Search results for: mainstream cinema

Authors: Ana Sofia Torres Pereira

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Till this day, women have been underrepresented and stereotyped both in TV and Cinema Screens all around the World. While women have been gaining a different status and finding their own voice in the work place and in society, what we see on-screen is still something different, something gender biased, something that does not show the multifaceted identities a woman might have. But why is this so? Why are we stuck on this shallow vision of women on-screen? According to several cinema industry studies, most film screenwriters in Hollywood are men. Women actually represent a very low percentage of screenwriters. So why is this relevant? Could the underrepresentation of women screenwriters in Hollywood be affecting the way women are written, and as a result, are depicted in film? Films are about stories, about people, and if these stories are continuously told through a man’s gaze, is that helping in the creation of a gender imbalance towards women? On the other hand, one of the reasons given for the low percentage of women screenwriters is: women are said to be better at writing specific genres, like dramas and comedies, and not as good writing thrillers and action films, so, as women seem to be limited in the genres they can write, they are undervalued and underrepresented as screenwriters. It seems the gender bias and stereotype isn’t saved exclusively for women on-screen, but also off-screen and behind the screen. So film appears to be a men’s world, on and off-screen, and since men seem to write the majority of scripts, it might be no wonder that women have been written in a specific way and depicted in a specific way on-screen. Also, since films are a mass communication medium, maybe this over-sexualization and stereotyping on-screen is indoctrinating our society into believing this bias is alive and well, and thus targeting women off-screen as well (ergo, screenwriters). What about at the very begging of film? In the Silent Movies and Early Talkies era, women dominated the screenwriting industry. They wrote every genre, and the majority of scripts were written by women, not men. So what about then? How were women depicted in films then? Did women screenwriters, in an era that was still very harsh on women, use their stories and their power to break stereotypes and show women in a different light, or did they carry on with the stereotype, did they continue it and standardize it? This papers aims to understand how important it is to have more working women screenwriters in order to break stereotypes regarding the image of women on and off-screen. How much can a screenwriter (male or female) influence our gaze on women (on and off-screen)?

Keywords: cinema, gender bias, stereotype, women on-screen, women screenwriters

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Authors: Raya Morag

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This paper proposes a new paradigm for cinema/trauma studies - the trauma of the perpetrator. Canonical trauma research from Freud’s Aetiology of Hysteria to the present has been carried out from the perspective of identification with the victim, as have cinema trauma research and contemporary humanities-based trauma studies, climaxing during the 1990s in widespread interest in the victim vis-à-vis the Holocaust, war, and domestic violence. Breaking over 100 years of repression of the abhorrent and rejected concept of the perpetrator in psychoanalytic-based research proposes an uncanny shift in our conception of psychoanalysis' trajectory from women's 'hysteria' to 'post-traumatic stress disorder'. This new paradigm is driven by the global emergence of new waves of films (2007-2015) representing trauma suffered by perpetrators involved in the new style of war entailing deliberate targeting of non-combatants. Analyzing prominent examples from Israeli post-second Intifada documentaries (e.g., Ari Folman’s Waltz with Bashir), and post post-Iraq (and Afghanistan) War American documentaries (e.g., Errol Morris' Standard Operating Procedure), the paper discusses the limitations of victim trauma by the firm boundaries it (rightly) set in order to defend such victims of nineteenth and especially twentieth-century catastrophes; the epistemological processes needed in order to consider perpetrators’ trauma as an inevitable part of psychiatric-psychological and cultural perspectives on trauma, and, thus, the definition of perpetrators' trauma in contrast to victims'. It also analyzes the perpetrator's figure in order to go beyond the limitation of current trauma theory's relation to the Real, thus transgressing the 'unspeakableness' of the trauma itself. The paper seeks an exploration of what perpetrator trauma teaches us not only as a counter-paradigm to victim trauma, but as a reflection on the complex intertwining of the two paradigms in the twenty-first century collective new war unconscious, and on what psychoanalysis might offer us in the first decade of this terrorized-ethnicized century.

Keywords: American war documentaries, Israeli war documentaries, 'new war', perpetrator trauma

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Authors: Sindhu Manjesh

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This paper examines citizen journalism in India, specifically the inclusion of user-generated content (UGC) by mainstream media, by focusing on the case study of the Citizen Journalist show on CNN-News 18, a national television news broadcaster. It studies the processes of production involved in Citizen Journalist to find out how professional journalists and citizens interact to put together the show in order to help readers understand the relationship between journalists and the public in the evolving media landscape of India, the world’s largest democracy, and a leader in the Global South. Using an in-depth case study approach involving newsroom ethnography, interviews, and an examination of Citizen Journalist content, it studies the implications of audience participation for traditional journalistic routines and values – specifically gatekeeping and objectivity. Citizen Journalist began to much fanfare and promise about including neglected citizen views and voices. Based on evidence gathered, this study, however, argues that claims made by CNN-News18 about democratizing news production through Citizen Journalist were overstated. It made some effort to do this and broadcast a lot of important stories. But overall, in terms of bringing in citizen voices, it did not live up to its initial promise because the show was anchored in traditional journalistic norms and roles and the channel’s economic imperatives. Professional journalists were ironically the producers of 'citizen journalism' in this case. Mainstream media’s authority in defining journalistic work –who says what, where, when, why, and how– remains predominant in India. This has implications for democratic participation in India. The example of Citizen Journalist –the model it followed, its partial success, and many limitations– could well presage outcomes for other news outlets, in India and beyond, which copy its template.

