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Journal articles on the topic 'Sociology of Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rovai, Mauro Luiz. "MANHÃ CINZENTA: SOCIOLOGIA E CINEMA / Gray morning: sociology and cinema." arte e ensaios 26, no. 40 (2020): 347–59. http://dx.doi.org/10.37235/ae.n40.24.

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O artigo analisa o filme Manhã cinzenta (1969), dirigido e produzido por Olney São Paulo e fotografia de José Carlos Avellar. A trama gira em torno de um acontecimento (um golpe de Estado) ocorrido em lugar não mencionado (embora identificável). A ideia é identificar as relações encenadas entre os grupos sociais mencionados no filme, com ênfase nas duas personagens principais, tomando como hipótese a ideia de que o filme pode ser visto como uma espécie de “dispositivo de alerta”.Palavras-chave: Sociologia; Análise de filme; “Dispositivo de alerta”.AbstractThe article analyzes the film Morning

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Jardim, Alex Fabiano Correia, and Adhemar Santos de Oliveira. "Um olhar histórico-filosófico do encontro do cinema com a educação e sua utilização nas salas de aulas." Educação e Filosofia 38 (July 19, 2024): 1–31. http://dx.doi.org/10.14393/revedfil.v38a2024-68790.

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Resumo: A proposta deste trabalho é problematizar a relação entre cinema e educação. Percebemos que o cinema é, geralmente, tratado apenas como plataforma ilustrativa nas aulas, ocupando papel secundário, inferior ao texto escrito ou à explicação oral. No entanto, a partir da perspectiva filosófica de Gilles Deleuze e Félix Guattari, entendemos que o encontro entre a filosofia e o cinema oferece ao aluno-espectador um novo campo de experimentação, visto que esse pode ser um potente instrumento de formação, não só cultural, mas também educacional, tanto quanto é a Literatura, a Filosofia e a So

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3

Andrianova, Elena V., Vladimir A. Davydenko, and Anzhelika S. Chernenko. "The sociology of film: existential assessments of audience practices." Tyumen State University Herald. Social, Economic, and Law Research 10, no. 4 (2024): 6–38. https://doi.org/10.21684/2411-7897-2024-10-4-6-38.

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This article describes the current state of the sociology of film theory, organically integrated into the current filmmaking expressive means and practices. The focus of research is directed at the formulation and authorial solution of the problem of audience’s existential sensitivity and related practices, which represent a unique value of both their receptivity and vulnerability in connection with their personal experiences of film consumption. Currently, two new processes are going on simultaneously in global and Russian social science: firstly, the broadening subject-matter of film sociolo

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4

Stepanov, Boris. "“Coming Soon?”: Cinematic Sociology and the Cultural Turn." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 152–77. http://dx.doi.org/10.17323/1728-192x-2020-4-152-177.

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Throughout the 20th century, cinema has played, and, to some extent, continues to play a key role in shaping the social imagination and anthropology of modern human. Nevertheless, as a review of English scholarly literature shows, cinema, unlike art and music, remains a marginal subject of analysis for sociologists. The article attempts to consider the state of sociological reflection on cinema in the context of the cultural turn in sociology in both the international and national contexts. By reconstructing the history of the interaction between sociology, film studies, and cultural studies,

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Coşkun, Çiçek. "Sociology in cinema: Origins of social types in Turkish cinema." International Journal of Social Sciences and Education Research 3, no. 4 (2017): 1147–54. http://dx.doi.org/10.24289/ijsser.312662.

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Da Silva Câmara, Antônio, Bruno Vilas Boas Bispo, and Rodrigo Oliveira Lessa. "IMAGENS DA CLASSE TRABALHADORA NO DOCUMENTÁRIO BRASILEIRO: apontamentos metodológicos." Caderno CRH 32, no. 87 (2019): 491. http://dx.doi.org/10.9771/ccrh.v32i87.32181.

