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Journal articles on the topic 'Thriller films'
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1
Cybulski, Marcin. "Czy w ZSRR kręcono thrillery?" Acta Polono-Ruthenica 1, no. XXIII (2018): 51–64. http://dx.doi.org/10.31648/apr.1508.
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This article is an attempt to answer the question whether, in the specific conditions in which the cinematography of the Soviet Union was created and developed, we can talk about the production of thrillers. The notion of the thriller is considered and attention is paid to the problem of the definition of the term itself and the fact that some researchers do not treat the thriller as a genre at all. The thriller, associated by the Soviet decision-makers with Western culture (and thus also American), was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union. Nevertheless, for many years immediately after the end of World War II and at the very end of the existence of the historical empire, a series of films were created and they could be called thrillers in the general modern sense of the word. Titles of Soviet films created in the years 1947–1991 have been chosen from the rich resources of cinematography of our eastern neighbours. At the cinema historian’s workshop, there were both images of well-known and popular Soviet directors (Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities, (Gieorgij Nikulin, Boris Durow).
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.
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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.
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Burton, Alan. "‘Jumping on the Bondwagon’: The Spy Cycle in British Cinema in the 1960s." Journal of British Cinema and Television 15, no. 3 (2018): 328–56. http://dx.doi.org/10.3366/jbctv.2018.0426.
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The article examines the significant cycle of spy thrillers in British cinema in the 1960s. It argues that the success of the early James Bond pictures, which commenced with Dr. No in 1962, initiated a popular cycle of spy films that lasted through the decade. The interest in fictional intrigue generated by the new-style espionage stories of Len Deighton and John le Carré further fuelled the cycle, and there appeared a number of adaptations of these authors’ novels. The article pays particular attention to the critical reception of the cycle and the two styles of Bond-inspired spy thriller and Deighton/le Carré-inspired espionage drama, carefully considering the mounting reviewer fatigue regarding the overworked spy picture and recounting the decline of the cycle.
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Kozlova, Svetlana S. "Dynamics of Corporality and Static Models of Space in Thriller Dramaturgy." Journal of Flm Arts and Film Studies 9, no. 1 (2017): 50–59. http://dx.doi.org/10.17816/vgik9150-59.
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The article analyzes the mechanism of building the conflict in screenwriting within confrontation alive / dead by means of dynamic of corporeality - from an alive corporeal world of the protagonist to a dead static model of the antagonist's world. The scheme of their interaction is based on examples of thriller films, as well as indie films which use the elements of this genre.
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Loman, Nick, and Jennifer Gardy. "Contagion: a worthy entrant in the outbreak film genre." Biochemist 37, no. 6 (2015): 22–25. http://dx.doi.org/10.1042/bio03706022.
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As researchers working in the fields of genomics, infection and epidemiology, we chose to write about Contagion for this issue. It wasn't much of a choice, a quick bit of Internet research confirmed that there aren't many films about infectious diseases, outbreaks and epidemiology, with the exception of the fairly terrible Outbreak (1995), and the 1970s-tastic sci-fi thriller The Andromeda Strain. What we do have plenty of are zombie flicks, and the parallels to outbreaks have been well recognized. Often starting with a virus or uncharacterized pathogen, zombie films exploit the nature of contagion as ever greater numbers of the population are infected, usually with the film's heroic (World War Z) or hapless (Shaun of the Dead) protagonist tasked with rescuing humanity, or at least staying alive.
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Steven, Mark. "Nietzsche on Film." Film-Philosophy 21, no. 1 (2017): 95–113. http://dx.doi.org/10.3366/film.2017.0033.
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This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style.
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Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.
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Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then considered as un-German.
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Krämer, Peter. "The politics of independence." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 89–103. http://dx.doi.org/10.33178/alpha.6.06.
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This article draws, among other things, on press clippings files and scripts found in various archives to reconstruct the complex production history, the marketing and the critical reception of the nuclear thriller The China Syndrome (1979). It shows that with this project, several politically motivated filmmakers, most notably Jane Fonda, who starred in the film and whose company IPC Films produced it, managed to inject their antinuclear stance into Hollywood entertainment. Helped by the accident at the Three Mile Island nuclear power plant two weeks into the film’s release, The China Syndrome gained a high profile in public debates about nuclear energy in the U.S. Jane Fonda, together with her then husband Tom Hayden, a founding member of the 1960s “New Left” who had entered mainstream politics in the California Democratic Party by the late 1970s, complemented her involvement in the film with activities aimed at grass roots mobilisation against nuclear power.
