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Articles de revues sur le sujet « Feature films – united states »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (2014): 194. http://dx.doi.org/10.21992/t9w34w.

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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized cultur

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Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.

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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexist

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Vétu, Guillaume. "Animist influence and immutable corporeality: Repositioning the significance of Japanese cinematic zombies." East Asian Journal of Popular Culture 7, no. 1 (2021): 115–34. http://dx.doi.org/10.1386/eapc_00042_1.

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In terms of zombie film output, Japan’s is perhaps the second largest in the world after the United States and above the United Kingdom. Yet only a relatively small number of these films have received academic attention. Having sourced and verified an exhaustive catalogue of over 160 feature-length Japanese zombie films produced between 1959 and 2018, and through recent field work in Japan, including personal interviews with local film, media and folklore scholars and professionals, this article constructs a clearer overview of this uncharted corpus. It presents some of the most predominant cu

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Auwen, Aurora, Mark Emmons, and Walter Dehority. "Portrayal of Immunization in American Cinema: 1925 to 2016." Clinical Pediatrics 59, no. 4-5 (2020): 360–68. http://dx.doi.org/10.1177/0009922819901004.

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The American media often disseminates antivaccination messages. Cinema in particular reaches many individuals and influences attitudes regarding high-risk behaviors such as smoking and alcohol use. We hypothesized that negative cinematic portrayals of immunization have increased over the last 3 decades. Films released in the United States featuring immunization through 2016 were identified on IMDb and viewed in their entirety by 2 reviewers. Themes were recorded, and the portrayal of immunization (positive, negative, or mixed) across each decade was assessed in a logistic regression model. Cul

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Shrock, Joel. "Desperate Deeds, Desperate Men: Gender, Race, and Rape in Silent Feature Films, 1915–1927." Journal of Men’s Studies 6, no. 1 (1997): 69–89. http://dx.doi.org/10.1177/106082659700600104.

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Many of the top-grossing feature films spanning from 1915–1927 utilized rape as a device for defining manhood and thereby establishing power relationships. The images of rape in these silent films idealized the power of respectable white men over the men and women of other classes and races and subordinated the women from their own social station. These movies constructed white men as heroes and guardians of morality and civilization, white women as frail but morally superior figures, and African-American and immigrant men and women as uncontrollable sexual deviants who threatened civilization

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Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38–41. http://dx.doi.org/10.1017/s004716070050153x.

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There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?

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Naiara, Leonardo Araújo, and dos Santos Costa Júnior José. "A connected history of the Indian image in movies between Brazil and the United States." International Journal of Arts and Social Science 4, no. 5 (2023): 30–38. https://doi.org/10.5281/zenodo.7743672.

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The text analyzed the conditions of historical emergence of the image of indigenous characters from the perspective of a connected history between Brazil and the United States. We resorted to a series comprised of movies such as Jivaro (1954), by Edward Ludwig; Raoni (1976), by Jean-Pierre Dutilleux and Luiz Saldanha; and Iracema, the Virgin with Honey Lips (1979), by Carlos Coimbra. The discussion was organized as follows: first, the problem of media culture from the perspective of a connected history between countries, mapping the interferences and asymmetry in the movie industry; second, a

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Klenotic, Jeffrey. "‘Big’ and ‘little’ Quo Vadis? in the United States, 1913–1916: Using GIS to map rival modes of feature cinema during the transitional era." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (2023): 5–25. http://dx.doi.org/10.14746/i.2022.41.01.

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   This article emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal

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Porst. "United States v. Twentieth Century-Fox, et al. and Hollywood's Feature Films on Early Television." Film History 25, no. 4 (2013): 114. http://dx.doi.org/10.2979/filmhistory.25.4.114.

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Miranda-Barreiro, David. "‘Little Spain’ or ‘Little Galicia’?" Journal of Romance Studies 20, no. 3 (2020): 489–512. http://dx.doi.org/10.3828/jrs.2020.26.

