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Academic literature on the topic 'Symbolism in film'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Symbolism in film"

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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.

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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.

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Valančiūnas, Deimantas. "Myth in constructing contemporary Indian identity in popular Hindi film: The case of Ashutosh Gowariker." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 159–74. http://dx.doi.org/10.15388/aov.2008.2.3702.

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Vilnius UniversityThe present paper concentrates on particular mytho-religious symbolism and mythological structures used in two popular films by famous contemporary Indian film director Ashutosh Gowariker: Lagaan (2001) and Swades (2004). These films are significant in the history of Indian popular cinema not only for their complex problems related to the sensitive topics of anti-colonialism, nationalism and patriotism, but also for their widely used mytho-religious symbolism. My goal in this essay is to analyse these two films, identifying the mythological symbols and mythological structures used in the films, and to see how they organise the films’ narrative and how they are connected with the issues of anti-colonialism, Hindu nationalism, and the construction of (idealised) Indian identity. In this paper I argue that the usage of mythological and mytho-religious symbolism functions as a useful tool for the director to transfer ideas related to national identity, nationalism, and anti-colonialism to the viewer effectively, as well as to express a political and social critique of contemporary India and to construct the images of idealised Indian identity in response.

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Rusinova, Elena A. "Sound as a Sign and Artistic Symbol in Film." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 19–33. http://dx.doi.org/10.17816/vgik10319-33.

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The article searches into the significant and symbolic aspects of sound in creating the films audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the directors inner desire and is based on his esthetics, cultural experience and worldview.

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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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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.

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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.

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Eungu Lee. "Study of Symbolism in the Film of Deepa Mehta's." Journal of South Asian Studies 22, no. 3 (February 2017): 89–112. http://dx.doi.org/10.21587/jsas.2017.22.3.004.

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Waligórska-Olejniczak, Beata. "Танатография. Стратегии представления смерти в фильме Ренаты Литвиновой „Последняя сказка Риты”." Slavica Wratislaviensia 167 (December 21, 2018): 523–32. http://dx.doi.org/10.19195/0137-1150.167.44.

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Thanatography: Strategies of representationsof death in Renata Litwinova’s film Rita’s Last Fairy TaleThe aim of the article is the interpretation of Renata Litvinova’s film Rita’s Last Fairy Tale 2012. The author shows that the examples of rite de passage, which are present in the selected work of art, are introduced to neutralize the perception of death. It is done, first of all, due to the strategies of aestheticization and romanticization, which emphasize the conventionality of the world presented. The picture of death proposed by Litvinova is almost entirely devoid of any aspects of physiology. The stylization suggested in the title of the film is realized with the use of elements of retro glamor, dark humor and irony. The process of perception is also focused on the attempt of decoding the film leitmotivs such as the symbolism of the mirror or the ways of theatralization of behavior, taking into account some montage solutions.Tanatografia. Strategie reprezentacji śmierci w filmie Renaty Litwinowej Ostatnia bajka RityCelem artykułu jest interpretacja filmu Renaty Litwinowej Ostatnia bajka Rity 2012. Autorka pokazuje, że obecne w dziele rytuały przejścia ukierunkowane są przede wszystkim na osiągnięcie efektu neutralizacji śmierci, między innymi za sprawą wprowadzonych strategii estetyzacji i romantyzacji, podkreślających umowność świata przedstawionego. Obraz śmierci proponowany przez Litwinową jest prawie całkowicie pozbawiony aspektów fizjologii. Zaznaczona w tytule konwencja realizowana jest za pomocą elementów stylu retro glamour, czarnego humoru i ironii. W procesie percepcji filmu podjęto również próbę odkodowania obecnych w nim lejtmotywów, w tym symboliki lustra, sposobów teatralizacji i rytualizacji zachowań, z uwzględnieniem wybranych rozwiązań montażowych.

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Kozlovic, Anton Karl. "Exploring Sacred and Secular Serpent Symbolism in Cecil B. DeMille’s The Ten Commandments (1956)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 2 (August 20, 2014): 149–69. http://dx.doi.org/10.1558/post.v7i2.149.

