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Journal articles on the topic 'Representations in film'
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1
Sjö, Sofia. "Struggling bodies and body struggles: explorations of body and religion in contemporary Nordic film." Scripta Instituti Donneriani Aboensis 23 (January 1, 2011): 400–416. http://dx.doi.org/10.30674/scripta.67397.
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This study focuses on representations of the body and religion in Nordic film. The aim is to illustrate the kinds of representations of religion and the body that can be found in contemporary Nordic films, demonstrate how these representations relate to religion, the body and film more generally, and explore what perceptions of and attitudes to the body and religion the representations suggest. The analysis begins with an introduction to religion and film studies, religion in Nordic film and the themes and films chosen for this study. After this a short overview of earlier studies dealing with the body, film, and religion is presented, before delving into the issue of the body and religion in Nordic film. The article is concluded by reflecting on the more over-arching ideas and attitudes that the material can be argued to point to and the possible changes and challenges the films express.
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Reagan, Leslie J. "Representations and Reproductive Hazards of Agent Orange." Journal of Law, Medicine & Ethics 39, no. 1 (2011): 54–61. http://dx.doi.org/10.1111/j.1748-720x.2011.00549.x.
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United States Air Force planes fly across mountains of green forest; behind them, fine white streams of chemical spray fill the sky. The planes fly alone or in formation covering wide swaths of the entire landscape. These images of the herbicide spraying during the United States-Vietnam War are ubiquitous in media material about Agent Orange, the most heavily used of the fifteen herbicides sprayed during the war. This representation of the war does not include guns, grenades, tanks, bombs, or dead bodies. Instead, contemporary documentary filmmakers offer images of airplanes and chemical barrels to provide evidence of another weapon of war, pan dead and leafless forests in an otherwise lush landscape of green, and zero in on children’s deformed bodies to show the lasting environmental and health effects of Agent Orange. In this essay I share preliminary thoughts from my new project on Agent Orange and film in the United States and Vietnam. The bulk of social science writing on Agent Orange has focused on American veterans and their fight to secure benefits, while film scholars have analyzed the Vietnam War in Hollywood movies and television. I investigate documentary film, the transnational activism that generates these films, and the representations of gender, disabilities, bodies, history and culture within them. Here I offer a close reading of two turn-of-the-twenty-first-century documentaries about Agent Orange in Vietnam.
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Nugin, Raili. "Mobile Lives, Immobile Representations." Transfers 8, no. 2 (June 1, 2018): 87–112. http://dx.doi.org/10.3167/trans.2018.080206.
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The article looks at how cultural constructs of “urban” and “rural” are used in policy measures. The question is opened by analyzing twenty-five short films submitted for the competition Once upon a Time in Our Village organized by the Estonian Ministry of Agriculture and Just Film (a nonprofit organization). The competition calls for young people to “depict the future and possibilities of rural life.” The aim was to prevent out-migration of young people from the rural areas. As the data show, the films echo cultural constructions that depict the rural as opposed to the urban: traditional, quiet, and a haven of the national past. The future and technological possibilities are something that are constructed as an urban phenomenon, and thus, not present in the films.
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Fessas, Nikitas. "Representations of Disability in 1960s Greek Film Noirs." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 2020): 281–99. http://dx.doi.org/10.3828/jlcds.2020.18.
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Using a critical psychoanalytic framework, the article examines representations of disability in two Greek film noirs from the 1960s, namely The Secret of the Red Mantle and The Fear. While the films are in no way unambiguously progressive, they allow for an anti-ableist reading and therefore challenge stereotypical representations of disability in 1960s Greece.
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Cortvriend, Jack. "Stylistic convergences between British film and American television: Andrew Haigh’s Looking." Critical Studies in Television: The International Journal of Television Studies 13, no. 1 (February 25, 2018): 96–112. http://dx.doi.org/10.1177/1749602017746115.
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This article compares Andrew Haigh’s HBO series, Looking, with his feature films Weekend and 45 Years. It addresses the role of the showrunner, particularly in relation to transmediality and transnationality suggesting there is a convergence between British film and American quality television. In doing this, it also addresses the particularities of Haigh’s style, representations of homonormativity and LGBT+ characters in popular television and the representation of national and ethnic difference in Looking.
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Díaz-Cuesta Galián, José. "Man as Rescuer and Monster in Steven Spielberg's Film Text "Schindler's List"." Journal of English Studies 5 (May 29, 2008): 63. http://dx.doi.org/10.18172/jes.121.
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This journal article addresses the confrontation between two extreme representations of man in Steven Spielberg’s Schindler’s List (1993): the rescuer and the monster. It is my contention that these representations simplify two of the moral options –good versus evil– from which men can freely choose according to both Judaism and Catholicism, which are the two religious cults the film alludes to. This article has a three-fold structure. The first part focuses on the godlike representation of Oskar Schindler2 and his relation to key episodes in the Bible. The second one deals with Amon Goeth, Schindler’s mirror image and the incarnation of evil in the film. The third part surveys Spielberg’s blending of religious traditions in some films prior to Schindler’s List. As a conclusion it is proposed that the godlike man who rescues his people is not only Oskar Schindler, but also Steven Spielberg.
