Relevant bibliographies by topics / Disaster films History and criticism

Academic literature on the topic 'Disaster films History and criticism'

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Published: 10 December 2022
Last updated: 31 January 2023

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Journal articles on the topic "Disaster films History and criticism"

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Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (June 20, 2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.

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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.
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Howard, Christopher. "Re-orientating Japanese cinema: cold war criticism of ‘anti-American’ films." Historical Journal of Film, Radio and Television 36, no. 4 (March 10, 2016): 529–47. http://dx.doi.org/10.1080/01439685.2016.1157285.

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Sorlin, Pierre. "Cinéma et religion dans l'Europe du XXe siècle." Journal of Modern European History 3, no. 2 (September 2005): 183–204. http://dx.doi.org/10.17104/1611-8944_2005_2_183.

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Film and Religion in 20th Century Europa The article focuses on the conflict zones and compromises of the ambivalent relationship which developed between film and religion in Europe. European film production was more reluctant than Hollywood to treat Biblical themes; on the other hand, the Christian Churches oscillated between damning, controlling and producing their own films. Their censorship and criticism were frequently the occasion of stormy internal debates about Church strategy toward the decline of traditional religiosity. Subjects such as the position and role of the pastor in his congregation and the lives of the saints were made into films; specific religious themes, however, remained rare. For the historian, these films offer symptomatic indicators of sensitivities, complex problems and uncertainties concerning religious life at the time.
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Abdullah, Shahino Mah, and Muhammad Adha Shaleh. "Revisiting Traditional, Modern and Islamic Values When Addressing Haze Issues." ICR Journal 9, no. 3 (July 15, 2018): 377–89. http://dx.doi.org/10.52282/icr.v9i3.106.

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Almost every year, widespread forest fires from western Sumatra and southern Kalimantan in Indonesia have caused a series of transboundary hazes that have enshrouded parts of Southeast Asia. This disaster has jeopardised health, the economy, agriculture and biodiversity. It has also worsened climate conditions due to its large addition of global greenhouse gases (GHG) to the atmosphere. As a result, Indonesia has received great criticism from its neighbours. This disaster is mainly caused by the slash-and-burn methods used to clear land, claimed by many to be a local indigenous farming practice. However, instead of blaming the Indonesian authorities for their inefficient actions, other countries that benefit from Indonesias resources should take responsibility and assist in addressing the issue by finding the root of the problem. A thorough understanding of this matter is necessary and must be initiated by revisiting and exploring local community welfare, culture, and traditional wisdom in order to address and prevent transboundary haze issues. This paper discusses the causes and results of transboundary haze and highlights the importance of traditional wisdom and Islamic teachings for the preservation of the environment (hifz al-biah) and achieving sustainable development goals. It concludes with several policy recommendations for policymakers to consider as a means of preventing this issue from recurring in the future.
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SEHGAL, MANU, and SAMIKSHA SEHRAWAT. "Scandal in Mesopotamia: Press, empire, and India during the First World War." Modern Asian Studies 54, no. 5 (October 24, 2019): 1395–445. http://dx.doi.org/10.1017/s0026749x18000215.

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AbstractBy providing the first comprehensive account of the role of the British and Indian press in war propaganda, this article makes an intervention in the global history of the First World War. The positive propaganda early in the war, intertwined with a rhetoric of loyalism, contrasted with how the conservative British press affixed blame for military defeats in Mesopotamia upon the colonial regime's failure to effectively mobilize India's resources. Using a highly emotive and enduring trope of the ‘Mesopotamia muddle’, the Northcliffe press was successful in channelling a high degree of public scrutiny onto the campaign. The effectiveness of this criticism ensured that debates about the Mesopotamian debacle became a vehicle for registering criticism of structures of colonial rule and control in India. On the one hand, this critique hastened constitutional reforms and devolution in colonial India and, on the other, it led to demands that the inadequacy of India's contribution to the war be remedied by raising war loans. Both the colonial government and its nationalist critics were briefly and paradoxically united in opposing these demands. The coercive extraction of funds for the imperial war effort as well as the British press's vituperative criticism contributed to a post-war, anti-colonial political upsurge. The procedure of creating a colonial ‘scandal’ out of a military disaster required a specific politics for assessing the regulated flows of information, which proved to be highly effective in shaping both the enquiry that followed and the politics of interwar colonial South Asia.
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Louson, Eleanor. "Taking Spectacle Seriously: Wildlife Film and the Legacy of Natural History Display." Science in Context 31, no. 1 (March 2018): 15–38. http://dx.doi.org/10.1017/s0269889718000030.

