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Journal articles on the topic 'Revenge film'
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Dion Ari Saputra, I. Putu, I. Nyoman Udayana, and I. Gusti Ngurah Parthama. "Person Deixis in the Film Transformer: Revenge of the Fallen." Stilistika : Journal of Indonesian Language and Literature 2, no. 1 (October 31, 2022): 122. http://dx.doi.org/10.24843/stil.2022.v02.i01.p11.
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The article is entitled Person Deixis in the film Transformers: Revenge of The Fallen. The Transformer franchise is one of the most successful sci-fi robotic films around the globe. It is interesting to be an object of analysis because it is well-known and received many awards. This film contains many types of person deixis that have important value in the analysis of the film by using Levinson’s theory. The aims of this study are to identify the types of the person deixis and describe the function of each deictic marker in the film Transformer: Revenge of The Fallen. The data were taken from the film Transformer: Revenge of The Fallen. They were analyzed qualitatively based on the theory proposed by Stephen C. Levinson in pragmatic (1983). In this film, there are three types of Person deixis; First-person deixis, second-person deixis, and third-person deixis. There were three types of personal deixis found based on the utterances performed by the characters; they are first-person deixis, I, we, us, me, our, I’m. second-person deixis, you, your. Third-person deixis, they, it, he, them. All of the deixis found in this movie were presented by using an informal method that provides description and explanation.
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Yin, Nan. "Behind the Unlimited Revenge: A Review on the Narrative Style of Park Chan-wook - Focusing on the “revenge trilogy”." SHS Web of Conferences 148 (2022): 01006. http://dx.doi.org/10.1051/shsconf/202214801006.
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The development of Korean films is tortuous, and a number of outstanding films have emerged in the 21st century. Among them, the “revenge trilogy” are famous, while they also made the director Park Chan-wook become world-renowned. His films break through the restriction of film genre and set up the complicated revenge structure, the carefully constructed space-time setting and the role-building of morally ambiguous characters. The elements of blood, violence, and eroticism are all direct in his films, but beneath these dark elements, there are reflections and discussions on human nature, destiny, and the rules of society. Ultimately, this paper will take the films of the “revenge trilogy” as the main cases and analyze the narrative style from three aspects: narrative structure, narrative space and characterization, and trace how these elements worked in Park Chan-wook’s films.
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McGrath, Kenta. "Riot and revenge." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 13–32. http://dx.doi.org/10.33178/alpha.13.01.
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Abe Forsythe's Down Under (2016) is the first narrative feature film about the Cronulla riots, the infamous event on 11 December 2005 where over 5000 white Australians, responding to a minor local incident, descended on Cronulla Beach in Sydney and proceeded to harass, chase and bash anybody who they perceived to be of Middle Eastern appearance. In the following nights, a series of violent retaliatory attacks took place, as community leaders called for calm. Suvendrini Perera identifies how a symmetrical narrative had emerged in the wake of the riot and its aftermath, whereby Cronulla Beach "comes to stand for a paired sequence of events, the riot and the revenge, in a fable of equivalence in which two misguided groups . . . mirror each other's ignorance and prejudices". This article considers how Down Under reinforces the distortive implications of this "riot and revenge" narrative by maintaining a structural equilibrium, through the rigorous balancing of its narrative and characters, and formally, via its soundtrack, cinematography and editing patterns. In so doing, and despite its antiracist sentiments, the film ultimately dilutes the issue of race and obscures the power imbalances that informed the riot, and which continue to this day
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Janet Staiger. "The Revenge of the Film Education Movement:." Reception: Texts, Readers, Audiences, History 1, no. 1 (2008): 43. http://dx.doi.org/10.5325/reception.1.1.0043.
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Seo, Koksuk. "Multilayer of Revenge and the Justification of Private Revenge: Focusing on the Film Nightingale." Film Studies 88 (June 30, 2021): 431–58. http://dx.doi.org/10.17947/fs.2021.6.88.431.
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DINERSTEIN, JOEL. "“Emergent Noir”: Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42, no. 3 (December 2008): 415–48. http://dx.doi.org/10.1017/s0021875808005513.
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This article theorizes a new periodization for film noir through a prewar category of “emergent noir”: seven films released between 1940 and 1942 – including The Maltese Falcon and Citizen Kane – that defined the genre's thematics, aesthetics, visual style, and moral ambiguity. Using archival research and trauma theory, the article analyzes High Sierra and This Gun for Hire as case studies of “failure narratives”: each film resonated with American audiences by validating the recent suffering of the Great Depression, allowing for a vicarious sense of revenge, and creating new ideals of individuality and masculinity. Both films were surprise box-office hits and created new film icons for the 1940s: Humphrey Bogart, Alan Ladd, and Veronica Lake. All three were embodiments of “cool,” a concept herein theorized as a public mask of stoicism.
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Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 105–19. http://dx.doi.org/10.1515/mstap-2017-0008.
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The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.
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Krasina, Elena A., Eugeniy S. Rybinok, and Alia Moctar. "Film Naming: Book Titles and Film Titles." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 330–40. http://dx.doi.org/10.22363/2313-2299-2020-11-2-330-340.
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The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.
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Virdi, J. "Reverence, rape - and then revenge: popular Hindi cinema's 'woman's film'." Screen 40, no. 1 (March 1, 1999): 17–37. http://dx.doi.org/10.1093/screen/40.1.17.
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Panuju, Redi. "Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)." International Journal of Social Sciences and Humanities Invention 6, no. 2 (February 28, 2019): 5273–81. http://dx.doi.org/10.18535/ijsshi/v6i2.03.
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This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb and blood is splattered everywhere. Also, the visualization of explosions for women who have just given birth by first pouring gasoline on them is considered excessive. In general, horror films get criticized because of the content of pornography and violence in them. The crucial question is whether or not the Palasik film does not contain a moral message? This study uses a narrative analysis approach. Data was obtained through in-depth observations of the story of the film arranged from scene to scene. The author interprets the film scene after scene and concludes the moral message hidden in the story. The results showed that the Palasik film conveyed many moral messages, although not explicit. For example, it conveys that collective unity can defeat evil, excessive love can make a person less alert to something bad around them, aggressiveness is formed based on habits step by step, revenge has made humans lose their humanity (especially for invented creatures like Palasik which are certainly more destructive), and power-hungry humans are willing to serve Satan in order to achieve that power.
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Coates, Paul. "“The way up is the way down”: Curzio Malaparte’s “Il Cristo Proibito” and Krzysztof Kieślowski’s “Three Colours: Red”." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 47–59. http://dx.doi.org/10.14746/i.2018.33.05.
