Relevant bibliographies by topics / Symbolism in film

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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"

1

Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (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 (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 (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 (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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5

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 (2017): 89–112. http://dx.doi.org/10.21587/jsas.2017.22.3.004.

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7

Waligórska-Olejniczak, Beata. "Танатография. Стратегии представления смерти в фильме Ренаты Литвиновой „Последняя сказка Риты”". Slavica Wratislaviensia 167 (21 грудня 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 (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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9

Domalewski, Adam. "Etiudy animowane Grzegorza Wacławka." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (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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10

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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