Search results for: Zombie cinema

Authors: Mariam Waheed Mekheimar

Abstract:

Nascent research is conducted to the advancement of discourse analysis to include different modes as images, sound, and text. The focus of this study will be to elucidate how images are embedded with texts in an audio-visual medium as cinema to send political messages; it also seeks to broaden our understanding of politics beyond a relatively narrow conceptualization of the 'political' through studying non-traditional discourses as the cinematic discourse. The aim herein is to develop a systematic approach to film analysis to capture political meanings in films. The method adopted in this research is Multimodal Discourse Analysis (MDA) focusing on embedding visuals with texts. As today's era is the era of images and that necessitates analyzing images. Drawing on the writings of O'Halloran, Kress and Van Leuween, John Bateman and Janina Wildfeuer, different modalities will be studied to understand how those modes interact in the cinematic discourse. 'People at the top movie' is selected as an example to unravel the political meanings throughout film tackling the cinematic representation of the notion of social justice.

Keywords: Egyptian cinema, multimodal discourse analysis, people at the top, social justice

Procedia PDF Downloads 388

Authors: Sicheng Liu

Abstract:

Based on the key issue of the current fourth world studies, the article aims to analyze the features of character-settings in Chinese ethnic minority films. As a generalizable transformation, this feature progresses from a microcosmic representation. It argues that, as the mediation, films note down the current state of people and their surroundings, while the ‘fourth world’ theorization (or the fourth cinema) provides a new perspective to ethnic minority topics in China. Like the ‘fourth cinema’ focusing on the depiction of indigeneity groups, the ethnic minority films portrait the non-Han nationalities in China. Both types possess the motif of returning history-writing to the minority members’ own hand. In this article, the discussion entirely involves three types of cinematic role-settings in Chinese minority themed films, which illustrates that, similar to the creative principle of the fourth film, the themes and narratives of these films are becoming more individualized, with more concern to minority grassroots.

Keywords: 'fourth world', Chinese ethnic minority films, ethnicity and culture reflection, 'mother tongue' (muyu), highlighting to individual spiritual

Procedia PDF Downloads 164

Authors: Imran Badshah

Abstract:

Pedestrian service time reflects the performance of the facility, and it’s a key parameter to analyze the capability of facilities provided to serve pedestrians. The level of service of pedestrians (LOS) mainly depends on pedestrian time and safety. The pedestrian time utilized by taking a service is mainly influenced by the number of available services and the time utilized by each pedestrian in receiving a service; that is called a delay time. In this paper, we analyzed the simulated pedestrian service time with different delay times. A simulation is performed in AnyLogic by developing a model that reflects the real scenario of pedestrian services such as ticket machine gates at rail stations, airports, shopping malls, and cinema halls. The simulated pedestrian time is determined for various delay values. The simulated result shows how pedestrian time changes with the delay pattern. The histogram and time plot graph of a model gives the mean, maximum and minimum values of the pedestrian time. This study helps us to check the behavior of pedestrian time at various services such as subway stations, airports, shopping malls, and cinema halls.

Keywords: agent-based simulation, anylogic model, pedestrian behavior, time delay

Procedia PDF Downloads 182

Authors: David Sudre

Abstract:

Sport in cinema, like sport in society, has been mainly concerned with men and masculinity. Whether in the boxing ring, on the basketball playgrounds, or on the soccer fields, these films have mostly focused on the trials and tribulations of male athletes, for whom women have very generally played secondary, often devalued and devaluing roles, such as that of the loving and indispensable woman to the victorious athlete, that of the dangerous femme fatale, or that of the woman as a sexual object. For more than a century, this film genre has, on the contrary, symbolized the dominant values of patriotism, heroism and contributed at the same time to build an ideal of hegemonic masculinity. With the exception of films such as The Grand National (1944) and Million Dollar Baby (2004), the most commercially successful films tell the story of men's adventures in sports. Today, thanks in part to the struggles of the feminist movement and subsequent societal advances, we are seeing an increase in the number of women in increasingly prominent roles in sports films. Indeed, there seems to be a general shift in popular cinema toward women playing major characters in big-budget productions that have also achieved critical and commercial success. However, if, at first sight, the increase in the number of roles given to women suggests an evolution and a more positive image of them on the screen, it will be necessary to see how their representation is really characterized when they are young and occupy major roles in this type of film. In order to answer this question, we will rely on the results of research conducted on a corpus of 28 sports films in which a young woman plays the main role in the story. All of these productions are fictional (not documentary), mostly American, and distributed by major film studios. The chosen sports teen movies are among the biggest commercial successes of the genre and aim to make the maximum profit and occupy the most dominant positions within the "commercial pole" of the cinematic field. Therefore, this research will allow us, although a change has taken place in the last decades in the number of main roles granted to sportswomen, to decode the sociological subtext of these popular sports films for teenagers. The aim is to reveal how these sports films convey a conservative ideology that participates, on the one hand, in the maintenance of patriarchy and, on the other hand, in the dissemination of stereotyped, negative, and regressive images of young women athletes.