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The statement ‘the way up is the way down’ may imply that the spiritual way to perfection lies through humility. It may however also apply to the physical world that is the source of such spiritual metaphors, and within which the actions play out of fictional characters who themselves serve as metaphors for real ones. I will argue that both meanings apply to both of these films, with a comparison between the two films enabling one to employ Malaparte’s explicit prohibition of a Christ-like position to make apparent a similar prohibition that is only implicit in Kieślowski’s film. Such physical movements provide an appropriate topography for the concern with judgment, knowledge, revenge, isolation and humiliation embodied in the male protagonists of the two films. In each case, the protagonists’ eventual divestment from programmes of judgment and revenge may be related to the prohibition Malaparte formulates explicitly: that upon human re-enactment of the Christ-like position that is the one of judgment. Here a destructive and self-destructive movement downwards, in the sense of dehumanization and extreme isolation, is countered eventually by a downward one that, in fact, leads upwards through an embrace of the humiliation of inaction. The paper examines various ways in which the object of both texts is to rediscover a ‘we’ that is rather one of solidarity than complicity.
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DeFalco, Amelia. "From Surveillance to Witnessing: Revanche, Red Road, and the Anti-Revenge Film." Quarterly Review of Film and Video 35, no. 7 (June 5, 2018): 692–705. http://dx.doi.org/10.1080/10509208.2018.1460997.
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Zielińska, Dominika. "Uświęcać środki. Filmowe oblicza kanibalizmu." Kultura Popularna 2, no. 56 (June 29, 2018): 122–32. http://dx.doi.org/10.5604/01.3001.0012.1142.
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The aim of this article is to present the motive of cannibalism which appears in chosen film contexts. I am interested in how cannibalism can be used as a cultural communication code and how it exist as functional movie thread. Based on the theories of Mary Douglas, Sigmund Freud, Louis-Vincent Thomas, and Claude Leví-Strauss. I present several movie examples and I propose subjective interpretation of the cannibalism motive in the films in several aspects: cannibalism as the symbolic tool of revenge (The cook, the thief, the wife and her lover), as an allegory of consumerism (Jan Švankmajer’s movies), need of meat as determinant of behavior of movie characters (Delicatessen), and cannibalism as grotesque form of helping each other (Fried Green Tomatoes).
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Henderson, Jennifer. "Residential School Gothic and Red Power: Genre Friction in Rhymes for Young Ghouls." American Indian Culture and Research Journal 42, no. 4 (October 1, 2018): 43–66. http://dx.doi.org/10.17953/aicrj.42.4.henderson.
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Rhymes for Young Ghouls is a hyper-stylized film, extremely conscious of the way narrative conventions are organized into genres. In telling a story about a Mi'kmaw girl's leadership of a revenge plot, the film juxtaposes the genres—and the very different models of time-space—of the Gothic novel and the Red Power-era exploitation film. I read this jolting combination as a critical intervention into what I call Residential School Gothic, a dominant discourse on the historical wrong of Indian residential schooling which has emerged in Canada over the past two decades. The film's immanent critique of this public narrative template for telling stories about residential school exposes some of the crucial ways in which Residential School Gothic serves to reconfirm a settler common sense about liberal progress.
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Malenko, S. A., and A. G. Nekita. "Sublime sacrifice or total revenge: images of science and the scientist in an American horror film." Philosophy of Science and Technology 26, no. 2 (2021): 131–43. http://dx.doi.org/10.21146/2413-9084-2021-26-1-131-143.
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Hollywood horror films, which belong to a special genre of cinema, have been extremely sensitive to the topic of scientific and technological progress and the role of research scientists in shaping and promoting the technological picture of the world since their inception. The steadily increasing popularity of visual images of science and scientists in popular culture sets the tone for the development of themes and storylines of this genre. They became the immediate fabric of horror films, but unlike politics, art, and religion, Hollywood cinema first looked at the situation from the point of view of its existential dimension. And if the leading social institutions were interested in science only from the point of view of its social utility and pragmatism, then Hollywood horror cinema managed to reveal the existential emptiness and tragedy of the researcher, whom the government plunges into a continuous and mad race for scientific discoveries. It is in this genre that the destinies of human and the nature represented by human mind, enclosed in the narrows of technological civilization, are most clearly drawn. The image of a scientist in an American horror film is outlined in two main trends, negative and positive. Negative visualization is associated with the image of a mad researcher who uses the potential of his intelligence for sophisticated revenge on the social environment. The positive model, due to the demonstration of outstanding achievements of scientists, involves a nightmarish visualization of all possible deviations of power and defects of the social system that are not able to adequately operate with the achievements of science.
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Abdullah, Nur Afifah Vanitha, Fatimah Muhd Shukri, and Nur Aifaa Nabilah Mohd Rosdi. "HUBUNGAN ALAM DAN MANUSIA DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (2017)." Jurnal Pengajian Melayu 32, no. 1 (April 22, 2021): 105–17. http://dx.doi.org/10.22452/jomas.vol32no1.7.
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‘Tombirou: Penunggu Rimba’ (2017) (TPR) is a mystical action film based on the rural Sabahan community belief about nature. More than 99 per cent of this film was shot in forested areas, therefore relevant to the film’s ultimate idea, which is the importance of caring for nature and striking that balance between nature and man. The film also contains symbolism that conveys nature’s revenge against man for their irresponsibility. Thus, this paper studied the portrayal of man and nature in TPR. An approach was devised with content analysis as a tool to answer the said question. This was supported by applying Aldo Leopold’s ecocentrism (1949) to analyse the film. The primary research material was TPR, whilst additional data was retrieved from books, journal articles and newspaper articles. Findings showed that this film had portrayed the importance of preserving the balance between nature and man in life’s ecosystem. This factor is vital to ensure nature’s wellness and the balance between man and nature. The characters Tombiruo, Tobugi, Bobolian and Pondolou were also shown as agents of peace, mediators and caretakers of nature. Keywords: ecocentrism, Tombiruo: Penunggu Rimba, Malay film, film criticism, symbolism.
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Neely, Sol. "Unsettling Monstrosity in Rhymes for Young Ghouls." Screen Bodies 4, no. 1 (June 1, 2019): 72–95. http://dx.doi.org/10.3167/screen.2019.040106.
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Rhymes for Young Ghouls (2014), written and directed by Mi’kmaq filmmaker Jeff Barnaby, is primarily presented as a residential school “revenge fantasy.” Some critics and reviewers of the film value it for its pedagogical possibilities, arguing that the film occasions opportunity for dialogue between Indigenous and non-Indigenous audiences about the legacies of the residential school system. Yet, numerous decolonial scholars and activists understand that dialogue alone cannot effect the quality of decolonial justice needed in the wake of genocide. This article approaches the film as a saturated phenomenon and examines the kinds of radical phenomenological transformation that must occur, especially among non-Indigenous audiences, for decolonial imperatives to become legible. Beyond developing a more comprehensive historical panorama of the violence and legacies of the residential school system, this article calls for a kind of translation of experience occasioned by the film, one that dramatically subverts and transforms modalities of consciousness on which coloniality is predicated.