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Cecil B. DeMille was an unsung auteur and master of the American biblical epic whose feature films were eagerly awaited by the paying public and filled Paramount’s purse. And yet, he was routinely ignored, dismissed or devalued by critics unappreciative of the enormous artistry deliberately engineered therein, especially his penchant for serpent symbolism. This particular omission is in need of belated attention. Consequently, using humanist film criticism as the guiding analytical lens, this essay selectively reviews the critical DeMille, film and religion literature, locates DeMille’s place and reputation in Hollywood history, explores The Ten Commandments (1956), and explicates numerous exemplars of his trademark serpent signature under five heuristic headings. The essay concludes that DeMille was a far more insightful and accomplished biblical filmmaker than has been previously appreciated.

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Domalewski, Adam. "Etiudy animowane Grzegorza Wacławka." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 323–28. http://dx.doi.org/10.14746/i.2017.29.21.

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The author considers in the paper three animated etudes made by Grzegorz Wacławek in Film School in Łódź. Films entitled Gleam, Scrap and Lost share many common features: creation of the hero’s outer world, extensive use of symbolism and condensation of events centered around one or two heroes. Particularly interesting mean used by Wacławek in endings of the films is the transformation of the presented world that can be named a scale change. Also on this basis director’s animations are metaphorically interpreted, showing their existential meaning, close to the tradition of Polish Animation School.

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Johnson, Larissa Andrea. "On Virtuality and the Diasporic Imagination." Film Quarterly 75, no. 2 (2021): 94–101. http://dx.doi.org/10.1525/fq.2021.75.2.94.

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This report covers the 10th edition of BlackStar Film Festival (BSFF), which took place virtually and in person over a week in early August 2021. The independent festival features work by Black, Brown and Indigenous makers, and aims to reach a wide audience whose identities and experiences are reflected in the films. Johnson considers the multifaceted symbolism of the Black Star as it is realized in the curatorial and institutional vision of the festival, and considers the affordances (and limitations) of virtuality toward greater distribution of, and access to, independent films in the places they represent. An extensive review of the shorts program includes reporting on category winners Lizard (Akinola Davies Jr), Dear Philadelphia (Renee Maria Osubu) and Elena (Michèle Stephenson). This is the first review of BSFF for Film Quarterly.

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Dissertations / Theses on the topic "Symbolism in film"

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Göthlin, Erik. "En analys av rekonstruktionen i Arne Sucksdorffs dokumentärfilmer." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-5044.

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Compton, Mark Daniel. "Neo-Raconteur: Allocating Southern-Gothic Symbolism into Design Media." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1394.

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I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.

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Laws, Amy C. "Creating The Water Clock." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2549.

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This thesis will discuss the making of my short film The Water Clock at the University of New Orleans from its inception to its final short film form. Part One discusses the balancing of content and style and explores the relation between time and water as inspirations for story. Part Two details the preproduction process and major crew members’ collaborations and contributions before filming. Part Three describes daily successes, struggles, and direction while in production. Part Four describes every phase of the post-production process as the film is completed. Lastly, I will analyze my personal growth as a filmmaker.

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Holmberg, Jeanette. "Det ambivalenta moderskapet: : en analys av moderskapssymbolik i filmen Antichrist." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85163.

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This thesis highlights depicted motherhood in film. Antichrist is used as the primary object in my analysis, which is a film that has been vividly debated in the literature, beacuse of it's graphic content. To a large extent, this film has been discussed in relation to Lars von Triers intentions and previous works, but in this thesis the film and it's depicted motherhood is viewed through it's symbolic elements. These elements, when analysed in relation to film language and motherhood theory, point out the representation of an ambivalent nature of motherhood. The symbolic content in five different scenes, which is attributed to Her as a mother, is also found in other cultural and religious sources. I claim that this depicted ambigous motherhood is central to the films narrative. As a consequence, this thesis also unfolds the peripheral depicted fatherhood, an aspect in need of futher investigation.

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Jones, Daniel O. "The Soul That Thinks: Essays on Philosophy, Narrative and Symbol in the Cinema and Thought of Andrei Tarkovsky." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999476.

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Kostetskaya, Anastasia G. "The Water of Life and the Life of Water: the Metaphor of World Liquescence in Russian Symbolist Poetry, Art and Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367511847.

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Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.

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Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.
Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).

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Jeudy, Olivier. "L'analyse de film et l'interprétation des mythes grecs." Paris 1, 1999. http://www.theses.fr/1999PA010526.