Keywords: citizen journalism, digital journalism, participatory journalism, public sphere

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Authors: Frederick Gooding

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This paper explores how many Hip Hop artists have intentionally and strategically invoked sustainability principles of people, planet and profits as a means to create community, compensate for and cope with structural inequalities in society. These themes not only create community within one's country, but the powerful display and demonstration of these narratives create community on a global plane. Listeners of Hip Hop are therefore able to learn about the political events occurring in another country free of censure, and establish solidarity worldwide. Hip Hop therefore can be an ingenious tool to create self-worth, recycle positive imagery, and serve as a defense mechanism from institutional and structural forces that conspire to make an upward economic and social trajectory difficult, if not impossible for many people of color, all across the world. Although the birthplace of Hip Hop, the United States of America, is still predominately White, it has undoubtedly grown more diverse at a breath-­taking pace in recent decades. Yet, whether American mainstream media will fully reflect America’s newfound diversity remains to be seen. As it stands, American mainstream media is seen and enjoyed by diverse audiences not just in America, but all over the world. Thus, it is imperative that further inquiry is conducted about one of the fastest growing genres within one of the world’s largest and most influential media industries generating upwards of $10 billion annually. More importantly, hip hop, its music and associated culture collectively represent a shared social experience of significant value. They are important tools used both to inform and influence economic, social and political identity. Conversely, principles of American exceptionalism often prioritize American political issues over those of others, thereby rendering a myopic political view within the mainstream. This paper will therefore engage in an international contextualization of the global phenomena entitled Hip Hop by exploring the creative genius and marketing appeal of Hip Hop within the global context of information technology, political expression and social change in addition to taking a critical look at historically racialized imagery within mainstream media. Many artists the world over have been able to freely express themselves and connect with broader communities outside of their own borders, all through the sound practice of the craft of Hip Hop. An empirical understanding of political, social and economic forces within the United States will serve as a bridge for identifying and analyzing transnational themes of commonality for typically marginalized or disaffected communities facing similar struggles for survival and respect. The sharing of commonalities of marginalized cultures not only serves as a source of education outside of typically myopic, mainstream sources, but it also creates transnational bonds globally to the extent that practicing artists resonate with many of the original themes of (now mostly underground) Hip Hop as with many of the African American artists responsible for creating and fostering Hip Hop's powerful outlet of expression. Hip Hop's power of connectivity and culture-sharing transnationally across borders provides a key source of education to be taken seriously by academics.

Keywords: culture, education, global, hip hop, mainstream music, transnational

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Authors: Chan Ka Lok Sobel

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The rapid evolution of digital media platforms has given rise to new forms of narrative engagement, particularly through multi-channel storytelling. This research focuses on exploring the teaching pedagogy and effectiveness of multi-channel storytelling for social media, cinema, games, and streaming platforms. The study employs case studies of the popular series "Squid Game" to investigate the diverse pedagogical approaches and strategies used in teaching multi-channel storytelling. Through qualitative research methods, including interviews, surveys, and content analysis, the research assesses the effectiveness of these approaches in terms of student engagement, knowledge acquisition, critical thinking skills, and the development of digital literacy. The findings contribute to understanding best practices for incorporating multi-channel storytelling into educational contexts and enhancing learning outcomes in the digital media landscape.

Keywords: digital literacy, game-based learning, artificial intelligence, animation production, educational technology

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Authors: Claire Sciberras

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Introduction: Autism Spectrum Disorder (ASD) has become recognized as being the most common childhood neurological condition. Indeed, numerous studies demonstrate an increase in the prevalence rate of children diagnosed with ASD. Concurrent with these findings, the European Agency for Special Needs and Inclusive Education reported a similar escalating tendency in prevalence also in Malta. Such an increase within the educational context in Malta has led the European Agency to call for increased support within educational settings in Malta. However, although research has addressed the positive impact of mainstream education on learners with ASD, empirical studies vis-à-vis the internal and external strengths and weaknesses present within the support provided in mainstream settings in Malta is distinctly limited. In light of the aforementioned argument, Malta would benefit from research which focuses on analysing the strengths, weaknesses, opportunities, and threats (SWOTs) which are present within the support provision of learners with ASD in mainstream primary schools. Such SWOT analysis is crucial as lack of appropriate opportunities might jeopardize the educational and social experiences of persons with ASD throughout their schooling. Methodology: A mixed methodological approach would be well suited to examine the provision of support of learners with ASD as the combination of qualitative and quantitative approaches allows researchers to collect a comprehensive range of data and validate their results. Hence, it is intended that questionnaires will be distributed to all the stakeholders involved so as to acquire a broader perspective to be collected from a wider group who provide support to students with ASD across schools in Malta. Moreover, the use of a qualitative approach in the form of interviews with a sample group will be implemented. Such an approach will be considered as it would potentially allow the researcher to gather an in-depth perspective vis-à-vis to the nature of the services which are currently provided to learners with ASD. The intentions of the study: Through the analysis of the data collected vis-à-vis to the SWOTs within the provision of support of learners with ASD it is intended that; i) a description in regards to the educational provision for learners with ASD within mainstream primary schools in Malta in light of the experiences and perceptions of the stakeholders involved will be acquired; ii) an analysis of the SWOTs which exist within the services for learners with ASD in primary state schools in Malta is carried out and iii) based on the SWOT analysis, recommendations that can lead to improvements in practice in the field of ASD in Malta and beyond will be provided. Conclusion: Due to the heterogeneity of individuals with ASD which spans across several deficits related to the social communication and interaction domain and also across areas linked to restricted, repetitive behavioural patterns, educational settings need to alter their standards according to the needs of their students. Thus, the standards established by schools throughout prior phases do not remain applicable forever, and therefore these need to be reviewed periodically in accordance with the diversities and the necessities of their learners.

Keywords: autism spectrum disorders, mainstream educational settings, provision of support, SWOT analysis

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Authors: Awais Ahmad

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People of Khyber Pakhtunkhwa (KP) and Federally Administered Tribal Areas (FATA) remains underrepresented in Pakistan’s mainstream media and their miseries and concerns are unheard and unnoticed. Rising the incidents of human rights violation in KP province of Pakistan, and its absence in the mainstream media has raised many questions on the clause of press freedom known as 19/A in the constitution of Pakistan, that has claimed freedom of speech to all Pakistani citizens. Using a ‘think a loud’ research technique, senior most journalists of KP have been interviewed to get to know reasons of why and how Pashtun’s voices have been silenced in a democratic country where individual’s opinion is considered more powerful, and they can exercise freedom to protest and speak-up for their rights. The information collected from the journalists has been used to evaluate press freedom in KP and FATA by applying the institutional theory. The paper evaluates different recent cases where Pashtun journalists, media outlets and social activists were being punished for criticizing authorities and military establishment. This study also explores that the perception of local journalists regarding press freedom and what are the factors they consider it restrictions while they perform their duties.