Keywords: cinema, sport, gender, youth, representations, inequality, stereotypes

Procedia PDF Downloads 43

Authors: Ana Sofia Torres Pereira

Abstract:

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

Procedia PDF Downloads 319

Authors: Raya Morag

Abstract:

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

Procedia PDF Downloads 263

Authors: Chan Ka Lok Sobel

Abstract:

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

Procedia PDF Downloads 57

Authors: Divyani Redhu, Sachin Bharti

Abstract:

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

Procedia PDF Downloads 93

Authors: Mokshida Bhat

Abstract:

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

Procedia PDF Downloads 27

Authors: Rudy Ralph Martinez

Abstract:

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

Procedia PDF Downloads 72

Authors: Invernizzi Agostina

Abstract:

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

Procedia PDF Downloads 87

Authors: Wafeek Mohamed Ibrahim Mohamed

Abstract:

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

Procedia PDF Downloads 210

Authors: Anketa Kumar, Rajantheran Al Muniandy, Rishabh Kumar

Abstract:

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

Procedia PDF Downloads 156

Authors: Ravi Chaturvedi, Ghanshyam Beniwal

Abstract:

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

Procedia PDF Downloads 459

Authors: Angela Fabris, Joerg Helbig

Abstract:

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

Procedia PDF Downloads 210

Authors: Marilia Correa Parecis De Oliveira

Abstract:

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

Procedia PDF Downloads 286

Authors: Mercedes Rodriguez Sanchez, Laura Luceño Casals

Abstract:

With the rise of social media, creative people and brands everywhere are constantly generating content. The students with Bachelor's Degrees in Fashion Design use platforms such as Instagram or TikTok to look for inspiration and entertainment, as well as a way to develop their own ideas and share them with a wide audience. Information and Communications Technologies (ICT) have become a central aspect of higher education, virtually affecting every aspect of the student experience. Following the current trend, during the first semester of the second year, a collaborative project across two subjects –Design Management and History of Fashion Design– was implemented. After an introductory class focused on the relationship between fashion and cinema, as well as a brief history of 20th-century fashion, the students freely chose a work team and an iconic look from a movie costume. They researched the selected movie and its sociocultural context, analyzed the costume and the work of the designer, and studied the style, fashion magazines and most popular films of the time. Students then redesigned and recreated the costume, for which they were compelled to recycle the materials they had available at home as an unavoidable requirement of the activity. Once completed the garment, students delivered in-class, team-based presentations supported by the final design, a project summary poster and a making-of video, which served as a documentation tool of the costume design process. The methodologies used include Challenge-Based Learning (CBL), debates, Internet research, application of Information and Communications Technologies, and viewing clips of classic films, among others. After finishing the projects, students were asked to complete two electronic surveys to measure the acquisition of transversal and specific competencies of each subject. Results reveal that this activity helped the students' knowledge acquisition, a deeper understanding of both subjects and their skills development. The classroom dynamic changed. The multidisciplinary approach encouraged students to collaborate with their peers, while educators were better able to keep students' interest and promote an engaging learning process. As a result, the activity discussed in this paper confirmed the research hypothesis: it is positive to propose innovative teaching projects that combine academic research with playful learning environments.