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Notre recherche traite essentiellement des différentes corrélations mises en scène entre la croyance liée au mythe grec, et la croyance liée au médium cinématographique. Les transpositions des mythes grecs au cinéma, comme l'écrit Jean-Louis comolli, sont des évènements sociologiques : les narrations filmiques participent aussi bien d'expressions "transparentes" d'une réalité sociale, que d'expressions idéologiques ; elles ont ainsi une fonction sociale fondamentale par le traitement collectif de la représentation de l'"incroyable". Notre relecture des films, Orphée (1949) et Le testament d'Orphée (1959) de Jean Cocteau, Jason et les argonautes (1963) de Don Chaffey, Le mépris (1963) de Jean-Luc Godard, Oedipe-roi (1967) et Médée (1970) de Pier Paolo Pasolini, et Antigone (1991) de Danièle Huilet et Jean-Marie Straub, consiste à montrer comment les récits filmiques nous permettent de faire l'expérience d'une "plasticité du temps" et d'éprouver, dans un rapport esthétique, la tradition que nous entretenons à l'égard de la mythologie grecque et de nous-mêmes. Comprendre comment les mythes grecs sont réinvestis par le cinéma, c'est, de notre point de vue, analyser la nature du "processus filmo-diegetique", c'est-à-dire la relation entre le film et le spectateur. Notre thèse, qui est composée de trois parties intitulees : la symbolique des récits, mythiques : analyse des systemes d'interpretation, espaces filmiques et rythmes de perception; et les enjeux culturels de l'analyse de film, s'articule plus particulièrement autour d'une réflexion sur les systèmes d'interprétation et de représentation développés par les théories anthropologiques, cinématographiques et sociologiques
Our research essentially deals with the different correlations shown between the belief related to the greek myth and the belief related to the cinematographic medium. The transpositions of greek myths to cinema, as Jean-Louis Comolli writes it, are +ociological events : the film narrations partake of "transparent" expressions as well of ideological expressions ; they have thus a basic social function through the collective processing of the representation of the "unbelievable". Or rereading of the films, Jean Cocteau's Orphée (1949) and Le testament d'Orphée (1959), Don Chaffey's Jason and the argonauts, Pier Paolo Pasolini's Odipo rey (1967) and Medea (1970), and Daniel Huillet and Jean-Marie Straub's Antigone (1991), consists of showing how film narrations allows us to experiment a "time plasticity" and to feel, in an aesthetic relationship, in the tradition we are maintaining with regard to the greek mythology and to ourselves. To understand how greek myths are reinvested by the cinema, in our point of view, is to analyze the nature of the "filmo-diegetic process" : the relation between film and spectator. Our thesis, is composed of three parts entitled : the symbolic systems of mythic narrations : analysis of interpretation systems, film spaces and perception rhythms, the cultural implications of the film analysis, it is structured around reflections concerning the interpretation and representation systems developed by the anthropological, cinematographic and sociological theories

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Silva, Odair José Moreira da. "O suplício na espera dilatada: a construção do gênero suspense no cinema." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-07102011-144235/.