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<p>Neste artigo, retomamos aspectos metodológicos de pesquisas sobre representações da classe trabalhadora encontradas no cinema documentário. Através da discussão com base em conceitos de Marx e de outros teóricos, como Lukács, Adorno, Benjamin e Kracauer, procuramos aqui revisar os termos dessa experiência a partir de sua proposta metodológica e aprofundar uma abordagem do conceito de representação que contemple os aspectos de forma e conteúdo do filme como obra de arte. Desse modo, apontamos para a correlação entre a representação e a realidade social, ressaltando a relevância dos ele

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7

Levchenko, Natalya, and Anastasiia Rogovaia. "Cinema as a Subject of Sociological Reflection: Analysis of Scientific Publications." Vestnik instituta sotziologii 15, no. 4 (2024): 303–23. https://doi.org/10.19181/vis.2024.15.4.15.

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This review article is based on the question of the importance of the sociology of cinema as a separate direction in sociological science. In this regard, the article analyses publications devoted to cinema in leading sociological journals from 1976 to the present. The purpose of the study is to identify the sociological interpretation of the transformation of Russian cinema in retrospect, as well as the main trends in the development of Russian sociology of cinema. During the analysis, scientific publications were systematised by year and research areas, which made it possible to more clearly

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8

Altenloh, E. "A Sociology of the Cinema: the Audience." Screen 42, no. 3 (2001): 249–93. http://dx.doi.org/10.1093/screen/42.3.249.

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Tretiakova, A. A. "Deconstruction of archetypal structures in the images of antiheroes in fantasy works among sociology students." Vestnik Universiteta, no. 3 (May 14, 2025): 261–72. https://doi.org/10.26425/1816-4277-2025-3-261-272.

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The sociology of cinema is one of the most significant areas within the sociology of culture, since cinema and television (hereinafter referred to as TV) series are a mass and most accessible form of art. However, the degree of development of the problems of the sociology of cinema, especially in the theoretical context, remains insufficient given the social significance. One of the areas within which a successful study of cinema and TV series is possible is constructionism, which allows us to study narratives, images, and the transformation of public opinion under the influence of cinema, and

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10

Brazzoduro, Andrea. "Il nemico interno. La guerra d'Algeria nel cinema francese." PASSATO E PRESENTE, no. 76 (March 2009): 127–42. http://dx.doi.org/10.3280/pass2009-076007.

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- Starts from France, that established the state of emergency according to an act dating back to the Algerian war (1955) to cope with the revolt which set on fire the banlieues in 2005. Siri's L'Ennemi intime, which came out in cinemas shortly afterwards, brought to the big screen exactly the French Algerian conflict. Contextualizing the film in the plentiful French production about this issue, the A. wonders whether we are faced with a new stage of "the Algerian syndrome" 50 years after the event or whether the Algerian war, caught up in a complex device of censorship and self censorship (off

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Bushkova-Shiklina, Elvira V., and Ksenia I. Odegova. "Theoretical and methodological approaches of visual sociology in the study of gender." Socialʹnye i gumanitarnye znania 7, no. 4 (2021): 392–401. http://dx.doi.org/10.18255/2412-6519-2021-4-392-401.

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One way to comprehend social reality is to watch animation films and animation series that broadcast gender models. In connection with the changes taking place in modern ideas about gender, it will be relevant to study gender roles that function in modern animation cinema. The purpose of the article is to study the theoretical and methodological approaches of visual sociology, used in the study of gender, for further selection of the most optimal methods in the study of gender models broadcast in modern animation cinema. Based on the system-analytical method, an overview of the degree of devel

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12

Tarr, Carrie. "Introduction French Cinema: ‘Transnational’ Cinema?" Modern & Contemporary France 15, no. 1 (2007): 3–7. http://dx.doi.org/10.1080/09639480601115243.

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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese c

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14

Wejbert-Wąsiewicz, Ewelina. "Film and cinema as a subject of sociological study. Between tradition and the present." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 89–110. http://dx.doi.org/10.18778/0208-600x.73.06.

