Search results for: immersive cinema

Authors: Chan Ka Lok Sobel

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Recently, several famous Asian films have been remade in North America, set in the context of U.S. society and with the financial and cultural scale of Hollywood cinema. Notably, the practice of remaking films is interactive, with famous Hollywood films also being remade in Asia; for example, Charlie’s Angels (McG, 2002) was remade as So Close (Yuen, 2002), Seven (Fincher, 1995) was remade as Double Vision (Fu, 2002), and Cellular (Ellis, 2004) was remade as Connected (Chan, 2008). Conversely, Asian films such as Infernal Affairs (Lau & Mak, 2002), il Mare (Lee, 2000), and Bangkok Dangerous (Pang, 2000) were remade into Hollywood blockbuster films The Departed (Scorsese, 2006), The Lake House (Agresti, 2006), and Bangkok Dangerous (Pang, 2007), respectively. This research examined Asian cinema and Hollywood remakes from the perspective of cultural hybridization and partition in the context of global capitalism and postmodernism. Using Infernal Affairs and The Departed as a case study, key concepts such as crosscultural adaptation, intercultural and global communication competence, and cultural identity and authorship were compared and analyzed.

Keywords: remake and originality, double cultural identity, studio system, genre and authorship

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Authors: Berceste Gülçin Özdemir

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The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist film theories triggers the question: ‘Are feminist films produced in Turkish Cinema?’ The spaces that are used in the representation of women characters are observed to be used as spaces that convert characters into passive subjects on the basis of the space factor in the narrative. The representation of women characters in the possible surveillance spaces integrates the characters and compresses them in these spaces. In this study, narrative analysis was used to investigate women characters representation in the surveillance spaces. For the study framework, firstly a case study films are selected, and in the second level, women characters representations in surveillance spaces are argued by narrative analysis using feminist film theories. Two questions are argued with feminist film theories: ‘Why do especially women directors represent their female characters to viewers by representing them in surveillance spaces?’ and ‘Can this type of presentation contribute to the feminist film practice and become important with regard to feminist film theories?’ The representation of women characters in a passive and observed way in surveillance spaces of the narrative reveals the questioning of also the discourses of films outside of the main stream. As films that produce alternative discourses and reveal different cinematic languages, those outside the main stream are expected to bring other points of view also to the representation of women characters in spaces. These questionings are selected as the baseline and Turkish films such as Watch Tower and Mustang, directed by women, were examined. This examination paves the way for discussions regarding the women characters in surveillance spaces. Outcomes can be argued from the viewpoint of representation in the genre by feminist film theories. In the context of feminist film theories and feminist film practice, alternatives should be found that can corporally reveal the existence of women in both the representation of women characters in spaces and in the usage of the space factor.

Keywords: feminist film theory, representation, space, women directors

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Authors: Govind Ji Pandey

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The divergent opinions in the society are important for its development but with reasonable restrictions. The world recently witnessed one of the most violent protests by a group against the editor and publisher of the magazine ‘Charlie Hebdo’ for publishing cartoon of their religious leader. The supporter of freedom of speech and expression around the world were in shock and termed it the strongest attack against the free speech. People all around the world condemned the killing of the journalists but many soft voices from several corners were also coming for reasonable restrictions on the freedom of speech and expression. Of late, Indian society has witnessed many protests and supports of films with controversial content. It is the beauty of the Indian democracy which gives an opportunity to all for discussion and debate on any issue that challenges established social norms. However, many organizations as well as individuals misuse it for their personal benefits. There have been many film directors who faced protest from several quarters for their controversial themes. This research aims at analyzing the controversial contents published in print media and shown in films. To understand the nature and frequency of such media reports, content analysis technique is used. The research also highlights the perception of the public regarding the controversies. For getting the popular opinion on the coverage of controversial content in cinema and print media, five hundred people from Lucknow, UP, India were randomly selected. The findings of this research are important to understand the response of media and society towards the controversial content presented in cinema and print media. The research highlights that how a handful of people curb free speech in a democratic country like India.