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ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth(2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films.
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Lamm, Mariya A. "The development of Belarusian literature in a multicultural context." Slavic Almanac, no. 1-2 (2020): 501–7. http://dx.doi.org/10.31168/2073-5731.2020.1-2.6.04.

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Sinkova L. D. Between text and discourse: Russian literature of the XX-XXI century: history, comparative studies and criticism (lit. - crit. articles, conversations). - Minsk: Parkus plus, 2013. - 296 P. The main characteristics of the Belarusian literature development in the contest of 20th-21th century are demonstrated throughout the review. The key patterns of the poetics progression in Belarusian literature are revealed, alongside with the most noticeable algorithms of the national aesthetics establishment and the specifics of mythopoetic perception. Meaningful characteristics of Belarusian literature during Soviet period are examined particularly, especially the literature about Second World War. The national aspects of literary comprehension of the experience of German-fascist occupation in Belarusian literature during Soviet period are revealed. The important characteristic of the modern Belarusian literature after the Chernobyl disaster that has started in 1986, is emphasized upon.
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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.

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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (January 2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.

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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good Americans” who aspired to satisfy gender norms of the Soviet way of life. The image of the American Other helped shape Soviet gender and political orders. Internal enemies’ “groveling before the West” on political matters was depicted as causing gender deviancy, and the breaking of Soviet gender norms was shown to lead to political crimes.
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Agus Dediansyah and Basuki Wibowo. "History and Culture of the Gado Dayak Community As a Source of Environmental-Based History Learning." Santhet: (Jurnal Sejarah, Pendidikan, dan Humaniora) 6, no. 2 (November 1, 2022): 172–78. http://dx.doi.org/10.36526/santhet.v6i2.2188.

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The people of West Kalimantan make nature a buffer for the economy. The Gado Dayak community is one of the people who make nature be it forests, rivers, and fields as the fulfillment of life. Friendly nature management needs to be passed on to the younger generation through environmental-based history learning. This study aims to determine (1) the history of the Daya Gado Community in Landak Regency (2) Culture of the Gado Dayak Community (3) The historical potential of the Gado Dayak as a source of environmental-based history learning. The research method used is historical research which includes heuristics, source criticism, interpretation, and historiography. The results of the study explain that the history of the Dayak Gado community cannot be separated from the process of community migration due to natural disasters which finally made the Dayak Gado community separated into 3 Ketemenggungan. The shift of the Gado people from their initial place of refuge due to natural disasters made them separated but they still maintain the traditions of their ancestral heritage in the form of farming, hunting and finally the arrival of missionaries. The Capuchins who teach rubber plantations and the Chinese who teach the clearing of rice fields have changed the culture of cultivators to farmers to meet the rice needs of gold miners in the Monterado and Mandor areas. The history of the Gado Dayak community can be used as environmental-based history learning. The life of the Gado Dayak community can be used as a learning resource that is developed in junior high school through social studies subjects and high school through history subjects. The application of integrated learning models, such as in social studies subjects, can increase students' knowledge of environmental conditions so that they can be ready if something unexpected happens, such as a natural disaster.
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Dissertations / Theses on the topic "Disaster films History and criticism"

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Vermaak, Janelle Leigh. "Part one: "Horror versus terror in the body genre" : part two: "Silent planet"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/636.

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This article seeks to investigate this balance and to interrogate the difference between horror and terror in an attempt to contribute to the development of a systematic genre typology. A brief history of the genre will be given, after which the focus will fall on contemporary Horror film, paying specific attention to the relationship between violence and horror, the theme of sacrificial violence, and the transgression of ‘natural’ laws. An eclectic approach is followed, drawing from literary theory, theology, psychology, and, of course, film theory.
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Graf, Matthew D. "The animation paradox : a study in believability." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397373.