Keywords: press freedom, federally administered tribal areas (fata), khyber pakhtunkhwa (kp), military establishment

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Authors: Divyani Redhu, Sachin Bharti

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India, as a nation, has always been known for its concept of ‘Unity in Diversity’, and the same ideology can very well be witnessed in the kind of cinema that is produced in India. From mythological films in the beginning to historical films and from comedy to the all-entertaining commercial ‘masala’ films, the Indian film industry has time and again catered its viewers with varied flavors on screen. Needless to say that for a film industry which stood at a total value of 183.2 billion in the year 2019 as per the Statista Portal 2020, there is no dearth of viewers and at the same time, to cater to the needs of a humongous viewer base, variety in content needs to be offered. Particularly looking at the filmography of the Hindi film industry of the last decade, undoubtedly, the genre that has risen like a shining star is that of Biopics. Hindi cinema’s never-ending fascination with the biopic has grown stronger and become more evident in recent times. The success of biographical films like Jodha Akbar, The Dirty Picture, Mary Kom, Bajirao Mastani, Neerja, Aligarh, Azhar, etc. seems to have truly reinforced the industry’s faith and put Bollywood on a biopic spree. From films on the lives of sportspersons to those of the actors, gangsters, social workers, historical figures, and extraordinary citizens, the industry has left no stone unturned till now. Also, many more biopics are in the pipeline slated to be released soon. Also, when the film viewers are concerned, India is known as the youngest nation in the world where youth constituted about 34% of the country’s population in 2019, making India the country with maximum young people. Thus, the attempt of the researchers is to understand the perception of youth (15-24 years of age as per the UN) towards the biopic films. The above-mentioned study would be quantitative in nature. For the same, a survey would be conducted in the capital city of India, i.e., Delhi. The tool of the survey would be a questionnaire, and the number of respondents would be 200. The results derived from the study would focus on the film viewing preferences of youth in Delhi, the popularity of biopic films among the youth, reasons for watching biopic films and their overall perception about the same, etc.

Keywords: biopics, Delhi, Hindi cinema, India, youth

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Authors: Cláudia Pereira, Lívia Boeschenstein

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This article aims to present an analysis of rock band t-shirts as an element that claims a certain identity in modern-contemporary culture. This work focuses on the study of t-shirts that display the name, related elements and the logo of punk band The Ramones, because of its strong presence in the collective mind along the last decades. As we shall see, it is possible to observe a phenomenon of symbolic transition from the original cultural place of that object. At first, it was a piece of cloth that had been part of a specific subculture and then it became just a generic item diluted by the mainstream. This symbolic transitional phenomenon is significant in many ways and will be discussed furthermore. For the analysis, we begin with a brief introduction to the history of the band, followed by the study about the vintage rock band T-shirts and their meanings. From there, we will turn to a historical contextualization of band T-shirts as a subcultural item and to its redefinition after the appropriation made by the mainstream. To guide this reasoning, it will be used theories about the styles, subcultures and youth culture and about material culture from an anthropological perspective. In addition, we shall see the theories and concepts of social representations in order to understand the ways of using the Ramones’s T-shirt as a representative element of a fashionable style. This T-shirt, after being resignified by the standardization and the massive consumption, no longer symbolizes the punk movement, its behavioral motivations and original policies. Also has little to do with the rage the working class suburbs of London or New York. It seems to be a mute and vague sign of a restricted rebellion, foreseen and framed establishing a stylistic contrast to the designer clothes and good behavior predicted by establishment. It's an item that composes a specific style available on the market, but at the same time is accepted by the mainstream and provides a subcultural association that has some prestige in society. Another perspective is that of resignification loop. As the same way that punk resignified the conventional goods for their own social standards, fashion resignifies what was said to be an object of a subculture and absorbs in their own mass culture standards. Therefore, outsiders to the punk phenomenon wearing Ramones’s T-shirts can be perceived negatively by subcultural members, but at the same time are well received by those who are partially unaware or completely out of subcultural context. For the general public, the stamp of the Ramones’s logo happens to be appreciated as a diffuse allusion to a punk style, since its original meaning has being entirely neutralized.

Keywords: social representations, subcultures, material culture, punk

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Authors: Mokshida Bhat

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This paper examines the representation of patriarchy in the movies 'Qala' and 'Black Swan' and how it affects the mental health of women. Both movies portray female characters who are subject to patriarchal attitudes and structures that limit their choices and opportunities and contribute to negative mental health outcomes. In 'Qala' the central character Qala confronts the patriarchal attitudes of her family and community, which contribute to feelings of frustration and despair. In 'Black Swan' the main character Nina is subject to the demands and expectations of a patriarchal system that leads to anxiety, paranoia, and disconnection from her own body and emotions. Both movies highlight the harmful impact of patriarchal attitudes on women's mental health, including feelings of disempowerment, objectification, and self-doubt. The paper suggests that these negative outcomes can be addressed through a rejection of patriarchal norms and an assertion of one's own agency and identity. Overall, this paper demonstrates the importance of recognizing the role of patriarchy in contributing to mental health struggles for women and the need for more diverse and empowering representations of women in media.