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O estudo dos gêneros do cinema aponta para várias direções sem, no entanto, especificar a importância que deve ser dada às estratégias discursivas que engendram a significação de determinado filme. Por muito tempo, a teoria semiótica de linha francesa serviu apenas para salientar um perfil da significação fílmica, originada do percurso gerativo de sentido, na medida em que trata especificamente do esquema narrativo. De certo modo, os estudos da semiótica francesa concernentes ao cinema são exíguos. Diante da diversidade cinematográfica, um recorte pode ser feito de uma totalidade específica. A partir daí, os gêneros remetem a certa identidade do fazer cinematográfico. Os gêneros, pensados como enunciados que comportam um conteúdo temático, um estilo e uma construção composicional, fundam a identidade fílmica. Porém essa norma bakhtiniana de arquitetura, inerente a diversos enunciados fílmicos, parece ser pouco mencionada. Dessa forma, ignorar esse princípio básico é afastar um entendimento do processo de significação que, quando percebido e analisado, traz à tona o modo como o enunciador de um filme se utiliza de alguns recursos que revelam um modo próprio de manipular o espectador, o enunciatário ideal. O presente trabalho visa expor como um gênero fílmico particular, o suspense, surgido em um período histórico da sétima arte, conhecido como cinema clássico, pode ser desvendado, tomando como base a regra bakhtiniana referida. Com esse princípio em mente, a pesquisa adentra na teoria da significação e faz emergir várias possibilidades de exame ao texto fílmico. Sob tal orientação, este trabalho apresenta algumas ferramentas semióticas de análise do cinema, tais como a segmentação dos filmes e o levantamento das estruturas elementares e tensivas do gênero suspense. Seguindo esse horizonte, nossas investigações tendem a revelar uma gradação de intensidade constituinte da formação desse gênero. Além disso, como um dos recursos de uma identidade audiovisual, o exame das relações semissimbólicas aponta para um fator determinante na constituição das imagens fílmicas, entendido como as categorias paramétricas da imagem e seus contrastes. Relativamente a isso, será ressaltado o conteúdo temático e o modo como a configuração discursiva atua no desenvolvimento desse quesito. Com relação ao estilo, duas direções foram apontadas como constituintes do gênero suspense, o estilo do gênero e o estilo do autor. Tomando esses princípios como diretrizes, o corpus deste trabalho constitui-se de três filmes, representantes do cinema clássico, envoltos pela programação do suspense, o que dá a eles certo estatuto de referência: Cidadão Kane, de Orson Welles; Anatomia de um crime, de Otto Preminger; e Psicose, de Alfred Hitchcock.
Studies about movie genres point out to several directions, without specifying, however, the importance that should be given to discursive strategies that engender the significance of a particular movie. For a long time, French semiotic theory was suitable only to highlight a profile of filmic significance, which originated from the generative process in meaning, once it deals specifically with narrative scheme. However, French semiotic studies about movies are scarce. Due to the cinematographic diversity, a cut can be made of the specific totality. From that, genres refer to a certain identity of filmmaking. Genres, considered as enunciates that hold a thematic content, style and compositional construction, found the filmic identity. Nevertheless, this Bakhtinian architectural norm, inherent in many filmic enunciates seems to be little mentioned. Therefore, ignoring this basic principle means to establish a distance from a comprehension of the signification process that once noticed and analyzed brings light to the way the movie enunciator uses some resources that reveal a particular way of manipulating the spectators, the ideal enunciatee. The present work aims to expose how a particular movie genre, the suspense, originated in a historical period of the seventh art, known as classic movie era, can be unveiled, taking as basis the refered Bakhtinian norm. With this principle in mind this research penetrates the significance theory and brings to life many possibilities of examining filmic text. Following such orientation, this paper presents some analytical semiotic movie tools such as: movie segmentation and gathering of elementary and tensive structures in the suspense genre. Following this horizon, our investigations tend to reveal a gradation of intensity inherent in the formation of this genre. Furthermore, as one of the resources of an audiovisual identity, analysis of semi-simbolics relations points out to a determinant factor in the constitution of filmic images, known as parametrics categories of image and its contrasts. Regarding this, thematic content and the role that discoursive configuration plays in this issue, will be highlighted in this paper. Concerning style, two directions have been identified as constituents of the suspense genre, the style of the genre and the style of the author. Thus, having these principles as guidelines, the corpus of this paper consists of three movies, representatives of the classic movie era, that are involved by the programming of suspense, which gives them a certain status of reference: Citizen Kane by Orson Welles, Anatomy of a murder by Otto Preminger and Psycho by Alfred Hitchcock.

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Cella, Carmine Emanuele <1976&gt. "On symbolic representations of music." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/4180/.

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Books on the topic "Symbolism in film"

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Symbols, images & codes: The secret language of meaning in film, tv, games and visual media. Studio City, CA: Michael Wiese Productions, 2010.

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Semiotics of exile in contemporary Chinese film. New York, NY: Palgrave Macmillan, 2012.

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Lozac'hmeur, Jean-Claude. Fils de la veuve: Essai sur le symbolisme maçonnique. Vailly-sur-Sauldre: Editions Sainte Jeanne d'Arc, 1990.

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Fashion in film. Bloomington: Indiana University Press, 2011.

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Salome and Judas in the cave of sex: The grotesque : origins, iconograpy, techniques. Evanston, Ill: Northwestern University Press, 1987.

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Balanzategui, Jessica. The Uncanny Child in Transnational Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986510.

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The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.