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Abuhassan, Lama. "The Event of Fear in Thriller Films: The Silence of the Lambs." International Journal of the Image 8, no. 3 (2017): 85–101. http://dx.doi.org/10.18848/2154-8560/cgp/v08i03/85-101.
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An, Ji-yoon. "The Korean mother in contemporary thriller films: a Monster or just modern?" Journal of Japanese and Korean Cinema 11, no. 2 (2019): 154–69. http://dx.doi.org/10.1080/17564905.2019.1661655.
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Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays." Journal of Screenwriting 11, no. 2 (2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.
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The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
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Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.
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While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.
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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
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This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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이길성. "The Aspects of the Reception of Imported Thriller Films in the late 1950s." Film Studies ll, no. 45 (2010): 253–84. http://dx.doi.org/10.17947/kfa..45.201009.011.
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박인영. "A Study on the Representation of Motherhood of Korean Thriller Films in 2000s." Film Studies ll, no. 55 (2013): 197–226. http://dx.doi.org/10.17947/kfa..55.201303.007.
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Bettinson, Gary. "Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge." Film Studies 5, no. 1 (2004): 66–79. http://dx.doi.org/10.7227/fs.5.6.
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In Sean Penn‘s crime thriller The Pledge (2000), a crucial stage of story action is determined by a purely chance event. Neither prefigured by narrative signposting nor sutured into the films system of causation, the chance event both mystifies the fictive agents and distresses audience expectation. This essay explores the issues at stake in the films reliance on chance action, arguing that its usage represents a significant risk on the part of the dramaturgist. Moreover, the essay examines the alterations that the film makes in Friedrich Dürrenmatts source novel, and considers the ways in which these alterations radically transform the effects created by the story‘s chance event.
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Larsen, Susan. "National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleksei Balabanov." Slavic Review 62, no. 3 (2003): 491–511. http://dx.doi.org/10.2307/3185803.
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In this article, Susan Larsen argues that the plot lines, aesthetic choices and marketing strategies of the four most commercially successful Russian films of the last decade—Nikita Mikhalkov’sBurnt by the SunandBarber of Siberiaand Aleksei Balabanov’sBrotherandBrother-2—are shaped by anxieties about Russian national identity and cultural authority that these films articulate in gendered terms as threats to paternal bonds and fraternal communities. Aiming both to emulate and to displace the Hollywood films that dominate the Russian film market, Mikhalkov and Balabanov exploit the conventions of the historical melodrama and the crime thriller to construct an explicitly Russian and emphatically masculine heroism in stories of charismatic, vanished fathers and dangerous, but irresistible brothers who defy the moral decay, crass materialism, economic imperialism and cultural solipsism that all four films associate with the west and, in particular, the United States.
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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.
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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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Betancourt, Manuel. "Cineando: The Master's House: Latin American Cinema's New Class-Warfare Genre." Film Quarterly 74, no. 1 (2020): 80–83. http://dx.doi.org/10.1525/fq.2020.74.1.80.
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While Bong Joon-ho's Parasite is the most well-known recent example of the home-invasion thriller, Latin American cinema has produced a number of other films—many made before Bong's Oscar-winning film premiered at the 2019 Cannes Film Festival—using similar settings to create urgent stories about economic inequality. Emerging during a period of political and economic instability, these films present the luxury home as a stand in for an antiseptic capitalist order and a dulled bourgeois complacency, providing its occupants with a sense of safety and comfort that is as arbitrary as it is illusory. These films may focus on the rift between economic classes, but they are equally driven by a desire to unravel and dismantle the systems that put the working class at the mercy of moneyed homeowners. FQ columnist Manuel Betancourt examines these trends in relation to two recent films: Mexico's Mano de obra (Workforce, 2019, dir. David Zonana) and Argentina's Marea alta (High Tide, 2020, dir. Verónica Chen).
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Goren, Lilly J. "Review ofPolitics in Popular Movies: Rhetorical Takes on Horror, War, Thriller, and Sci-Fi Films." Journal of Political Science Education 11, no. 4 (2015): 494–95. http://dx.doi.org/10.1080/15512169.2015.1068645.
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Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (2020): 11–34. http://dx.doi.org/10.32798/dlk.350.
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 A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.