Keywords: patriarchy, mental health, depression, PTSD, mental health in Indian cinema, patriarchy in Indian cinema, feminism and patriarchy, sexism

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Authors: Shally Pais

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Film music holds a special relationship with the narrative systems and dramaturgical operations in animation. Though the roles of cartoon music closely resemble those fulfilled by traditional film scores, which have been extensively studied, there is a large knowledge gap regarding non-mainstream or non-Hollywood animation music. This paper is an investigation of the understudied compositional materials and narrative contexts in three distinct films by exploring the main narrative and dramaturgical effects of music in The Skeleton Dance, Fox and The Whale, and La Vieille Dame et les Pigeons. The study uses a Neoformalist approach towards qualitative analysis of the music in these films to document ways in which music can be made to function differently depending on the individual films’ contexts and the desired effects to be had on the audience. Consequently, the paper highlights these factors’ influence on the films’ narratives and aims to widen the discourse on composition for animation film scores, suggesting the further study of non-mainstream film music.

Keywords: animation film music, film score analysis, Fox and The Whale, La Vieille Dame et les Pigeons, Neoformalist analysis, The Skeleton Dance

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Authors: Inger Eriksson, Lisbeth Ohlsson, Jeremias Rosenqvist

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Ingress: Focus in the study is directed towards phenomena and concepts of segregation, integration, and inclusion of students attending a special school form in Sweden, namely compulsory school for pupils with learning disabilities (in Swedish 'särskola') as an alternative to mainstream compulsory school. Aim: The aim of the study is to examine the school situation for students attending särskola from a historical perspective focussing the 1980s, 1990s and the 21st century, from an integration perspective, and from a perspective of power. Procedure: Five sub-studies are reported, where integration and inclusion are looked into by observation studies and interviews with school leaders, teachers, special and remedial teachers, psychologists, coordinators, and parents in the special schools/särskola. In brief, the study about special school students attending mainstream classes from 1998 takes its point of departure in the idea that all knowledge development takes place in a social context. A special interest is taken in the school’s role for integration generally, and the role of special education particularly and on whose conditions the integration is taking place – the special school students' or the other students,' or may be equally, in the class. Pedagogical and social conditions for so called individually integrated special school students in elementary school classes were studied in eleven classes. Results: The findings are interpreted in a power perspective supported by Foucault and relationally by Vygotsky. The main part of the data consists of extensive descriptions of the eleven cases, here called integration situations. Conclusions: In summary, this study suggests that the possibilities for a special school student to get into the class community and fellowship and thereby be integrated with the class are to a high degree dependant on to what extent the student can take part in the pedagogical processes. The pedagogical situation for the special school student is affected not only by the class teacher and the support and measures undertaken but also by the other students in the class as they, in turn, are affected by how the special school student is acting. This mutual impact, which constitutes the integration process in itself, might result in a true integration if the special school student attains the status of being accepted on his/her own terms not only being cared for or cherished by some classmates. A special school student who is not accepted even on the terms of the class will often experience severe problems in the contacts with classmates and the school situation might thus be a mere placement.

Keywords: integration/inclusion, mainstream school, power, special school students

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Authors: Rudy Ralph Martinez

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The 1960s provided us with some of the most iconic protest images of the late-20th century. This was the result of worldwide unrest and the proliferation of filmmaking equipment, which led to a flood of photos and films depicting war and activism. Many of these images and films played a pivotal role in shaping the ever-evolving discussions surrounding the ‘60s. However, too often, radical imagery finds itself subsumed by consumer culture, a degradation that flattens radical imagery and turns it into consumer products. With this in mind, the work that follows is an analysis of one of the little-discussed chapters of the 60s and 70s, and it is that of the New German Cinema movement and its relationship with the Rote Armee Fraktion, or Red Army Faction (RAF), an armed Marxist-Leninist group founded in West Germany in 1970. The RAF arose out of a milieu which included student activists protesting Western military involvement in the Vietnam War, civil rights activists, and third world guerillas. The actions undertaken by the group throughout their first decade in existence, including bombings, and assassinations, would create West Germany’s most dire political crisis since the Nazi era, culminating in a crisis of legitimation remembered as the German Autumn, which saw the suicides of several of the militants and the assassination of SS officer-cum-prominent industrialist, Hans Martin-Schleyer. Throughout the 1970s, young filmmakers associated with the New German Cinema sought to analyze the political situation as it was unfolding, their films contributing to the public discourse in concomitance with the government and the media. Four notable examples of these films are Volker Schlöndorff and Margarethe von Trotta’sDie Verlorene Ehre der Katharina Blum oder: Wie Gewaltentstehen und wohinsieführenkann (The Lost Honour of Katharina Blum, or: How Violence Develops and Where it Can Lead) (1975), a dark drama about the media’s role in forming public opinion, Deutschland im Herbst(Germany in Autumn) (1977), an experimental collective work released mere months after the German Autumn, Rainer Werner Fassbinder’s Die Dritte Generation (The Third Generation) (1979), a satire about an inept cell of radical militants, and Die bleierne Zeit (The Leaden Time, alt. title: Marianne and Juliane) (1981), an intimate portrayal about two sisters whose activism leads them down disparate paths. The filmmakers of the New German Cinema refused to underline their films with the Manichaean claims respectively espoused by the RAF and the government. These complex portrayals found offspring in films such as Christian Petzold’s Die innere Sicherheit(The State I Am In) (2000), a portrait of a family on the run after the reunification of Germany but were countered by glossy high-budget portrayals such as Uli Edel’s Der Baader-Meinhof Komplex(The Baader-Meinhof Complex) (2008). In focusing on the aesthetic structure of these films in relation to the political atmosphere of the late-60s and 70s West Germany, I hope to shed light on questions concerning spectatorship, surveillance, the role of journalism, and how politics disrupts personal relationships, and the kinship between artists and so-called terrorists.