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This article studies three cinematic representations of the Galician migrant community in the United States: the documentaries Os 15000 de Newark (2007) and Little Spain (2014), and the feature-length film Little Galicia (2015). The analysis of these films focuses especially on the influence of their chosen framing on the migrants’ performance of their cultural identity. By assessing the performative aspect of identity, this article also examines the possibility of considering Galicianness as a transnational positioning, globally or glocally performed, rather than a geographically fixed essenc

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Garðarsdóttir, Hólmfríður. "Ante la indiferencia: Representaciones visuales que reafirman cómo la decepción utópica se vuelve distópica." Bergen Language and Linguistics Studies 10, no. 1 (2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1449.

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Faced with indifference: Visual representations that endorse utopian expectations turning dystopic. Every year, in an attempt to reach the United States, hundreds of thousands of undocumented migrants from Central America cross Mexico atop freight trains that are referred to by names such as “The Beast” or “The Train of Death.” Driven by extreme economic conditions, civil unrest and violence in their home countries, and, in some cases, the desire to reunite with relatives already living in the United States, adult individuals, families, and even unaccompanied children and adolescents emb

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Theophilopoulos, Constantine. "State compulsion of smartphone security features and the privilege against self-incrimination." South African Journal of Criminal Justice 36, no. 2 (2023): 282–303. http://dx.doi.org/10.47348/sacj/v36/i2a5.

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There is currently a lacuna in statutory and case law about the legal nexus between smartphone technology in the form of password/code or biometric-locked smartphone security features and the privilege against self-incrimination. This paper examines whether a recipient of a cyber-warrant, subpoena, or other compelling order, may invoke the privilege against self-incrimination in the face of a state order compelling the production of a security feature in order to unlock a smartphone and forensically access stored incriminating data files as admissible relevant evidence at trial. This paper exa

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Aronson, Michael. Peterson Elizabeth. ""Planned, Plotted, Played, Pictured by Students": The Ambitious Amateurs of Ed's Coed (1929)." Film History 31, no. 2 (2019): 60–88. https://doi.org/10.5281/zenodo.6783873.

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This article from the journal <em>Film History </em>31.2 provides a historical analysis of <em>Ed’s Coed</em> (1929), one of the earliest and most accomplished feature-length films made by college students in the United States. Student-made films of the silent era have received little critical attention, but they should be understood within the diverse overlapping categories that encompass amateur local filmmaking. Engaging the under-explored resource of student newspapers, the authors document how <em>Ed’s Coed</em>, a 35mm college-life romantic comedy, was produced by U

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Lozano, Jose Carlos. "From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity." Anagramas Rumbos y Sentidos de la Comunicación 20, no. 40 (2022): 200–223. http://dx.doi.org/10.22395/angr.v20n40a9.

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The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the m

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Buranok, Sergey Olegovich. "Methodological features of the study of «combat films» in the United States of 1941-1945." Samara Journal of Science 11, no. 1 (2022): 246–49. http://dx.doi.org/10.55355/snv2022111215.

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In modern studies on the history of wars, a fairly popular direction is the study of information discourse specifics. A special role in this discourse is played by propaganda through cinematography, which uses images, historical symbols and stable metaphors, the appeal to which can form a certain public reaction. The study of the main aspects of this topic is impossible without recourse to interdisciplinary methods of the humanities, developed as a result of a number of turns in the development of modern humanitarian knowledge, including anthropological, linguistic, cultural, calling to study

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Fernandes, Vitor, and Claudio Vescia Zanini. "We’re doing this because you were home: an analysis of elements of the slasher formula in The Strangers (2008)." Literartes 1, no. 15 (2021): 215–42. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.188450.

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This article verifies how Bryan Bertino’s 2008 film The Strangers articulates the slasher formula (CLOVER, 2015; DIKA, 1985) in order to tell a horror story that is in tune with the cultural context from the first decade of the 2000s in the United States. Drawing from analyses of the cultural impact of the terrorist attacks on September 11th, 2001, we point out evolutions in the slasher convention, including the dissidence from slasher films made to be deeply self-referential and campy. We also demonstrate how the recognizable structure is subverted to play with viewer expectations, potentiali

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Wolf, J. A., K. A. Peterson, P. T. Vianco, M. H. Johnson, and S. Goldammer. "Robustness and Versatility of Thin Films on Low Temperature Cofired Ceramic (LTCC)." International Symposium on Microelectronics 2011, no. 1 (2011): 000559–65. http://dx.doi.org/10.4071/isom-2011-wa3-paper6.