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Koontz, Emma. "Reopening Wounds: Processing Korean Cultural Trauma in Park Chan-wook’s Oldboy and Sympathy for Lady Vengeance." Oregon Undergraduate Research Journal 20, no. 2 (November 16, 2022): 99–107. http://dx.doi.org/10.5399/uo/ourj/20.2.7.
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In 1988, South Korean president Roh Tae-woo implemented democratic reforms in order to host the Olympic Games. These reforms opened the floodgates for Korean New Wave films. The reforms repealed censorship regulations and gave Korean filmmakers the autonomy to actualize their creative visions for the first time since they were colonized by Japan in 1910. The results of this newfound artistic freedom were films that grappled with the trauma of eighty years of colonialism, war, and authoritarian dictatorship through biting political commentary. This study explores Park Chan-wook’s representation of 한 (han) Korean cultural trauma in his New Wave films Oldboy and Sympathy for Lady Vengeance. Using literature on trauma, film, and Korean history combined with original film analysis, this study works to explain the criticisms embedded in Chan-wook’s films. The films critique revenge fantasies and both conscious and unconscious ignorance of traumatic events by demonstrating they are ineffective methods of processing한. His films show that the only way to heal 한 is to acknowledge and accept all wrongdoing, even one's own, and mourn the consequences of the atrocities. While 한 is specific to Koreans, cultural trauma is not. The ubiquity of cultural trauma makes the lessons in Chan- wook’s works of paramount importance and global relevance. While resolution of trauma is never final, Chan-wook’s films serve both as a guideline for and a performance of cultural healing in the face of moral atrocities.
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Richards, Chris. "Hard Candy, Revenge, and the “Aftermath” of Feminism: “A Teenage Girl Doesn’t Do This”." Jeunesse: Young People, Texts, Cultures 7, no. 1 (June 2015): 42–61. http://dx.doi.org/10.3138/jeunesse.7.1.42.
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This article discusses the film Hard Candy in relation to debates surrounding the meanings of feminism, post-feminism, and girl power. In particular, it explores the rape-revenge narrative as an articulation of ambiguous representations of young women and their relationship to both second-wave and third-wave feminisms. The central example discussed in this article presents a challenging and unsettling representation of a young teenage girl confronting an apparently sexually predatory photographer in his thirties. This article explores the construction of such a teenage avenger with reference to a range of precedents in both film and television. In particular, the article considers on what terms Hard Candy contradicts the positioning of teenage girls as weak and vulnerable.
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Black, Fiona. "A Miserable Feast: Dishing Up the Biblical Body in The Cook, the Thief, His Wife and Her Lover." Biblical Interpretation 14, no. 1-2 (2006): 110–26. http://dx.doi.org/10.1163/156851506776145805.
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AbstractThe paper considers the place of the Bible in the abject world of Peter Greenaway's The Cook, the Thief, His Wife and Her Lover. Two biblical intertexts are evident: Psalm 51, which is sung repeatedly throughout the film as a call to repentance, and the Last Supper, which forms the climactic revenge of one of the characters. The texts are interwoven with some significant themes in the film (corporeality, consumption and violence), all of which work to establish and manipulate the presence of the abject. With the assistance of the Bible, the characters' relation to the abject becomes contested and contradictory. Ultimately, the texts exhibit a peculiar logic that threatens to undermine the film's plot, and its characters.
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Tuccini, Giona. "Far from the homeland: Dishonour and redemption in Mario Monicelli's The Girl with the Gun." Forum Italicum: A Journal of Italian Studies 56, no. 1 (November 25, 2021): 124–37. http://dx.doi.org/10.1177/00145858211054003.
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The journey undertaken by the protagonist Assunta Patanè in Mario Monicelli's film The Girl with the Gun is far more than a mere spatial displacement fired by a desire for revenge, but it gradually takes the form of an itinerary of an individualistic and cultural nature that is eventually to overturn the stereotypes of Assunta's native Sicilian community, thus enabling her to embrace modernity and, in particular, emancipation, both of which are totally alien to her at the opening of the film. The metamorphosis of the protagonist passes through various phases that will lead her towards self-awareness and self-determination, following her arrival in Great Britain with the intent to take revenge on Vincenzo, the man responsible for her dishonour. The polyhedral use of language (Sicilian dialect, Standard Italian and English), the impact of a new society and culture, not to mention the series of relations, above all with male characters so different from each other (Vincenzo, John, Frank and Doctor Osborne), will mark Assunta's gradual path towards maturity. In an atmosphere initially overhung with tragedy but gradually transformed through comedy and humour, the Sicilian woman will succeed in freeing herself from the prejudices and customs of an archaic world, so as to affirm her presence and personal identity, now liberated from the simplistic male–female binary and from the respective roles decreed since antiquity.
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Jeong, Kelly Y. "Towards humanity and redemption: The world of Park Chan-wook's revenge film trilogy." Journal of Japanese and Korean Cinema 4, no. 2 (January 2012): 169–83. http://dx.doi.org/10.1386/jjkc.4.2.169_1.
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Uzuegbunam, Chikezie E. "Oppositional gaze or revenge? A critical ideological analysis of foreignness and foreign identities in Nollywood feature films." Catalan Journal of Communication & Cultural Studies 13, no. 1 (April 1, 2021): 121–39. http://dx.doi.org/10.1386/cjcs_00042_1.
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The media, including popular media such as music and films, often generate conversations about different spectrums of society. Due to an overabundance of imagery and sounds from the media, including television, film, advertising, social media and the internet, audiences are constantly bombarded with stereotypes and ideologies about other races and identities. As an exponentially growing popular culture industry, Nollywood – the Nigerian movie industry – positions itself as a source of knowledge and popular discourse about issues emanating from the continent and other places. With this growth, Nollywood seems to have been given a spot in the political circle of identity politics, giving it the power to represent the ‘Others’. This study interrogates the theme of identity construction in African films by focusing on the ways in which some select Nollywood films of the early and late 2000s and early 2010s frame and construct foreign races and foreign societies, using critical ideological analysis and the framework of critical race theory. Representations and portrayals of difference in the analysed movies could be serving some ‘revenge’ of sorts, transgressing age-long representations of Black people in Blaxploitation films. The multiplex representations as seen in the analyses serve the primary purpose of such stereotypes: to reproduce and to reaffirm prejudices that over time become naturalized and normalized. The study thematically specifies the significant use of labels, stereotypes and certain orthodoxies that aim to frame and characterize foreign societies in popular Nigerian films and suggests some broader implications of the findings.