Keywords: new german cinema, film history, red army faction, german cinema

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Authors: Invernizzi Agostina

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From the 1930s, it is possible to find a phenomenon that persists through to the sixties in the national filmographies of different southern latitudes (Spain, Mexico, Argentina): the proliferation of ensemble films of groups of women who serve base to elaborate broader social conflicts and to construct imaginaries of the nation and of genders. This paper will address the modes of figuration of some affective imaginaries among women where the forms of sociability and the bonds of sisterhood are determined by the spaces in which the women are grouped. In these films, there are forms of affectivity that dispute the meanings of the patriarchal order of the time. One of the hypotheses is that these films formulate communities of women that carry out a reconfiguration of affective and transnational spaces. This research presents a multidisciplinary approach that simultaneously combines film and audiovisual studies, gender studies, decolonial feminist theories, and affects theories. The study of this phenomenon will provide us with keys for articulating with current problematics, such as the genealogies of women's movements, of which the cinema offers echoes and is a privileged medium for reflection and social change, as well as the international contact flows between these three geographical points, their migratory processes and cultural exchanges, transnationalism and integration.

Keywords: affects, feminisms, film studies, gender

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Authors: Aran Hakki, Corina Cirstea, Julian Rathke

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Formal methods are yet to be utilized in mainstream software development due to issues in scaling and implementation costs. This work is about developing a scalable, simplified, pragmatic, formal software development method with strong correctness properties and guarantees that are easy prove. The method aims to be easy to learn, use and apply without extensive training and experience in formal methods. Petra is proposed as an object-oriented, process calculus with composable data types and sequential/parallel processes. Petra has a simple denotational semantics, which includes a definition of Correct by Construction. The aim is for Petra is to be standard which can be implemented to execute on various mainstream programming platforms such as Java. Work towards an implementation of Petra as a Java EDSL (Embedded Domain Specific Language) is also discussed.

Keywords: compositionality, formal method, software verification, Java, denotational semantics, rewriting systems, rewriting semantics, parallel processing, object-oriented programming, OOP, programming language, correct by construction

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Authors: Wafeek Mohamed Ibrahim Mohamed

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In the era of globalization, the camera of the cinematographic film plays a very important role in terms of monitoring and documenting what it was and distinguished the built environment of architectural and Urbanism. Moving the audience to the out-going backward through the cinematographic film and its stereophonic screen by which the picture appears at its best and its coexistence reached now its third dimension. The camera has indicated to the city shape with its paths, (alley) lanes, buildings and its architectural style. We have seen the architectural styles in its cinematic scenes which remained a remembrance in its history, in spite of the fact that some of which has been disappearing as what happened to ‘Boulak Bridge’ in Cairo built by ‘Eiffel’ and it has been demolished, but it remains a remembrance we can see it in the films of ’Usta Hassan’and A Crime in the Quiet Neighborhood. The purpose of the fundamental research is an attempt to reach a critical view of the idea of criticism and theorizing for Architecture and Urbanism in the cinematographic film and their relationship and reflection on the ‘audience’ understanding of the public opinion related to our built environment of Architectural and Urbanism with its problems and hardness. It is like as a trial to study the Architecture and Urbanism of the built environment in the cinematographic film and hooking up (linking) a realistic view of the governing conceptual significance thereof. The aesthetic thought of our traditional environment, in a psychological and anthropological framework, derives from the cinematic concept of the Architecture and Urbanism of the place and the dynamics of the space. The architectural space considers the foundation stone of the cinematic story and the main background of the events therein, which integrate the audience into a romantic trip to the city through its symbolized image of the spaces, lanes [alley], etc. This will be done through two main branches: firstly, Reviewing during time pursuit of the Architecture and Urbanism in the cinematographic films the thirties ago in the Egyptian cinema [onset from the film ‘Bab El Hadid’ to the American University at a film of ‘Saidi at the American University’]. The research concludes the importance of the need to study the cinematic films which deal with our societies, their architectural and Urbanism concerns whether the traditional ones or the contemporary and their crisis (such as the housing crisis in the film of ‘Krakoun in the street’, etc) to study the built environment with its architectural dynamic spaces through a modernist view. In addition, using the cinema as an important Media for spreading the ideas, documenting and monitoring the current changes in the built environment through its various dramas and comedies, etc. The cinema is considered as a mirror of the society and its built environment over the epochs. It assured the unique case constituted by cinema with the audience (public opinion) through a sense of emptiness and forming the mental image related to the city and the built environment.

Keywords: architectural and urbanism, cinematographic architectural, film, space in the film, media

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Authors: Randall Gray Underwood

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Within the past few decades, zombie cinema has evolved from a niche outgrowth of the horror genre into one of the most widely-discussed and thoroughly-analyzed subgenres of film. Rising to international popularity during the 1970s and 1980s following the release of George Romero’s landmark classic, Night of the Living Dead (1968), and its much-imitated sequel, Dawn of the Dead (1978), the zombie genre returned to global screens in full force at the turn of the century following earth-shattering events such as the 9/11 terrorist attacks, America’s subsequent war in the Middle East, environmental pandemics, and the emergence of a divided and disconnected global populace in the age of social media. Indeed, the presence of the zombie in all manner of art and entertainment—movies, literature, television, video games, comic books, and more—has become nothing short of pervasive, engendering a plethora of scholarly writings, books, opinion pieces, and video essays from all manner of academics, cultural commentators, critics, and casual fans, with each espousing their own theories regarding the zombie’s allegorical and symbolic value within global fiction. Consequently, the walking dead of recent years have been variously positioned as fictive manifestations of human fears of societal collapse, environmental contagion, sexually-transmitted disease, primal regression, dwindling population rates, global terrorism, and the foreign “Other”. Less commonly analyzed within film scholarship, however, is the connection between the zombie’s folkloric roots and native African/Haitian spiritual practice; specifically, how this connection impacts the zombie’s presentation in African films by native storytellers versus in similar narratives told from a western perspective. This work will examine the unlikely connections and contrasts inherent the portrayal of the traditional African/Haitian zombie (or zombi, in Haitian French) in the Nollywood film Witchdoctor of the Livingdead (1985, Charles Abi Enonchong) versus its depiction in the early Hollywood films White Zombie (1932, Victor Halperin) and I Walked with a Zombie (1943, Jacques Tourneur), through analysis of each cinemas’ use of the zombie as a visual metaphor for subjugation/slavery, as well as differences in their representation of the the spiritual folklore from which the figure of the zombie originates. Select films from the post-Night of the Living Dead zombie cinema landscape will also warrant brief discussion in relation to Witchdoctor of the Livingdead.

