’s most important exporter of motion pictures. The position of Asian countries in world cinematography is undermined by such global institutions as award ceremonies and film festivals that are held in the U.S. and Europe and tend to favor Western filmmakers. This article emphasizes the dramatic influence of digital transformation on modern cinematography and the opportunities it opens up for Asian film producers in creating a new, global streaming services market. Finally, the paper discusses development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.
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Jan, Faizullah, Syed Irfan Ashraf, and Sayyed Fawad Ali Shah. "Khamosh Pani: Partition trauma, gender violence, and religious extremism in Pakistan." Liberal Arts and Social Sciences International Journal (LASSIJ) 5, no. 1 (2021): 16–27. http://dx.doi.org/10.47264/idea.lassij/5.1.2.
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This paper looks at the question of partition of British India in 1947 and the rise of religious extremism in Pakistan through an analysis of internationally acclaimed and award-winning Pakistani film Khamosh Pani (silent waters). The paper uses Symbolic Interactionism and Feminist Theory with a critical perspective to establish how the present-day religious extremism in Pakistan has its roots in the colonial history of the country. However, it also highlights the diagnostic inability of Symbolic Interactionism as it smacks of the volunteerism and overlooks how statist and organized institutional power infringes upon socio-political meaning making processes. This paper argues that the film connects the communal nature of pre-partition violence to grassroots contemporary religious extremism in Pakistan to show how the rupture of a village life is the continuation of colonial heritage of communal violence. We argue based on the findings of this study that religious extremism that is manifest in today’s Pakistan is not a break from the past; instead, it is rooted in the colonial history connecting the national Pakistani elite with the regional neo-colonial interests.
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Rodríguez, Pedro Noel Doreste. "Littoral Blackness: Race, cinema and mid-century cultural nationalisms in Puerto Rico." Studies in Spanish & Latin American Cinemas 20, no. 1 (2023): 59–73. http://dx.doi.org/10.1386/slac_00103_1.
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This article is the winner of the 2021 SCMS Latinx Caucus’s Graduate Student Award. It focuses on the mid-century fictional and documentary films on the Black cultural practice of Loíza produced by Puerto Rico’s Division of Community Education (DivEdCo) and addresses the pedagogical film’s role in promoting its attendant cultural-nationalist project. It analyses the DivEdCo period of Oscar Torres, a pioneering presence in the national cinemas of all three Hispanic Caribbean islands. Torres was an artist twice exiled; banished from the Dominican Republic for decrying the oppressive policies of the Trujillo regime and later forced out of Castro’s Cuba under mysterious circumstances. Torres’s lone stint of creative stability – though not of complete creative freedom – came in the intervening years of the 1950s, at DivEdCo, where he directed a series of films that represent the role of Puerto Rico’s working poor in the face of rapid modernization initiated by the new political and social relationship with the United States. Torres’s Nenén de la ruta mora/Nenén of the Moorish Way (1955), an exploration of film Blackness in Puerto Rico, has elicited claims of trafficking in extractive modes of ethnography, but may reveal his commitment to transnational solidarities across the greater Caribbean.
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Punia, Neha. "Marhi Da Deeva: Caste as Economics." Think India 22, no. 3 (2019): 2344–56. http://dx.doi.org/10.26643/think-india.v22i3.8770.
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Gurdial Singh’s first novel Marhi Da Deeva (1964) is one of his most famous novels. Retrospectively, it is considered the first dalit novel in Punjabi. It has acquired the status of a classic in Punjabi fiction. Apart from being translated in many Indian languages, it has been translated in Russian; the version selling ten lac copies. The movie version of the novel, produced in Hindi and Punjabi by National Film Development Corporation was critically much acclaimed. It bagged the best regional feature film award in 1990. Jagseer, the protagonist of the novel, was hailed as the first dalit hero in Punjabi fiction. Here, one is tempted to place the novel within the corpus of dalit writings. But, as is argues here, the text does not support such a reading. Whatever comes up during the course of the novel is only authentic experience. This authenticity is best understood if we compare this novel with Samskara. One readily realizes that Samskara lacks any direct negotiation with the reality. It is rather a distanced vision. The novelist ends up talking about himself rather than the society. Marhi Da Deeva, however, stems from direct experience.