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Clarke, Alissa. "“Am I Providing a Good Show for You?”." Feminist Media Histories 5, no. 2 (2019): 148–80. http://dx.doi.org/10.1525/fmh.2019.5.2.148.
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The underground film Daddy (1973), a collaboration by French artist Niki de Saint Phalle and British countercultural filmmaker Peter Whitehead, is a sexually explicit surrealist pop-art Freudian rape revenge fantasy. It stems from de Saint Phalle's autobiographical narrative of parental abuse and the development of a young girl's sexuality. Deploying a performance studies lens to focus on performance practice and process, this article takes a new methodological approach to the film that could be applied to other avant-garde cinematic practices. Drawing on previously unseen materials and examining a key and frequently underexplored element of female labor within film, this essay traces the skills, training, and experiences shaping female performative labor, and demonstrates that Daddy's interrogation of sexual politics and displays of female sexual expression depended on this labor. Dissecting it offers revealing insights into the complex and frequently hidden dynamics of control and agency underpinning Daddy's artistic and sexual collaborations.
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Kamble, Dr Sanjay Pandit. "Sujata Parashar’s The Temple Bar Woman: A Study in Revenge Tale." Journal of Language and Linguistics in Society, no. 22 (March 1, 2022): 1–4. http://dx.doi.org/10.55529/jlls.22.1.4.
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Sujata Parashar is a blooming Indian Writer in English. She has credited more than half dozen of novels. Her fictions are labeled as bollywood in book. Her novels are like a Hindi film. Romance, thrill and suspense are the core part of novel. The Temple Bar Woman is the best example of bollywood movies. The present novel is the picture of a girl who is victim of this unjust system. She is simple woman of character but due to the social system she enters in political filed to take revenge of her enemy. She is gang raped by the Vikram Singh the son of political leader. She is a daughter of headmaster and she herself is the teacher. With her friend she encounters with Vikram Singh. He misbehaves so she insults him in the village fair. Virkam takes the revenge of his insult by raping her. The story does not end here. She was in unconscious state and she was left in brothel. The place of prostitute and red light area, here she meets the Rkshit Singh a budding business tycoon and leading politician. He is unknown about her past life. With the help of Rakshit Singh and Habiba Bi she decides to take revenge and achieves success. Tit for tat is saying proved, reaction to action take place and she becomes the role model for the next coming generation. She stands as a model of rise, revolt and raise her voice.
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Dolgopolov, Greg. "Ghosting in the outback Noir." Coolabah, no. 29 (February 28, 2021): 4–16. http://dx.doi.org/10.1344/co2021294-16.
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Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (May 1, 2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.
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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Jasmine Nurkamila, Dea Bella Indriani, and Marudut Bernadtua Simanjuntak. "THOR'S CHARACTERIZATION ANALYSIS IN AVENGERS: INFINITY WAR." Jurnal Pendidikan dan Kebudayaan 2, no. 1 (March 20, 2022): 45–50. http://dx.doi.org/10.55606/jurdikbud.v2i1.135.
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The film “Avengers: Infinity War” is a film that sequel to 2012's The Avengers, and 2015's Avengers: Age of Ultron. The purpose of this study is to describe the character of one of the main characters, namely Thor and also the representation of the superhero formula from Thor. The method used in this study is a qualitative method with two research approaches, namely structural to examine the character of Thor, while the literary psychology approach uses the theory of Coogan and Cawelti about the superhero formula (protagonist). The results show that Thor has 4 characters, namely 1) Thor is the main character, 2) Thor is the protagonist, 3) Thor is a flat character, because at the beginning of the scene it is shown that Thor is grieving because of the loss of his brother, so Thor tries to take revenge from the beginning to the end of the film. 4) Thor is also a static character in the film. In the analysis of the representation of the superhero formula (protagonist), three points are obtained namely, 1) mission, 2) strength, and 3) costume. The conclusion of this study is that the superhero formula changes depending on culture, civilization, and technological sophistication.
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Clark, Katerina. "Sergei Eisenstein'sIvan the Terribleand the Renaissance: An Example of Stalinist Cosmopolitanism?" Slavic Review 71, no. 1 (2012): 49–69. http://dx.doi.org/10.5612/slavicreview.71.1.0049.
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In this article Katerina Clark argues that Sergei Eisenstein'sIvan the Terribletrilogy should not be taken as an unambiguous example of the revival of the national in Stalinist culture of the 1930s and 1940s. Clark identifies Eisenstein as a “cosmopolitan patriot” and proposes that the film can be interpreted, inter alia, in terms of this orientation, focusing on the role of the west European Renaissance in the film. This link is explicit in the Prologue and in an article by Eisenstein, which equate Ivan's ruthless exercise of power and use of violence with the record of such Renaissance giants as Henry VIII and Catherine de Medici. But the link is also implicit in some of the visual imagery and the plot structure (which draws on the Elizabethan revenge tragedy). In such allusions to the Renaissance, Clark contends, Eisenstein was effectively entering into European debates of the fascist era about “humanism,” “cosmopolitanism,” and internationalism, with a position that emerges as both nuanced and conflicted.
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Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (October 31, 2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.
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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divisualisasikan secara lebih spesifik, yaitu ditampilkan dalam wujud hantu balas dendam. Terdapat paradoks hantu balas dendam sebagai tokoh jahat dalam cerita yang di sisi lain dimaklumi karena semasa hidupnya ia mengalami ketidakadilan dan penindasan oleh laki-laki. Penelitian ini dilakukan untuk menganalisis film Kuime yang menampilkan bahwa narasi dan visualisasi hantu perempuan Jepang merupakan sebuah diskursus dari pemahaman masyarakat Jepang mengenai perempuan. Metode yang digunakan dalam penelitian ini adalah studi pustaka dengan pendekatan kualitatif menggunakan teori analisis wacana kritis oleh Norman Fairclough. Teori tersebut mencakup analisis deskripsi linguistik dari teks, interpretasi hubungan antara proses diskursif dengan teks, serta hubungan antara proses diskursif dengan proses sosial. Hasil dari penelitian ini adalah terdapat diskursus posisi dan peran perempuan dalam masyarakat Jepang yang memengaruhi pembentukan mitos hantu perempuan pada karya bergenre horor di Jepang. Dengan adanya diskursus tandingan dalam paradoks hantu dan pembunuh perempuan pada film Kuime, dapat disimpulkan bahwa terdapat perubahan pada pemaknaan perempuan dalam film horor Jepang yang pada awalnya dimaknai sebagai bentuk manifestasi ketakutan laki-laki terhadap perempuan menjadi pemaknaan yang berpusat pada keberdayaan perempuan. The horror genre often portrays women as terrible Gambars. Women are deliberately represented as a menace to men. As a result, a frightening and terrible Gambar is identified as a woman. Related to the most of horror genre that represents women as terrifying Gambars with terror and grim appearance, Japanese horror, known as kaidan (怪談) also still maintains this practice. In kaidan, women are narrated and visualized more specifically in revenge ghost Gambars. There is a paradox in the vengeful female ghost who is seen as an evil character in the story, but her revenge is understandable because she was wronged and oppressed by men. This research was conducted to analyze Kuime, a Japanese horror film which shows that the narration and visualization of Japanese female ghosts is a discourse on the stereotypes about women in Japanese culture. The method used in this research is a literature study with a qualitative approach using the theory of critical discourse analysis by Norman Fairclough. The theory includes the analysis of the linguistic description of the text, the interpretation of the relationship between the discursive process and the text, and the relationship between the discursive process and the social process. The result of this research shows that discourse about the position and role of Japanese women builds the myth of female ghosts in Japanese horror. By the counter-discourse in the paradox of ghosts and female killers in Kuime, it can be concluded that there is a change in the meaning of women in Japanese horror films, which was interpreted as a manifestation of men's fear of women becoming centered to women's empowerment.