Keywords: Nollywood, Zombie cinema, Horror cinema, Classical Hollywood

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Authors: Tripti Watwe

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Music or art of any country is its national heritage and represents the cultural personality of that region. Noble Laureate Rabindranath Tagore through his international educational endeavour called ‘Visva-Bharati’ established this concept that music can very much be a part of the mainstream education of a country because the purpose of both music and education is to bring in transformation in an individual. An individual with musical veins is more focused and meditative towards his or her goal in life. That is why in Tagore’s Visva-Bharati, one can observe even the brightest brains from various fields of economics, science, social sciences or literature equally verbal and efficient in Rabindra songs which the poet created under his own name.Tagore established this phenomenon that music if made a part of education and life, brings in profound transformation in the character and over-all personality of a person giving better and responsible citizens to a nation. It is expected that this hypothesis that music and education can be a nectarine combination can be established and proved with the help of various recorded observations containing Tagore’s educational philosophy, his experiments in his own institution ‘Visva-Bharati’ and through recorded research materials which have been gathered during the author’s field work in Visva-Bharati.

Keywords: Rabindranath Tagore, Visva-Bharati, education, music, philosophy

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Authors: Lian Liu

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By analyzing the content of the New York Times' China-related energy reports, this study aims to explore the construction of China's national image by the mainstream media in the United States. The study analyzes three aspects of the coverage: topics, reporting tendencies, and countries involved. The results of the study show that economic issues are the main focus of the New York Times’ China-related energy coverage, followed by political issues and environmental issues. Overall, the coverage tendency was mainly negative, but positive coverage was dominated by science and technology issues. In addition, the study found that U.S.-China relations and Sino-Russian relations were important contexts for the construction of China's national image in the NYT's China-related energy coverage. These stories highlight China's interstate interactions with the United States, Japan, and Russia, which serve as important links in the coverage. The findings of this study reveal some characteristics and trends of the U.S. mainstream media's country image of China, which are important for a deeper understanding of the U.S.-China relationship and the media's influence on the construction of the country's image.

Keywords: media coverage, China, content analysis, visualization technology

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Authors: Byrad Yyelland, Robert Bianchi

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No longer the secret mark of outlaw bikers, criminals, and sailors, tattooing has become mainstream in much of the world. The current study showcases data gathered for a video documentary on the triangulated relationship connecting tattoos as a form of body modification, cultural norms, and personal meanings. This research has revealed that some religious belief systems, Buddhism in Thailand, is one example, connect tattooing with spirituality in an intimate manner. Buddhist monks provide tattoos using traditional bamboo implements and processes, and they pray over the tattoo, infusing magic into the tattoo and consequently, into the body of the receiver. In contrast, although there is no direct mention of tattooing in the Qur’an, many Islamic scholars argue that permanent tattooing is considered haram—forbidden for Muslims. Only the temporary henna is acceptable. In fact, tattooing is illegal in Qatar. Some Indigenous belief systems in Canada adopt a similar stance on the basis that we were all created by the Creator and as such, we do not have the right to alter what the Creator has made. Still other belief systems such as Spiritism in Brazil and mainstream Christianity in the West are more inclined to regard tattooing as a matter of personal choice. It is practically impossible for any culture to resist the dual impacts of time and globalization. Long term cultural change has resulted in mainstream acceptance of tattooing in the west and increased acceptance in Japan. Short-term cultural change is seen in Qatar where tattoos are on on public display amongst expats and migrant laborers. This tolerance of tattooed individuals was clearly evident with the choice of David Beckham as ambassador for the FIFA World Cup and during the corresponding tourist celebrations. Themes uncovered in this multicultural research also include individual meanings attributed to tattoo imagery and processes, experiences of personal empowerment, devotion to family, personal philosophy, gender identity, and aesthetics.

Keywords: culture, norms, tattooing, spirituality, personal motivations and personal meanings

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Authors: Prama Mukhopadhyay, Rishika Mukhopadhyay

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The twentieth century has seen the world getting divided into three distinct blocks, created by the proponents of the mainstream developmental discourse. India, which has now gained the label of being a ‘developing nation’, stands in between these three groups, as it constantly tries to ‘catch up’ and emulate the developmental standards of the ‘west’. In this endeavour, we find our country trying really hard to blindly replicate the health care infrastructures of the ‘first worlds’, without realizing the needs of evaluating the ground reality. In such a situation, the sudden outbreak of child death in the district of Malda, WB, poses an obvious questions towards the kind of development that our country has been engaging in, ever since its Post Colonial inception. Through this paper we thus try to understand the harsh veracity of the health care facility that exists in rural Bengal, and thereby challenge the conventional notion of ‘health-care’ as is normally discussed in the mainstream developmental discourse. Grounding our research work on detailed ethnography and through the help of questionnaire, interviews and focus group discussions with the local government officials(BDOs), health workers (ICDS, ASHA workers, ANHM and BMOHs) and members of families with experiences of child deaths, we have tried to find out the real and humane factors behind the sudden rise of reported infant deaths in the district, issues which are normally neglected and left out while discussing and evaluating IMR in the mainstream studies on health care and planning in our nation. Therefore the main aim of this paper is to try and look at child death from a ‘wider perspective’, where it is seen from an eye not bounded by the common registers of caste, class and religion. This paper, would thus be an eye opener in some sense, bringing in stories from the rural belt of the country; where the people are regularly torn between the binaries of the developing and shining modernity of ‘India’ which now gets ready to run the last lap and gain the status of becoming a ‘developed nation’ by 2020, and the staggering, dark traditional ‘ Bharat, which lags behind.

Keywords: child mortality, development discourse, health care, tradition and modernity

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Authors: Anketa Kumar, Rajantheran Al Muniandy, Rishabh Kumar

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For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration.