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Inc, Facts on File, ed. The Facts on File dictionary of numerical allusions. New York, N.Y: Facts on File Publications, 1986.

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Jackowski, Nannette. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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Jackowski, Nannette. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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de, Ostos Ricardo, ed. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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Book chapters on the topic "Symbolism in film"

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Bacon, Henry. "Symbolism of Evil in Film." In The Fascination of Film Violence, 52–85. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137476449_3.

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Fatemi, Sayyed Mohsen. "Films, Signs, and Symbols." In Film Therapy, 75–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429441431-10.

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Weik, Martin H. "symbolic file." In Computer Science and Communications Dictionary, 1704. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_18742.

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Kulezic-Wilson, Danijela. "The Symbolic Nature of Musical and Film Time." In The Musicality of Narrative Film, 93–113. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137489999_6.

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Kleijn, Chris R., and Christoph Werner. "Principal Symbols." In Modeling of Chemical Vapor Deposition of Tungsten Films, 10–12. Basel: Birkhäuser Basel, 1993. http://dx.doi.org/10.1007/978-3-0348-7741-1_1.

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Sezgin, Ibrahim Can. "Axel Honneth im Boxring: Symbolik des Kampfes um soziale Anerkennung bei Rocky." In Politische Theorie im Film, 295–313. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-07206-3_14.

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Shingler, Martin. "Unstable Symbols: On the Representativeness of Film Stars." In Star Studies, 149–80. London: British Film Institute, 2012. http://dx.doi.org/10.1007/978-1-137-29333-6_7.

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Foxall, Gordon R. "Social Behaviour and Symbolic Reinforcement." In The Theory of the Marketing Firm, 165–79. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86106-3_7.

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Hubner, Laura. "Religion, Truth and Symbolism from The Seventh Seal to The Silence." In The Films of Ingmar Bergman, 47–69. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801387_4.

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Martin, Daniel. "Body of Action, Face of Authenticity: Symbolic Stars in the Transnational Marketing and Reception of East Asian Cinema." In East Asian Film Stars, 19–34. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137029195_2.

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Conference papers on the topic "Symbolism in film"

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.

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Hu, Chaojian, Zhoujun Li, Jinxin Ma, Tao Guo, and Zhiwei Shi. "File Parsing Vulnerability Detection with Symbolic Execution." In 2012 Sixth International Symposium on Theoretical Aspects of Software Engineering (TASE). IEEE, 2012. http://dx.doi.org/10.1109/tase.2012.13.

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Gao, Xinlin. "Interpretation of Symbols in the Film “Ash Is Purest White”." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.027.

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Jia, Tao. "Analysis of Visual Symbols Application in Film and Television Animations Creation." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.122.

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Tao, Yuying. "On the Multi-dimensional Relationship of Visual Symbols in Film Posters." In 2021 International Conference on Culture, Design and Social Development (CDSD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220109.078.

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Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.

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La cinécriture d’Agnès Varda a transgressé bien des barrières et ouvert de nouveaux chemins dans le septième art. Les plages (2008) – qui suppose son « adieu » définitif à la « caméra voyageuse » – constitue bien un exemple de récit d’art et d’essai, complexe, créé comme une espèce de collage, à effet de kaleidoscope, où la réalisatrice offre un jeu narratif filmique prolixe qui séduit et attrape le lecteur spectateur complice. Ce film s’avère d’un intérêt spécial car si, effectivement, il fait le bilan de toute une vie dédiée au cinéma et aux arts, s’il constitue en toute évidence une célébration du septième art et un hommage à de nombreux amis cinéastes, il illustre jusqu’à quel point le cinéma ne peut être conçu sans les interinfluences entre les arts. Ainsi, au premier abord Les plages constitue le voyage rétrospectif d’une vie, une rêverie « autobiographique » d’une cinéaste constamment au devant d’une avant-garde. Pourtant ce film est beaucoup plus. Le lecteur spectateur se laisse surtout emporter par une aventure textuelle qui n’entend pas de frontières entre les arts. Si, effectivement, notre communication s’aprête à aborder le caractère réflexif du film de Varda, elle vise également à analyser la dimension symbolique de cette « mer » en évaluant les enjeux des « vagues » textuelles qui entrelacent le récit, et dont l’une d’entre elles n’est pas fortuite : celle du Cimetière marin de Paul Valéry. DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3069

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Coldea, Alexandra, Adrian Colesa, and Iosif Ignat. "OrcFS: Organized Relationships between Components of the File System for Efficient File Retrieval." In 12th International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC 2010). IEEE, 2010. http://dx.doi.org/10.1109/synasc.2010.59.