Keywords: cinema, censor board, free speech, liberty, social-religious beliefs

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Authors: E. Olmos-Raya, A. Cascales Martínez, N. Minto de Sousa, M. Alcañiz Raya

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The late detection and subjectivity of the assessment of Autism Spectrum Disorder (ASD) imposed a difficulty for the children’s clinical and familiar environment. The results showed in this paper, are part of a research project about the assessment and training of social skills in children with ASD, whose overall goal is the use of virtual environments together with physiological measures in order to find a new model of objective ASD assessment based on implicit brain processes measures. In particular, this work tries to contribute by studying the differences and changes in the Skin Conductance Response (SCR) and Eye Tracking (ET) between a typical development group (TD group) and an ASD group (ASD group) after several combined stimuli using a low cost Immersive Virtual Environment (IVE). Subjects were exposed to a virtual environment that showed natural scenes that stimulated visual, auditory and olfactory perceptual system. By exposing them to the IVE, subjects showed natural behaviors while measuring SCR and ET. This study compared measures of subjects diagnosed with ASD (N = 18) with a control group of subjects with typical development (N=10) when exposed to three different conditions: only visual (V), visual and auditory (VA) and visual, auditory and olfactory (VAO) stimulation. Correlations between SCR and ET measures were also correlated with the Autism Diagnostic Observation Schedule (ADOS) test. SCR measures showed significant differences among the experimental condition between groups. The ASD group presented higher level of SCR while we did not find significant differences between groups regarding DF. We found high significant correlations among all the experimental conditions in SCR measures and the subscale of ADOS test of imagination and symbolic thinking. Regarding the correlation between ET measures and ADOS test, the results showed significant relationship between VA condition and communication scores.

Keywords: autism, electrodermal activity, eye tracking, immersive virtual environment, virtual reality

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Authors: Gokul G. Kshirsagar

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Native folk theatre and folk songs have a significant influence on the origin and development of Indian cinema. Therefore, the presence of songs and music has been an integral part and special characteristics of Indian cinema which is popularly known as Bollywood. An Indian cinema without songs, either in Hindi or other regional languages, is simply unimaginable. The present paper, in the first part, attempts to explain the use and need of musical songs and also the psychology of Indian audience in this respect with reference to some of the films which give primary importance to songs. In the second part, the paper tries to situate the present study in the context by referring to the Hindi language drama film Teesari Kasam directed by Basu Bhattacharys. The film is based on the Hindi novelist Phanishwarnath Renu’s short story Teesari Kasam (Mare Gaye Gulfam) in this adapted film, the director has made use of eight songs, but these songs are the extensive versions of the songs as used in the original story. Thus, the main aim of the paper is to underscore the fact that through artistic use of the musical, the director has succeeded in transforming the central feelings conveyed in the original story. Eventually, through the present study of the film adaptation, the relevance of songs in films will be illustrated and understood.

Keywords: Bollywood, folk theatre, folk songs, film adaptation

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Authors: Haniyeh Parhizkar

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When Sarris came up with the "auteur theory" in 1962, he emphasized that the utmost premise of auteur theory is the inner meanings and concepts of a film and that a film is purely an art form. Today's mainstream movies are conceptually closer to what the Frankfurt School scholars regarded as "reproduced" and "mass culture" years ago. Hollywood goes on to be a huge movie-making machine that leads the dominant paradigms of films throughout the world and cinema is far from art. Although there are still movies, directors, and audiences who favor art cinema over Hollywood and mainstream movies, it's an almost undeniable fact that, for the most part, people's perception of movies is widely influenced by their American depiction and Hollywood's legacy of mass culture. With the uprising of Hollywood studios as the forerunners of the movie industry and cinema being largely dependent on economics rather than artistic values, this distinctive role of cinema has diminished and is replaced with a global standard. The Blockbuster 2022 film, 'Everything, Everywhere, All at Once' is now the most-awarded movie of all time, winning seven Oscars at the 95th Academy Awards. Despite its main cast being Asian, the movie is produced by American incorporation and is heavily influenced by Hollywood's dominant themes of superheroes, fantasy, action, and adventure. The New Yorker film critic, Richard Brody, called the movie "a pitch for a Marvel" and critiqued the film for being "universalized" and "empty of history and culture". Other critics of Variety pinpointed the movie's similarities to Marvel, particularly in their storylines of multi-universe which manifest traces of American legacy. As argued by these critics, 'Everything, Everywhere, All at Once' might appear as a unique and authentic film at first glance, but it can be argued that it is yet another version of a Marvel movie. While the movie's universal acclaim was regarded as recognition and an acknowledgment of its Asian cast, the issue that arises here is when the Hollywood influences and American themes are so robust in the film, is the movie industry honoring another culture or is it yet another celebration of Hollywood's dominant paradigm. This essay will employ a critical approach to Hollywood's dominance and mass-produced culture, which has deprived authenticity of non-American movies and is constantly reproducing the same formula of success.