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Skardhamar, Anne Kari. "Changes in Film Representations of Sami Culture and Identity." Nordlit 12, no. 1 (February 1, 2008): 293. http://dx.doi.org/10.7557/13.1346.
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My intention is to analyse changes in ideas and discursivestrategies in selected films from 1929 to 2007 as regardsrepresentations of Sami culture and Sami identity in Finnmark. In different ways the films indicate a conflict of cultures and point to problems of exploitation of indigenous peoples, which may be regarded as part of Nordic colonialism.The emphasis will be on Lajla (1929) and the prize-winningVeiviseren (1987). The story of the young girl Lajla is told from a non-Sami point-of-view, and the mode of representation of otherness is of importance. In 1937 an abbreviated version of Lajla by the same director was presented, and a comparison of the two versions will show changes in the representation of ethnicity. Per Høst's narrative documentaries Same-Jakki (1957) and SamiÆllin (1972), seen from an ethnic Norwegian perspective, will briefly be discussed and compared to the ideas and discourse in Lajla.The action film Veiviseren (The Guide) (1987) by Nils Gauprepresents a totally different perspective by focusing on power relations, religious attitudes and ethical values. The language of the film is Sami. Finally, Gaup's most recent film, Kautokeinoopprøret (Kautokeino riot) (2007), a narrative based on historical events, will be briefly discussed.
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Gegen. "“War on Terror”: The Limitation of Representation of the Film." Scientific and Social Research 3, no. 2 (July 13, 2021): 141–44. http://dx.doi.org/10.36922/ssr.v3i2.1118.
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History was always written by the winners. Despite the fact that the history of the War on Terror is relatively new, Hollywood is quick to develop a visual history of the conflict. Hollywood’s excellent realism aesthetics were successful in justifying the goal and method of the “war on terror,” interrupting ongoing reality to influence and reconstruct public memory about what happened. This dissertation will use three awarded and influential case studies: The Hurt Locker, Zero Dark Thirty and American Sniper to demonstrate the fragmentation of film representation, that the film only speaks for “us.” The dissertation aims to uncover the hidden political unawareness behind film representations, the manner in which those films provide limited versions of what happened, and how the films emphasise the self-subjectivity while objectifying the other.
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Santyaputri, Lala, Olivia Nursalim, and Catherine Karenina. "Eksplorasi Visual Naratif Indonesia-Tionghoa dalam Film Karya Mahasiswa." DESKOMVIS: Jurnal Ilmiah Desain Komunikasi Visual, Seni Rupa dan Media 1, no. 1 (March 9, 2020): 46–55. http://dx.doi.org/10.38010/dkv.v1i1.6.
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Indonesian-Chinese in Indonesian films rarely become the main subject of the narrative and even still marginalized. Marginalization in Indonesian-Chinese looks back at the Indonesian history, which doesn’t provide the similar space as other Indonesian citizens. The development of Indonesian films now gives new space to new filmmakers, especially those academicaly speaking graduated from film schools. Narative and visual analysis was carried out on two works on Indonesian-Chinese by using a narrative research methodology with a qualitative approach. Stages of research conducted by the director will be the starting point in this research, especially in studying history. The research objects of these studies taken the biopic documentary "Lebih Cina dari Tionghoa" (2019), and the fiction genre film "Bulikan"(2019). These two films represent present-day and Indonesian-Chinese representations. This research is a study of representation on the visualization and narration of film by young generation.
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Pieldner, Judit. "Representations of Female Alterity in Contemporary Hungarian and Romanian." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 95–110. http://dx.doi.org/10.2478/ausp-2014-0008.
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Abstract The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyond the Hills (Cristian Mungiu, 2012), drawing its topic from a real event -reality generating fiction-that inspired Tatiana Niculescu Bran’s Deadly Confession [Spovedanie la Tanacu), Judges’ Book [Cartea Judecătorilor), as well as Zsolt Láng's The Monasteryr of Protection (Az oltalom kolostora). Beyond dealing with related female patterns, the films imder discussion are engaged in mediating collective and private mental representations, as well as in creating film narratives with the convergent feature of juxtaposing the real and the mythical. The films approach the topic from distinct possibilities of cinematic representation and offer, in my view, a complementary and intercultural image of the woman trapped between the East and the West, between social and religious institutions and victimised by the stereotypical view of society.
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Byrne, Peter. "Why psychiatrists should watch films (or What has cinema ever done for psychiatry?)." Advances in Psychiatric Treatment 15, no. 4 (July 2009): 286–96. http://dx.doi.org/10.1192/apt.bp.107.005306.