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Mekusi, Busuyi. "WHEN INDEMNITY BECOMES DISDAINFUL: REVENGE AS METAPHOR FOR ‘UNFINISHED BUSINESSES’ IN POST-APARTHEID SOUTH AFRICAN DRAMA." Imbizo 7, no. 2 (May 26, 2017): 71–83. http://dx.doi.org/10.25159/2078-9785/1855.
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Revenge, as an instance of oppositionality, typifies past wrongs, evils, violations and disregard for human dignity which have been imputed and for which the offender must be reprimanded. The foregoing sequence is remindful of the dastardly apartheid dispensation in South Africa, which is a strong metaphor for strife and ‘ruptured’ human interactions. While the transition of South Africa to constitutionality was substantially heralded by the negotiating preponderances of the Truth and Reconciliation Commission (TRC), a number of people have adjudged the TRC to be a mere attempt to draw a curtain on the past - in sharp contrast to the spirit and letter of the commission. By so doing, there is a popular opinion that there are still some ‘unfinished business’ that ironically link the present with the past. Therefore, it is considered a ‘must’ that these ‘silences’ be addressed in order for the present and future of South Africa not to be intractably burdened by the past. Bhekizizwe Peterson’s and Ramadan Suleman’s Zulu Love Letter (both film and scripted play) has joined this discourse by artistically amplifying the need for an engagement with these ‘deafening silences’. It is in the light of the aforementioned that this article investigates the process of wrong and attempts by the hegemony to expiate such wrongs, in the context of impervious agents, who disregard the processes for peaceful engagements, but rather scorn and threaten victims of their vicious actions for daring to seek justice. The article sees such a repudiation of one’s evil act and the conciliatory stance of the government as capable of breeding revenge. However, the article concludes that when medicated, using certain cultural and religious beliefs, the bleeding heart that is prone to seeking revenge or retaliation (vengeance) might also be a carrier of forgiveness and collectivism.
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Dowling. ""Revenge upon a Dumb Brute": Casting the Whale in Film Adaptations of Moby-Dick." Journal of Film and Video 66, no. 4 (2014): 50. http://dx.doi.org/10.5406/jfilmvideo.66.4.0050.
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Joyce, Justin A. "“Deserve1093-4537S got [everything] to do with it”: Unforgiven, revenge, and the revival of the western." International Journal of Organization Theory & Behavior 17, no. 2 (March 1, 2017): 217–35. http://dx.doi.org/10.1108/ijotb-17-02-2014-b005.
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This essay weds conceptions of justice within Public Administration to the theme of revenge in the Hollywood Western, arguing that the revival of the genre in the 1990s reflects changes in the public conception of due process and equality before the law. The Western genre’s evolution is illustrative of the way definitions of justice are socially, contextually specific. Unforgiven illustrates this shift because the violence in the film symbolizes the vengeance culture so anathema to American notions of procedural justice and explores shifting conceptions of justice through a 19th century allegory of injustice, the heart of which is the treatment of a person as property. This fantasy of the violent resolution of conflict is examined against Public Administration's insistence upon resolving competing conceptions of the good through peaceful, deliberative modalities.
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Sufianto, Agustinus, Jemmy Tantra, and Fenny Gunadi. "The Influence of Shaolin Teaching to Houjie’s Personality Change in Shaolin Film（2011) 少林教义对侯傑在《新少林寺》电影中人格变化的影响." Humaniora 6, no. 2 (April 30, 2015): 212. http://dx.doi.org/10.21512/humaniora.v6i2.3328.
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New Shaolin is a famous film from China. The story tells about Houjie’s life and his personality change. Shaolin’s positive influence in Houjie’s life is the main purpose of this research. Research used references and the theory of Sigmund Freud of ID, Ego and Superego to analyze Houjie’s personality change. Result shows thatafter receiving Shaolin’s teaching, he became a better man. In Shaolin, Houjie was forgiven. Shaolin’s teaching such as chanting a scripture can help improve his thoughts. Reflection and Kungfu brought Houjie out of his revenge and bad emotion, also bring harmony to his thoughts and heart. Houjie’s pre-character was dominated by his ID, but after he had entered Shaolin and learned Shaolin’s teaching, Houjie studied how to reach balance in 3 factors mentioned in the theory of personality.
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Sumera, Adam. "Woman and Authority in Ian McEwan’s “Conversation with a Cupboard Man” and Its Film Adaptation." Text Matters, no. 1 (November 23, 2011): 123–34. http://dx.doi.org/10.2478/v10231-011-0009-4.
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The paper analyzes Ian McEwan's short story "Conversation with a Cupboard Man" (published in 1975) and its film adaptation made in Poland by director Mariusz Grzegorzek in 1993. In many works McEwan shows women in more positive light than men. This short story, however, deals with a mother's total domination of her son's life. The text is in the form of first-person narration of the son but it is the figure of the mother that is of utmost importance.
The protagonist describes his life from his childhood. His mother wanted him to remain a baby as long as possible, depriving him of free will and leaving him totally dependent on her. Her attitude changed when she found a partner. The protagonist, now seventeen, had rapidly to grow up from a baby into an adult. Childhood and total passivity remain for him ideals to be pursued, and a cramped cupboard becomes his favourite environment. The influence of his upbringing remains with him for ever. After analyzing the short story the paper explores parallels to other works by McEwan and other writers. The importance of the use of the indeterminate article in the title is discussed. Attention is given to the issue of defamiliarization. And the ambivalent attitude of the protagonist towards his mother is examined.