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Zhang, Xiaodan. "A Path to Modernization: A Review of Documentaries on Migration and Migrant Labor in China - Manufactured Landscapes (2007) 90 minutes. Director: Jennifer Baichwal. Director of photography: Peter Mettler. Produced by Nick de Pencier, Daniel Iron, and Jennifer Baichwal. Released by Zeitgeist Films. - Bing Ai (2007) 114 minutes. Director, writer, and producer: Feng Yan. http://www.cidfa.com/modules/index.php - Up the Yangtze (2008) 94 minutes. Writer and director: Yung Chang. Director of photography: Wang Shi Qing. Producers: Mila Aung-Thwin, Germaine Ying-Gee Wong, and John Christou. Released by Zeitgeist Films. - Losers and Winners (2007) 96 minutes. Directors: Ulrike Franke and Michael Loeken. Released by Icarus Films. - China Blue (2005) 86 minutes. Producer and director: Micha X. Peled. Released by Bullfrog Films. - Mardi Gras (2007) 74 minutes. Producer, director, and editor: David Redmon. Directors of photography: David Redmon and Kathleen Rivera. Released by Carnivalesque Films. - A Decent Factory (2005) 79 minutes. Directed, written, and produced by Thomas Balmès for Margot Films/BBC, and Kaarle Aho for Making Movies. Released by First Run/Icarus Films." International Labor and Working-Class History 77, no. 1 (2010): 174–89. http://dx.doi.org/10.1017/s0147547909990317.
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None of the award-winning films reviewed in this article has a blissful tone. In these films, we watch young girls in assembly lines producing all sorts of commodities in China as well as four hundred Chinese workers disassembling a coking plant in Germany. We are immersed in people's personal stories, such as a peasant woman forced to leave her farm and her lone hut, located in the area due to be submerged by the Three Gorges Dam project, and a sixteen-year-old girl learning to labor on a cruise ship along the Yangtze River. In most of the films we also meet managers, Chinese or foreign, who are concerned with nothing but maximizing profit through intense exploitation of labor. These films document how the massive force of modernization in a globalized world affects lives of common people in China. Their struggles with poverty, corrupt officials, and greedy business owners are displayed in sharp contrast to both shining metropolitan glory and rural banality. In this regard, the Canadian photographer Edward Burtynsky's photographs of China, as shown in the film Manufactured Landscapes, seem emblematic enough: Modernization in China has altered the trajectory of people's lives as well as the landscapes of their nation. This article discusses the issues embedded in the stories the seven documentaries present: the impact of global capitalism; the relations between national development and globalization; the conflicts between corporate social responsibility and profit-making; and the predicament of migrant workers and their human agency.
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Tinerella, Vincent P. "Secret Sisters: Women Religious under European Communism Collection at the Catholic Theological Union." Theological Librarianship 3, no. 2 (2010): 8–15. http://dx.doi.org/10.31046/tl.v3i2.154.
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After the fall of Communism in Eastern Europe, Pope John Paul II asked Catholics around the world to assist members of the Church who had suffered under the yoke of communist oppression as a result of their commitment to Catholicism. Sr. Margaret Savoie, and Sr. Margaret Nacke, Sisters of St. Joseph, Concordia, Kansas, decided that the experiences of Catholic women in religious communities – “surviving sisters” – was an important story that needed to be documented, preserved, and made available for future generations and researchers. In 2003, Sisters Mary and Margaret began their research, recording the plight of Catholic sisters in eight countries, Bulgaria, Czech Republic, Hungary, Lithuania, Romania, Slovakia, and the Ukraine, from the rise of Stalin until the collapse of European communism. Over 200 testimonials now reside at the Paul Bechtold Library at the Catholic Theological Union in Chicago under the auspices of the library’s archivist, Dr. Kenneth O’Malley, C.P. , and their work has been made into a national and award-winning documentary film. 
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Cieślak, Magdalena. "Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź—Textual Authority, the “Director's Cut”, and Theatre Status." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (2018): 69–80. http://dx.doi.org/10.18778/2083-8530.17.07.
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Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
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Antara, Mukherjee. "Representational Politics in Bollywood Sports Movies of the 21st Century: Empowering Women through Counter Cinema." postScriptum: An Interdisciplinary Journal of Literary Studies 3, no. 2 (2018): 65–80. https://doi.org/10.5281/zenodo.1318946.