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SummaryCinema is at once a powerful medium, art, entertainment, an industry and an instrument of social change; psychiatrists should neither ignore nor censor it. Representations of psychiatrists are mixed but psychiatric treatments are rarely portrayed positively. In this article, five rules of movie psychiatry are proposed, supported by over 370 films. Commercial and artistic pressures reduce verisimilitude in fictional and factual films, although many are useful to advance understanding of phenomenology, shared history and social contexts in psychiatry. Acknowledging some negative representations, three areas are explored where cinema gets it mostly right: addictions, bereavement and personality disorder. Although there are excellent representations of psychosis on film, film-makers have more often portrayed it violently – ultimately demonising people as psychokillers in more than 100 films cited. When people with mental illness are stigmatised through stereotypes, examining unwelcome depictions can uncover important truths. Psychiatrists' engagement with film will ensure professional and artistic gains.
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Jafri, Beenash. "Black Representations of Settlement on Film." Cultural Studies ↔ Critical Methodologies 17, no. 1 (July 25, 2016): 50–59. http://dx.doi.org/10.1177/1532708616638697.
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This article develops a method for analyzing Indigenous erasure in popular film that focuses not on the representations (or lack thereof) of Indigenous peoples but on representations of settlement. Whereas much of the scholarship on Native representations in film has been concerned with Hollywood’s promulgation of the “mythical Indian,” I argue that a focus on settlement—rather than on bodies—is significant in the context of the ongoing, unfinished processes of colonialism, which continue to structure life in white settler states. Cultural representations that reconfigure colonial-occupied life as settled life naturalize settler colonialism while erasing and displacing Indigenous claims to land. I illuminate this method by analyzing how the 1974 “blaxploitation Western” Thomasine and Bushrod imagines settlement. The film features a pair of lovers who are on the run from the law in America’s Southwest from 1911 to 1915. Because it is a film that speaks back to historical constructions of Blackness and Indigeneity, Thomasine and Bushrod productively illuminates how representations of Indigenous erasure work in often ambiguous and contradictory ways.
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Pedersen, Sune Bechmann. "The Aesthetics of a Collapsing Border." East Central Europe 41, no. 2-3 (December 3, 2014): 254–76. http://dx.doi.org/10.1163/18763308-04103007.
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This article is a diachronic study of the fall of the Berlin Wall as it has been represented in German fiction films from 1989 until 2010. The focus is on the formal features of the inclusion of the event in filmic narratives and on the reactions by film critics to the representations. By studying the aesthetics of representation and the reactions and expectations expressed by critics, it is possible to trace the ways in which the event has changed from a sacrosanct experience, vividly remembered, to a historical affair of little controversy. At the same time, the article also depicts a change in the representations themselves. Starting with gritty realism, the films turn to ironic hyperbole in their depictions of the fall from around 1999. After 2003, however, the unreal representations give way to generic dramas that adhere to strictly conventional narratives and aesthetics. This, the article concludes, coincided with the transformation of the memories of the event from communicative to cultural.
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Pomiès-Maréchal, Sylvie. "The Enduring Influence of Female Special Operations Executive Agent Biopics on Cultural Memory and Representations in France and Great Britain." European Journal of Life Writing 10 (September 8, 2021): WLS144—WLS168. http://dx.doi.org/10.21827/ejlw.10.37917.
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Seventy-five years have elapsed since the end of World War Two. Yet, the memory of the conflict still occupies a central place in British and French collective consciousness. Fiction and film representations of the war act as powerful ‘vectors of memory’, to borrow an expression from French historian Henry Rousso, and as such, they have deeply contributed to shaping popular and cultural memories of the war.
This article investigates a specific aspect of World War Two representations, namely the cinematic representations of the female agents from the SOE F section, focusing on the ‘generic’ or archetypal figure of the female SOE agent as generated by the post-war cultural industry. After a brief contextualisation focusing on Churchill’s clandestine organisation, the article will analyse the contribution of Odette (Herbert Wilcox, 1950) and Carve Her Name with Pride (Lewis Gilbert, 1958) to the construction of a World War Two ‘mythology’. It will then address more recent films, concentrating on Charlotte Gray (Gillian Armstrong, 2001) and Female Agents (Jean-Paul Salomé, 2008).
How did the fictional construction of the female spy come to influence the social and cultural perception of the SOE agent? Are the tropes developed in such post-war films as Odette or Carve Her Name with Pride still current or have they evolved with time? The analysis of these fictional representations will reveal the permanence or evolution of certain representational patterns and also allow us to approach different perspectives on the cultural representation of World War Two on both sides of the Channel.
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Koskinen, Maaret. "Time, memory and actors: Representation of ageing in recent Swedish feature film." Journal of Scandinavian Cinema 9, no. 1 (March 1, 2019): 89–104. http://dx.doi.org/10.1386/jsca.9.1.89_1.
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As has been noted in scholarship across various disciplines, issues of age and ageing have attracted much interest in recent years. In film production as well, ageing character actors have entered centre stage, in both popular films (for instance the Hotel Marigold films) and existential dramas (for instance Lucky, with 90-year-old Harry Dean Stanton in his last role). However, little has been written on Swedish film production in this regard. This article attempts to demonstrate, through an empirical overview, that interest in age and ageing has increased in feature film during the last two decades, not only internationally but more specifically in Swedish film. This article also strives to hypothesize, drawing on the area of memory studies, that the mere representation of ageing bodies and identities by well-known actors may inspire positive affective experiences related to memory, and that such representations, accumulatively across time, may be beneficial to health.