The second part of the paper deals with the film adaptation. Grzegorzek has imaginatively developed the short story into a full-blown feature film. It preserves most of the important elements of the short story, at the same time providing new material largely in keeping with the original's tone. The director not only extrapolates, inventing new scenes to fill in the short story's unspoken gaps but also skilfully changes the narrator's comments into scenes, and this is not purely a change from telling into showing. The paper discusses the imagery of the movie, especially Oedipal motifs, references to Christ, and the impression of blood-red lips. It stresses the stronger role of the teacher from the home (Smith in the text) and his influence on the only independent action of the protagonist—the revenge on Pus-face. It is also important that the film omits any verbal expression of the protagonist's hatred towards his mother.
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Park, So-Jin. "What/Who is Sleeping? Sexual Violence against Adolescent Girls and Revenge in Contemporary Film Versions of “Sleeping Beauty”." Asian Women 32, no. 4 (December 31, 2016): 1. http://dx.doi.org/10.14431/aw.2016.12.32.4.1.
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Popovich, Natalia. "Nabokow w masy: Obrona Łużyna na dużym ekranie." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 9 (December 20, 2019): 113–28. http://dx.doi.org/10.14746/kw.2019.9.8.
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The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of The Luzhin Defence creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge.
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Rostotskaya, Marianna A. "Patterns of Behavior in the Great Patriotic War’s Soviet Cinema." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 54–65. http://dx.doi.org/10.17816/vgik8454-65.
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The author explores the moral stances of films produced during the Great Patriotic War. The author considers these films as a part of the state cultural policy suggesting that their plots and characters were subject to the political situation and focused on the morale building activities both in the military and in the rearward. The frame of holy war dictated patterns of behavior on the screen as well as in real life. The Great Patriotic War and necessity of the nations unity promoted Soviet peoples collectivist identity. The theme of revenge became the keynote of films produced during this period. On the one hand, Soviet people showed on the screen righteous anger, intransigence and even cruelty against the enemy; on the other hand - altruism, willingness to sacrifice ones life for the sake of motherland and compatriots. The concept of us and them which had been formed during the class struggle received further development. The Soviet cinema tended to embody patterns of behavior for all social groups. Mans and womans images became mostly archetypal. The author shows that a mans positive image was a hero and a man of wisdom, whereas a womans positive image was to be a female warrior, beloved and mother. Moral rigorism, certainty and univocity of films shot during the war played a great role for the victory. Ethics of duty in Soviet films, introducing the model of life as heroic act, seemed invincible in the war years since it was based on distinct ideas of the purpose of the society. The destruction of the Soviet institutions and ideology would have contested the moral component of films made in the period of the Great Patriotic War. The article contributes to the development of historical memory and ability to perceive a film within the framework of public life and cultural policy.
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Briuchowecka, Łarysa. "Польща в українському кіно." Studia Filmoznawcze 37 (September 14, 2016): 25–88. http://dx.doi.org/10.19195/0860-116x.37.5.
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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not forgive Poland the refusal to follow the Bolshevik path. The Polish topic was particularly painful for the Ukrainian Soviet Socialist Republic due to the fact that the Western fringe of Ukrainian lands became a part of Poland according to the Treaty of Riga which was signed between Poland and Soviet Russia. This explains why Polish society was constantly denounced in the Ukrainian Soviet films The Shadows of Belvedere, 1927, Behind the Wall, 1928. Particular propagandistic significance in this case was allotted to the film PKP Piłsudski Kupyv Petliuru, Piłsudski Bought Petliura, 1926, which showed Poland subverting the stability of the Ukrainian SSR and reconstructed the episode of joint battles of Ukrainians and Poles against the Bolsheviks in the summer of 1920 as well as the Winter Campaign. The episodes of Ukrainian history were also shown on the screen during this favorable for cinema time, particularly in films Zvenyhora 1927 by Oleksandr Dovzhenko and a historical epopee Taras Triasylo 1927. The 1930s totalitarian cinema presented human being as an ideological construct. Dovzhenko strived to oppose this tendency in Shchors 1939 where head of the division Mykola Shchors is shown as a successor of Ivan Bohun, specifically in the scene set in the castle in which he fights with Polish warriors. Dovzhenko was also assigned by Soviet power to document the events of the autumn of 1939, when Soviet troops invaded Poland and annexed Western Ukraine. The episodes of “popular dedications” such as demonstrations, meetings, and elections constituted his journalistic documentary film Liberation 1940. A Russian filmmaker Abram Room while working in Kyiv Film Studios on the film Wind from the East 1941 did not spare on dark tones to denunciate Polish “exploiters” impersonated by countess Janina Pszezynska in her relation to Ukrainian peasant Khoma Habrys. Ihor Savchenko interpreted events of the 17th century according to the topic of that time in his historical film Bohdan Khmelnitsky 1941 where Poles and their acolytes were depicted as cruel and irreconcilable enemies of Ukrainian people both in terms of story and visual language, so that the national liberation war lead by Khmelnytsky appeared as a revenge against the oppressors. The Polish topic virtually disappeared from Ukrainian cinema from the post-war time up until the collapse of the Soviet Union. The minor exclusions from this tendency are Zigmund Kolossovsky, a film about a brave Polish secret service agent shot during the evacuation in 1945 and the later time adaptations of the theatre pieces The Morality of Mrs Dulska 1956 and Cracovians and Highlanders 1976. Filmmakers were able to return to the common Polish-Ukrainian history during the time of independence despite the economic decline of film production. A historical film Bohdan Zinoviy Khmelnitsky by Mykola Mashchenko was released in 2008. It follows the line of interpretation given to Khmelnitsky’s struggle with Polish powers by Norman Davies, according to whom the cause of this appraisal was the peasant fury combined with the actual social, political and religious injustices to Eastern provinces. The film shows how Khmelnitsky was able to win the battles but failed to govern and protect the independence of Hetmanate which he had founded. The tragedies experienced by Poland and Ukraine during the Second World War were shown in a feature film Iron Hundred 2004 by Oles Yanchuk based on the memoirs of Yuri Borets UPA in a Swirl of Struggle as well as in documentaries Bereza Kartuzka 2007, Volyn. The Sign of Disaster 2003 among others.Translated by Larisa Briuchowecka
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Briuchowecka, Łarysa. "Polska w kinie ukraińskim." Studia Filmoznawcze 37 (September 14, 2016): 89–150. http://dx.doi.org/10.19195/0860-116x.37.6.