Keywords: cinema, cooperative learning, fashion design, higher education, upcycling

Procedia PDF Downloads 54

Authors: Sicheng Liu

Abstract:

Zhang Ming is a never-A-listed writer-director in China who is famous for his poetic art-house filmmaking in mainland China, and his complex to spectacles of tiny places in south China. Entirely, Zhang’s works concentrate on the interconnection amongst settlement images, desirable fictional storytelling, and the dilemma of alienated interpersonal relationships. Zhang uses his pendulous camerawork to reconstruct the spectacles of his hometown and detached places in northern China, such as hometown Wushan county, lower-tier cities or remote areas that close to nature, where the old spectacles are experiencing great transformation and vanishment. Under his camera, the cities' geo-cultural and geopolitical implications which are not only a symbolic meaning that these places are not only settlements for residents to live but also representations to the abstraction of time-lapse, dimensional disorientation and revealment to people’s innerness. Zhang Ming is good at creating the essay-like expression, poetic atmosphere and vague metaphors in films, so as to show the sensitivity, aimlessness and slight anxiety of Chinese wenren (intellectuals), whose unique and objective experiences to a few aspects inside or outside their the living circumstance, typically for example, transformation of the environment, obscure expression to inner desire and aspirations, personal loneliness because of being isolated, slight anxiety to the uncertainty of life, and other mental dilemma brought by maladjustment. Also, Zhang’s works impressed the audience as slow cinemas, via creating stillness, complicity and fluidity of images and sound, by decompressing liner time passing and wandering within the enclosed loopback-space with his camera, so as to produce poeticized depiction and mysterious dimensions in films. This paper aims to summarize these mentioned features of Zhang’s films, by analyzing filmic texts and film-making styles, in order to prove an outcome that as a wenren-turned-filmmaker, Zhang Ming is good at use metaphor to create an artistic situation to depict the poetry in films and portray characteristics. In addition to this, Zhang Ming’s style relatively reflects some aesthetic features of Chinese wenren cinema.

Keywords: Chinese wenren cinema, intellectuals’ awareness, slow cinema,  slowness and dampness, people and environment

Procedia PDF Downloads 171

Authors: Giorgia Predari, Riccardo Gulli

Abstract:

The paper describes the history and the stylistic choices adopted in the construction of Palazzo Ronzani in Bologna, which was the first building to rise after the heavy demolitions carried out in the historical center of the city at the beginning of the twentieth century. In 1910, the local administration adopted a detailed plan to change the aspect of the city, as it was already happening in the main European capitals. In this context, starting from 1911, the architect and scenographer Gualtiero Pontoni designed for Alessandro Ronzani -the owner of a well-known Bolognese beer company- his Palazzo, which is listed among the first multifunctional buildings in Bologna, containing offices, commercial activities, and entertainment spaces. In an area of about 2000 m², the architect was able to propose a theatre with a capacity of 2000 seats at the basement, shops, a cafè-chantant and a restaurant on the ground floor, clubs, studios and commercial stores on the mezzanine and the first plan, and a hotel on the upper floors. The whole core of the building, at the underground levels, consisted of a reinforced concrete frame (one of the first examples of this type of construction in the city), which allowed the hall to have a free span of 11 x 12 meters, and a height of about 9 meters. Used until 2007 as a cinema, the hall has remained then in disuse for almost 10 years, but now an important functional restoration project with a strong architectural and scenographic value is taking place. It will bring the spaces back to the original geometries, in a historical and artistic condition inspired by the styles of the early Twentieth century.

Keywords: Modernissimo, Palazzo Ronzani, liberty, Bologna

Procedia PDF Downloads 100

Authors: Dicle Aydın, Tuba Bulbul Bahtiyar, Esra Yaldız

Abstract:

Housing offers a confirmed space for individuals. In the sense of interior decoration design, housing is a kind of typology in which user’s profile and individual preferences are considered as primary determinants. In Turkish society, the transition from traditional residences to apartment buildings brings the change in interior fittings depending upon the location of houses in its wake. The social status of the users in the residence and the differences of their everyday life can be represented more evident in these interior fittings. Hence, space becomes a tool to carry the information of users and the act. From this aspect, space as a concrete tool also enables a multidirectional communication with the cinema which reflects the social, cultural and economic changes of the society. While space takes a virtual or real part of the cinema, architecture discipline has also been influenced by cinematic phenomenas in its own practice. The subject of the movie and its content commune with the space, therefore, the design of the space is formed to support the subject. The purpose of this study is to analyze the space through motion pictures that convey the information of social life with an objective perspective. In addition, this study aims to determine the space, fittings and the use of fittings with respect to the social status of users. Morever, three films in 1980s in which Kemal Sunal, protagonist of the scripts that reflect society in many ways, performed are examined in this study. Movie sets are considered in many ways. For instance, in one of these movies, different houses from an apartment are analyzed vis a vis the perspective of the study.