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Crawford, Peter Ian. "“Film and Representations of Culture” Conference." Visual Anthropology Review 6, no. 2 (September 1990): 103–6. http://dx.doi.org/10.1525/var.1990.6.2.103.
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Watson, Janet. "Representations of Bisexuality in Australian Film." Journal of Bisexuality 8, no. 1-2 (September 2008): 97–114. http://dx.doi.org/10.1080/15299710802142267.
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Rwafa, Urther. "Film representations of the Rwandan genocide." African Identities 8, no. 4 (November 2010): 389–408. http://dx.doi.org/10.1080/14725843.2010.513254.
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Macaluso, Michael. "Postfeminist Masculinity: The New Disney Norm?" Social Sciences 7, no. 11 (November 5, 2018): 221. http://dx.doi.org/10.3390/socsci7110221.
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A recent trend in Disney scholarship attends to postfeminist readings of Disney film and media. This paper contributes to that conversation by focusing on the representations of masculinity that accompany postfeminist sensibilities in and through Disney media and its reception. With a sociological focus on postfeminist masculinity, this article reviews several Disney characters to argue for a new model of postfeminist masculinity advanced in recent Disney films, with a particular focus on the Incredibles films, and examines how this representation has been received in popular media.
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Rollet, Brigitte. "Paris Nous Appartient: Flâânerie in Paris and Film." Film Quarterly 61, no. 3 (2008): 46–51. http://dx.doi.org/10.1525/fq.2008.61.3.46.
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Abstract This essay deals with a number of Parisian film institutions as well as cinematic representations of the French capital, noting especially the way the city is depicted in recent films made by women.
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Burman, Christo. "Facing the Foreign: The Aftermath of World War II and Estonian as Otherness in Two Films by Ingmar Bergman." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 4–19. http://dx.doi.org/10.2478/bsmr-2018-0001.
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Abstract Drawing on a few concepts of postcolonialism, including Edward Said’s idea of Orientalism and Stuart Hall’s theory on representation, this article explores the representations of Estonian culture and language in two films by Ingmar Bergman, This Can’t Happen Here (Sånt händer inte här, Sweden, 1950; also known as High Tension) and The Silence (Tystnaden, Sweden, 1963). Through a descriptive textual analysis of the Estonian representational elements in these films, the article suggests that Bergman uses Estonian language and culture to establish a certain kind of Otherness, marking a cultural hegemony and exotifying a new foreign element in post-war Sweden. An additional aim of the article is to present and contextualise the exiled Estonian actors that starred in This Can’t Happen Here, as this has not been done in a scholarly context, and since the film ended up being their only cinematic appearance in their new adopted country.
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Fuhs, Kristen. "How Documentary Remade Mike Tyson." Journal of Sport and Social Issues 41, no. 6 (July 18, 2017): 478–92. http://dx.doi.org/10.1177/0193723517719668.
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This article will theorize the relationship between stardom and documentary by considering the ways in which documentary representations contribute to the discursive formation of a star. Specifically, the article will explore the central role that documentary film has played in remaking Mike Tyson’s public image by analyzing the boxer’s representation across three distinct films: Fallen Champ: The Untold Story of Mike Tyson (Barbara Kopple, 1993), Tyson (James Toback, 2008), and Mike Tyson: Undisputed Truth (Spike Lee, 2013).
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Cummings, Kelsey. "“Life Savers”: Technology and White Masculinities in Twitter-Based Superhero Film Promotion." Social Media + Society 4, no. 2 (April 2018): 205630511878267. http://dx.doi.org/10.1177/2056305118782677.
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Drawing from social media studies and the literature on American economic decline and conceptualizations of gender and sexuality, this article asks how Twitter’s medium-specific features can be understood through an examination of its representational qualities in the context of the promotion of two contemporary superhero films. The accounts @BatmanvSuperman and @SpiderManMovie provide case studies of film promotion that uses Twitter’s particularities as a platform in order to advance distinct narratives about the films being promoted, via original tweets and retweets that, respectively, represent differing approaches to advertisement. Through this study, the article advances the arguments, first, that cultural representations are reflective of Twitter’s specificities as a social media platform, and second, that these representations work in conjunction with cultural norms of the contemporary US. One form of idealized White masculinity advanced by the latter is reliant on technology and its merging with the White man’s body. As a result, the technologies of superheroes’ suits as well as Twitter itself become representative of the present sociopolitical climate and its various aspirations and anxieties.
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Mombell, Nicole. "Teaching Representations of Resistance and Repression in Popular Spanish Film." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 163–83. http://dx.doi.org/10.5399/uo/peripherica.1.2.8.