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Relations between sociology and cinema span over a hundred years. The author’s task is to reflect on this fact and, as a result, to present her own theoretical and methodological concept. Constructive framing is done in a historical perspective supplemented with methodological reflections using a variety of existing materials, scientific publications (library query) and the author’s own analyses. The basic research question concerns the state of the subdiscipline: what methodological, empirical and theoretical proposals have been developed; to what extent are they currently up to date or culti

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15

Sorlin, Pierre. "Par le cinema ou vers le cinema." Le Mouvement social, no. 172 (July 1995): 3. http://dx.doi.org/10.2307/3778985.

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16

Győri, Zsolt. "Crisis, Sociology and Agency in 1970s Hungarian Documentary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 21, no. 1 (2022): 146–70. http://dx.doi.org/10.2478/ausfm-2022-0006.

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Abstract This article explores synergies between Hungarian critical sociology in the 1960–70s and the documentary films made in Balázs Béla Stúdió in the same period. It treats the rationalization of social phenomena as a battle ground for meaning and claims that both representatives of the social sciences and filmmakers, on the one hand, called upon deficient social mechanisms and the inner contradictions of existing socialism and, on the other hand, pointed to the discrepancy between ideological and empirical perceptions of reality as the root cause of the crisis characterizing the consolida

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17

Prendergast, Christopher. "Cinema Sociology: Cultivating the Sociological Imagination through Popular Film." Teaching Sociology 14, no. 4 (1986): 243. http://dx.doi.org/10.2307/1318381.

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18

Caldeira, Chris. "The Sociological Cinema: Teaching and Learning Sociology through Video." Teaching Sociology 40, no. 2 (2012): 191–93. http://dx.doi.org/10.1177/0092055x12439856.

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19

Wan, Xing, Nianxin Wang, and Ben Shaw-Ching Liu. "Impact of O2O platform multihoming and vertical integration on performance of local service firms – a quantile regression approach." Internet Research 30, no. 5 (2020): 1583–610. http://dx.doi.org/10.1108/intr-03-2019-0087.

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PurposeThis study takes the cinema industry as the research context and investigates the impact of online to offline (O2O) platforms on cinemas' performance. Specifically, the purposes of this paper are threefold: first, to study the influence of platform multihoming on cinemas' performance; second, to examine the interaction impact of platform multihoming and vertical integration; third, to investigate how the influence of platform multihoming varies with cinemas' performance.Design/methodology/approachThis study collects data from 1918 cinemas in China, employs quantile regressions to estima

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20

Altmann, Eliska. "Olhares da recepção, a crítica cinematográfica em dois tempos." Caderno CRH 21, no. 54 (2008): 611–22. http://dx.doi.org/10.1590/s0103-49792008000300013.

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Com base em proposições da teoria da recepção, no campo da sociologia da cultura, o artigo discute o papel da crítica cinematográfica a partir de duas posições: a que defende o "cinema de autor" e a que se enquadra em um suposto "fim" da função crítica. O persistente debate a opor cinema (requintado) de arte ou de autor ao (fácil) industrial e massivo parece tão antigo quanto o próprio cinema e acaba por reduzi-lo à mera oposição "arte versus indústria". Essa, por sua vez, parece ainda hoje um argumento medular no campo da crítica. A complexificação do pensar cinematográfico e artístico implic

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21

Ollomurodov, Arjunbek. "CINEMA DISCOURSE ANALYSIS AND THEORETICAL FOUNDATIONS IN LINGUISTICS." MODERN SCIENCE AND RESEARCH 2, no. 11 (2023): 500–505. https://doi.org/10.5281/zenodo.10122319.

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<i>Until now, film discourse does not have a clear definition, and it is analyzed from the point of view of semiotics, psychology, linguistics, sociology, translation studies. This article discusses the relationship between the verbal and visual aspects of film discourse, the interaction of various symbols, as well as the relationship between film discourse and other discourses.</i>

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22

Zhabskiy, Mikhail, and Kirill Tarasov. "Russian Sociology of Cinema in the Context of Society Development." Sotsiologicheskie issledovaniya, no. 11 (November 2019): 73–81. http://dx.doi.org/10.31857/s013216250007449-6.

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23

Scott, Allen J. "French Cinema." Theory, Culture & Society 17, no. 1 (2000): 1–38. http://dx.doi.org/10.1177/02632760022050988.