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In its bid to map out the portrayal of women in sports films in mainstream Bollywood, the paper would initially highlight the shifting paradigm of Hindi Film Industry post-liberalisation. As a by-product of this, one could also discern a marked change in the representation of women characters on screen. The paper wishes to concentrate on such representations in 21st century sports movies. In movies where the crux of the narrative rests on either a sport or a sporting event, as in Lagaan, Stumped, Jannat, Kai Po Che, Patiala House, M.S. Dhoni etc, women characters, even at the turn of the century, are ideologically constructed through dominant male gaze. Rather than independent individuals, they become mere signs that can be analysed as structure, code and convention. The paper would proceed next to take into account two movies centring around women athletes – Chak de India and Dangal – to puncture the pompous assertion of women power as depicted in them. The situation worsens here, for the female subjects are made to bear the burden of a male lack in order to provide the male subjects with the illusion of wholeness and unity. More than the feelings of women athletes, the directors tell stories of injured male egos which need to be nourished by feminine care and sacrifice. In this sense, they bask in the reflected glories of their male partners. Thus these representations are extremely gendered with little scope for women empowerment. The scenario, however, is not completely bleak, for there are male filmmakers interested to walk a divergent way, to tell their stories from the perspectives of women athletes. The paper would conclude with two such counter-cinemas – Dil Bole Hadippa and Mary Kom – that challenge the workings of power relations operative in other sports movies in Bollywood and give attention to feminist issues and views. The road, at times, is bumpy, for Dil Bole Hadippa didn’t do brisk business; yet box-office success of Mary Kom and Priyanka Chopa wining National Award for the film point to the capacities of women athletes in Bollywood movies to look ahead of male strategies of subjugations and curve out a niche for themselves on individual merits. Keywords
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P.R., Shivakumara. "CONTRIBUTION OF GIRISH KARNAD TO KANNADA LITERATURE-A STUDY." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 236–43. https://doi.org/10.5281/zenodo.7664470.
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<em>Girish Karnad, the eminent playwright, acknowledges to Apama Dharwadker, in these words, his skill of writing. Karnad belongs to that generation of writers who were the first to come of age in post-independent India. At that time, the country was facing tensions between the cultural and colonial past, Western thoughts and its own traditions. This historical context gave rise to Karnad’s plays and those of his contemporaries. His plays hold a mirror unto life and show a relevance of the past to the present, the subject matter resonating in modem experience and relating itself to present day situations. In an interview with Mid-Day, Karnad says: “Contemporary plays don’t necessarily require a contemporary subject.”</em>
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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.
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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.
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Minasov, M. I. "Technologies of the Value System Translation through Hollywood Products in 2000–2023." Humanities and Social Sciences. Bulletin of the Financial University 13, no. 2 (2023): 135–40. http://dx.doi.org/10.26794/2226-7867-2023-13-2-135-140.
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The article discusses the issue of current value perception and value orientations in Hollywood Animation Industry, especially its features and dynamics. Moreover, the paper provides the analysis of an ideal hero and the national idea concepts that affect the mass consciousness and collective thinking through their representation in the film industry. This analysis is based on cult films of various directors. Examples of manipulative technologies employed in Hollywood films and their consequences are also provided and analyzed. In addition, the article discusses the aspect of the commercial success of films and the dependence of the box office revenue on the opinion of film critics, press screenings and received film awards in the XXI century.
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Xi, Zhihui. "Research on the Export Strategy of Chinese Films from Marvel Films." SHS Web of Conferences 181 (2024): 01012. http://dx.doi.org/10.1051/shsconf/202418101012.
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Under the trend of globalization, cross-cultural communication has become a necessary condition for the export of national cultural soft power. Marvel movies have a wide fan base worldwide and are very well-developed in the film industry. Although Chinese films have made great progress in recent years, the domestic film market is also extremely active, and a few Chinese films have won large awards at international film festivals, but the influence on the world is minimal. Therefore, this article will use the case analysis method to analyze in detail the successful cases of Marvel movies exported in cross-cultural contexts from three aspects: film production, film content, and marketing promotion, and derive the reasons and methods for their success, hoping to help Chinese films better go to the world and help Chinese culture break cultural barriers and better go to the world.
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De Jonge, L. "Ana-Vation #FutureInTheirHands: The Power of Innovation, Robotics, and STEAM Education to Raise Awareness of Childhood Cancer in The Emirates." Journal of Global Oncology 4, Supplement 2 (2018): 187s. http://dx.doi.org/10.1200/jgo.18.16100.