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This essay presents a brief analysis of three popular Spanish films released between 2001 and 2012 that are set in the immediate post Civil War period and first decades of the Franco dictatorship. Specifically, it considers three films which aim to reconstruct and represent the experience of the men, women, and children who fought Francoism or who endured repression after the end of the Spanish Civil War: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004), and 30 años de oscuridad (Martín 2012). This essay explores the way in which tropes of politics, history, resistance, and repression are represented in each film, and how filmmakers using popular cinematic forms have appropriated the Spanish Civil War and Franco period settings to comment on contemporary political and social issues in Spain. Most of the recent Spanish cinematic productions (fictional and documentary) that depict the Spanish Civil War and Franco period have focused on the moral vindication of the vanquished. The three films considered here aim to reconstruct the particular experience or memories of the Spanish maquis and topos, and the civilians who supported them in their struggles. Each of the films discussed has sought to play a role in the recasting of collective identity in Spain, and affords important insights into the social processes and experiences of the time in which they were created. In a world where the visual immediacy of cinematic images increasingly works to displace traditional historiography, these representations have become ever more important and merit discussion. This essay takes into account that these cinematic representations are subjective and mediated depictions of events, participants, and circumstances of the Civil War and Franco period, and suggests pedagogical approaches to discussing each film in order to enable students (and other viewers) to grasp how to distinguish between history and the historicizing effect of its representations.
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Muna, Nalal. "Indonesia dalam Film Balibo Five." Jurnal Penelitian Pers dan Komunikasi Pembangunan 21, no. 1 (June 20, 2017): 1–19. http://dx.doi.org/10.46426/jp2kp.v21i1.52.
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Indonesia is described as cold-blooded, brutal, sadistic, cruel and inhumanity like a monster in Australian film, Balibo Five. This research aims to describe the representation of Indonesian in cinematography package and to find the dominant ideology. Semiotic is used to answer these objectives by observing three level of signs e.g. reality, representations and ideology. The result shows that there are some forms of violation which committed by Indonesian special forces troops such as assassination, torture, persecution and other cruel and human degrading treatment that violate human rights and accused them as war criminal. In addition, dominant ideology which operates is in form of demonization, dehumanization and sentiment towards Indonesia. Based on the result, this film become propaganda which potentially influence its viewer the spirit of anti-Indonesia especially amongst Australian to sympathize and uphold justice for the victims.Keywords: indonesia, balibo five, film, representation, semiotics
ABSTRAKIndonesia dalam film Balibo Five digambarkan sebagai yang kejam, brutal dan tidak manusiawi seperti sosok monster. Penelitian ini mengungkap penggambaran Indonesia dan makna di balik penggambaran sinematografi film. Analisis semiotika digunakan untuk membaca tanda-tanda sinematografi yang menyusun film tersebut dengan melihat pada tigal level tanda yakni level reality, representations dan ideology. Hasil penelitian ini menunjukkan bahwa dalam Balibo Five banyak sekali menonjolkan tindak kekerasan yang dilakukan oleh tentara Indonesia seperti pembunuhan, penyiksaan, penganiayaan dan lain sebagainya yang merujuk pada pelanggaran HAM dan kejahatan perang. Dominan ditampilkan dalam bentuk penyerupaan terhadap setan, merendahkan martabat manusia dan penyebaran kebencian. Ini merupakan media propaganda anti-Indonesia yang menyulut sentimen terhadap Indonesia serta mempengaruhi warga Australia agar bersimpati dan berpartisipasi untuk menegakkan keadilan terhadap para korban tersebut.Kata kunci : indonesia, balibo five, film, representasi, semiotika
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (July 25, 2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.
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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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Fitch, John C. "Making a College Professor Film: A Case Study." Journal of Creative Communications 15, no. 1 (September 16, 2019): 90–105. http://dx.doi.org/10.1177/0973258619866353.
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Investigations on cinematic representations of higher education have sought to provide a deeper understanding of popular culture images and how they intersect with real-life academia. Moreover, such projects have examined how such mass communication texts may influence popular opinion surrounding colleges and universities. The existing literature on specific depictions of college professors in American films has explored a number of themes from various perspectives. Many scholars claim that such cinematic representations of higher education and faculty are negative and reinforce cultural stereotypes. Yet, little has been written about how filmmakers create such images. This article examines cinematic college professors from the viewpoint of the filmmaker by completing a case study of a recently produced college professor film and members of its creative team. Interviews with the screenwriter/director, production designer, and costume designer of a pseudonymously titled film investigates how the work of these film professionals was influenced by a number of factors, including their own experiences in higher education, their personal conceptions of college professors, previously viewed college-themed films, and existing stereotypes about professors.
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Carney, James. "Culture and mood disorders: the effect of abstraction in image, narrative and film on depression and anxiety." Medical Humanities 46, no. 4 (October 31, 2019): 430–43. http://dx.doi.org/10.1136/medhum-2018-011459.