Keywords: housing, interior, furniture, furnishing, user

Procedia PDF Downloads 173

Authors: Hugo Ribadeau Dumas

Abstract:

In India, cities represent intense battlefields where patriarchal norms are simultaneously defied and reinforced. While Indian metropolises have witnessed numerous initiatives where women boldly claimed their right to the city, urban spaces still remain disproportionately unfriendly to female city-dwellers. As a result, the presence of strees (women, in Hindi) in the streets remains a socially and politically potent phenomenon. This paper explores how, in India, women engage with the city as compared to men. Borrowing analytical tools from urban geography, it uses Hindi cinema as a medium to map the extent to which activities, attitudes and experiences in urban spaces are highly gendered. The sample consists of 30 movies, both mainstream and independent, which were released between 2010 and 2020, were set in an urban environment and comprised at least one pivotal female character. The paper adopts a quantitative approach, consisting of the scrutiny of close to 3,000 minutes of footage, the labeling and time count of every scene, and the computation of regressions to identify statistical relationships between characters and the way they navigate the city. According to the analysis, female characters spend half less time in the public space than their male counterparts. When they do step out, women do it mostly for utilitarian reasons; inversely, in private spaces or in pseudo-public commercial places – like malls – they indulge in fun activities. For male characters, the pattern is the exact opposite: fun takes place in public and serious work in private. The characters’ attitudes in the streets are also greatly gendered: men spend a significant amount of time immobile, loitering, while women are usually on the move, displaying some sense of purpose. Likewise, body language and emotional expressiveness betray differentiated gender scripts: while women wander in the streets either smiling – in a charming role – or with a hostile face – in a defensive mode – men are more likely to adopt neutral facial expressions. These trends were observed across all movies, although some nuances were identified depending on the character's age group, social background, and city, highlighting that the urban experience is not the same for all women. The empirical pieces of evidence presented in this study are helpful to reflect on the meaning of public space in the context of contemporary Indian cities. The paper ends with a discussion on the link between universal access to public spaces and women's empowerment.

Keywords: cinema, Indian cities, public space, women empowerment

Procedia PDF Downloads 133

Authors: Nisha James, Shubha Ranganathan

Abstract:

One of the most poignant forms of organized crime against women, which has rarely made it to the world of Indian cinema, is that of sex trafficking, i.e. the forcible involvement of women in the sex trade through fraud or coercion (Hughes, 2005). In the space of Indian cinema, much of the spotlight has been on the sensational drug trafficking and gang mafia of Bombay. During our research on sex trafficking, the rehabilitated women interviewed often expressed strong criticism about mass media’s naive portrayal of prostitutes as money-minting, happy and sexually driven women. They argued that this unrealistic portrayal ignored the fact that this was not a reality for the majority of trafficked women. Given the gravity of sex trafficking as a human rights issue, it is, therefore, refreshing to see three recent films on sex trafficking in Indian Languages – Naa Bangaaru Talli (2014, Telugu), Mardaani (2014, Hindi) and Lakshmi (2014, Hindi). This paper reviews these three films to explore the portrayal of the everyday reality of trafficking for women. Film analysis was used to understand the representation of psychological issues in the media. The strength of these movies starts with their inspirations which are of true stories and that they are all aimed at bringing awareness about the issue of sex trafficking, which is a rising social evil in Indian society though none of the three films move to portray the next phase of rehabilitation and reintegration of victims, which is a very complex and important process in the life of a survivor. According to findings, survivors of sex trafficking find the rehabilitation and reintegration into society to be a slow and tough part of their life as they continuously face stigma and social exclusion and have to strive to live against all odds of non-acceptance starting from their family.