 
 
 
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Lipka-Chudzik, Krzysztof. "Bodies, Bollywood and Bond. The evolving image of secret agents in Hindi spy thrillers inspired by the 007 franchise." Acta Orientalia Vilnensia 12, no. 2 (2011): 31–46. http://dx.doi.org/10.15388/aov.2011.1.3934.
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Independent researcherIn the 1960s, after the international commercial success of the James Bond films, many imitations and parodies of the original were made in different parts of the world. In India popular Hindi films were also inspired by the 007 franchise, beginning with the action thriller Farz in 1967. From then on a new genre was formed in the Bombay cinema: Hindi Bond films. These derivative productions were deliberately created to replicate the plot formula and narrative structure of the original Bond series. They underwent considerable development from cheap, amateurish B-movies to big budget commercial hits such as Ek Tha Tiger in 2012. Also the leading characters in Hindi Bond films, the secret agents of the Indian police and intelligence, evolved from the innocent, happy-go-lucky youngsters in the 1960s into the tough, world-weary men of action in the 2010s. One of the most important factors of this gradual change is the way the heroes’ bodies were shown on screen. The focus on the esthetics, the musculature, the physical abilities and sex appeal of the Bombay Bonds was different in every decade. This article concentrates on the evolution of Hindi Bond films: the genre as well as the leading characters.
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Sunjoo Lee. "“Hollywood and Beyond”: Genre Hybridity and Transnationality in the Crime Thriller Films of the 1960s’ Korean Cinema." Journal of Popular Narrative 22, no. 1 (2016): 51–89. http://dx.doi.org/10.18856/jpn.2016.22.1.002.
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Wisłocka, Kamila. "PORTRAYAL OF LOSS AND SUFFERING IN LITERATURE AND ART- A REVIEW OF “LORENZO’S OIL”." Researchers' Guild 2, no. 1 (2020): 68–71. http://dx.doi.org/10.15503/rg2019.7.
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Cinema has always been a powerful means of cultural, social and educational propaganda and people seem to be more receptive to the audio-visual media than just audio or print. Thus, films or movies have become a very effective means of social dissemination of information. The films are a reflection of the society and their stories come from society itself. The stories of the films do not just come from the present situation of societies around the world, rather since the time societies have been in existence. They revolve around a variety of themes ranging from romance to thriller or from science fiction to serious documentaries. A very crucial genre of films which began during the era of the ’70s communicated about the sufferings in human lives. The pivotal role in this genre was played by the films which revolved around the depiction of life-threatening diseases. This paper discusses the role and significance of cinema in unfolding the atrocities faced by the sufferers and how they handle it. The aim of this paper is to present the subject of suffering and death in contemporary cinema with the example of the film “Lorenzo’s oil”. The research not only explains how suffering is shown on the big screen, but also reveals the medical community's approach to patients in case of diagnosing and treating serious and rare diseases.
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Scrivner, Coltan. "An Infectious Curiosity: Morbid Curiosity and Media Preferences during a Pandemic." Evolutionary Studies in Imaginative Culture 5, no. 1 (2021): 1–12. http://dx.doi.org/10.26613/esic.5.1.206.
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Abstract In this study conducted during the 2020 Coronavirus pandemic, I explored how trait morbid curiosity was related to interest in 1) factual information about Coronavirus that was specifically morbid; 2) general factual information about Coronavirus; 3) pandemic and virus genres of films and TV shows; and 4) genres of film and TV shows that center around threat more broadly. Participants (n = 125) who scored high in morbid curiosity reported increased interest, compared to usual, in pandemic/virus genres as well as horror and thriller genres. Morbidly curious participants were also more interested specifically in morbid information about Coronavirus. Furthermore, disgust sensitivity was unrelated to these preferences. These results provide initial evidence that trait morbid curiosity can predict particular media preferences in the face of a real threat, and that morbid curiosity may reflect an adaptive predisposition in some individuals toward learning about the dangerous and disgusting aspects of a threat.
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Mišikova, Katarina. "Red is the New Black. Storytelling and Style in Candidate (2013) and The Red Captain (2016)." Panoptikum, no. 19 (June 30, 2018): 69–77. http://dx.doi.org/10.26881/pan.2018.19.05.
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The non-existence or deficiency in the production of popular genres in the history of Slovak cinema after the split from Czech Republic in 1993 has been a much discussed subject in the Slovak filmmaking community. It is a common belief among both filmmakers and film critics, that due to the lack of popular genre traditions and financial difficulties of film production, Slovak cinema is not able to attract domestic audiences and is primarily focused on the arthouse and festival circuit. This overt simplification, however, has in recent years been challenged by the emergence of several films that introduced generic novelties into Slovak cinema.