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Thin film multilayers have previously been introduced on multilayer low temperature cofired ceramic (LTCC). The ruggedness of a multipurpose Ti-Cu-Pt-Au stack has continued to benefit fabrication and reliability in state-of-the-art modules. Space optimization is described, preserving miniaturization of critical spaces and component pads. Additional soldering details are also presented, including trends with solder-stop materials. Feature compensation becomes a simple step in the normal manufacturing flow which enables exact targeting of desired feature sizes. In addition, fine details of the m

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Levin, Yaroslav A. "Image of Ally." Galactica Media: Journal of Media Studies 4, no. 4 (2022): 210–22. http://dx.doi.org/10.46539/gmd.v4i4.267.

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World War II was a time of increased rapprochement between the United States and Great Britain. After a long rivalry and outright hostility in the XVIII-XIX centuries, by the beginning of the 20th century, these two countries began to get closer with time, which was reflected in the gradual design of the concept of “Special Relations” between the United States and the United Kingdom. The rapprochement required strong propaganda support to explain political changes to the population. Due to its accessibility, clarity and brightness, cinema has become one of the main tools for promoting the new

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Załęska, Zofia. "Swing dance costumes and their dynamics as seen through the prism of the feature films of the Second Polish Republic." Quart, no. 4(66) (December 1, 2022): 40–59. http://dx.doi.org/10.19195/quart.2022.4.95172.

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The article is a synthetic presentation of the presence of swing dance in the Second Polish Republic. It presents a brief history of this music and dance genre in the United States and its arrival in Poland, where it rapidly gained popularity and began to appear in cinematography. The author focuses on swing dance scenes in the following films: Zabawka (A Toy, dir. Michał Waszyński, 1933), Prokurator Alicja Horn (Prosecutor Alicja Horn, dir. Marta Flanz, Michał Waszyński, 1933), Dyplomatyczna żona (A dimplomatic Wife, dir. Mieczysław Krawicz, Carl Boese, 1937), Szczęśliwa trzynastka (Luck

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Rooks, Daisy, and Carolina Bank MuÑOz. "Brilliant, Bored, or Badly Behaved? Media Coverage of the Charter School Debate in the United States." Teachers College Record: The Voice of Scholarship in Education 117, no. 8 (2015): 1–48. http://dx.doi.org/10.1177/016146811511700802.

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Background In recent years, charter schools have received a great deal of media attention, appearing in documentary films, newspaper articles, magazine profiles, television news programs, and even sitcoms and feature films. The media is not alone in its interest in charter schools; researchers in the public and for-profit arenas have also focused their attention on charter schools in recent years. Questions This paper employs qualitative content analysis to answer the following questions: What information have journalists contributed to the charter school debate in the United States? And how m

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Artamonov, G. A., and A. S. Orlova. "Features of the Embodiment of the Image of the Enemy in the Game Cinema of Modern Russia." Prepodavatel XXI vek, no. 4, 2019 (2019): 312–22. http://dx.doi.org/10.31862/2073-9613-2019-4-312-322.

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The article deals with the analysis of game films and TV series about local conflicts near the borders of Russia during the last 20 years, in the context of the transformation of the image of the enemy. If in the 2000s, due to the release of a large number of films about the situation in Chechnya, along with Chechen militants, the source of the threat were Islamists, leaders of international terrorism, in the last decade in Russian cinema, the tendency to show the action of the United States and NATO as aggressive, using the methods of information warfare. «Internal enemies», embodied in films

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DR, MAZNI MUSLIM, MAIMANAH SAMSURI DR, AISYAH MAZLAN SITI, and ABDUL MANAP NURMA. "FROM PAGE TO SCREEN: A BIBLIOMETRIC REVIEW." Social Science and Human Research Bulletin 02, no. 06 (2025): 195–203. https://doi.org/10.5281/zenodo.15598790.