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Animation has been an integral part of the entertainment industry for over seventy years. What is it about animated films that make them just as, or even more, captivating than live-action films? While animation is most typically associated with fantasy or escapism, there is certainly an element of reality exploration that causes animation to be more believable. Through examination of this and previous creative projects, it was found that a balance of fantasy and reality exploration, along with other key factors, help to make animation successful in relating to the viewer.
Department of Telecommunications
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Guo, Yuqiao. "Post-disaster Transitional Housing for Displaced People." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/124.

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Post-disaster displacement, with the increasing frequency and intensity of natural disasters, is quickly arising to become one of the most serious humanitarian challenges in the 21st century. As post-disaster housing spans several phases, the transitional housing phase is equally crucial as emergency sheltering and permanent housing: as dwellers remain in transitional housing projects up to years, their physical and emotional wellbeing is directly influenced by their surrounding built environment. Existing literature and practice have not paid enough attention to the built structures of post-disaster transitional housing. This thesis revisits past practices world-wide and architectural theory in the 20th century. Arguing that current transitional-housing design methodology is still deeply rooted in early 20th century Modernist ideologies, this thesis ties the missing link between architectural theory and humanitarian built environment design. Through examining theories and case studies, this thesis stresses the importance of approaching post-disaster transitional housing through the lens of architectural design, and makes suggestions for future improvements.
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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.

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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment. Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars. In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity. The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime. Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity. The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.
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Literary and Cultural Studies
Master
Master of Arts
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Tso, Wing-bo, and 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.

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Gisler, Carolyn M. "Revisioning the documentary tradition from within : Patricia Gruben's Leylines (1993)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26689.

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Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)
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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.

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Ma, Ran, and 马然. "Chinese independent cinema and international film festival network at the age of global image consumption." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.

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Wong, King-tung, and 黃競東. "Reinventing the real: transfigurations of cinematic kung fu in the 21st century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47849885.

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Kung fu is a cinematic genre investing on the discourse of the “real”. From Kwan Tak Hing, Bruce Lee, Jacky Chan, Jet Li to Donnie Yen, cinematic representations of kung fu are inextricably intertwined with realism – real techniques, real fighting and real body. This paper is a theoretical reflection of “real kung fu” as a cultural imaginary and its transfiguration since the 1950s. The discussion will focus on recent developments of the genre in two major industries – digitalization of kung fu in Hollywood and recent return of kung fu masters in Hong Kong through coproduction. Through a parallel analysis of kung fu productions in a global context, this project outlines and predicts possible reinventions of the genre in the first decade of the 21st century. On the one hand, the notion of “real kung fu” is reinvented by digital technology. By applying Jean Baudrillard’s idea of “simulacra and simulation” to the context of kung fu cinema, Leon Hunt’s tripartite scheme of authenticity and Edward Said’s Orientalist discourse are (de/re)constructed in an age of digital production. Through a scrutiny of The Matrix (1999) and Kung Fu Panda (2008), I will demonstrate that the convergence of digital cinema and digital gaming creates a new spectatorship that redefines kung fu with an alternative understanding of body, time and space. On the other hand, the Ip Man trilogy (2008-2010) and Legend of the Fist: The Return of Chen Zhen (2010) show that there is a possible return of kung fu masters in local martial arts co-productions. Instead of a nostalgic return to the established genre in the 1970s, these realist kung fu films reinvent the genre by synthesizing different paradigms of realist styles and renegotiating the longstanding difficult relationship between nationalism and modernity.
published_or_final_version
Comparative Literature
Master
Master of Philosophy
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McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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Books on the topic "Disaster films History and criticism"

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Kay, Glenn. Disaster Movies. Chicago: Chicago Review Press, 2007.

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E, Moshier Suzanne, ed. Threats to humanity. Bronx, NY: Ishi Press International, 2008.

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Disaster awareness fair: Zum Katastrophischen in Stadt, Land und Film. Graz: Droschl, 2006.

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Znepolski, Ivaĭlo Boi͡anov. Katastrofa kato filmova metafora. Sofii͡a: Nauka i izkustvo, 1992.

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Dying for a laugh: Disaster movies and the camp imagination. Middletown, CT: Wesleyan University Press, 2005.

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Una voce nel disastro: L'immagine dello scienziato nel cinema dell'emergenza. Roma: Meltemi, 2008.

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1976-, Févry Sébastien, and Groupe de recherche Cinespi (Louvain, Belgium), eds. L'imaginaire de l'apocalypse au cinéma. Paris: L'Harmattan, 2012.