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Meng, Jiawen. "Cultural and Traditional Symbols Beyond the Animated Form Analysis on Nick Park's Film." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.64.

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Zhuravchak, Danyil, Taras Ustyianovych, Valery Dudykevych, Bogdan Venny, and Khrystyna Ruda. "Ransomware Prevention System Design based on File Symbolic Linking Honeypots." In 2021 11th IEEE International Conference on Intelligent Data Acquisition and Advanced Computing Systems: Technology and Applications (IDAACS). IEEE, 2021. http://dx.doi.org/10.1109/idaacs53288.2021.9660913.

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Lozano Galant, Jose Antonio, Maria Nogal, Jun Lei, Dong Xu, and José Turmo. "A numerical approach for structural system identification by observability techniques." In IABSE Congress, Stockholm 2016: Challenges in Design and Construction of an Innovative and Sustainable Built Environment. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2016. http://dx.doi.org/10.2749/stockholm.2016.0025.

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Observability techniques enable the structural system identification of static structures from a symbolic approach. The main advantage of this method is its deep mathematical foundation that enables the definition of parametric equations for the estimates. Nevertheless, this symbolic approach is not enough for the application of this method on actual structures. To fill this gap, this article presents the introduction into the symbolic structural system identification by observability techniques of a new numerical approach. This application includes the development of an algorithm that reduces the unavoidable numerical errors produced by the lack of precision of computers. The comparison of the observability technique with other existing methods presented in the literature shows that the number of required measurements is significantly lower. Furthermore, contrary to other analysed methods, no information from the undamaged structure is required.

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Reports on the topic "Symbolism in film"

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Hendricks, Kasey. Data for Alabama Taxation and Changing Discourse from Reconstruction to Redemption. University of Tennessee, Knoxville Libraries, 2021. http://dx.doi.org/10.7290/wdyvftwo4u.

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At their most basic level taxes carry, in the words of Schumpeter ([1918] 1991), “the thunder of history” (p. 101). They say something about the ever-changing structures of social, economic, and political life. Taxes offer a blueprint, in both symbolic and concrete terms, for uncovering the most fundamental arrangements in society – stratification included. The historical retellings captured within these data highlight the politics of taxation in Alabama from 1856 to 1901, including conflicts over whom money is expended upon as well as struggles over who carries their fair share of the tax burden. The selected timeline overlaps with the formation of five of six constitutions adopted in the State of Alabama, including 1861, 1865, 1868, 1875, and 1901. Having these years as the focal point makes for an especially meaningful case study, given how much these constitutional formations made the state a site for much political debate. These data contain 5,121 pages of periodicals from newspapers throughout the state, including: Alabama Sentinel, Alabama State Intelligencer, Alabama State Journal, Athens Herald, Daily Alabama Journal, Daily Confederation, Elyton Herald, Mobile Daily Tribune, Mobile Tribune, Mobile Weekly Tribune, Morning Herald, Nationalist, New Era, Observer, Tuscaloosa Observer, Tuskegee News, Universalist Herald, and Wilcox News and Pacificator. The contemporary relevance of these historical debates manifests in Alabama’s current constitution which was adopted in 1901. This constitution departs from well-established conventions of treating the document as a legal framework that specifies a general role of governance but is firm enough to protect the civil rights and liberties of the population. Instead, it stands more as a legislative document, or procedural straightjacket, that preempts through statutory material what regulatory action is possible by the state. These barriers included a refusal to establish a state board of education and enact a tax structure for local education in addition to debt and tax limitations that constrained government capacity more broadly. Prohibitive features like these are among the reasons that, by 2020, the 1901 Constitution has been amended nearly 1,000 times since its adoption. However, similar procedural barriers have been duplicated across the U.S. since (e.g., California’s Proposition 13 of 1978). Reference: Schumpeter, Joseph. [1918] 1991. “The Crisis of the Tax State.” Pp. 99-140 in The Economics and Sociology of Capitalism, edited by Richard Swedberg. Princeton University Press.

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