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One might attribute the inclination for films over novels to several elements, including the features of the media, the demands of modern life, and the immersive encounters given by films. For occupied people in a fast atmosphere, the concision of films is often more pragmatic. Watching a movie requires less cognitive involvement than reading a book, hence it is a more convenient option for people with limited time or attention span. Particularly with CGI and digital effects, technological advancements have significantly affected film adaptations by enhancing the visual representation of compl

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Xu, Zhinan. "The Effectiveness of Ideological Communication in Mainstream Films Based on Semantic Networks --Taking the Chinese and American Movie Reviews of Top Gun: Maverick as an Example." Communications in Humanities Research 10, no. 1 (2023): 193–206. http://dx.doi.org/10.54254/2753-7064/10/20231317.

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The co-occurrence networks are used as a tool for examining and interpreting discourse analysis to reveal the attitudes and perceptions implicit in film reviews. Based on the self-constructed corpus of online movie reviews in China and the United States, this research generates co-occurrence word-sense networks and summarizes three frameworks: sequel narrative, heroic narrative, and military narrative, and further reveals and explains the ideologies and linguistic features revealed in the different discourse frames. At the macro level, the Chinese and American audiences evaluation of the film

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Powell, Ryan. "Hardcore Style, Queer Heteroeroticism, and After Dark." Feminist Media Histories 5, no. 2 (2019): 111–47. http://dx.doi.org/10.1525/fmh.2019.5.2.111.

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During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how hardcore as a style was taken up by the popular gay-marketed entertainment magazine After Dark. Through a close descriptive analysis of three photo spreads from 1975–76, it illuminates how female, gay male, and otherwise non-straight-identifying performers participated in a hardcore stylistic that, paradoxically, wo

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Kümmerling-Meibauer, Bettina. "Introduction." Journal of Educational Media, Memory, and Society 5, no. 2 (2013): 39–44. http://dx.doi.org/10.3167/jemms.2013.050203.

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The study of children’s films is a complex and demanding issue, involving a range of critical, educational, psychological, cultural, institutional, and textual aspects. “Children’s films” can be a broad and ambiguous term; there are films aimed at children, films about childhood, and films children watch regardless of whether they are children’s films or films targeted toward adults. The rise of an expanding children’s film industry (including the accompanying merchandizing products) in the United States and many European countries presents a further challenge to the study of children’s films.

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Buranok, Sergey Olegovich, and Daria Yurievna Selifontova. "China and the war in the cinema of the USA in 1941–1942." Samara Journal of Science 11, no. 4 (2022): 200–204. http://dx.doi.org/10.55355/snv2022114206.

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The study of the USA cinema during World War II is interesting not only from the point of view of forming the image of the enemy, but also of allies. This will allow us to determine more accurately what visual propaganda techniques were used by American directors. The image of China was always significant for the American information discourse: through it they created and adjusted of ideas about the East as an arena of struggle between the USA and Japan. This paper reveals features of the process of mythologizing the Second World War in the American cinema in 19411942, through an analysis of t

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Ford, Akkadia. "Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema." Somatechnics 9, no. 1 (2019): 58–83. http://dx.doi.org/10.3366/soma.2019.0265.

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Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. T

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SHUMILINA, INNA V. "Features of Screen Construction of the Image of the President of the United States: Hollywood—Media—Politics." Art and Science of Television 18, no. 1 (2022): 113–58. http://dx.doi.org/10.30628/1994-9529-2022-18.1-113-158.

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Analysis of the text and the context of screen production is a necessary link for comprehending social processes. Capturing time through the screen and film images allows us to form an idea of the actual cultural, aesthetic, ideological (value) specificity of society. Whether cinema is a reflection of the truth of life, or a form of secondary communication, or a means of formation of viewers’ worldview positions, are the questions, the relevance of which has increased significantly against the geopolitical background of the first quarter of the 21st century. This article is an attempt to analy

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Hamilton, Annette. "Fragments in the Archive: The Khmer Rouge Years." Plaridel 15, no. 1 (2018): 1–14. http://dx.doi.org/10.52518/2018.15.1-01hmlton.

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Cambodia’s cinema history is strange and surprising. Popular films from France and the United States circulated through the Kingdom during the French colonial period. The 1950s and 60s saw extensive local production with the enthusiastic support of King Norodom Sihanouk, himself a passionate film-maker, but the Khmer Rouge regime (1975-1979) destroyed most of the existing material, including hundreds of feature films, raw footage and countless other ephemeral documents. In 2006, after representations by film-maker Rithy Panh and others, the Bophana Audio-Visual Research Centre was established

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Charlot, John. "Vietnamese Cinema: First Views." Journal of Southeast Asian Studies 22, no. 1 (1991): 33–62. http://dx.doi.org/10.1017/s0022463400005452.