Keywords: character portrayal, costumes, Indian cinema, semiotics, visual significance

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Authors: Avani Chhajlani

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Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today banks upon fast fashion to generate a higher turnover of designs and patterns in apparel and related accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community-centered production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to reinvent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge, which is regenerative. Though sustainability and crafts of a region go hand-in-hand, the craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands like – RaasLeela, Pero, and KaSha, to name a few.

Keywords: circular economy, fashion, India, indigenous crafts, slow fashion, sustainability, up-cycling

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Authors: Moldir Makenova

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Alongside the implementation of trilingual education in schools, the Ministry of Education and Science of the Republic of Kazakhstan innovated the school curriculum in 2013 to include a Content and Language Integrated Learning (CLIL) approach. In this regard, some transition issues have arisen, such as unprepared teachers, a need for more awareness of the CLIL approach, and teaching resources. Some teachers view it as a challenge due to its combination of both content and language. This often creates anxiety among teachers who are knowledgeable about their subject areas in Kazakh or Russian but are deficient in delivering the subject’s content in English. Thus, with this new teaching approach, teachers encounter to choose the role of language and answer how language works in the CLIL classroom. This study aimed to explore how teachers experience the changing role of language in the curriculum and to find out what challenges teachers face related to CLIL implementation and how their language proficiency influences their teaching practices. A qualitative comparative case study was conducted in an X Lyceum and a mainstream school piloting CLIL. Data collection procedures were conducted via semi-structured interviews, classroom observations, and document analysis. Eight content teachers were chosen from these two schools as the target group of this study. Subject teachers, rather than language teachers, were chosen as the target group to grasp how the language-related issues in the new curriculum are interpreted by educators who do not necessarily identify themselves as language experts at the outset. The findings showed that mainstream teachers prioritize content over language because, as content teachers, the knowledge of content is more essential for them rather than the language. In contrast, most X Lyceum teachers balance language and content and additionally showed their preferences to support the ‘English language only' policy among 10-11 graders. Moreover, due to the low-level English proficiency, mainstream teachers did highlight the necessity of CLIL training and further collaboration with language teachers. This study will be beneficial for teachers and policy-makers to enable them to solve the issues mentioned above related to the implementation of CLIL. Larger-scale research conducted in the future would further inform its successful deployment country-wide.

Keywords: role of language, trilingual education, updated curriculum, teacher practices

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Authors: Raymon P. Española

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Hearing impaired students are admitted to regular high schools in the context of inclusive education. In this setting, several academic difficulties and social struggles are disregarded by many educators. The study aimed to describe the aspirations and lived experiences in mainstream classrooms of hearing impaired students. In the research process, the participants were interviewed using sign language. Thematic analysis of interview responses was done, supplemented by interviews with teachers and classroom observations. The study revealed four patterns of experiences: academic difficulties, coping mechanisms, identification with hearing peers, and impression management. This means that these learners were struggling in inclusive classrooms, where identification with and modeling the positive qualities of hearing peers were done to cope with academic difficulties and alter negative impressions about them. By implication, these learners tended to socially immerse themselves rather than resort to isolation. Along with this tendency was the aspiration for achievement as they were eager to finish post-secondary technical-vocational education. This means aspiring for continuing social immersion into the mainstream. All these findings provide insights to K-12 educators to increase the use of collaborative techniques and experiential learning strategies, as well as to adequately address the special educational needs of these students.

Keywords: descriptive, experiences and aspirations of hearing impaired learners, inclusive classrooms, Surigao City Philippines

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Authors: Ravi Chaturvedi, Ghanshyam Beniwal

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Without going much into the detail of long history of Sufism in the world and the etymological definition of the word ‘Sufi’, it will be sufficient to underline that the concept of Sufism was to focus the mystic power on the spiritual dimension of Islam with a view-shielding the believers from the outwardly and unrealistic dogma of the faith. Sufis adopted rather a liberal view in propagating the religious order of Islam suitable to the cultural and social environment of the land. It is, in fact, a mission of higher religious order of any faith, which disdains strife and conflict in any form. The joy of self-realization being the essence of religion is experienced after a long spiritual practice. India had Sufi and Bhakti (devotion) traditions in Islam and Hinduism, respectively. Both Sufism and Bhakti traditions were based on respect for different religions. The poorer and lower caste Hindus and Muslims were greatly influenced by these traditions. Unlike Ulemas and Brahmans, the Sufi and Bhakti saints were highly tolerant and open to the truth in other faiths. They never adopted sectarian attitudes and were never involved in power struggles. They kept away from power structures. Sufism is integrated with the Indian cinema since its initial days. In the earliest Bollywood movies, Sufism was represented in the form of qawwali which made its way from dargahs (shrines). Mixing it with pop influences, Hindi movies began using Sufi music in a big way only in the current decade. However, of late, songs with Sufi influences have become de rigueur in almost every film being released these days, irrespective of the genre, whether it is a romantic Gangster or a cerebral Corporate. 'Sufi is in the DNA of the Indian sub-continent', according to several contemporary filmmakers, critics, and spectators.The inherent theatricality motivates the performer of the 'Sufi' rituals for a dramatic behavior. The theatrical force of these stages of Sufi practice is so powerful that even the spectator cannot resist himself from being moved. In a multi-cultural country like India, the mediating streams have acquired a multi-layered importance in recent history. The second half of Indian post-colonial era has witnessed a regular chain of some conflicting religio-political waves arising from various sectarian camps in the country, which have compelled the counter forces to activate for keeping the spirit of composite cultural ethos alive. The study has revealed that the Sufi practice methodology is also being adapted for inclusion of spirituality in life at par to Yoga practice. This paper, a part of research study, is an attempt to establish that the Sufism in Indian cinema is one such mediating voice which is very active and alive throughout the length and width of the country continuously bridging the gap between various religious and social factions, and have a significant role to play in future as well.