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24

Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas:

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25

Yengde, Suraj. "Dalit Cinema." South Asia: Journal of South Asian Studies 41, no. 3 (2018): 503–18. http://dx.doi.org/10.1080/00856401.2018.1471848.

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Pathak, Dev N. "Melodramatic South Asia: In Quest of Local Cinemas in the Region." Journal of Human Values 23, no. 3 (2017): 167–77. http://dx.doi.org/10.1177/0971685816689742.

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What is remarkably unique of the popular cinema in the region of South Asia? How does it lead beyond the vexed notions of the contemporary milieu, namely, hybrid local? How does it transcend the idea of nationally restricted local too? Looking through eclectic motley of popular cinema in the region, this article seeks to unravel such questions with reflexive propositions. It paves the way to comprehend cinematic identity of the region with the adjective of ‘melodrama’, as perceived through the local sociocultural component. It is with the sweep of melodrama, arguably, that cinema of South Asia

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Şi̇mşek, Bahar. "Lost Voices of Kurdish Cinema." Middle East Journal of Culture and Communication 9, no. 3 (2016): 352–69. http://dx.doi.org/10.1163/18739865-00903002.

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The belated emergence and the visibility of the cinema by Kurdish filmmakers is widely interpreted as a reason to categorize it as part of transnational cinemas characterized by a lack of standardized language and national domestic industry. This contributes to a negation of the promise of a cinema that specifically caters to a Kurdish public in terms of enunciation and reception. Considering Kurdish cinema outside transnational conditions, this paper examines enunciation in cinema of (national) subject through an audiovisual analysis of three feature-length films equipped with acoustic means

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Clark, Marshall. "Men, Masculinities and Symbolic Violence in Recent Indonesian Cinema." Journal of Southeast Asian Studies 35, no. 1 (2004): 113–31. http://dx.doi.org/10.1017/s0022463404000062.

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This article investigates images of men and masculinities in post-New Order Indonesian popular culture, focusing on a recent and path-breaking Indonesian film, Kuldesak. The theoretical sociology of Pierre Bourdieu is utilised to suggest that if Indonesian women are to be assisted in their efforts to resist the gender inequality of Indonesia's patriarchal gender regime, then the social gendering of men and masculinity must also be understood.

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Costa, Selda Vale da, and Narciso Julio Freire Lobo. "Cinema no Amazonas." Estudos Avançados 19, no. 53 (2005): 295–98. http://dx.doi.org/10.1590/s0103-40142005000100018.

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Obodiac. "Autoimmune Cinema." CR: The New Centennial Review 19, no. 3 (2019): 221. http://dx.doi.org/10.14321/crnewcentrevi.19.3.0221.

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Lopes, Rafael De Figueiredo, and Wilson De Souza Nogueira. "CINEMA NO AMAZONAS: o imaginário colonizado navegando numa sociologia de ausências e emergências." Revista Observatório 2, no. 5 (2016): 93. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p93.

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O artigo propõe uma reflexão sobre o Cinema no Amazonas, apresentando aspectos da produção audiovisual desde o início do século XX à contemporaneidade, dando ênfase a produção de cineastas locais. Propomos a configuração de um “ecossistema comunicacional” a partir da relação entre contexto histórico, artistas, meio ambiente, políticas públicas, estéticas e ideologias. A abordagem teórico-metodológica parte da ideia de sociologia das ausências e emergências, de Boaventura de Sousa Santos, em diálogo com autores amazônicos, como João de Jesus Paes Loureiro, e de teóricos da cultura e do audiovis

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Greek, Cecil E., and David M. Considine. "The Cinema of Adolescence." Contemporary Sociology 15, no. 3 (1986): 394. http://dx.doi.org/10.2307/2070023.

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DuPuis, E. Melanie. "Teaching Food with Cinema." Rural Sociology 70, no. 4 (2005): 584–88. http://dx.doi.org/10.1526/003601105775012651.

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GARAGANOV, ARTUR V. "CINEMA AS A MIRROR OF URBANIZATION: SOCIO-PSYCHOLOGICAL ANALYSIS OF THE REPRESENTATION OF SMART CITIES IN MODERN CINEMA." Economic Problems and Legal Practice 20, no. 5 (2024): 284–90. https://doi.org/10.33693/2541-8025-2024-20-5-284-290.