Keywords: hollywoodization, universalization, blockbuster, dominant paradigm, marvel, authenticity, diversity

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Authors: Behre O. Ozalp

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Cinema is a reflection of the society, as much as it captures the social codes. These codes are learned within the society; and through movies these practices of the gender order are reproduced as well. One of the best examples engendering these codes is a modern classic of Turkish cinema, Cholera District (1997), originally Ağır Roman in Turkish. It is a coming of age movie of a teenage boy in an old neighborhood of Istanbul, where he learns to be a 'man' through the hegemonic masculinity codes of the society. The corporal and verbal practices that are used in the representation of the male protagonist's portrayal is based on his performativity. This paper, through narrative analysis of the aforementioned movie, reviews how gender and narrative are intertwined within the context of queer theory. The methodology follows the protagonist's object of desire while evaluating his heterosexuality which requires affirmative performances. The framework of the study firstly focuses on the protagonist's own life and his interactions with the males of his kinship. Later, the focus gravitates towards his interactions with the female object of desire while evaluating how this relationship shapes his status in society. Lastly, the study focuses on the relationship between the protagonist and non-relative males of the neighborhood. The journey of a young male becoming a man by copying the other males delivers a clear representation of how heterosexuality is favored in terms of gender order.

Keywords: hegemonic masculinity, performativity, queer theory, Turkish cinema

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Authors: Anahita Dalmia

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There has been a recent rise in ‘audience-centric’ and immersive storytelling. This indicates audiences are gaining interest in experiencing real adventure with everything that encompasses the struggle, the new friendships, skill development, and growth. This paper examines two themed alternate reality games created by a group of students at the University of Southern California as an experiment in how to design an adventure and to evaluate its impact on participants. The experiences combined immersive improvisational theatre and live-action roleplaying to create socially aware experiences within the timespan of four hours, using Harry Potter and mythology as themes. In each experiment, over 500 players simultaneously embarked on quests -a series of challenges including puzzle-solving, scavenger-hunting, and character interactions- to join a narrative faction. While playing, the participants were asked to choose faction alignments based on the characters they interacted with, as well as their own backgrounds and moral values. During the narrative finale, the impact of their individual choices on the larger story and game were revealed. After the conclusion of each experience, participants filled out questionnaires and were interviewed. Through this, it was discovered that participants developed transferable problem-solving, team-work, and persuasion skills. They also learned about the theme of the experience and reflected on their own moral values and judgment-making abilities after they realized the consequences of their actions in the game-world, inspiring some participants to make changes outside of it. This reveals that alternative reality games can lead to socialization, educational development, and real-world change in a variety of contexts when implemented correctly. This experiment has begun to discover the value of alternate reality games in a real-world context and to develop a reproducible format to continue to create such an impact.

Keywords: adventure, alternate reality games, education, immersive entertainment, interactive entertainment

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Authors: Adam L. Miller

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The aim of this paper is to look back to the very beginning of cinematic history and explore the connection between the differing technology used, and the varying styles adopted by early filmmakers. The paper will be structured chronologically, first looking at the advances that predated Thomas Edison and his Kinetograph and Kinetogram. This paper will then explore how Edison’s technology and films varied from the Lumiere brothers and their Cinematograph. Finally, the paper will go on to draw parallels and differences between French filmmakers such as Alice Guy and George Melies, and American filmmakers like Edwin S. Porter and D. W. Griffith.

Keywords: film studies, early cinema, silent cinema, early cinematic technology, Thomas Edison, Alice Guy, George Melies, Edwin S. Porter, Lumiere brothers, D. W. Griffith

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Authors: Małgorzata Jakubowska, Monika Michałowska

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Since the beginning of the cinematographic industry, there has been a visible interest in two leading themes: death and sexuality. One of the reasons of the unfading popularity of these motives was the fact that death or sex employed as leitmotivs attracted great attention of the viewers, and this guaranteed a financial success. What seems interesting is the fact that the themes of death and sexuality/eroticism seem to be mutually exclusive in the mainstream movies to such extent that they almost never appear together on the screen. As leitmotivs they describe opposite experiences of human life, one refers to affirmation of life, the other points to atrophy and decay. This film paradigm is rarely challenged. Thus, a relatively less attention has been devoted so far to entwining dying and sexuality/eroticism in one movie. In our paper, we wish to have a closer look at the visualizations of dying with focus on the aspect of sexuality/eroticism. Our analysis will concentrate on the contemporary European and American cinema, and especially the recent productions that contribute to the cultural phenomenon of entwining the two realms of human life. We will investigate the main clichés, plot and visual schemes, motives and narrative techniques on the examples of Sweet November (2001), A Little Bit of Heaven (2011) and Now is good (2012). We will also shed some light on the recent film productions that seem to provide a shift in portraying the realms of dying and sexuality concentrating on The Garden of Earthly Delights (2003) as the most paradigmatic example.