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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not forgive Poland the refusal to follow the Bolshevik path. The Polish topic was particularly painful for the Ukrainian Soviet Socialist Republic due to the fact that the Western fringe of Ukrainian lands became a part of Poland according to the Treaty of Riga which was signed between Poland and Soviet Russia. This explains why Polish society was constantly denounced in the Ukrainian Soviet films The Shadows of Belvedere, 1927, Behind the Wall, 1928. Particular propagandistic significance in this case was allotted to the film PKP Piłsudski Kupyv Petliuru, Piłsudski Bought Petliura, 1926, which showed Poland subverting the stability of the Ukrainian SSR and reconstructed the episode of joint battles of Ukrainians and Poles against the Bolsheviks in the summer of 1920 as well as the Winter Campaign. The episodes of Ukrainian history were also shown on the screen during this favorable for cinema time, particularly in films Zvenyhora 1927 by Oleksandr Dovzhenko and a historical epopee Taras Triasylo 1927. The 1930s totalitarian cinema presented human being as an ideological construct. Dovzhenko strived to oppose this tendency in Shchors 1939 where head of the division Mykola Shchors is shown as a successor of Ivan Bohun, specifically in the scene set in the castle in which he fights with Polish warriors. Dovzhenko was also assigned by Soviet power to document the events of the autumn of 1939, when Soviet troops invaded Poland and annexed Western Ukraine. The episodes of “popular dedications” such as demonstrations, meetings, and elections constituted his journalistic documentary film Liberation 1940. A Russian filmmaker Abram Room while working in Kyiv Film Studios on the film Wind from the East 1941 did not spare on dark tones to denunciate Polish “exploiters” impersonated by countess Janina Pszezynska in her relation to Ukrainian peasant Khoma Habrys. Ihor Savchenko interpreted events of the 17th century according to the topic of that time in his historical film Bohdan Khmelnitsky 1941 where Poles and their acolytes were depicted as cruel and irreconcilable enemies of Ukrainian people both in terms of story and visual language, so that the national liberation war lead by Khmelnytsky appeared as a revenge against the oppressors. The Polish topic virtually disappeared from Ukrainian cinema from the post-war time up until the collapse of the Soviet Union. The minor exclusions from this tendency are Zigmund Kolossovsky, a film about a brave Polish secret service agent shot during the evacuation in 1945 and the later time adaptations of the theatre pieces The Morality of Mrs Dulska 1956 and Cracovians and Highlanders 1976. Filmmakers were able to return to the common Polish-Ukrainian history during the time of independence despite the economic decline of film production. A historical film Bohdan Zinoviy Khmelnitsky by Mykola Mashchenko was released in 2008. It follows the line of interpretation given to Khmelnitsky’s struggle with Polish powers by Norman Davies, according to whom the cause of this appraisal was the peasant fury combined with the actual social, political and religious injustices to Eastern provinces. The film shows how Khmelnitsky was able to win the battles but failed to govern and protect the independence of Hetmanate which he had founded. The tragedies experienced by Poland and Ukraine during the Second World War were shown in a feature film Iron Hundred 2004 by Oles Yanchuk based on the memoirs of Yuri Borets UPA in a Swirl of Struggle as well as in documentaries Bereza Kartuzka 2007, Volyn. The Sign of Disaster 2003 among others.Translated by Larisa Briuchowecka
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Rosewarne, Lauren. "“Nothing Crueler than High School Students”." International Journal of Technoethics 8, no. 1 (January 2017): 1–17. http://dx.doi.org/10.4018/ijt.2017010101.
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The Internet as a fearful place is a theme apparent in numerous film and television presentations whereby fears and anxieties about new technology are exploited and new ethical challenges are mounted. The idea that the Internet can make a person, particularly a young person, vulnerable has much traction on screen: in the context of bullying, narratives frequently demonstrate that while it was once restricted to the parameters of school—the school grounds and the school day—the Internet enables such behavior to happen at any time and for it to occur repeatedly with an infinite audience. Anybody with Internet access—be it via their laptop or smartphone—can be bullied; equally, anyone with access to such technology can become the bully. Revictimization is the starting point for this discussion and is a key factor in distinguishing cyberbullying from the schoolyard terror of the pre–Web era. The public nature of many online attacks means that victims experience abuse in an ongoing fashion in turn, exacerbating and prolonging the trauma. Other themes explored include the flexibility of roles: whereas in schoolyard bullying the victim is frequently the weaker kid preyed upon by someone older and stronger; online the weaker kid can effortlessly become the bully themselves in a world where physical brawn is less important than computer prowess. Age and gender are also examined, along with emerging social concerns such as slut-shaming and revenge porn. These themes are each explored to expose the ways film and television depict social concerns exacerbated by new technology.
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Schubart, Rikke. "Jacinda Read: The New Avengers: Feminism, femininity and the Rape-Revenge Cycle / Sarah Projansky: Watching Rape : Film and Television in postfeminism culture." MedieKultur: Journal of media and communication research 19, no. 35 (September 5, 2003): 4. http://dx.doi.org/10.7146/mediekultur.v19i35.1249.
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Song, Xu. "Journey to the East: A Review of Hollywood’s Film Localization Efforts for China’s Film Market." International Journal of English and Cultural Studies 2, no. 1 (December 11, 2018): 1. http://dx.doi.org/10.11114/ijecs.v2i1.3872.
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The film market of China has been growing rapidly and is now the world’s second largest film market. Hollywood studios have been sending transnational films to China to receive additional revenues. This research investigates the three channels (i.e., flat-rate buyouts, co-productions, and revenue-sharing titles) through which Hollywood studios can enter their films in China’s film market and reviews the China-focused localization efforts that Hollywood studios have made to appeal to China. The review findings show that exporting Hollywood films to China as revenue-sharing titles has become the favorite approach for major Hollywood studios to gain additional revenues. To improve revenue-sharing films’ box-office performance, localization efforts of Hollywood studios are executed throughout a film’s theatrical life cycle, from a film’s planning and production stages to its distribution, promotion, and exhibition stages. Implications and suggestions as to how Hollywood studios can further utilize film localization efforts to enhance box-office success in China are also discussed in the present study.
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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism." Feminist Theory 18, no. 3 (July 28, 2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.
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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality.
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Starzyńska, Antonina, and Magdalena Budziszewska. "Why shouldn’t she spit on his grave? Critical discourse analysis of the revenge narratives in american popular film from the developmental point of view." Psychology of Language and Communication 22, no. 1 (January 1, 2018): 287–306. http://dx.doi.org/10.2478/plc-2018-0013.
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Abstract One of the premises of developmental psycholinguistics is that we live our life according to certain narratives that are learned through language and media. These narratives teach children to express emotions and to attribute actions in a variety of life situations; they construct the way in which the threatening feelings such as anger, injustice, or the urge of vengeance are experienced. In this paper, we present a critical analysis of the gendered discourse in popular American cinema, based on the plot analysis of 60 films featuring male or female protagonist seeking revenge. We use critical discourse analysis to decipher the patterns of the gender roles, behaviors, and emotions, which these movies intent to force upon the viewer. As the psychological research does not clearly testify to gender differences in the experience and expression of the trait anger, we would like to argue that it is a matter of the socially moderated narrative patterns, rather than inborn tendencies, that urges boys and girls to play such different roles in those situations as well as experience them in distinct ways. Our most crucial conclusion is that Western societies have developed the narrative-based mechanisms which later helped to successfully discourage women from expressing anger in the form of physical aggression, under the threat of being left out of the discourses of femininity and, in some cases, humanity.