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Amount raised: $50,000 (180,000 AED). Background and context: Ana, an Arabic word which means 'I' in English, is a childhood cancer initiative under Friends of Cancer Patients. Ana seeks to raise awareness about the 7 common warning signs of childhood cancer and highlight the importance of early detection, in the United Arab Emirates. In 2018, the Ana initiative launched a 3-year undertaking aimed at using S.T.E.A.M. education to roll out an annual school championship titled “Ana-vation”, a play on words between “Ana” and “innovation”. Ana-vation strategically launched in February during national innovation month, at the Sharjah Center for Astronomy and Space Sciences Planetarium. During the launch, media was invited to observe and 15 participating schools from around the country were briefed on the 4-month championship, electronic components, timeline and expected deliverables. The Ana initiative partnered with a start-up of young engineers to form the Ana-vation team. Students were preselected by their science teachers, to represent their school. Aim: Ana-vation aims to inspire young students to become future researchers, doctors, scientist and engineers, through using innovation and S.T.E.A.M education. The program also offers a bridge to aware parents and teachers, by sending home pamphlets. Strategy/Tactics: Ana-vation is a 4-month campaign (February to May) that rolls out with 15 schools across the Emirates. The program involves the science teacher at each school, who selects 10 students to participate in teams of two (5 teams per school, totaling 75 teams). They have to use the electronic components in the Ana-vation robotic kits and recyclable materials found around their homes, to create a robot to answer in the challenge: “Create an innovative solution to raise awareness about childhood cancer signs and symptoms”. Throughout the 4 months, Ana-vation will conduct workshops at each of the 15 schools to mentor and engage with the students and teach them to code, using basic programing language. Program process: Championship launch - February Training and evaluation roadshows - March Debugging workshops - April Championship and awarding ceremony - May Costs and returns: To cover the cost of the kits + launch event + 15 road show school visits + workshop + award ceremony = $50,000 (180,000 AED) total or $3300 (12,000 AED) per school. FOCP approached corporates to adopt and sponsor a school at $3300. What was learned: Ana-vation was well received by participating schools and sponsoring corporates. It received high media coverage on TV interviews and print media. Offered corporates CSR opportunities, publically associate with a good cause and offered employees volunteer opportunities, plus chance to mentor and engage with young students. FOCP partnered with Manipal University film students and faculty to produce a short documentary on Ana-vation, to be submitted to the Sharjah Children Film Festival in September, to further highlight awareness.
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Pransky, Joanne. "The Pransky interview: Dr. Hugh Herr – Professor, MIT Media Lab; Director, Biomechatronics Group and Co-director, MIT Center for Extreme Bionics; Founder, BionX Medical Technologies Inc." Industrial Robot: the international journal of robotics research and application 47, no. 6 (2020): 795–99. http://dx.doi.org/10.1108/ir-06-2020-0115.
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Purpose The following paper is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry PhD-turned successful innovator and entrepreneur regarding the commercialization and challenges of bringing his technological inventions to market. This paper aims to discuss these issues. Design/methodology/approach Considered one of the top biomechatronics researchers in the world, Dr Hugh Herr heads the MIT Biomechatronics Research Group and Center for Extreme Bionics. His research programs seek to advance technologies that promise to accelerate the merging of body and machine, including device architectures that resemble the body’s musculoskeletal design, actuator technologies that behave like muscle and control methodologies that exploit principles of biological movement. Herr’s methods encompass a diverse set of scientific and technological disciplines that are advancing an emerging field of engineering science that applies principles of biomechanics and neural control to guide the designs of human rehabilitation and augmentative devices. Findings As a teenager, Herr was a highly competitive mountain climber until he had to have both legs amputated below the knees after suffering severe frostbite during a 1982 mountain expedition at the age of 17. As a result of this experience, he directed his efforts and talent to try to improve the mobility of people with disabilities. He graduated in physics in 1990 from the Millersville University (Pennsylvania). He subsequently earned a Master’s degree in Mechanical Engineering at the