Keywords: contemporary cinema, dying and sexuality, narrative techniques, plot and visual schemes

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Authors: Hafizah Harun, Habibah Harun, Azlina Kamaruddin

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Virtual reality has become a powerful and promising tool in education because of their unique technological characteristics that differentiate them from the other ICT applications. Despite the numerous interpretations of its definition, virtual reality can be concisely and precisely described as the integration of computer graphics and various input and display technologies to create the illusion of immersion in a computer generated reality. Generally, there are two major types based on the level of interaction and immersive environment that are immersive and non-immersive virtual reality. In the study of the role of virtual reality in built environment education, Horne and Thompson were reported as saying that the benefits of using visualization technologies were seen as having the potential to improve and extend the learning process, increase student motivation and awareness, and add to the diversity of teaching methods. Youngblut reported that students enjoy working with virtual worlds and this experience can be highly motivating. The impact of virtual reality on youth learning in Malaysia is currently not well explored because the technology is still not widely used here. Only a handful of the universities, such as University Malaya, MMU, and Unimas are applying virtual reality strategy in some of their undergraduate programs. From the literature, it has been identified that there are several virtual reality learning strategies currently available. Therefore, this study aims to investigate the impact of Virtual Reality strategy on Youth Learning Motivation in Malaysian higher learning institutions. We will explore the relationship between virtual reality (gaming, laboratory, simulation) and youth leaning motivation. Another aspect that we will explore is the framework for virtual reality implementation at higher learning institution in Malaysia. This study will be carried out quantitatively by distributing questionnaires to respondents from sample universities. Data analysis are descriptive and multiple regression. Researcher will carry out a pilot test prior to distributing the questionnaires to 300 undergraduate students who are undergoing their courses in virtual reality environment. The respondents come from two universities, MMU CyberJaya and University Malaya. The expected outcomes from this study are the identification of which virtual reality strategy has most impact on students’ motivation in learning and a proposed framework of virtual reality implementation at higher learning.

Keywords: virtual reality, learning strategy, youth learning, motivation

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Authors: Maylen Villamanan Alba

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Latin America is marked by its history: conquest, colonialism, and slavery left deep footprints in most Latin American countries. Also, the past century has been affected by wars, military dictatorships, and political violence, which profoundly influenced Latin American popular culture. Consequently, reminiscences of historical crimes are frequently present in daily life, media, public opinion, and arts. This legacy is remembered in novels, paintings, songs, and films. In fact, Latin American cinema has a trend which refers to the verisimilitude with reality in fiction films. These films about historical violence are narrated as fictional characters, but their stories are based on real historical contexts. Therefore, cultural criminology has considered films as a significant field to understand social representations of violence related to historical crimes. The aim of the present contribution is to analyze the legacy of past and historical memory in social representations of violence in Latin American cinema as a critical approach to historical crimes. This qualitative research is based on content analysis. The sample is seven multi-award winning films of the International Festival of New Latin American Cinema of Havana. The films selected are Kamchatka, Argentina (2002); Carandiru, Brazil (2003); Enlightened by fire, Argentina (2005); Post-mortem, Chile (2010); No, Chile (2012) Wakolda; Argentina (2013) and The Clan, Argentina (2015). Cultural criminology highlights that cinema shapes meanings of social practices such as historical crimes. Critical criminology offers a critical theory framework to interpret Latin American cinema. This analysis reveals historical conditions deeply associated with power relationships, policy, and inequality issues. As indicated by this theory, violence is characterized as a structural process based on social asymmetries. These social asymmetries are crossed by social scopes, including institutional and personal dimensions. Thus, institutions of the states are depicted through personal stories of characters involved with human conflicts. Intimacy and social background are linked in the personages who simultaneously perform roles such as soldiers, policemen, professionals or inmates and they are at the same time depict as human beings with family, gender, racial, ideological or generational issues. Social representations of violence related to past legacy are a portrait of historical crimes perpetrated against Latin American citizens. Thereby, they have contributed to political positions, social behaviors, and public opinion. The legacy of these historical crimes suggests a path that should never be taken again. It means past legacy is a reminder, a warning, and a historic lesson for Latin American people. Social representations of violence are permeated by historical memory as denunciation under a critical approach.