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Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema alo

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Buranok, Sergey. "The 1942 Film Wake Island: Features of the Propaganda and Visualisation of World War II in the United States." Novaia i noveishaia istoriia, no. 5 (2022): 142. http://dx.doi.org/10.31857/s013038640019695-2.

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In contemporary studies in war history, the study of the specifics of the discourse in question is a fairly popular area of research. The evolution of the process of visualisation and mythologisation of World War II in American cinematography is analysed using the methods of historical imagology. It is hard to grasp the peculiarities of the evolution of and interaction between US cinema and propaganda without exploring the basic principles, methods, mechanisms, and tools of this process. The main research goal is to establish the features and methods of propaganda used in the film Wake Island.

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EMILIANO, Gustavo Barbalho Guedes, Fernando Souza MARINHO, and Rogério Nogueira de OLIVEIRA. "Potential contribution of periapical radiographic film image processing for forensic identification." RGO - Revista Gaúcha de Odontologia 64, no. 4 (2016): 484–89. http://dx.doi.org/10.1590/1981-8637201600030000193215.

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ABSTRACT Periapical X-rays are the most common complementary tests in the dental clinic. The indication of image tests in forensic identification depends on the produced X-rays quality. The image processing of conventional radiographs can improve image quality. This study aimed to report the potential contribution of image processing from radiographic films by digitally edited periapical radiographs for case reporting of positive identification. The results of anthropological examinations and dental arches of the victim matched the information transferred by the family of the missing person. T

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Ying, Yafei. "Analyzing Feminism in Silence of the Lambs from the Perspective of Power." BCP Social Sciences & Humanities 21 (February 15, 2023): 263–70. http://dx.doi.org/10.54691/bcpssh.v21i.3502.

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The Silence of the Lambs, released in 1991 in the United States, is one of the first Hollywood films to feature women as subjects. The film has a certain historical background that makes it a good material for studying the development of the women’s movement and the response of traditional patriarchal society to the improvement of women’s status. This paper analyzes the feminist content in the film from the perspective of power, combining the history of the development of the women’s movement with the growth of the characters, and refines problems faced by feminism from the past to today. The

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Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.

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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular

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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 1 (2017): 73–79. http://dx.doi.org/10.1525/fq.2017.71.1.73.

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By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas's Bellas de noche (Beauties of the Night) and Maya Goded's Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists. Widely shown at fes

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Surnin, Mykyta. "Semantics of the Heroic Image in the American Film Culture of the Early 21st Century (on the Example of Action Films and Comic Books)." Issues in Cultural Studies, no. 43 (May 2, 2024): 182–93. https://doi.org/10.31866/2410-1311.43.2024.303047.

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<em>The purpose of the article </em>is to examine the peculiarity of the heroic images’ semantics in American film culture of the early twenty-first century on the example of action films and comic books. <em>Research results. </em>It has been established that the world of cinema and film culture are saturated with images of heroes, they are the basis of most feature films. It is analysed that the creators of action films and comic books, as carriers of American culture and mentality, consciously or unconsciously embodied important American values in film characters. Examp

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Belov, S., and A. Zhidchenko. "The image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period." Journal of Political Research 4, no. 1 (2020): 25–37. http://dx.doi.org/10.12737/2587-6295-2020-25-37.

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The presented study is devoted to studying the practice of constructing the image of a phantom threat to children from the side of an external enemy through historical discourse in the cinema of the USSR and the USA during the Cold War. The aim of this work is to identify common and specific features in the approaches of filmmakers of the two countries to the formation of the image of a phantom threat for children from the side of an external enemy. The research methodology is built on the basis of a combination of historical genetic, comparative and descriptive, as well as content analysis. T

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Toth, Leah. "“Beautiful, If You See It the Right Way”." Resonance 2, no. 1 (2021): 52–65. http://dx.doi.org/10.1525/res.2021.2.1.52.