 The paper deals with two major representatives of this popular genre upheaval that were successful at the box office: the political thriller Candidate (2013) by Jonaš Karasek and the detective story The Red Captain (2016) by Michal Kollar. Both films are literary adaptations touching upon the subject of continuity of the communist regime after the democratic turn in 1989. Although not unanimously critically praised, they both gained considerable attention thanks to presenting an alternative to the realistic arthouse social drama trend of Slovak fiction film. The text examines innovations that these films introduced into popular genre discourse of Slovak cinema by concentrating on prominent storytelling and stylistic techniques derived mainly from mainstream popular cinema and offer some preliminary thoughts on reasons underlying their successful reception among domestic audiences.
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Hidayah, Imas Rahmadhtul. "Representasi Social Engineering Dalam Tindak Kejahatan Dunia Maya (Analisis Semiotika Pada Film Firewall)." Tibanndaru : Jurnal Ilmu Perpustakaan dan Informasi 4, no. 1 (2020): 30. http://dx.doi.org/10.30742/tb.v4i1.905.
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In the current technological era, information is represented as a valuable asset for every individual or organization. There are three important components in information security such as ; (1) human; (2) process; and (3) technology. For perpetrators of cybercrime will look for gaps in the three components, not infrequently the human component becomes the target. From the above problems, researchers are interested in conducting studies by placing the film Firewall as research objects. The film is interesting because it's one of the action-thriller films with a cybercrime theme in banking. Through the film, researchers will examine the related representation of social engineering in cybercrime using the semiotic analysis method developed by Roland Barthes. The results show that social engineering representation is reflected in reverse social engineering based on social interaction. The implicit meaning in the Firewall film that is protecting company information must pay attention to the three components above because attacks from the inside are just as dangerous from outside attacks. Keywords: Social Engineering, Cyber World, Film
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Forecki, Piotr. "„Pokłosie”, poGrossie i kibice polskości." Studia Litteraria et Historica, no. 2 (June 30, 2014): 211–35. http://dx.doi.org/10.11649/slh.2013.009.
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"Aftermath", after-Gross and the fans of PolishnessAftermath was released in the late 2012. Its director, Władysław Pasikowski, had previously been famous for his violent action films with strong male protagonists. He has also written some of the most sexist dialogues in the history of Polish cinema, as well as a number of lines, often obscene, which have become catchphrases and slogans present every day in the pop culture.His latest film, however, tackles a completely different issue – this thriller-cum-western tells a story that is decidedly contemporary, but nevertheless inspired by the events that took place in Jedwabne (described by Jan Tomasz Gross in his book Neighbors). Aftermath does not attempt to provide a reconstruction of the events that took place “on the margins of the Holocaust” (including Jedwabne). However, it clearly hints at the issue of the Polish contribution to the extermination of Jews and the impact of the conspiracy of silence having been broken. The film gave rise to a heated debate, which rippled through the Polish media for as long as two months after its release. This article is an attempt to analyse and interpret the words and ideas that appeared in the debate. „Pokłosie”, poGrossie i kibice polskościWraz z końcem 2012 roku odbyła się premiera filmu fabularnego Pokłosie w reżyserii Władysława Pasikowskiego. Ten bardzo popularny polski reżyser znany był dotychczas przede wszystkim z mocnych filmów sensacyjnych o twardych mężczyznach. Zasłynął także jako autor bodaj najbardziej seksistowskich dialogów w polskim kinie oraz rozmaitych i częstokroć wulgarnych kwestii wypowiadanych przez bohaterów, z których wiele do dziś funkcjonuje w popkulturze na prawach popularnych cytatów.W swoim najnowszym filmie Pasikowski sięgnął jednak po zupełnie inny temat. W konwencji thrillera z elementami westernu opowiedział historię jak najbardziej współczesną, ale w zdecydowany spósob zainspirowaną wydarzeniami w Jedwabnem, opisanymi przez Jana Tomasza Grossa w książce Sąsiedzi. Pokłosie nie stanowi jednak próby faktograficznej rekonstrukcji tego, co działo się na „obrzeżach Zagłady”, w tym również w Jedwabnem, lecz jednoznacznie dotyka problemu polskiego współudziału w zagładzie Żydów i konsekwencji związanych ze złamaniem ukonstytuowanej wokół tego faktu społecznej zmowy milczenia. Film wywołał gorącą dyskusję, która toczyła się w ogólnopolskich mediach przez niemal dwa miesiące od jego premiery. Podstawowym celem artykułu jest próba analizy oraz interpretacji słów i myśli wypowiedzianych w czasie jej trwania.