Keywords: Latin American cinema, historical memory, social representation, violence

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Authors: Sorin Oancea

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More than half a century after Ivan Sutherland’s seminal essay, ‘The Ultimate Display’ (1965), 3D Virtual Reality is still an emergent and exploratory medium in terms of its narrative potential, production methodology, and market penetration. Traditionally positioned in front of the screen/canvas as a ‘window-on-the-world’, the storyboarder and animation director transcend the medium and its narrative reality entirely while designing a linear cinematic sequence. This paper proposes a gradual transition from the traditional linear sequence design process based on a transcendent position of the storyboarder and animation director to an increasingly immersed one characterized by a sense of unmediated presence and immanence. Employing a quaitative analysis of the current exploratory storyboarding processes for 3D VR, this research uses a practice-based methodology based on producing a short-form 3D VR narrative experience to derive its findings. The original contribution to knowledge is charting an empirically derived conceptual framework for VR storyboarding and animation directing, with the documented reflective and reflexive process as a map for directorial transitioning between converging mediums by articulating the new VR lexical categories and expounding links to allied performative arts, such as film and theatre.

Keywords: storyboarding, immersive, virtual reality, transitioning

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Authors: Mrunmayee Das

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This study aims to explore the film 'Pyasa' directed by actor-director Guru Dutt, filmed during the 1950’s golden age of Hindi cinema. 'Pyasa' was filmed after a decade of India being a new nation and narrates the world-view of a poet dressed in western ideals, tasting modernity, uprooted from his familial and social moorings causing friction of being between survival and self- expression. The research is based on literature review to study the attitudes, particularly the post-colonial, informing the film. In terms of the structure, the relational study of the film and the historical background of that time came first. Further explorations deal with the use of image making, dialogue, and poetry in the form of songs facilitating the central theme of the human plight of poverty, not of material but of thought. The literature review establishes Dutt’s style of expressing melodic melodrama through a dance between light and shadow majorly in the form of song sequences signifying the greys of the society. It was found in this research that melodrama is created by the changing contrasts and use of close-ups. The song sequences convey the tensions of being a contemporary liberal educated youth and having to deal with the societal-ills of this world, which highlights the theme of compulsion towards self-destruction. It is concluded that Dutt’s 'Pyasa' is a autobiographical commentary on the state of a nation doing away with a borrowed identity and refashioning its own.

Keywords: cinema, Guru Dutt, post-colonial India, self-expression

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Authors: Janis Matvejs

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Visual representation of a city creates unique perspectives that allow to interpret the urban environment and enable to understand a space that is culturally created and territorially organized. Residential complexes are an essential part of cities and cinema is a specific representation form of these areas. There has been very little research done on exploring how these areas are depicted in the Thai movies. The aim of this research is to interpret the discourse of residential areas of Bangkok throughout the 20th and 21st centuries and to examine essential changes in the residential structure. Specific cinematic formal techniques in relation to the urban image were used. The movie review results were compared with changes in Bangkok’s residential development. Movie analysis displayed that residential areas are frequently used in Thai cinematography and they make up an integral part of the urban visual perception.

Keywords: Bangkok, cinema, residential area, representation, visual perception

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Authors: M. Najib Osman, Hanafizan Hussain, Sri Kusuma Wati Mohd Daud

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Avatar was used as user’s symbol of identity in online communications such as Facebook, Twitter, online game, and portal community between unknown people. The development of this symbol is the use of animated character or avatar, which can engage learners in a way that draws them into the e-Learning experience. Immersive learning is one of the most effective learning techniques, and animated characters can help create an immersive environment. E-learning is an ideal learning environment using modern means of information technology, through the effective integration of information technology and the curriculum to achieve, a new learning style which can fully reflect the main role of the students to reform the traditional teaching structure thoroughly. Essential in any e-learning is the degree of interactivity for the learner, and whether the learner is able to study at any time, or whether there is a need for the learner to be online or in a classroom with other learners at the same time (synchronous learning). Ideally, e-learning should engage the learners, allowing them to interact with the course materials, obtaining feedback on their progress and assistance whenever it is required. However, the degree of interactivity in e-learning depends on how the course has been developed and is dependent on the software used for its development, and the way the material is delivered to the learner. Therefore, users’ accessibility that allows access to information at any time and places and their positive attitude towards e-learning such as having interacting with a good teacher and the creation of a more natural and friendly environment for e-learning should be enhanced. This is to motivate their learning enthusiasm and it has been the responsibility of educators to incorporate new technology into their ways of teaching.

Keywords: avatar, e-learning, higher education, students' perception

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Authors: Delia Enyedi

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Throughout film history, the regular return of 3D cinema has been discussed in connection to crises caused by the advent of television or the competition of the Internet. In addition, the three waves of stereoscopic 3D (from 1952 up to 1983) and its current digital version have been blamed for adding a challenging technical distraction to the viewing experience. By discussing the films Dial M for Murder (1954) and Goodbye to Language (2014), the paper aims to analyze the response of recognized auteurs to the use of 3D techniques in filmmaking. For Alfred Hitchcock, the solution to attaining perceptual immersion paradoxically resided in restraining the signature effect of 3D, namely protrusion. In Jean-Luc Godard’s vision, 3D techniques allowed him to explore perceptual absorption by means of depth of field, for which he had long advocated as being central to cinema. Thus, both directors contribute to the foundation of an auteur aesthetic in 3D filmmaking.