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Can cultural representations be used to therapeutic effect in the treatment of mood disorders like depression and anxiety? This article develops a theoretical framework that outlines how this might be achieved by way of mid-level cultural metrics that allow otherwise heterogeneous forms of representation to be grouped together. Its prediction is that abstract representations—as measured by Shannon entropy—will impact positively on anxiety, where concrete representations will positively impact on depression. The background to the prediction comes from construal level theory, a branch of social psychology that deals with the effects of abstraction on psychological distance; the types of cultural representations analysed include image, narrative and film. With a view to evaluating the hypothesis, the article surveys the empirical literature in art therapy, creative bibliotherapy and cinema therapy.
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Wheeler, Pat. "Representations of Dystopia in Literature and Film." Critical Survey 17, no. 1 (January 1, 2005): 1–5. http://dx.doi.org/10.3167/001115705781002075.
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Bensmaïa, Réda. "Representations of History: From Acedia to the Dialectical Image in Bourlem Guerdjou's Vivre au paradis." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1878–82. http://dx.doi.org/10.1632/pmla.2009.124.5.1878.
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Can a film based on fiction contribute to the restoration of historical memory? can films help fill in the blanks of history? What exactly is the filmmaker's position? What faculty and what means does he or she require to make such a prodigious feat possible? Are films capable of creating sites of memory, and by what means? What traces will make it possible to set up markers in a site of a scotoma? The questions become increasingly precise: Can cinema lift the veil that colonial history has thrown over the history of the Algerian War? And what can the nature of the blind spot be if every effort has been made to keep it hidden?
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Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.
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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.
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Anjirbag, Michelle. "Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film." Social Sciences 7, no. 11 (November 11, 2018): 230. http://dx.doi.org/10.3390/socsci7110230.
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As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio’s Mulan (1998) and Moana (2016). This paper will use a cross-period approach to explore the ways in which a global media conglomerate has and has not shifted its approach to appropriation of the multicultural as other and the implications for representational diversity in the context of globalization and a projected global culture. In one case, a cultural historical tale was decontextualized and reframed, while in the other, cultural actors had a degree of input in the film representation. By examining culturally specific criticisms and scenes from each film, I will explore how the legacy of coloniality can still be seen embedded in the framing of each film, despite the studio’s stated intentions towards diversity and multiculturalism.
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Dave, Paul. "Choosing Death: Working-Class Coming of Age in Contemporary British Cinema." Journal of British Cinema and Television 10, no. 4 (October 2013): 746–68. http://dx.doi.org/10.3366/jbctv.2013.0173.
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Starting with Franco Moretti's hypothesis of a relationship between the experience of modernity and the coming of age narrative in the European novel, this article explores representations of the working-class Bildung in contemporary British films that can be seen as responding to social and economic changes generally associated with neoliberalism. Contrasting the emphasis on the individual negotiation of social space in the films of Danny Boyle with work from a range of directors, including Ken Loach, Penny Woolcock, Shane Meadows and Anton Corbijn, along with recent production cycles such as the football film, the article seeks to identify representations of working-class experiences, both limiting and liberating, which mark the inherently problematic attempt to imagine a successful working-class coming of age. In doing so, the article considers the usefulness of Raymond Williams’ class-inflected account of traditions of the social bond, in particular his notion of a ‘common culture’. At the same time, it examines how such representations of working-class life often emphasise the experience of class conflict, distinguished here from class struggle, and how, formally, this emphasis can result in narratives which are marked less by what Moretti describes as the ‘novelistic’, temporising structures of the classical Bildungsroman and more by the sense of crisis and trauma found in the late Bildungsroman and modern tragedy. Ultimately, the article argues for the relevance of the long view of the social history of Britain, as a pioneer culture of capitalism, in understanding these aspects of the representation of class cultures in contemporary British film.
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Silalahi, Tomson Sabungan, Zainal Rafli, and Ratna Dewanti. "DISCOURSE STRATEGY IN THE GREAT DEBATERS FILM DIALOGUE (Critical Discourse Analysis)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 20, no. 1 (January 14, 2021): 104–17. http://dx.doi.org/10.21009/bahtera.201.10.
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ABSTRACT
Knowledge, attitudes, values, norms or ideology are all personal representations and social representations. Each text will never be separated from personal and social representation. Using Critical Discourse Analysis, this article aims to reveal the discourse strategies used by the dialogue writers of the film The Great Debaters. To elaborate, the writer will use several steps, namely analyzing the macro structure, micro structure including the Description of Actors and Events and Interpretation of Racism Discourse in the United States. Based on the overall strategy of composing the dialogue text it can be concluded that Harpo Production is not neutral. Discourse compilation strategy is applied consciously by the parties involved in the scenario processing. It was found that the discourse strategy reflected the alignment of certain discourse stakeholders, namely the African-American community.
Keywords: Critical Discourse Analysis, Dialog, Film, Discourse Strategy
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Cantey, Seth. "Filmic representations of radicalization and terrorism: The silver screen as a catalyst for social science." Media, War & Conflict 12, no. 3 (June 6, 2018): 317–30. http://dx.doi.org/10.1177/1750635218779953.