Massachusetts Institute of Technology (MIT) in 1993 and a PhD in Biophysics at Harvard University in 1998. He then was a postdoctoral fellow in medical devices at MIT. He was Assistant Professor at the Harvard-MIT Division of Health Sciences and Technology, Harvard Medical School. Since 2000, he has been heading the MIT Biomechatronics Group within the Media Lab and has been Co-directing the Lab’s Center for Extreme Bionics since 2014. To bring his inventions to market, Herr founded a spin-off company out of MIT under the name iWalk in 2007, which was relaunched as BionX Medical Technologies Inc. in 2015, and acquired by Ottobock in 2017. Originality/value Herr is a world leader and inventor in the field of bionics and biomechanics whose research accomplishments have already made a significant impact on physically challenged people. Herr has produced several groundbreaking products, starting with a computer-controlled artificial knee in 2003, called the Rheo Knee™ System and commercialized by Össur Inc. He also designed his own bionic lower legs, the world’s first powered ankle-foot prosthesis to emulate the action of a biological leg and, for the first time, provides amputees with a natural gait. The Empower ankle system is now marketed by Ottobock. He is presently working on NeuroEmbodied Design methodology to restore proprioception to amputees. Herr has received major accolades including the Popular Mechanics Breakthrough Leadership Award (2005), the Heinz Award for Technology, the Economy and Employment (2007) and R&D Magazine’s 14th Innovator of the Year Award (2014) and a No Barriers Lifetime Achievement Award at the 2013 No Barriers Summit. His innovations were listed twice among TIME magazine’s Top Ten Inventions (2004; 2007) and which called him “Leader of the Bionic Age” in 2011. His life story has been told in the book Second Ascent: The Story of Hugh Herr (1991) and in the film Ascent: The Story of Hugh Herr, made in 2002 by National Geographic. He is the author and co-author of more than 150 peer-reviewed papers and patents.
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Sinulingga, Kinanthi N. V. M., and Satrya Wibawa. "GENRE ANALYSIS THE FILM GUNDALA." Capture : Jurnal Seni Media Rekam 14, no. 1 (2022): 30–40. http://dx.doi.org/10.33153/capture.v14i1.3832.
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Gundala (2019) is the latest Indonesian action film that was commercially successful, won national and international awards, and even ranked second in viewership in 2019. This study aims to identify the genre characteristics of Gundala. This paper utilized Nick Lacey's genre analysis, which analyzes films based on the repertoire of elements (narratives, characters, settings, iconography, and styles). The research shows that Gundala adopted the action genre characteristics, especially in the narrative, character, and style. However, the setting and iconography of the film have been modified to fit the local cultural context. Hence, the distinctiveness of Indonesian films can expand similar studies in film genres.
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Sosnizkaja, Margarita S. "Parallels of A.S. Pushkin’s tales and Giambattista Basile’s “Tale of Tales” of 17th century." Neophilology, no. 21 (2020): 134–40. http://dx.doi.org/10.20310/2587-6953-2020-6-21-134-140.
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First in Russian the collection “Tale of Tales” by the Neapolitan writer Giambattista Basile (1566–72?–1632) was published in 2016. Most people know plots fragments of the collection from the tales of Brothers Grimm, Carlo Gozzi, Charles Pierrot and A.S. Pushkin. Inspired by the book the movie “Tale of Tales” was shot in 2015, it was directed by Matteo Garrone and got the Italian national film award “Davide di Donatello”. There are some selected plots of these tales; we indicate who actually is “the little animal” (and the Puss in Boots), what mythological background the figures of the Swan Princess, the Dead Princess have. We also consider the Dead Princess’s relation to different world roving plots, including “The Sleeping Beauty” by P.I. Tchaikovsky. We present analogies in rites and customs of the Russian (as well as Ukrainian) folk tales, a pantheon of gods from different peoples, Old Testament. The meaning of the names we establish along with the alchemical formula of A.S. Pushkin, of N.V. Gogol’s Viy and Basile’s Mother of Time; there is also the characterization of N.V. Gogol by P.V. Annenkov (1813–1887). We show the trans-alphabetic coincidence of the meaning of multilingual words, of the calendar names with the mythologic gods’ names related to the different planets. We also present the A.N. Afanasyev’s analysis of one Basile’s fairy tales from in the “Poetic views on nature of the Slavs”, and there are given some thoughts of V.Y. Propp (1895–1970) on the identified topics along with a brief assessment on the oeuvres of A.S. Pushkin given by the renowned specialist in literature P.V. Palievsky (1932–2019).