Keywords: Alfred Hitchcock, authorship, 3D filmmaking, Jean-Luc Godard, perceptual absorption, perceptual immersion

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Authors: Dilara Balcı Gulpinar

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History, which can be defined as the narrative of the past, is a process of reproduction that takes place in current time. Scientificness of historiography is controversial for reasons such as the fact that the historian makes choices and comments; even the reason for choosing the subject distracts him/her from objectivity. Historians may take advantage of the current values, cannot be able to afford to contradict society and/or face pressures of dominant groups. In addition, due to the lack of documentation, interpretation, and fiction are used to integrate historical events that seem disconnected. In this respect, there are views that relate history to narrative arts rather than positive sciences. Popular historical films, which are visual historical representations, appeal to wider audiences by taking advantage of visuality, dramatic fictional narrative, various effects, music, stars, and other populist elements. Historical film, which does not claim to be scientific and even has the freedom to distort historical reality, can be perceived as reality itself and becomes an indispensable resource for individual and social memory. The ideological discourse of popular films is not only impressive and manipulative but also changeable. Socio-cultural and political changes can transform the representation of history in films extremely sharply and rapidly. In accordance with the above-mentioned hypothesis, this study is aimed at examining Turkish historical films about the conquest of Istanbul, using methods of historical and social analysis. İstanbul’un Fethi (Conquest of Istanbul, Aydin Arakon, 1953), Kuşatma Altında Aşk (Love Under Siege, Ersin Pertan, 1997) and Fetih 1453 (Conquest 1453, Faruk Aksoy, 2012) are the only three films in Turkish cinema that revolve around the said conquest, therefore constituting the sample of this study. It has been determined that real and fictional events, as well as characters, both focused and ignored, differ from one another in each film. Such significant differences in the dramatic and cinematographic structure of these three films shot respectively in the 50s, 90s, and 2010s show that the representation of history in popular cinema has altered throughout the years, losing its aspect of objectivity.

Keywords: cinema, conquest of Istanbul, historical film, representation

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Authors: Christopher Pullen

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This paper explores the significance of British cinema in the late 1950s and early 1960s as offering a renaissance of realist discourse, in the representation of everyday social issues. Offering a rejection of Hollywood cinema and the superficially of the middle classes, these ‘kitchen sink dramas’ often set within modest and sometimes squalid domestic and social environments, focused on the political struggle of the disenfranchised examining poverty, the oppressed and the outsider. While films like Look Back in Anger and Room at the Top looked primarily at male heterosexual subjectivity, films like A Taste of Honey and Victim focused on female and queer male narratives. Framing the urban landscape as a discursive architectural arena, representing basic living conditions and threatening social worlds, these iconic films established new storytelling processes for the outsider. This paper examines this historical context foregrounding the contemporary films Beautiful Thing (Hettie Macdonald, 1996), Weekend (Andrew Haigh, 2011) and Pride (Marcus Warchus, 2014), while employing the process of textual analysis in relation to theories of affect, defined by writers such as Lisa U. Marks and Sara Ahmed. Considering both romance narratives and public demonstrations of unity, where the queer ‘affective’ body is placed within architectural and social space, Beautiful Thing tells the story of gay male teenagers falling in love despite oppression from family and school, Weekend examines a one-night stand between young gay men and the unlikeliness of commitment, but the drive for sensitivity, and Pride foregrounds an historical relationship between queer youth activists and the miner’s union, who were on strike between 1984-5. These films frame the queer ‘affective’ body within politicized public space, evident in lower class men’s working clubs, tenement housing and brutal modernist tower blocks, focusing on architectural features such as windows, doorways and staircases, relating temporality, desire and change. Through such an examination a hidden history of gay male performativity is revealed, framing the potential of contemporary cinema to focus on the context of the outsider in encouraging social change.