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Recent years have seen increased attention to depictions of terrorism in film and, as a consequence, scholars have learned a great deal about why and how such films are made. Too often, however, work in this area has been confined to examination of the film(s) in question, where links between what appears on the silver screen and lived experience are implied but not fully explored. Grounded in the rapidly-growing literature on pop culture and world politics, this article seeks to bridge that gap by showing that comparative film analysis can serve as a catalyst for social scientific inquiry into terrorism. By exploring how Third Cinema films communicate motivations for and doubts about the use of violence, it generates questions for social scientific inquiry that might otherwise go unasked.
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Supriansyah, Supriansyah. "REPRESENTASI LIQUID RELIGION KELAS MENENGAH MUSLIM DALAM FILM ISLAMI PASCA ORDE BARU." Khazanah: Jurnal Studi Islam dan Humaniora 17, no. 1 (July 29, 2019): 53. http://dx.doi.org/10.18592/khazanah.v17i1.2689.
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The main focus of this article is the construction of the middle class Muslims through representation and images in the form of Islamic films. Representations and simulations are used to maintain and strengthen the position of the middle class in Muslim societies. In the era of liberal capitalism, spectacle media is the most popular medium of society. The image is the main value in the media, which disturbs the society of capitalism to smooth the agenda of capitalism and consumerism. The main question in this article is how the representation and simulation of Islam is from the middle class Muslims in Indonesian Islamic films in post-new Order era? This article reveals the position of Islamic films as a medium of preservation of the religious values of the middle class that are displayed through film framing such as economic ability, education qualifications and political choice. The identity of the middle class is a value that is not only illustrated without ideological battles and the struggle for space in films, but at the same time becomes a religious ideological medium, especially the closed middle class Muslims ideology.
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Masirevic, Ljubomir. "Moral panic and film." Sociologija 49, no. 3 (2007): 249–62. http://dx.doi.org/10.2298/soc0703249m.
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The paper is an attempt to apply the theory of moral panic to public fears provoked by film violence. The aim is to recreate a lively theoretical debate on the influence of media violence on the public and to take a stand that sides with the theoreticians disputing the negative influence of media. A moral campaign against the cinematographic representation of violence is usually launched by the tabloid press which tends to publish partial truths or outright lies about the events that follow the screening of violent movies, followed by selective quotations from survey results. The paper cites the movies that produced the largest campaigns of moral panic against cinematic representations of violence and the responses of directors to these campaigns. Finally, the paper offers an interpretation of moral campaigns, as well as indications as to where the real causes of social violence should be sought.
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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.
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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.
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Dianiya, Vicky. "REPRESENTATION OF SOCIAL CLASS IN FILM (Semiotic Analysis of Roland Barthes Film Parasite)." Profetik: Jurnal Komunikasi 13, no. 2 (December 31, 2020): 212. http://dx.doi.org/10.14421/pjk.v13i2.1946.
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Social class differences have been formed long ago which can identify people's identities which are usually measured based on economic status. This class difference is depicted in Bong Joon-ho's Parasite film, telling of two families of different classes. The Kim family as a lower class and vice versa Mr. Park as the upper class. The core theme of the film Parasite is that of realistic drama about class domination which can also be seen around us. The paradigm used is critical interpretative, so researchers not only criticize but also make interpretations related to this Parasite film. In the analysis phase, this study uses Roland Barthes's semiotic analysis, which are signs in the form of words, images, sounds, movements and objects that are analyzed based on three things, namely parsing data based on the connotation, denotation and myths contained in the Parasite film scene. . Furthermore, representations produced through objects or images can produce meaning or processes that we understand or relate them to a meaning. Based on the first analysis of the film industry, Parasite Films are not included in the logic of most cultural industries but still succeed in penetrating the international market. Then, at the stage of representing social class markings in the film Parasite, it is found that there are at least five main points, namely: ease of life, fashion, boundaries, body odor, and color. Thus, the description of social class representation in the film Parasite is perfect both in its scenes, properties, and cinematography.
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Phillips, Gyllie. "Cannibals and Capital: George King'sSweeney Todd(1936) and Representations of Class, Empire and Wealth." Journal of British Cinema and Television 15, no. 4 (October 2018): 571–88. http://dx.doi.org/10.3366/jbctv.2018.0443.
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The story of Sweeney Todd has its origins in the era of Victorian stage melodrama, a form with well-documented connections to critiques of Victorian class structures and economic hardship. As well, the musical versions of the story by Stephen Sondheim and Hugh Wheeler (1979), including the 2007 film by Tim Burton, have been identified with anti-capitalist sentiment. In all the discussions of Sweeney Todd and class, however, surprisingly little scholarly attention is paid to the first sound film version of the story, which appeared in Britain at the height of the economic crisis of the 1930s: Sweeney Todd: The Demon Barber of Fleet Street (1936), directed by George King and starring Tod Slaughter. The King-Slaughter collaborations converting Victorian stage melodramas to screen were part of the body of 1930s films identified as ‘quota quickies’, which have been characterised as cheap and badly made. Scholars such as Rachel Low and, more recently, David Pirie dismissed the quota quickies as films unworthy of close attention, but this article joins the revisionist trend that takes issue with these judgements both of 1930s quota quickies and the films of King and Slaughter. King's Sweeney Todd responds to the bleak economic experience and anxieties of its audiences through its narrative and generic changes to its Victorian precursors, as well as through its limited but creative uses of film form. Specifically, King's film challenges the idea of the naturalised authority of the wealthy, questions the origins of wealth and the function of labour, and transforms the abject body of the horror genre into a metaphor for the circulation of capital.