Keywords: Indian cinema, mediating voice, Sufi, yoga practice

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Authors: Angela Fabris, Joerg Helbig

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Our paper deals with feature films set in Venice which focus on the influence of Italian life style on anglophone characters. Usually, these films emphasize the different cultures and mentalities of Italian and British (or American) people. More often than not, these encounters result in a profound change of the anglophone characters' attitude towards romance and sensuality. A case in point is David Lean's Summer Madness (UK 1955). This film recounts the love affair between the American tourist Jane Hudson (Katherine Hepburn) and the Venetian antique shop owner Renato de Rossi (Rossano Brazzi). Jane is a spinster in her mid-forties who longs for love and romance. The chance arrives when she meets Renato who feels attracted to her. Jane's immediate reaction, however, is to reject Renato's advances. What follows is a struggle between the strict morality of a puritan upbringing and the irresitable charm of Mediterranean temptations. Similar conflicts can be found in many other movies. Apart from Summer Madness we will discuss Aldo Lado's Chi l'ha vista morire? (It 1972), Nicolas Roeg's Don't Look Now (UK/It 1973) and Paul Schrader's The Comfort of Strangers (It/UK/USA 1990). Our paper raises the question whether or not these and other films present false stereotypes and chlichés. The paper is part of our large-scale research project which explores the history of erotic cinema in Italy and England.

Keywords: culture clash, erotic cinema, film, Venice

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Authors: Didem Güven, Oytun Hanhan, Elif Ceren Aksoy, Emine Ubay Çokgör

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This paper presents a biological treatability study ofpaintshopwastewaterof a bus factory by an anoxic/aerobic sequencing batch reactor.A lab scale 14L SBR system was implementedto investigate carbon and nitrogen removal performance frompaint shop waste streams combined with domestic and process wastewater of a bus production factory in Istanbul (Turkey).The wastewater collected from decanters of the paint boots and pre-treatmentplant was usedforthefeeding of SBR. The reactor was operated with a total hydraulic retention time of 24 hrs, and a total sludge age of 18.7 days. Initially the efficiency and stability of the reactor were studied when fed with main wastewater stream to simulate the current wastewater treatment plant. Removal efficiency of 57% nitrogen and 90% COD were obtained. Once the paint shop wastewater was introduced to mainstream feeding with a ratio of 1:5, nitrification completely, carbon removal were partially inhibited. SBR system was successful to handle even at very high COD concentrations of paint shop wastewater after feeding of 2 months, with an average effluent COD of 100 mg/L. For the determination of kinetic parameters, respirometric analysis was also conducted with/without paint shop wastewater addition. Model simulation indicated lower maximum specific growth and hydrolysis rates when paint shop wastewater was mixed with the mainstream wastewater of the factory.

Keywords: biological treatability, nitrogen removal, paint shop wastewater, sequencing batch reactor

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Authors: Marilia Correa Parecis De Oliveira

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This research looks at the novel Miguel e os demônios (2009), by the contemporary Brazilian author Lourenço Mutarelli. In it, the presence of film language resources is remarkable, creating thus a kind of scripted writing. We intend to analyze the presence of film language in work under study, in which there is a mixture of the characteristics of the novel and screenplay genres, trying to explore which aesthetic and meaning effects of the ownership of a visual language for the creation of a literary text create in the novel. The objective of this research is to identify and analyze the formal and thematic aspects that characterize the hybridity of literature and film in the novel by Lourenço Mutarelli. The method employed comprises reading and production cataloging of theoretical and critical texts, literary and film theory, historical review about the author, and also the realization of an analytical and interpretative reading of novel. In Miguel e os demônios there is a range of formal and thematic elements of popular narrative genres such as the detective story and action film, with a predominance of verb forms in the present and NPs - features that tend to make present the narrated scenes, as in the cinema. The novel, in this sense, is located in an intermediate position between the literary text and the pre-film text, as though filled with proper elements of the language of film, you can not fit it categorically in the genre script, since it does not reduce the script because aspires to be read as a novel. Therefore, the difficulty of fitting the work in a single gender also refused to be extra-textual factors - such as your publication as novel - but, rather, by the binary classifications serve solely to imprison the work on a label, which impoverish not only reading the text, as also the possibility of recognizing literature as a constant dialogue space and interaction with other media. We can say, therefore, that frame the work Miguel e os demônios in one of the two genres (novel or screenplay) proves not enough, since the text is revealed a hybrid narrative, consisting in a kind of scripted writing. In this sense, it is like a text that is born in a society saturated by audiovisual in their daily lives in order to be consumed by readers who, in ascending scale, exchange books by visual narratives. However, the novel uses film's resources without giving up its constitution as literature; on the contrary, it enriches the visual and linguistically, dialoguing with the complex contemporary horizon marked by the cultural industry.

Keywords: Brazilian literature, cinema, Lourenço Mutarelli, screenplay

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Authors: Mohammad A. N. M. Shafiqul Karim

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As a developing country, Bangladesh has to face numerous challenges. Self Independence in electricity, contributing to climate change by reducing carbon emission and bringing the backward population of society to the mainstream is more challenging for them. Therefore, it is essential to ensure recycled use of local products to the maximum level in every sector. Some private organizations have already worked alongside government to bring the backward population to the mainstream by developing their financial capacities. As rice husk is the largest single category of the total energy supply in Bangladesh. As part of this strategy, rice husk can play a great as a promising renewable energy source, which is readily available, has considerable environmental benefits and can produce electricity and ensure multiple uses of byproducts in construction technology. For the first time in Bangladesh, an experimental multidimensional project depending on Rice Husk Electricity and Rice Husk Ash (RHA) concrete brick/block under Green Eco-Tech Limited has already been started. Project analysis, opportunity, sustainability, the high monitoring component, limitations and finally evaluated data reflecting the viability of establishing more projects using rice husk are discussed in this paper. The by-product of rice husk from the production of green electricity, RHA, can be used for making, in particular, RHA concrete brick/block in Bangladeshi aspects is also discussed here.

Keywords: project analysis, rice husk, rice husk ash concrete brick/block, compressive strength of rice husk ash concrete brick/block

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