Keywords: film review, Indian films, sex trafficking, survivors

Procedia PDF Downloads 408

Authors: Ana Carolina Domingues

Abstract:

This work presents the preliminary results of the above-titled doctoral research. Based on this film and on Middle East authors who discuss films made by women, it has been concluded so far, that it is part of a larger movement, which together with other productions, show the perceptions of the world of these women, who see the world otherwise, for not holding positions of power. These modes of perception revealed from the encounter of women with the cameras, educate viewers to denaturalize the impressions constructed in relation to the Middle East.

Keywords: cinema, image, middle east, women

Procedia PDF Downloads 88

Authors: Chijindu D. Mgbemere

Abstract:

Mass killing also known as genocide is the systematic killing of people from national, ethnic, or religious group, or an attempt to do so. The act has been there before 1948, when it was officially recognized for what it is. From then, the world has continued to witness genocide in diverse forms- negating different measures by the United Nations and its agencies to curb it. So far, all the studies and documentations on this subject are biased in favor of radio and the print. This paper therefore extended the interrogation of genocide, drumming its devastating effects, using the film medium; and in doing so devised innovative and pragmatic approach to genocide scholarship. It further centered attention on the factors and impacts of genocide, with a view to determine how effective film can be in such a study. The study is anchored on Bateson’s Framing Theory. Four films- Hotel Rwanda, Half of a Yellow Sun, Attack on Darfur, and sarafina, were analyzed, based on background, factors/causes, impacts, and development of genocide, via Content Analysis. The study discovered that: as other continents strive towards peace, acts of genocide are on the increase in African. Bloodletting stereotypes give Africa negative image in the global society. Difficult political frameworks, the trauma of postcolonial state, aggravated by ethnic and religious intolerance, and limited access to resources are responsible for high cases of genocide in Africa. The media, international communities, and peace agencies often abet other than prevent genocide or mass killings in Africa. High human casualty and displacement, children soldering, looting, hunger, rape, sex-slavery and abuse, mental and psychosomatic stress disorders are some of the impacts of genocide. Genocidaires are either condemned or killed. Grievances can be vented using civil resistance, negotiation, adjudication, arbitration, and mediation. The cinema is an effective means of studying and documenting genocide. Africans must factor the image laundering of their continent into consideration. Punishment of genocidaires without an attempt to de-radicalize them is counterproductive.

Keywords: African film, genocide, framing theory, mass murder

Procedia PDF Downloads 96

Authors: Tracy L. F. Worley

Abstract:

This presentation explores the environment that has limited leadership opportunities for Black women in cinema and advocates for autonomy among Black women filmmakers that is facilitated by strong internal and external networks and cooperative opportunities. Early images of African Americans in motion pictures were often conceptualized from the viewpoint of a White male director and depicted by White actors. The black film evolved in opposition to this context, leading to a Black film aesthetic. The oppositional context created in response to racist, misogynistic, and sexist representations in motion pictures sets the tone for female filmmakers of every hue – but especially for African American women. For them, the context of a male gaze, and for all intents and purposes, a White male gaze, forces them to create their own aesthetic. Theoretically, men and women, filmmakers and spectators have different perspectives across race, ethnicity, and gender. Two feminist theorists, bell hooks and Mary Ann Doane, suggest that female filmmakers are perceived as disparate from male filmmakers and that women, in general, are defined by what men see. Mary Ann Doane, a White feminist film theorist, has focused extensively on female spectatorship and women (White) in general as the object of the male gaze. Her discussion of the female body, male perception of it, and feminism in the motion picture industry support the suggestion that comprehending the organization and composition of Hollywood is critical to understanding women’s roles in the industry. Although much of her research addresses the silent film era and women’s roles then, Doane suggests that across cinematic periods, the theory assigned to “cinematic apparatus” is formulated within a context of sexuality. Men and women are viewed and treated differently in cinema (in front of and behind the camera), with women’s attractiveness and allure photographed specifically for the benefit of the “spectatorial desire” of the male gaze. Bell Hooks, an African American feminist writer and theorist with more than 30 published books and articles on race, gender, class, and culture in feminism and education, suggests that women can overcome the male gaze by using their “oppositional gaze” to transform reality and establish their own truth. She addresses gender within the context of race by acknowledging the realities faced by African American women and the fact that the feminist movement was never intended to include Black women. A grounded theory study led to the development of a leadership theory that explains why African American women are disproportionately represented in a mainstream motion picture leadership. The study helped to reveal the barriers to entry and illuminated potential strategies that African American female motion picture directors might pursue to reduce this inequity. Using semi-structured interviews as the primary means for data collection, the lived experiences of African American female directors and organizational leadership’s perceived role in the perpetuation of negative female imagery in major motion pictures led to the identification of support strategies for African American female motion picture directors that counter social stereotyping and validate the need for social networking in the mainstream.