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Priyantari, Analisa Dwimas, and Akhmad Kautsar Fattah. "Representasi Imigran Timur dalam Film The Visitor." Jurnal Komunikasi Global 8, no. 1 (July 29, 2019): 62–77. http://dx.doi.org/10.24815/jkg.v8i1.11944.
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The film is a depiction of meaning made in visual form. The study aims to see the representation of eastern immigrants in The Visitor. Motivated by the 9/11 event which took place in New York, the United States that made a negative stigma of eastern immigrants, the film tells the friendship between Western and Eastern people. Researchers use Dramatistic Pentad analysis to see how Eastern immigrant representations are displayed using act, scene, agent, agency, and purpose analyses. Researchers also used the theory of Orientalism by Edward Said to see Eastern and Western depictions. Researchers examined the six scenes in The Visitor film, using qualitative data analysis. The results showed that the film gave a positive image of eastern immigrants to change the negative perception of Western peoples towards Muslims.
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Toohey, Aileen. "Badjao: Cinematic Representations of Difference in the Philippines." Journal of Southeast Asian Studies 36, no. 2 (June 2005): 281–312. http://dx.doi.org/10.1017/s0022463405000172.
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This article examines the cinematic representation of identity through an analysis of the well-known Philippine film, Badjao. Produced in the late 1950s, Badjao successfully commercialized the idea and expression of conflict between the Tausug and Badjao ethnic groups. The study focuses on how the enactment and enunciation of identity through difference presented itself in cinema and how such representations, imbued with stereotypical cultural and religious codes, were re-formulations within nationalist discourses in the Philippines.
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Vidojković, Dario. "Early Representations of Wartime Violence in Films, 1914–1930." Cultural History 6, no. 1 (April 2017): 37–56. http://dx.doi.org/10.3366/cult.2017.0134.
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This article deals with the cinematic representations of warfare violence and with its aestheticization in early films. It argues, in particular, that the patterns and narrative structures of (anti-)war movies were laid out during the First World War. Among the first films establishing those patterns and rules were D.W. Griffith's The Birth of a Nation, a film on the American Civil War, and Hearts of the World, showing the war on the western front, produced in 1918. Films such as these offered the main elements that would mark, henceforth, how anti-war movies would portray violence. With the up-coming of sound, moviegoers would be able not only to see, but also to hear what a war sounded like. Lewis Milestone's All Quiet on the Western Front (1930), one of the first sound films, exposed the audiences to a series of (calculated) audio/visual distortions, including explosions, screams, and the monotone sound of machinegun fire.
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Hanser, Eva-Maria. "‘Muzak for Frogs’—Representations of ‘Nature’ in Decoder (1984)." Humanities 10, no. 2 (April 9, 2021): 67. http://dx.doi.org/10.3390/h10020067.
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This paper examines the various representations of ‘nature’ present in Decoder (1984), a German experimental cyberpunk film that was inspired by William S. Burroughs’ thoughts on utilising tapes as revolutionary weapons. Though Decoder is not a film one would easily associate with labels, such as ‘green’ or ‘environmental’, signs and images that represent or refer to ‘nature’ and non-human life are not omitted. Through a close reading of the film, the paper first explores the ways in which these representations convey and evoke certain meanings and associations and then elucidates the themes at play in the context of these representations.
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Moore, Lisa Jean. "Transgressive Bodies: Representations in Film and Popular Culture." Contemporary Sociology: A Journal of Reviews 40, no. 6 (November 2011): 744–46. http://dx.doi.org/10.1177/0094306111425016pp.
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Lewin, Tessa. "Real World: Empowering Representations of Women through Film." IDS Bulletin 43, no. 5 (September 2012): 110–16. http://dx.doi.org/10.1111/j.1759-5436.2012.00371.x.
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Moyer-Duncan, Cara. "Representations of Apartheid and Resistance in Documentary Film." History Compass 10, no. 2 (February 2012): 105–18. http://dx.doi.org/10.1111/j.1478-0542.2012.00830.x.
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Ellis, Katie. "Transgressive bodies: representations in film and popular culture." Continuum 27, no. 2 (March 21, 2013): 323–25. http://dx.doi.org/10.1080/10304312.2013.766316.
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Sakota-Kokot, Tanja. "Everything but ‘ordinary’: Representations of Africa in film." Journal of African Cinemas 6, no. 2 (October 1, 2014): 163–74. http://dx.doi.org/10.1386/jac.6.2.163_1.
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Lelea, Margareta Amy. "Transgressive Bodies: Representations in Film and Popular Culture." Emotion, Space and Society 8 (August 2013): 59–60. http://dx.doi.org/10.1016/j.emospa.2012.09.006.
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