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Barker, Anthony. "On Not Being Porn: Intimacy and the Sexually Explicit Art Film." Text Matters, no. 3 (November 1, 2013): 186–202. http://dx.doi.org/10.2478/texmat-2013-0034.
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Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to be political or aesthetic in nature rather than moralistic. Commercial cinema still seems wary of a frank exploration of sexuality, preferring to address it tangentially in genres such as the erotic thriller. In Europe, an art house canon of sexually explicit movies has formed, starting with Bertolucci’s Last Tango in Paris (1972) and the French-produced In the Realm of the Senses (1976). This article looks at the steps taken since the 1970s to challenge out-of-date taboos and yet at the same time differentiate the serious film about se Xfrom both pornography (operating in parallel with mainstream cinema but in its shadow) and the exploitation film. After reviewing the art film’s relationship with both hard and soft core, two recent films, Intimacy (2000) and 9 Songs (2005), are analyzed for their explicit content and for the way they articulate their ideas about sex through graphic depictions of sexual acts. Compulsive and/or claustrophobic unsimulated sexual behaviour is used as a way of asking probing questions of intimacy (and its filmability). This is shown to be a very different thing from the highly visual and staged satisfactions of pornography.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
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Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Stenström, Kristina. "Monsters Escaping the Screen: Embodied Narratives of LARPS and Zombie Walks." Kvinder, Køn & Forskning, no. 2-3 (November 27, 2017): 42–54. http://dx.doi.org/10.7146/kkf.v26i2-3.110551.
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This article engages with communities that invite monstrous characters to come to life and invade three-dimensional spaces through real-life bodies. Through focus group interviews with participants in live action role-play (LARP) and zombie walks in Stockholm, this text explores the ways in which participants engage in physical encounters with monstrosity and the surrounding narrative worlds. First, I address how monstrous corporeality not only functions as fiction or escape but most concretely taps into contemporary discourses connected to corporeal change. Through Butler’s performativity and becoming and in connection with discourses of makeover culture, I argue that both LARPs and walks function as both performances and performative acts in which demands connected to idealized corporeal transformation may be concretized,reenacted and renegotiated. Second, the monstrous body here functions simultaneously as an embodied narrative device and a medium. Participants compare the emotional and physical experience of LARPing and zombie walking to that of consuming popular cultural texts in horror or thriller films and television. However, an aspect of zombie walks and LARPs is the concrete physical transformation of those who participate. Furthermore, the use of masks, clothing and jewelry all add tactile dimensions to (or enhance these dimensions in) an embodied experience of a story-world of monsters.
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Angelina, Ayu Mella, Zainal Abidin, and FX Yatno Karyadi. "FILM FIKSI TUAN X: Pendekatan Gestur sebagai Penanda Psikologi Tokoh Utama." Capture : Jurnal Seni Media Rekam 10, no. 1 (2018): 14. http://dx.doi.org/10.33153/capture.v10i1.2186.
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<p><em>The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of </em><em>Tuan X</em><em> film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gestures succeeded in becoming a signifier of the psychological reality of the character.</em></p><p><strong><em>Keywords</em></strong><em>: Film, Tuan X, </em><em>psychology</em><em>, signifier, and gesture</em></p>
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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.
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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.
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Willems, Brian Daniel. "Thrilling Objects: The Scales of Corruption in Political Thrillers." Film-Philosophy 21, no. 1 (2017): 78–94. http://dx.doi.org/10.3366/film.2017.0032.
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Political thrillers often encourage the feeling that a mere individual has the power to make a difference on a large scale. Caught up in a chain of events they wished they had never uncovered, a protagonist can occupy a position in which their actions have far-reaching consequences, with the rookie CIA analyst accidentally bringing down a whole corrupt political system being only one example. Much of the critical attention these films have garnered falls under the rubric of detective work in that the protagonist is seen as exposing a web of corruption which would otherwise have gone on unnoticed. However, this paper is focused on how the scale of the individual comes into contact with other, larger scales of events. Points of contact between scales are important because they are where change can take place, thus allowing an individual to influence the supra-individual.
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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.
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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.
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Trifonova, Temenuga. "Agência nos thrillers cinematográficos de conspiração." Rumores 11, no. 22 (2017): 59. http://dx.doi.org/10.11606/issn.1982-677x.rum.2017.135318.