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Li, Yinze. "A Study of the Transnational Development of Chinese Art Cinema: The Production and Distribution Strategies of Jia Zhangke’s Films." Art and Society 2, no. 5 (2023): 15–22. http://dx.doi.org/10.56397/as.2023.10.03.
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The aim of this article is to analyse the current distribution dilemma of Chinese cinematic art films in terms of the production and distribution strategies of Jia Zhangke’s films. Jia Zhangke is a renowned sixth-generation Chinese director whose films have won numerous awards internationally, but have become non-mainstream in China. Most of his films could not be released in China mainland because of censorship policies. Through Jia Zhangke’s films, this paper will analyse the transnational development trends of Chinese art cinema from multiple perspectives, including the distribution strategies of Chinese art cinema and Chinese art cinema and national film policies, in the context of China’s national conditions and history.
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Lee, Dong Hun, Yuxuan Zhang, Kwangsoo No, Han Wook Song, and Sunghwan Lee. "(Digital Presentation) Multimodal Encapsulation of p-SnOx to Engineer the Carrier Density for Thin Film Transistor Applications." ECS Meeting Abstracts MA2022-02, no. 15 (2022): 821. http://dx.doi.org/10.1149/ma2022-0215821mtgabs.
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It has been challenging to synthesize p-type SnOx (1≤x<2) and engineer the electrical properties such as carrier density and mobility due to the narrow processing window and the localized oxygen 2p orbitals near the valence band. We recently reported on the processing of p-type SnOx and an oxide-based p-n heterostructures, demonstrating high on/off rectification ratio (>103), small turn-on voltage (<0.5 V), and low saturation current (~1×10-10 A)1. In order to further understand the p-type oxide and engineer the properties for various electronic device applications, it is important to identify (or establish) the dominating doping and transport mechanisms. The low dopability in p-type SnOx, of which the causation is also closely related to the narrow processing window, needs to be mitigated so that the electrical properties of the material are to be adequately engineered 2, 3. Herein, we report on the multifunctional encapsulation of p-SnOx to limit the surface adsorption of oxygen and selectively permeate hydrogen into the p-SnOx channel for thin film transistor (TFT) applications. Time-of-flight secondary ion mass spectrometry measurements identified that ultra-thin SiO2 as a multifunctional encapsulation layer effectively suppressed the oxygen adsorption on the back channel surface of p-SnOx and augmented hydrogen density across the entire thickness of the channel. Encapsulated p-SnOx-based TFTs demonstrated much-enhanced channel conductance modulation in response to the gate bias applied, featuring higher on-state current and lower off-state current. The relevance between the TFT performance and the effects of oxygen suppression and hydrogen permeation is discussed in regard to the intrinsic and extrinsic doping mechanisms. These results are supported by density-functional-theory calculations. Acknowledgement This work was supported by the U.S. National Science Foundation (NSF) Award No. ECCS-1931088. S.L. and H.W.S. acknowledge the support from the Improvement of Measurement Standards and Technology for Mechanical Metrology (Grant No. 20011028) by KRISS. K.N. was supported by Basic Science Research Program (NRF-2021R11A1A01051246) through the NRF Korea funded by the Ministry of Education. References Lee, D. H.; Park, H.; Clevenger, M.; Kim, H.; Kim, C. S.; Liu, M.; Kim, G.; Song, H. W.; No, K.; Kim, S. Y.; Ko, D.-K.; Lucietto, A.; Park, H.; Lee, S., High-Performance Oxide-Based p–n Heterojunctions Integrating p-SnOx and n-InGaZnO. ACS Applied Materials & Interfaces 2021, 13 (46), 55676-55686. Hautier, G.; Miglio, A.; Ceder, G.; Rignanese, G.-M.; Gonze, X., Identification and design principles of low hole effective mass p-type transparent conducting oxides. Nat Commun 2013, 4. Yim, K.; Youn, Y.; Lee, M.; Yoo, D.; Lee, J.; Cho, S. H.; Han, S., Computational discovery of p-type transparent oxide semiconductors using hydrogen descriptor. npj Computational Materials 2018, 4 (1), 17. Figure 1
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Zhu, Yuntong, and Jennifer L. M. Rupp. "Designing High Entropy Amorphous Oxides for Li-Battery Electrolytes." ECS Meeting Abstracts MA2022-02, no. 4 (2022): 472. http://dx.doi.org/10.1149/ma2022-024472mtgabs.