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David Lynch’s first feature film, Eraserhead, is considered by many to be his strangest, due to its dark industrial imagery and dissonant sound design. This essay examines the function of audible noise in Eraserhead within the context of 1970s deindustrialization and argues that noise is a key but overlooked element of the film’s overall aesthetic design—an homage to the sounds and imagery of a fading and faded industrialized United States. Listening closely firmly establishes this impression: The sound design contributes substantially to the film’s synchretic surrealism, and its ambiguity thr

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Montgomery, Denise. "Meeting the Needs of Young People During the COVID-19 Pandemic Through Program Adaptations in Creative Youth Development Programs." IJREE – International Journal for Research on Extended Education 10, no. 2 (2023): 54–72. http://dx.doi.org/10.3224/ijree.v10i2.05.

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Creative Youth Development (CYD) is a holistic approach to engaging young people through the arts and creativity to support them in thriving in all aspects of their lives. Young people consistently rank culminating events – performances, exhibitions, youth summits, screenings of their films – as a powerful motivator and key aspect of their involvement in creative youth development programs. This article features insights from a qualitative research study in the United States that explored how CYD programs adapted culminating events to the largely virtual program environments of 2020. Findings

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Qiao, Zixin. "The 1949 Version of Little Women wears more Feminism Features than the 2019 One." Communications in Humanities Research 3, no. 1 (2023): 1127–40. http://dx.doi.org/10.54254/2753-7064/3/2022959.

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This paper will begin with a discussion of the historical context of the two film adaptations of Little Women and the novel of the same name, as well as their distinct intersections with various phases of feminism's development. Specifically, the Civil War and the suffrage movement supported as the history background for the novel penned by Louisa May. Then, the production history of Mervyn LeRoy's 1949 picture Little Women, which was produced in America soon after the end of World War II and the beginning of the first wave of feminism, will be discussed. Further, the background of the 2019 ed

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Pinelli, Alex. "Conservatives watch cartoons: The rise of Disney, the right and cultural criticism in the 1990s." International Journal of Disney Studies 1, no. 1 (2025): 15–31. https://doi.org/10.1386/ijds_00002_1.

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This research explores the dynamic intersection of conservatism and Disney animation during the 1990s, a pivotal decade for both political ideology and cultural influence in the United States. It examines the complex relationship between conservative film critics and Disney’s animated productions, focusing on the tension between conservative expectations of Disney as a bastion of traditional values and the company’s evolving cultural and corporate identity. The study highlights key features of Disney’s animated films that troubled conservative critics while revealing the diversity of conservat

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Rutten, Andrew. "UNITED STATES AND CANADA An Empire Divided: The American Revolution and the British Caribbean. By Andrew Jackson O'Shaughnessy. Philadelphia: University of Pennsylvania Press, 2000. Pp. xviii, 357. $55.00, cloth; $22.50, paper." Journal of Economic History 61, no. 4 (2001): 1132–33. http://dx.doi.org/10.1017/s0022050701005721.

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In the last half-century, historians have reached a consensus about much of the history of British America during the eighteenth century. One feature of that consensus, argued by Jack Greene, John Philip Reid, and Stanley Engerman among others, is that the economic, legal, political, and social history of the colonies can only be understood in the context of their membership in an Atlantic community. Even the event that destroyed that community—the American Revolution—is now seen as a controversy over an Atlantic constitution. In this book, Andrew Jackson O'Shaughnessy fills a major lacuna in

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Agapov, M. G. "“Screen on the Chum”: Social Reconstruction and Mobile Film Propaganda in the North of the Ob region in the 1930s." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(61) (June 15, 2023): 190–98. http://dx.doi.org/10.20874/2071-0437-2023-61-2-16.

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Drawing on the example of agitation and propaganda campaigns carried out in the north of the Ob region in the 1930s among the indigenous population, a specific tool of the Soviet ideological indoctrination of the Great Break period — a mobile cinema (installations designed to screen silent and sound films to a small audience in open areas and in premises not equipped with stationary film projectors) — has been comprehensively studied. The mobile cinema is considered as one of the varieties of cultural management technologies that are equally characteristic of all states and empires of the mode

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Stasch, Rupert. "The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture." Comparative Studies in Society and History 53, no. 1 (2011): 75–112. http://dx.doi.org/10.1017/s0010417510000630.