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Os thrillers de conspiração contribuem para a negação da agência na cultura contemporânea, deixando assim a paranoia como a “estrutura de sentimento” dominante? São esses filmes supersimplificações irracionais ou conseguem chamar atenção para as complexidades da nova ordem mundial? Este artigo examina as mudanças de representação da agência nos recentes thrillers de conspiração. O argumento aqui utilizado é que os thrillers de conspiração contemporâneos apontam para um crescimento da incerteza sobre questões de causalidade, responsabilidade e agência, e para a rotinização da conspiração.
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Kerner, Aaron Michael. "The Circulation of Post-Millennial Extreme Cinema." Asian Diasporic Visual Cultures and the Americas 2, no. 3 (2016): 200–220. http://dx.doi.org/10.1163/23523085-00203002.
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Extreme cinema is an international trend which encompasses a wide range of cinematic genres: thrillers, dramatic narratives, so-called “art films,” and horror films. In the context of Asian extreme films, we find an especially highly-dynamic crisscrossing of influences. There is an assumption in the Western imagination that the Asian diaspora is unidirectional insofar as Asian populations gravitate toward the beacons of Western civilization. Trends in post-millennial extreme cinema however disrupt this particular diasporic narrative. This article argues that post-millennial extreme films are not simply a bidirectional flow, but rather a complex circulation of themes, aesthetic motifs, and filmmakers.
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Gaede, Kirsten. "Schutz vor bösem Erwachen." kma - Klinik Management aktuell 13, no. 06 (2008): 13. http://dx.doi.org/10.1055/s-0036-1574724.
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Zwei Sorten von Ängsten sind bei Patienten vor einer OP weit verbreitet: Nicht wieder aufzuwachen oder zu früh, sprich während des Eingriffs, aufzuwachen. Die unerwünschte Wachheit während der Operation, auch Awareness genannt, ist für den Patienten besonders dramatisch, wenn er sich nicht bewegen kann, aber Schmerzen empfindet und bei vollem Bewusstsein ist. Über dieses Phänomen gibt es sogar Filme wie den Thriller “Awake” von Joby Harold. Die Uniklinik Würzburg kann ihre Patienten jetzt beruhigen.
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van Erp, Judith. "Anti-cartel thrillers as a new film genre: How regulator-produced films portray and problematize cartels and communicate deterrence." Crime, Media, Culture: An International Journal 14, no. 2 (2017): 229–46. http://dx.doi.org/10.1177/1741659016685377.
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This article directs the ‘visual turn’ in criminology to corporate crime, a topic that has been understudied by cultural criminologists. A recent trend of corporate crime movies suggests that film can compellingly critique economic crime and unethical business cultures. This article studies how law enforcement agencies, particularly competition authorities, have connected with this trend by using film in their communicative strategy. This article introduces the emerging genre of anti-cartel enforcement thrillers: regulator-produced realistic docudramas in which fictional cartels are exposed and punished. These films’ narratives about cartel enforcement are reconstructed by studying how the films portray cartels, perpetrators and their motives, and the regulator. An analysis of four films produced in four jurisdictions demonstrates that the films deter only to the extent that the local legal and political-economic context allows: the British film reflects that country’s neoliberal ‘pro-business’ climate, while the Swedish film depicts businesses as socially responsible and the Dutch film is pragmatic rather than moralistic. Only the Australian film is explicitly punitive in its narrative as well as its imaginary, and exemplifies the persuasive potential of film in enforcement.
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Johnson, Benjamin K., Angel Udvardi, Allison Eden, and Judith E. Rosenbaum. "Spoilers Go Bump in the Night." Journal of Media Psychology 32, no. 1 (2020): 14–25. http://dx.doi.org/10.1027/1864-1105/a000252.
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Abstract. Spoilers are frequently a source of concern for entertainment audiences. Online discussions, promotional materials, and reviews can all potentially reveal pertinent information about story plotlines, presumably ruining suspense and enjoyment. Despite these common apprehensions, recent experimental evidence suggests that narrative spoilers have modest and inconsistent effects on enjoyment and other audience responses. In this study, we investigate the implications of spoilers for horror films, a genre reliant on suspenseful thrills. Each participant was exposed to multiple scenes from a single horror film, and spoilers were manipulated at different stages of the narrative for both minor and major plot points. Results indicate no main effects of spoilers for enjoyment, transportation, suspense, processing fluency, or reactance. However, need for affect moderated positive enjoyment effects of spoilers for smaller plot points such as scary moments or sudden twists. These results indicate that those who value the thrills of horror films may receive enjoyment from the anticipation produced by minor spoilers about smaller plot points.