Keywords: queer, affect, cinema, architecture, life chances

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Authors: Søren Birkvad

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This paper traces the development of sexual cinematic freedom in the wake of an epoch-making event in Danish cultural history. As the first in the world, the Danes abolished all censorship for adults in 1969, making the tiny nation of Denmark the world’s largest exporter of pornography for several years. Drawing on the insights of social and cultural history and the focus point of the National Cinema direction of Cinema Studies, this study focuses on Danish film pornography in the 1960s and 1970s in its own right (e.g., its peculiar mix of sex, popular comedy and certain ‘feminist’ agendas). More importantly, however, it covers a broader pattern, namely the culturally deep-rooted tradition of freedom of speech and sexual liberalism in Denmark. Thus, the key concept of frisind (“free mind”) in Danish cultural history took on an increasingly partisan application in the 1960s and 1970s. It became a designation for all-is-permitted hippie excess but was also embraced by dissenting movements on the left, such as feminism, which questioned whether a free mind necessarily meant free love. In all of this, Danish cinema from the 1960s and 1970s offers a remarkable source of historical insight, simultaneously reminding us of a number of acute issues of contemporary society. These issues include gendered ideas of sexuality and freedom then and now and the equivalent clash of cultures between a liberal commercial industry and the accelerating political demands of the “sexual revolution.” Finally, these issues include certain tensions between, on the one hand, a purely materialistic idea of sexual freedom – incarnated by anything from pornography to many of the taboo-breaking youth films and avant-garde films in the wake of the 1968-rebellion – and, on the other hand, growing opposition to this anti-spiritual perception of human sexuality (represented by for instance the ‘closet conservatism’ of Danish art film star Lars von Trier of nowadays). All in all, this presentation offers a reflection on ideas of sexuality and gender rooted in a unique historical moment in cinematic history.

Keywords: Danish film history, cultural history, film pornography, history of sexuality, national cinema, sexual liberalism

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Authors: Ahmad Bilal

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Digital and convergent media can be helpful in terms of acquiring film production skills and knowledge, and it has also reduced the cost of production. Thus, allowing filmmakers greater opportunities and access to the medium of film. Both these dimensions of new and convergent media have been challenging the established cinema of Pakistan, as traditionally, it has been controlled by the authorities through censorship policies. The use of the smartphone as a movie camera, editing machine, and a transmitter can further challenge the control in a postcolonial society. To explore the impact of new and convergent media on the art of filmmaking, a film 'Sohni Dharti: An untrue story' is produced. It is shot both on a smartphone and a Digital Single Lens Reflex Camera (DSLR), with almost zero budgets. It is distributed through Vimeo from Pakistan. This process reveals how the technologies that are available today, and the increased knowledge of film production that they bring, allow a more inclusive experience of the film production and distribution. At the same time, however, it also discloses the limitations that accompany new technologies within the context of a postcolonial society. This paper will investigate the role of technology to bring filmmaking at a level of pencil and paper.

Keywords: convergent media, filmmaking, smartphone, Pakistan

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Authors: Najat Alsheridah

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Despite its major contribution to the production and distribution of film and cinema in the Middle East, the Kuwaiti film industry remains underresearched. Shortly after the discovery of oil in 1938, foreign filmmakers arrived to document the life and culture of Kuwaitis. The region's second cinema company, Cinescape, was established in the country in 1954, playing a significant role in the circulation of films in the Middle East. The industry has grown considerably, producing 37 films between 2010 and 2020, compared to 9 films in the first decade of the century and only three from 1970-2000. This research is one of the few attempts to provide a history of films in Kuwait as social practice, from its inception to the present day. A historical analysis of the Kuwaiti film industry presents significant challenges. Almost all of the early footage has been lost, and the filmmaking pioneers are no longer alive. This research uses interviews with contemporary directors, actors, and critics to reconstruct historical perspectives of film in Kuwait. In addition, this research uses a critical discourse analysis of industry texts, newspaper interviews, and government reports relating to film censorship and regulation. This materialist approach examines film as social practice, identifying the key social actors in the industry and examining its development in relation to the country's social, economic, and political situation. This research shows that the oil industry has both enabled and restricted the production and circulation of Kuwaiti film. Despite the colonial occupation, decades of regional conflict, and strict government censorship, the country's film industry has continued to contribute to the transnational circulation of stories representing the life and culture of Middle Eastern people. Moreover, the growing domestic film industry has replaced foreign filmmakers with new representations of Kuwaiti lived experience. A lack of government grants, film studies programs, and production infrastructure has contributed to the marginalization of the industry. However, this research provides original scholarly translations of Kuwaiti industry experts and an analysis of its history. This greater recognition by Middle Eastern film studies of Kuwait's contribution to social film history will help it continue growing.