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One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty televi

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Mohammed, Abdullah. "African video films: Stereotypes and narrative crumple in the quest for transnationality in Dar 2 Lagos." Umma: The Journal of Contemporary Literature and Creative Art 8, no. 1 (2021): 55–67. http://dx.doi.org/10.56279/ummaj.v8i1.4.

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This article takes a close-up look at Dar 2 Lagos, a film by Femi Ogedegbe, focusing on how the film attempts to feature transnational elements in filming across Africa. The film which demonstrates a new trend in filmmaking practices in Africa introduces possible multinational collaborations which are likely to offer opportunities for talents and producers to team-up and utilize not only talents and stories but also beautiful locations around the continent. However, such opportunities for the industry to cater for the demand of the audience with stories that people across the continent share a

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Kreer, Mikhail, Tatiana Skazochkina, and Aleksandr Skazochkin. "Methodological Map as a New Element of the Diagnostic System of Personnel Training for Modern Economy." Science Management: Theory and Practice 3, no. 3 (2021): 45–60. http://dx.doi.org/10.19181/smtp.2021.3.3.2.

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The article is devoted to the analysis of the possibilities and the description of the methodological map, which is the Russian analogue of the “individual cell” of the student and has proven itself well in the United States. The methodological map reflects the static profile of the trainee’s abilities and, when periodically filled in, represents a dynamically developing trajectory of a professional orientation, regardless of the profile.At present, the general need of the economy for high-quality specialists based on the selection of students capable of mastering complex, high-tech technologi

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Putcha, Rumya S. "The Mythical Courtesan." Meridians 20, no. 1 (2021): 127–50. http://dx.doi.org/10.1215/15366936-8913140.

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Abstract This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide

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Leung, Kevin. "(Digital Presentation) Pinpointing the Potential-of-Zero-Charge in a Alumina-Coated Aluminum/Water Interface Model for Corrosion Applications." ECS Meeting Abstracts MA2022-01, no. 16 (2022): 991. http://dx.doi.org/10.1149/ma2022-0116991mtgabs.

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The surfaces of most metals immersed in electrolytes feature a several nanometer-thick oxide/hydroxide layer in aqueous electrolytes. This leads to the existence of both a metal/oxide and an oxide/liquid electrotlyte interface. The resulting complexity, and the uncertainty about the structure of and the charges on the surface films, make it challenging to predict from first principles the potential-of-zero-charge (PZC) which has been correlated to the pitting potential [1]. In this work, we use large-scale Density Functional Theory and ab initio molecular dynamics to calculate the PZC of a Al(

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Sputnitskaya, N. Yu, and M. F. Kazyuchits. "Contemporary Approaches to the Study of Soviet and Post-Soviet Screen Culture. Based on the Material of 53rd ASEEES Congress, USA." Art & Culture Studies, no. 2 (June 2022): 106–37. http://dx.doi.org/10.51678/2226-0072-2022-2-106-137.

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The article is devoted to the study of the works of researchers from the USA, based on the material of the 53rd Association for Slavic, East European, and Eurasian Studies (ASEEES) International Annual Congress, which belong to various branches of humanitarian knowledge, but directly related to the study of Soviet and modern screen culture in Russia or other countries (Eastern Europe, India, Cuba, etc.) that have experienced its direct or indirect influence. The interest in the research of American representatives of the humanities, whose share in the total number of participants in congresses

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Tay, Kenneth. "A well-oiled engine: Towards a critical petro-aesthetics of Singapore." Journal of Environmental Media 4, no. 1 (2023): 9–25. http://dx.doi.org/10.1386/jem_00094_1.

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While Singapore is not an oil-producing nation, it occupies an important role as one of the largest refinery hubs and the world’s busiest bunkering port for tankers and container ships. However, existing scholarship on petroculture has largely bypassed Singapore in its focus on direct representations of oil centred on upstream producers such as the United States, Canada and countries in the Middle East. This article traces the emergence and eventual disappearance of oil in Singapore’s visual culture through two moving images made separately in the late 1950s and the early 2000s. Comparing L. K

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