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Risma, Risma, Festi Himatu Karima, and M. Wahyu Widiyanto. "The Analysis of Estella’s Characterization as The Main Character in “Cruella 2021” Movie." Lingua Franca 1, no. 2 (August 13, 2022): 26–46. http://dx.doi.org/10.37680/lingua_franca.v1i2.1699.
Full textAbstract:
This research deals with characterization analysis. The objective of the research are (1) to know how Estella or Cruella’s characterization is described in “Cruella 2021” movie; (2) to know Estella or Cruella’s conflicts in “Cruella 2021” movie; 3) to know Estella or Cruella’s characterization can we emulate in “Cruella 2021” movie. The researcher used a qualitative approach based on a document study. The method used in this research is the descriptive method. The researcher took data from the script of the film “Cruella” as primary data. The researcher takes subtitles, several articles, and other secondary data sources related to the “Cruella” film. The researcher used the documentation technique to get the data in this research. The theory in this research combines structural approach and objective theory. The characterization analysis of this research is based on the characterization theory according to Jacob and Saini. The results and conclusion of this research are as follows; (1) Cruella’s characterization based on what the characters say, Cruella’s characterization are a good daughter, a good friend, a little psycho, a trouble maker, a grudge and brave. Based on what the characters do: grumpy, break promise, talented, trouble maker, grudge and a good friend. Based on what the others think/ say: talented, rude and evil ; (2) Cruella’s conflict; internal conflicts, Cruella blamed herself for her mother's death, so she was very sad, Cruella is furious knowing the real killer of her mother's death and that's what makes her want to take her revenge. External conflict, the conflict of Cruella with Baroness, the conflict between Cruella with her friends, Jasper and Horace (3) Cruella’s good characterization that can we emulate is a good daughter, a good friend, brave and talented.
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KOZLOV, EVGENY V. "SCREEN ATTRACTIONS: BETWEEN VISUAL AND NARRATIVE." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 11–28. http://dx.doi.org/10.30628/1994-9529-2021-17.1-11-28.
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Based on a number of provisions of aesthetics and film semiotics, the article interprets the structural features of the attractions of screen civilization and analyzes their varieties in the context of serial art products that reveal their structural and receptive specifics. The attraction has its deep reflection in the mental structure. The attraction appears as an external manifestation of the phantasm. The attraction, like phantasm, resonates on the basis of the difference of several episodes with which it is connected by the relation of causality. Art “produces the phantasm theatrically” (according to G. Deleuze), bringing the quasi-event from the depths of the psychic to the surface, into the symbolic space of artistic fiction. Phantasm is an internal resonance of the two series, while an attraction appears as an external manifestation and effect of the difference between the causal series (visual/narrative; rational/emotional; singular/universal, fictional/real, presence/absence). Based on the disjunctive synthesis of these series, an attraction occurs in films and comic books on foot of the ultimate (limiting the space for fiction) and the transcendent, going beyond the screen limitations, canceling the conventional barriers for fiction. A locomotive rushing into the auditorium from the cinema screen is an example of an attraction that is considered in the screen civilization as an attractive and sensational element of an artistic program. Such a cinema attraction is addressed almost exclusively to the eye, and for its success the resonance is important, which is provided by the predominance of the visual over the narrative. The juxtaposition, going back to André Gaudreault’s semiotics, between a cinematic attraction (in which the visual component is almost unchallenged) and НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 14 THE ART AND SCIENCE OF TELEVISION that of films (filmique), in which the narrative might have a chance for revenge, reveals an interesting response in the culture of the modern series. A film attraction appears as a result of the constructive interaction of visual perceptions and creative interpretations of the plot, shaped by the recipients themselves. It is assumed that a cliffhanger, which is often used in the series, can be such an attraction. In the modern storytelling, the art of creating and maintaining intrigue is endowed with fundamental importance. The attraction of the series is aimed at the continuation, at the teaser of the next episode, which should look as attractive as possible and seem to be an artistic product absolutely mandatory for consumption. The techniques and practices developed for these purposes become systematically updated in the media space, which nowadays is literally “infected with cliffhangers”.
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Poulsen, Søren Vigild. "Face off – a semiotic technology study of software for making deepfakes." Sign Systems Studies 49, no. 3-4 (December 31, 2021): 489–508. http://dx.doi.org/10.12697/sss.2021.49.3-4.12.
Full textAbstract:
Deepfakes, an algorithm that transposes the face of one person onto the face of another person in images and film, is a digital technology that may fundamentally alter our belief in visual modality and thus presents alarming consequences for an image-centric culture. Not only are these face-translations now so advanced that it is virtually impossible for people to tell that they are fake – this technology is also becoming accessible to laypersons who, with little or no computer skills, can use them for all kinds of purposes, including criminal intentions like revenge porn and identity theft. It is therefore timely and crucial to explore the semiotic potential of deepfakes.
This paper presents a semiotic technology perspective, i.e., the study of technology for meaning- making that is an emergent field in social semiotics, to report on findings from an ongoing study of how deepfake software is designed and used as a semiotic resource in erotic and political contexts. The paper advances the argument that the software is able to appropriate all signifiers of the face and their cultural history. Consequently, the semiotic operations of this technology prepare the ground for the problematic perspectives of synthetic facial imagery.
On this basis, the paper calls for a critical awareness of taking visual representations of current events at face value and considers how deepfake technology is embedded in unsound sharing practices of visual artefacts that tamper with the rich meaning potential of the face.
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Pangarker, N. A., and E. v. d. M. Smit. "The determinants of box office performance in the film industry revisited." South African Journal of Business Management 44, no. 3 (September 30, 2013): 47–58. http://dx.doi.org/10.4102/sajbm.v44i3.162.
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The film industry is a significant player in the global economy. It calls for significant up-front investments with the result that analysts, studios and investors alike are interested in predicting box office success as part of financial risk management.This study utilises global box office revenue in assessing the effects of eight explanatory variables, identified from previous studies, in the explanation of revenue. Nearly three decades after the seminal study the extension of the original methodology to global rather than USA data, still confirms production cost, releases by major studios, award nominations and sequels to successful films as the key drivers of global box office revenue. The evidence further suggests that in the modern global context, the film genre, the release date around holidays and positive critical reviews play a less significant role than in the original investigation.
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Lotman, Elen, Alan Voodla, and Andero Uusberg. "What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays." Baltic Screen Media Review 7, no. 1 (December 1, 2019): 4–16. http://dx.doi.org/10.2478/bsmr-2019-0001.
Full textAbstract:
AbstractResearchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace et al. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, et al. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).