Keywords: African American, cinema, directors, filmmaking, leadership, women

Procedia PDF Downloads 40

Authors: Rickard Grassman, Carl Cederström

Abstract:

In this paper, Lacanian theory will be used to illustrate the way discourses interact with the material by way of reifying antagonisms to shape our sense of identities in and around organizations. The ability to ‘sustain the loss’ is, in this view, the common structure here discerned in the very texture of a discourse, which reifies ‘lack’ as an ontological condition into something contingently absent (loss) that the subject hopes to overcome (desire). These fundamental human tendencies of identification are illustrated in the paper by examples drawn from history, cinema, and literature. Turning to a select sample of empirical accounts from a management consultancy firm, it is argued that this ‘sustaining the loss’ operates in discourse to enact identification in an organizational context.

Keywords: Lacan, identification, discourse, desire, loss

Procedia PDF Downloads 61

Authors: Sudipta Garai

Abstract:

Films as a cultural, social practice remains a dominant space for creation and destruction of ideologies and practices which make the sociological viewing, analysis, and interpretation of the same a complex affair. It remains the doorway between the interpretations and understanding of the writer/director and the reader/viewer. India, being a multi-linguistic culture, the media plays a much intriguing role than that of newspaper, books, stories, novels or any other medium of expression. Known to be the largest democracy, the State seem to guarantee and safeguard people’s choices and life of dignity through its Fundamental Rights and Directives. However, the laws contradict themselves when it comes to IPC 377 criminalizing anything except penovaginal sexual intercourse restricting alternative sexual preferences and practices questioning its sense of ‘democracy.' In this context, the issue of homosexuality came up in bits and pieces through various representations in ‘popular’ cinema mostly with sudden references of mockery and laughter where the explicit narratives of ‘queer’ seemed missing. Rituparno Ghosh, an eminent film maker of Bengal, came up as the ‘queer’ face in Kolkata specifically through his ‘queer’ trilogy (Memories in March, 2010; Arekti Premer Golpo, 2010; Chitrangada: A Crowning Wish, 2012) coming out of his own closet and speaking about his own sexual choices not only through the explicit narratives in films but also in person which made these films an important point of departure in Bengali film history. A sociological reading of these films through a discourse analysis is being done with the critical questions of ‘choice,' ’freedom,' ‘love and marriage’ and most importantly the ‘change.' This study not only focuses on the films and its analysis of content but also to engage with its audience, queer and not in order to extend beyond the art form into the actual vulnerabilities of life and experiences through informal interviews, focused group discussions and engaging with the real life narratives. A research of this kind is always looked upon as a medium of change hoping for a better world wiping away the discrimination and ‘shame’ the ‘queer’ faces in their everyday life, but a social science research is limited but its ‘time’ and academic boundary where the hope of change might be initiated but not fulfilled. The experiences and reflections of the ‘queer’ not only redefined the narratives of the films but also me as a researcher. The perspectives of the ‘hetero-normative’ informants gave a broader picture of the study and the socio-cultural complications that are intrigued with the ideas of resistance and change. The issues on subjectivity, power, and position couldn’t be wiped out in a study of this kind as both politics and aesthetics become integrated with each other in the creation of any art form be it films or a study of research.

Keywords: cinema, alternative sexualities, narratives, sexual choices, state and society

Procedia PDF Downloads 332

Authors: Grzegorz Zinkiewicz

Abstract:

The paper explores affective potential implicit in Bergman’s movies. This is done by the use of affect theory and the concept of affect in terms of paradigmatic and syntagmatic relations, from both diachronic and synchronic perspective. Since its inception in the early 2000s, affect theory has been applied to a number of academic fields. In Film Studies, it offers new avenues for discovering deeper, hidden layers of a given film. The aim is to show that the form and content of the films by Ingmar Bergman are determined by their inner affects that function independently of the viewer and, to an extent, are autonomous entities that can be analysed in separation from the auteur and actual characters. The paper discovers layers in Ingmar Bergman films and focuses on aspects that are often marginalised or studied from other viewpoints such as the connection between the content and visual side. As a result, a revaluation of Bergman films is possible that is more consistent with his original interpretations and comments included in his lectures, interviews and autobiography.