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Amorphous Li-oxides such as LiPON and amorphous Li garnet are considered as promising solid-state electrolytes for use in hybrid or all-solid-state oxide- and sulfide-based batteries as separators or protective layers.1-3 These materials possess several appealing characteristics, such as their intrinsic grain-boundary-free nature and relatively low manufacturing temperature (ranging from room temperature to 600 °C), which facilitates co-synthesis with Co-substituted or even Co-free cathodes that are unstable at standard electrolyte sintering temperatures. Alternatively, they can be applied as protective coatings toward Li anodes and other Li-free anode concepts, bridging the electrochemical stability voltage gap with liquid electrolytes or catholytes and preventing uneven interfacial reactions. The amorphous Li-oxides can be classified based on their structural entropy, i.e., the number and types of local bonding units (LBUs). As of today, ‘low entropy’ amorphous LiPON with only one type of LBU achieves the highest cycle number and battery lifetime.4 ‘High entropy’ amorphous Li-ion conductors, such as Li perovskites or Li garnets, exhibit an unusually high number of LBUs. local ordering and the Li-ion dynamics remain poorly understood, in part owing to the difficulty in characterizing their disordered states. This study employed a novel synthesis protocol to stabilize amorphous Al-doped Li garnets, representing so far the highest number of LBUs (≥ 4) in an amorphous Li-ion conductor.5 We resolved their phase evolution and local structures by a combination of spectroscopy, microscopy, and calorimetry techniques. A much wider (<680 °C) but processing-friendly temperature range was identified to stabilize various amorphous phases with edge- and face-sharing Zr, La, and Li LBUs that do not conform to the formation rules for Zachariasen’s glasses. These amorphous Li-ion conductors reveal an unusual setting in which Li and Zr act as network formers and La acts as a network modifier, with the highest Li-dynamics observed for smaller Li–O and Zr–O coordination among the amorphous phases. Our insight provides fundamental guidelines for the phase, local structure, and Li-transport modulation for amorphous Li garnets and pave the way for their integration in next-generation solid-state or hybrid battery designs with enhanced safety and lifetime. Acknowledgments Y.Z. acknowledges financial support provided by the MIT Energy Initiative fellowship offered by ExxonMobil. This research was supported by Samsung Electronics. This research was performed in part at the Center for Nanoscale Systems (CNS), a member of the National Nanotechnology Coordinated Infrastructure Network (NNCI), which was supported by the National Science Foundation under NSF award no. 1541959. CNS is a part of Harvard University. This research used resources of the Advanced Photon Source, an Office of Science User Facility operated for the U.S. Department of Energy (DOE) Office of Science by Argonne National Laboratory, and was supported by the U.S. DOE under Contract No. DE-AC02-06CH11357, and the Canadian Light Source and its funding partners. References [1] Zhu, Yuntong, et al. "Lithium-film ceramics for solid-state lithionic devices." Nature Reviews Materials 6.4 (2021): 313-331. [2] Balaish, Moran, et al. "Processing thin but robust electrolytes for solid-state batteries." Nature Energy 6.3 (2021): 227-239. [3] Garbayo, Iñigo, et al. "Glass‐Type Polyamorphism in Li‐Garnet Thin Film Solid State Battery Conductors." Advanced Energy Materials 8.12 (2018): 1702265. [4] Li, Juchuan, et al. "Solid electrolyte: the key for high‐voltage lithium batteries." Advanced Energy Materials 5.4 (2015): 1401408. [5] Zhu, Yuntong, et al., "High entropy amorphous Li-battery electrolytes.", Under Review (2022)
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Puspita, Lona, Abdul Rachmad Budiono, Afifah Kusumadara, and Setyo Widagdo. "The Dilemma of International Arbitration Awards in Indonesia." International Journal of Social Science Research and Review 6, no. 1 (2023): 114–21. http://dx.doi.org/10.47814/ijssrr.v6i1.745.