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Vázquez, Juan de Dios. "Espectros en el archivo." Mexican Studies/Estudios Mexicanos 29, no. 2 (2013): 478–502. http://dx.doi.org/10.1525/msem.2013.29.2.478.
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Este artículo estudia la novela Cementerio de papel (2002) donde se teje un thriller detectivesco en torno a un asesinato sucedido bajo la cúpula del Archivo General de la Nación (Lecumberri). Con el traslado y la apertura de los expedientes de la antigua Dirección Federal de Seguridad retornan a la antigua prisión las viejas víctimas y sus victimarios, sólo que ahora en forma de espectros del pasado. La obra se mueve, así, dentro del binomio cárcel/archivo, presentando a Lecumberri como un espacio vivo desde donde empezar una búsqueda por la justicia y la verdad, sin caer en la melancolía o el victimismo. This essay examines the novel Cementerio de Papel [Paper Cemetery] (2002), a detective thriller about a murder that took place under the dome of the Archivo General de la Nación [National General Archive] (Lecumberri). The relocation and opening of the files of the former Dirección Federal de Seguridad [Federal Security Bureau] in the former prison comes along with the return of victims and victimizers, only now they come back as ghosts of things past. The novel works with the binomial jail/archive, featuring Lecumberri as a live space from which to begin a search for justice and truth, without sinking into melancholy or victimhood.
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Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.
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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film performance, stage comedy, and radio, these “spy comedies” spoofed aspects of both the James Bond franchise and the local action thrillers that imitated Bond. This was often accomplished by overlaying the narrative of a rustic with that of a spy. The comedies reveal a synchronicity between development and urbanization, which displaced large numbers of people, and the othering of North Koreans, which led to spy paranoia about those who were out of place. This paper argues that global genres played a particular role for South Korean comedy in the 1960s: they enabled oblique treatments of sensitive social issues through play. Generic heterogeneity defined comedic films of this era.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 1 (2018): 69–72. http://dx.doi.org/10.1525/fq.2018.72.1.69.
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Bilal Qureshi continues to look “elsewhere,” here musing on the contrast in stereotypes and complexities between a marquee movie, Tony Gilroy's Beirut, and an art-house work, Tamer Said's In the Last Days of the City. The overlapping theatrical release of the two films allows Qureshi to juxtapose their very different visions of the Middle East. While Beirut repeats familiar tropes from Hollywood's post-9/11 Arab thrillers, In the Last Days of the City's portrait of pre-revolutionary Cairo presents a welcome alternative to this clichéd gaze, presenting instead a more authentic and genuine representation of Middle Eastern subjectivity.
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Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.
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FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer films is emerging that may be premature in rejecting the political and artistic radicalism of earlier Mexican queer cinema. The great virtue of these new queer films, however, is that they aim to connect with an audience beyond the art house that needs—in these changing, challenging times—to see this newly visible community represented on the big screen.
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Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.
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William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
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Pereira, Volmir Cardoso. "O realismo tenso em Aquarius: aspectos utópicos e políticos na narrativa e na imagem fílmica." Raído 11, no. 28 (2017): 196. http://dx.doi.org/10.30612/raido.v11i28.6327.
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Este ensaio elabora uma crítica sobre o filme Aquarius, dirigido por Kleber Mendonça Filho e lançado em 2016, destacando aspectos de conteúdo e forma que estabelecem, segundo nossa hipótese, características do que aqui vamos chamar de realismo tenso. Tal conceito visa compreender a poética do filme como uma construção narrativa que se aproxima do realismo formal, cujas fontes remontam ao romance literário do século XIX. Ao observar a influência da literatura realista sobre a linguagem do cinema, convém ressaltar que Aquarius apresenta traços do Neorrealismo Italiano e do Cinema Novo, ao mesmo tempo em que se apropria criticamente de estratégias contemporâneas do thriller de suspense na ação dramática e no encadeamento cênico. Por fim, observando a tensão que se estabelece no plano de conteúdo, podemos notar que ela também se expande para o plano de expressão, provocando uma quebra de expectativas que visa problematizar os estereótipos imagéticos e narrativos que povoam o imaginário do espectador contemporâneo. Assim, observando a narrativa fílmica, pretendemos mostrar como ela apresenta aspectos políticos e utópicos inscritos em forma e conteúdo, ao discutir o tema da reificação social no cenário brasileiro atual.