Keywords: affect theory, experimental cinema, Ingmar Bergman, viewer response

Procedia PDF Downloads 76

Authors: Chen Jin

Abstract:

This topic seeks to re-examine the New Women Incident in 1935 Shanghai from the perspective of the influence of leftist cinematic aesthetics on public discourse in 1930s Shanghai. Accordingly, an original means of interpreting the death of Ruan Lingyu will be provided. On 8th March 1935, Ruan Lingyu, the queen of Chinese silent film, committed suicide through overdosing on sleeping tablets. Her last words, ‘gossip is fearful thing’, interlinks her destiny with the protagonist she played in the film The New Women (Cai Chusheng, 1935). The coincidence was constantly questioned by the masses following her suicide, constituting the enduring question: ‘who killed Ruan Lingyu?’ Responding to this query, previous scholars primarily analyze the characters played by women -particularly new women as part of the leftist movement or public discourse of 1930s Shanghai- as a means of approaching the truth. Nevertheless, alongside her status as a public celebrity, Ruan Lingyu also plays as a screen image of mechanical reproduction. The overlap between her screen image and personal destiny attracts limited academic focus in terms of the effect and implications of leftist aesthetics of reality in relation to her death, which itself has provided impetus to this research. With the reconfiguration of early Chinese film theory in the 1980s, early discourses on the relationship between cinematic reality and consciousness proposed by Hou Yao and Gu Kenfu in the 1920s are integrated into the category of Chinese film ontology, which constitutes a transcultural contrast with the Euro-American ontology that advocates the representation of reality. The discussion of Hou and Gu overlaps cinematic reality with effect, which emphasizes the empathy of cinema that is directly reflected in the leftist aesthetics of the 1930s. As the main purpose of leftist cinema is to encourage revolution through depicting social reality truly, Ruan Lingyu became renowned for her natural and realistic acting proficiency, playing leading roles in several esteemed leftist films. The realistic reproduction and natural acting skill together constitute the empathy of leftist films, which establishes a dialogue with the virtuous female image within the 1930s public discourse. On this basis, this research considers Chinese cinematic ontology and affect theory as the theoretical foundation for investigating the relationship between the screen image of Ruan Lingyu reproduced by the leftist film The New Women and the female image in the 1930s public discourse. Through contextualizing Ruan Lingyu’s death within the Chinese leftist movement, the essay indicates that the empathy embodied within leftist cinematic reality limits viewers’ cognition of the actress, who project their sentiments for the perfect screen image on to Ruan Lingyu’s image in reality. Essentially, Ruan Lingyu is imprisoned in her own perfect replication. Consequently, this article states that alongside leftist anti-female consciousness, the leftist aesthetics of reality restricts women in a passive position within public discourse, which ultimately plays a role in facilitating the death of Ruan Lingyu.

Keywords: cinematic reality, leftist aesthetics, Ruan Lingyu, The New Women

Procedia PDF Downloads 93

Authors: Hania Pasandi

Abstract:

Over his first three films, Abdellatif Kechiche established himself as one of the most celebrated directors at work in twenty-first-century French cinema. While his first three movies, La Faute à Voltaire (2000), L’Esquive (2003), and La Graine et le mulet (2007) tell stories about individuals of the Maghrebi origin or descent struggling to find their place in the contemporary French Republic, his 2010’s movie, Vénus noire (2010) recounts the true story of the so-called ‘Hottentot Venus’, Saartjie Baartman, who became famous after her stage appearances in London and Paris in the early eighteenth century. The movie shows the complex ways in which gender and ethnicity can combine in exclusionary discourse. This paper studies gender and racial identities, the irony of science theorisation about ethnicities through the male colonial gaze on a heavily exhibited woman. This paper explores how Vénus Noire engages the spectator’s own corporeal awareness of violence and calls attention to the othering practices of (post)colonial times.

Keywords: gender, (post)colonial gaze, other, violence

Procedia PDF Downloads 116