Keywords: cinescape, kuwait, oil, postcolonial, transnational circulation, world cinema

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Authors: Chin Pang Lei

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Colonized by the UK, handed over to China, and now as a global financial city, Hong Kong’s history is never easy to write under the dominant discourses of colonialism, nationalism and globalization. In this plight, cinema, regarded as Hong Kong’s most representative cultural form, is used for writing, exploring and questioning the local history of the city. In their writing of the past, Hong Kong directors such as Wong Kar-wai, Stanley Kwan and Tsui Hark have demonstrated alternative ways of historicizing Hong Kong. Despite their interests in different periods of time (Wong is obsessed with the 1960s; Kwan is attracted to the 1930s; Tsui often goes back to the early 20th century), all these directors use genres as their time machines to revisit the past. As a popular cultural form, genres always come with a series of ideologies which define our lives and explain the society. Hence, in a changing society, genres change and complicate themselves with different packages of meanings. Genres function as open-ended and corrigible schemata which can contain multiple themes and various meanings. In Hong Kong, genres, often seen as highly commercial and overly market-oriented, are opportunities for alternative history writing and the exploration of local identities. This paper examines how these Hong Kong directors use the popular forms of genres, such as melodrama, martial art and gangster films, to present the past, and how the stories of the fictional characters, such as prostitutes, martial artists and jobless hooligans mobilize imagination of history. These texts show that genre is a crucial platform for Hong Kong’s post-colonial self-writing. Via genres, history in these films is against official and canonical history as well as grand narrative. Genres as time machines articulate a voice for Hong Kong.

Keywords: Hong Kong cinema, genre, historicizing, local history, Wong Kar-Wai

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Authors: Sven Weidner

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In the last two decades, US-American Independent Cinema has been faced with numerous metamorphoses. With regard to style, content, film aesthetics and themes a large array is offered. And as a consequence of the increasing influence of the world wide web and absolutely new ways of production opportunities alter the indie-film scene fundamentally. While in the 90s many independent films were situated in urban spaces -for instance, films of Jim Jarmusch, Abel Ferrara or Quentin Tarantino- there is a tendency from the 2000s years on to go to rural America. Jeff Nichols, Debra Granik or Matthew Porterfield can be named. Suburbia the symbol of the American Dream and in particular of an emerging prosperity after the Second World War is an essential theme with some independent directors; among them indie icons Todd Solondz and Todd Haynes. Based on selected films of both of them the paper explores the formal and aesthetic structures (narrative, drama, montage, lighting, sound, color) of the pictures and how suburbia, its people, and its "perfect" families are shown and unmasked in all facets. Films are: "Happiness" (1998), "Life During Wartime" (2009) and "Far From Heaven" (2002).

Keywords: US-independent cinema, Suburbia, film history, film analysis

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Authors: Mariam Waheed Mekheimar

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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

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Authors: Sicheng Liu

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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

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Authors: Chen-Jung Chen, Yi-Chang Chen

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While traditional virtual reality and augmented reality only allow for small movement learning and cannot provide a truly immersive teaching experience to give it the illusion of movement, the new technology of both content creation and immersive interactive simulation of the metaverse can just reach infinite close to the natural teaching situation. However, the mixed reality virtual classroom of metaverse has not yet explored its theory, and it is rarely implemented in the situational simulation teaching of nursing education. Therefore, in the first year, the study will intend to use grounded theory and case study methods and in-depth interviews with nursing education and information experts. Analyze the interview data to investigate the uniqueness of metaverse development. The proposed analysis will lead to alternative theories and methods for the development of nursing education. In the second year, it will plan to integrate the metaverse virtual situation simulation technology into the alternate teaching strategy in the pediatric nursing technology course and explore the nursing students' use of this teaching method as the construction of personal technology and experience. By leveraging the unique features of distinct teaching platforms and developing processes to deliver alternative teaching strategies in a nursing technology teaching environment. The aim is to increase learning achievements without compromising teaching quality and teacher-student relationships in the post-pandemic era. A descriptive and convergent mixed methods design will be employed. Sixty third-grade nursing students will be recruited to participate in the research and complete the pre-test. The students in the experimental group (N=30) agreed to participate in 4 real-time mixed virtual situation simulation courses in self-practice after class and conducted qualitative interviews after each 2 virtual situation courses; the control group (N=30) adopted traditional practice methods of self-learning after class. Both groups of students took a post-test after the course. Data analysis will adopt descriptive statistics, paired t-tests, one-way analysis of variance, and qualitative content analysis. This study addresses key issues in the virtual reality environment for teaching and learning within the metaverse, providing valuable lessons and insights for enhancing the quality of education. The findings of this study are expected to contribute useful information for the future development of digital teaching and learning in nursing and other practice-based disciplines.

Keywords: metaverse, post-pandemic era, online virtual classroom, immersive teaching

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Authors: Imran Badshah

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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

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Authors: David Sudre

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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 42

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

Procedia PDF Downloads 318