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Kallitsis, Phevos. "Fear, city, cinema: Urban regeneration as a mental trap in Alexis Alexiou’s film Istoria 52 (Tale 52) (2008)." Journal of Greek Media & Culture 6, no. 1 (2020): 51–69. http://dx.doi.org/10.1386/jgmc_00003_1.
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The article analyses Alexis Alexiou’s thriller Istoria 52 (Tale 52) (2008) in relation to media and academic discourses on fear and safety in the city. The film’s mise-en-scène does not include any shots of the city; however, the off-screen presence of the city is implied as the main driver for the main character’s actions. The film was produced at a time when Athens was undergoing a huge urban regeneration, which remained incomplete, leading to the unwilling coexistence of people from different walks of life. The article offers an analysis of the film’s narrative and, in particular, its spatial dimension, placing it in the context of the contemporaneous urban condition of the Greek capital, which is implied, but not shown, in the film. I argue that the main character’s disturbed mental state, which drives much of the action in the film, is not just a result of an unbalanced psychology. Rather, his desire for isolation and the hyper-protection of private space are reflections of a conservative view on fear and safety in the city, where urban regeneration strategies are simultaneously the solution and the cause of fear and insecurity, trapping people in an endless closed loop.
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Ryan, Connor. "Dark and gritty/slick and glossy: Genre, Nollywood and Lagos." Journal of African Cinemas 11, no. 3 (2019): 295–313. http://dx.doi.org/10.1386/jac_00022_1.
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Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by backstabbing partners in crime, tables turning by chance, edgy armed standoffs and a surprising number of bodies in car trunks. Given the dark portrait of Lagos these films present, one might be inclined to read the genre cycle as a reiteration of the role Lagos has historically played as embodiment of popular anxieties concerning insecurity, material inequality and social breakdown. And yet, in recent years, conditions within the city have markedly improved over those of the deepest point of urban crisis in the 1990s when Lagos was, indeed, paralysed by a generalized condition of insecurity and dysfunction. New Nollywood's repertoire of film styles has expanded to include international film cycles and genres such as romantic comedies, psychological thrillers, police procedurals, among others. This raises important questions about the nature of correspondences between cinema and the city, such as whether New Nollywood genre films tell us anything about social, cultural or historical circumstances in Lagos, or the place the city occupies in the popular imagination, for instance. Recent upmarket film noirs speak, instead, to the evolution of Lagos as a media capital. I examine the different kinds of work genre performs in New and Old Nollywood films and propose a number of ways to critically interpret genre's various registers.
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Anissimov, Vladislav E., Anna S. Borissova, and Grigoriy R. Konson. "Linguocultural Localization of Movie Titles." Russian Journal of Linguistics 23, no. 2 (2019): 435–59. http://dx.doi.org/10.22363/2312-9182-2019-23-2-435-459.
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Due to intensive growth of film production and the expansion of the “market of film consumption”, the need for high-quality translation of feature films into different languages is becoming more and more pressing. While a foreign language film is localized, text elements are not only translated, but also adapted to the culture of the target audience, i.e. we are witnessing transition from one language and cultural code to another. Taking into account their structural, semantic, and functional pragmatic features, film titles are vivid representative materials for the study of modern translation practices in the light of the cultural transference concept (Bassnett 2005, Bastin 1990, Cranmer 2015, Jurt 2007, Кatan 1999, Leinen 2007, Thill 2007, Schreiber 1998, Slyshkin, Efremova 2004, Obolenskaya 2013, Snetkova 2009, Fedorova 2009). The purpose of the article is to identify the strategies of linguocultural localization of French film names for the modern Russian-speaking audience, as well as to determine the degree of its adequacy. Regardless of the choice of the translation strategy, the title should correspond to the plot, thematic focus and ideological and figurative content of the film, while remaining interesting and attractive to the audience. We analysed of eighty-seven French feature films of various genre affiliations (detectives, action films, dramas, melodramas, comedies, thrillers and fantasy), released in Russian from 2000 to 2018, and their translation equivalents. We used the methods of semantic, pragmatic, contextual and linguocultural analysis to identify a set of problems arising in the process of localization of film titles and to offer recommendations for their translation into Russian, considering the communicative specifics of the modern film discourse and the ethnic and cultural characteristics of the target audience.