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The article examines the process of formation of public perception of smart cities and intelligent technologies by cinema. The relevance is due to the development of urbanization, the growth of megacities, the development of smart technologies of the future, reflected in domestic cinema. The work applies an interdisciplinary methodological combination of management, sociology of management, urban studies and media studies to analyze the representation of smart cities in domestic TV series. Key patterns and socio-psychological aspects of perception, such as fears and hopes associated with techn

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Çelik, Sinan, and Ayse Bilginer Kucur. "REFLECTION OF CYBERBULLYING ON CINEMA: CYBERBULLY, SUICIDE ROOM AND CHATROM FILMS." Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi 13, no. 1 (2025): 481–504. https://doi.org/10.19145/e-gifder.1582977.

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This study examines the way cyberbullying, which takes place through computer use and the internet, is reflected in the cinema. Cinema also reflects the sociology of the period by carrying the social developments to the screen. This study evaluates the phenomenon of cyberbullying, which is one of today's individual and social problems, through the films Cyberbully, Suicide Room and Chatroom, and evaluates these films with qualitative content analysis method. The roles, types, consequences and precautions regarding cyberbullying will be analysed through three sample films. Each film selected as

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HARDWICK, JOE. "What We Do in the Shadows: The Representation of Cruising in Three French Films." Australian Journal of French Studies 61, no. 4 (2024): 357–70. https://doi.org/10.3828/ajfs.2024.31.

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Sexual cruising—a practice often associated with men who have sex with other men in public spaces—has been written about from a number of disciplinary perspectives, including literature, literary and cultural studies, queer theory, geography and sociology. However, its representation in cinema is restricted to a small number of films and rarely has cruising in cinema been a focus of critical attention in its own right. This article will look at the changing functions of cruising in French cinema from the 1980s to the 2010s with a particular focus on three films: Patrice Chereau’s L’Homme bless

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Kristensen, Lars. "Bicycle cinema." Thesis Eleven 138, no. 1 (2017): 65–80. http://dx.doi.org/10.1177/0725513616689397.

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This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush (Davis Koepp, 2012), A Sunday in Hell (Jørgen Leth, 1977) and Life on Earth (Abderrahmane Sissako, 1998). It engages with the concept of ‘interpretative flexibility’ and the development o

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Baranova, Jūratė. "THE TENSION BETWEEN CREATED TIME AND REAL TIME IN ANDREI TARKOVSKY’S FILM ANDREI RUBLIOV." Creativity Studies 12, no. 2 (2019): 327–40. http://dx.doi.org/10.3846/cs.2019.9810.

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This article starts with the presumption that Russian film director Andrei Tarkovsky (1932–1986) created a new conception of cinematic time. This impact on the theory of modern cinema was examined by philosopher Gilles Deleuze (1925–1995) in his book Cinema 2: The Time-Image (in French: Cinéma 2, L’Image-Temps, 1985). The article asks the question: what were the conceptual and social circumstances for everyday time to be implemented in a specific movie? As an example, it takes the film Andrei Rubliov (director Andrei Tarkovsky, 1969), which underwent protracted critique and compulsory shorteni

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Nwonka, Clive James, and Sarita Malik. "Cultural discourses and practices of institutionalised diversity in the UK film sector: ‘Just get something black made’." Sociological Review 66, no. 6 (2018): 1111–27. http://dx.doi.org/10.1177/0038026118774183.

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‘Diversity’ is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council’s (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the time. The authors suggest that the New Cinema Fund’s ‘institutional diversity’ agenda represented a symbolic effort by both the UKFC and UK public ser

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Freitag, Ulrike. "Thinking of the City through Film and Cinema: Roll’em." Middle East Journal of Culture and Communication 15, no. 3 (2022): 241–58. http://dx.doi.org/10.1163/18739865-01503006.