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The final and binding nature of international arbitral awards results in the nullification of the rights of the parties to file legal remedies against the arbitral award, as is the case with decisions of national courts that can be appealed, appealed, or reviewed. However, Article 68 paragraph (2) of Law Number 30 of 1999 concerning arbitration and Alternative Dispute Resolution provides an opportunity for parties who refuse to recognize and implement an international arbitral award that can be appealed to, as well as Article 70 must also be explained that Article this applies only to national arbitrations. This of course creates legal uncertainty, disuse, and injustice for the parties. Therefore, what is highlighted in this research is what is the position of the final and binding international arbitration award in Indonesia. The research method used in this article is legal research using primary and secondary legal materials. The results of the research show that the position of international arbitral awards in Indonesia is not the same as the decisions of national courts because they cannot be appealed, cassated, and reviewed. Therefore, it is necessary to completely amend international arbitration arrangements by removing Article 68 paragraph (2) of Law Number 30 of 1999 concerning Arbitration and Alternative Dispute Resolution in order to provide legal certainty, benefit, and justice for the parties.
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Novaldi, Dedi, and Satria Nugraha. "Islamic Educational Values in Nussa The Movie Animation." Cinematology: Journal Anthology of Film and Television Studies 3, no. 2 (2023): 71–78. https://doi.org/10.17509/ftv-upi.v3i1.55441.
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Film has developed into an educational medium that is considered quite powerful. Filmmakers are required to always not work soberly, but also need to display quality in their films both technically and the material discussed in the film. If not, then filmmakers will drown in the competition. That way it can be ascertained the importance of a quality film with educational value content in it. Nussa is an animated film by the nation's children produced by the production house Visinema Pictures produced in 2021. The film, which won many awards, has kicked off the Indonesian animation film industry to rise from the dominance of foreign animation films in Indonesia. This study aims to determine the Islamic educational values contained in the animated film Nussa. The research was conducted using qualitative research method with content analysis method. The results show that the animated film Nussa contains quite a lot of Islamic educational values that researchers group into three points, namely moral values, aqidah and Islamic parenting.
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Sihombing, Lambok Hermanto, and Agustinus Alexander Sinaga. "REPRESENTATION OF SOCIAL CLASSS IN PARASTE MOVIE." Lire Journal (Journal of Linguistics and Literature) 5, no. 1 (2021): 69–80. http://dx.doi.org/10.33019/lire.v5i1.107.
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Film works can be created from various perspectives and production methods by teams in the film industry. Parasite is a South Korean movie present as a production-based film and it raises a big theme of lifestyle differences between social classes. Parasite Movie portrays a new perspective with an astonishing story and plot-twist in the context of film with the issue of social inequality in the modern era. Various awards were obtained by Parasite films on a national and international scale for its beautiful story. The data is collected from the scenes in the movie which later the data is connected with some theories. This study also aims to find out the literary meaning of the movie Parasite, specifically the representation of social class through some literary research.
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BUD, ROBERT. "Penicillin and the new Elizabethans." British Journal for the History of Science 31, no. 3 (1998): 305–33. http://dx.doi.org/10.1017/s0007087498003318.
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Generally, the mass media in Britain, as elsewhere, treat the history of science as arcane knowledge. A few iconic tales do none the less come to permeate public consciousness. How do these come to be selected from the myriad of possible narratives?One of the most enduring and well known of stories is the discovery of penicillin, which stretched from Alexander Fleming's observation in 1928 to the award of the Nobel prize to Fleming, Howard Florey and Ernst Chain in 1945 and the subsequent dominance of American companies in its manufacture. During the 1980s, when it appeared scandalous that monoclonal antibodies discovered in Cambridge, England, had not been patented by the British government, the parallel was often made with penicillin. An alternative use was made of the story when, in July 1995, a columnist in London's Evening Standard criticized massive expenditure on medical research and claimed that most drugs were discovered by accident. He sustained his thesis by merely putting in pointed parentheses the one word, ‘penicillin’. The same year, partisans found space in the correspondence columns of the New Scientist to return enthusiastically to the debate over the proper disposition of credit between Fleming and Florey. The BBC's Money Programme broadcast a piece on how best to support inventors today in October 1996; it included film of the Science Museum's coverage of Fleming.The story of penicillin seems therefore bound, time and time again, to great issues in British culture: pride over technological prowess, resentment over the loss of opportunity, jealousy of American success, the National Health Service and the emergence of the modern pharmaceutical industry. The appeal of the story and meaning of its associations are matched by reverence for its material relics. In high profile auctions, the sale of samples prepared by Fleming raises thousands of pounds and is previewed in the newspages and on the radio. The original plate on which Fleming observed penicillin with its sterile ring surrounding the healing penicillin is one of the most familiar of historic relics (Figure 1).