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Abstract The Saudi film Roll’em (director Abd al-Illah al-Qurashi, Jeddah, 2019) tells the story of a young would-be film director and his dream to make a film about his native Jeddah. Shot just before the official opening of cinemas in the country, Roll’em was filmed at the beginning of an enormous boost to the Saudi entertainment industry. The film engages the history of filmmaking and cinema in Saudi Arabia, as well as the search by a young generation for historical identity and social participation. Filmmaking and cinema emerge as an important way to make sense of the present. This article

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Asbjørnsen, Dag, and Ove Solum. "Public service cinema? On strategies of legitimacy in policies for Norwegian cinema." International Journal of Cultural Policy 5, no. 2 (1999): 269–91. http://dx.doi.org/10.1080/10286639909358103.

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Tarasov, Kirill. "Representing violence in cinema industries." Социологические исследования, no. 8 (2018): 65–73. http://dx.doi.org/10.31857/s013216250000799-1.

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Berger Soraruff, Amelie. "A Pharmacology of Cinema." Cultural Politics 17, no. 2 (2021): 212–27. http://dx.doi.org/10.1215/17432197-8947907.

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Abstract French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, dep

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Bazin, André. "Cinema and Theology." South Atlantic Quarterly 91, no. 2 (1992): 393–407. http://dx.doi.org/10.1215/00382876-91-2-393.

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Jell-Bahlsen, Sabine, Imruh Bakari, and Mbye Cham. "African Experiences of Cinema." International Journal of African Historical Studies 32, no. 2/3 (1999): 492. http://dx.doi.org/10.2307/220392.

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Donald, James. "Cinema, History and Culture." Theory, Culture & Society 3, no. 2 (1986): 141–46. http://dx.doi.org/10.1177/0263276486003002012.

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Uysal, Yıldırım. "THE REPRODUCTION OF UPPER CLASS: A TRY OF CLASS CRITIQUE TO 'ÇOĞUNLUK' FILM." Motif Akademi Halk Bilimi Dergisi 18, no. 50 (2025): 1042–67. https://doi.org/10.12981/mahder.1570343.

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The line of social realism in Turkish cinema is a trend that can be observed in examples from the early 1960s to the late 1980s. This genre of cinema, which places social issues at the center of its language and facilitates their discussion in the minds of viewers, lost its momentum toward the end of the 1980s. However, by the late 2000s, examples of this trend began to re-emerge in Turkish cinema. One of the most significant aspects of the film Çoğunluk (Majority), which we consider part of Turkish cinema's social realism tradition, is its effort to analyze Turkish society from a class-based

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Halle, Randall. "The Queer German Cinema (review)." Journal of the History of Sexuality 10, no. 3 (2001): 555–57. http://dx.doi.org/10.1353/sex.2001.0066.

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Aydoğmuş Ördem, Özlem. "Consumption culture and body in cinema context: Fight Club." Journal of Human Sciences 13, no. 3 (2016): 5530. http://dx.doi.org/10.14687/jhs.v13i3.4129.

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Studies on consumption culture and body have been examined considerably in sociology in recent years. Analysis of culture industry through cinema can be viewed as an important practice in understanding sociological theories and concepts. This study examined the movie Fight Club through content analysis within the framework of consumption culture and body. The present study found that the movie contained the concepts of desire, ambivalence, chronic health problems, and transition from the world of objects to discourse dimension, desire of destroying, principle of bodily desire and lack of recip

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Rekabtalaei, Golbarg. "CINEMATIC GOVERNMENTALITY: CINEMA AND EDUCATION IN MODERN IRAN, 1900S–1930S." International Journal of Middle East Studies 50, no. 2 (2018): 247–69. http://dx.doi.org/10.1017/s0020743818000053.

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AbstractMuch of the scholarship on the history of Iranian cinema considers film spectatorship in the first three decades of the 20th century as a leisure practice with origins in royalist and elitist entertainment forms. However, a close reading of archival material from this era reveals that cinema's significance extended well beyond its role as a pastime, as it became engaged in the governance of the self and disciplinary strategies of the state in Iran's experience of modernity in the early 20th century. In this article, I reperiodize the history of cinema in Iran by demonstrating the entan

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