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Broderick, Mick. Nuclear movies: A critical analysis and filmography of international feature length films dealing with experimentation, aliens, terrorism, holocaust, and other disaster scenarios, 1914-1989. Jefferson, N.C: McFarland & Co., 1991.

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Broderick, Mick. Nuclear movies: A filmography. Northcote, Vic, Australia: Post-Modem Pub., 1988.

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Kay, Glenn. Disaster movies: A loud, long, explosive, star-studded guide to avalanches, earthquakes, floods, meteors, sinking ships, twisters, viruses, killer bees, nuclear fallout, and alien attacks in the cinema!!!! Chicago: Chicago Review Press, 2006.

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Book chapters on the topic "Disaster films History and criticism"

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Mathias, Nikita. "Disaster Cinema. A Historical Overview." In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch06.

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The aim is to give a historical account of the disaster movie genre in chronological order, in continuation of the cultural and technological history of sublime disasters. The films in question employ the receptive and general aesthetic characteristics of the sublime for their depictions of catastrophic events. My discussion also includes the specific media technological environments in which the films were performed, insofar as cinema’s potential to function as a medium of the sublime represents the receptive foundation of the films. What is excluded from this historical account is the interpretations of the films’ disasters as allegories of specific contemporary political and socio-cultural events. In opposition to these (often premature) readings, one must take the immediate sensuality and the receptive tactics of disaster films seriously and elucidate the genre’s transformations by reference to the mechanisms of economic profit and technological innovation and application.
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Horlock, Douglas. "Introduction." In The Films of Delmer Daves, 3–10. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838841.003.0001.

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The introduction establishes that despite directing popular and critically well received films, Delmer Daves has remained a neglected figure in the history of Hollywood’s ‘Golden Age’. He has been similarly underestimated in film criticism and analysis, including that of authors such as Andrew Sarris who advocated an auteur theory of criticism. More recent interest in Daves’s work is recognised, such as the 2016 publication of Matthew Carter and Andrew Nelson. The introduction goes on to set out the scope of this study which focuses on all Daves’s films and significant screenplays, and which utilises underused sources such as the Delmer Daves Papers.
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Gössmann, Hilaria. "Chapter 3 Solace or Criticism? The Representation of the Fukushima Nuclear Disaster in Television Dramas and Films." In Handbook of Japanese Media and Popular Culture in Transition, 32–44. Amsterdam University Press, 2022. http://dx.doi.org/10.1515/9789048559268-006.

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Kam, Tan See. "Shanghai and Peking Blues: Fiction as Imagined History." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0004.

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Peking Opera Blues is a mixed-genre film built out of intertextual allusions to other film genres and texts. This enriches the film’s addressivity and is achieved particularly by functioning as a companion piece to Tsui’s 1984 film Shanghai Blues. Both films share narrative devices that mesh historicity and fictionality, creating narratives framed by history imagined into fiction and fiction imagined as history. This may be theorized as a jiegu fengjin mode of social and political criticism (using the past to comment on or lampoon the present). This jiegu fengjin mode of narration in the two Blues films, especially in the context of relating the films’ political relevance to 1980s Hong Kong, is that it yokes together, in metafictional ways, a spatio-temporal imaginary that sutures the past (turbulent times in China) to the present (political uncertainties in contemporary Hong Kong), while simultaneously seeking to engage the future (Hong Kong’s futurity as a special administrative region under Chinese sovereignty after 1997).
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Poe, G. Tom. "Thrust with a Rapier and Run: The Critics and Preston Sturges." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0012.

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This chapter addresses two major questions in regard to the critical reception of the career and films of Preston Sturges. The first question is how Sturges’s public persona as a “madcap” personality working in the Hollywood studio system created a master narrative that both informed and influenced the critical reception of his films and thus proved to be a precursor to what would come to be identified as “auteur” criticism. This leads to a second question: how did the theme of public spectacle in both Sturges’s personal/professional life and in his films that take a satirical and/or cynical view of public figures, influence critical debates in regard to the director as “auteur,” as well as inciting theoretical debates regarding the final purpose and/or ideological effect of his comedies as satire and/or irony reflecting cynicism and/or nihilism? Finally, the chapter explores how a study of the ambivalence that marks the history of critical writing on both Sturges’s life and his films provides an insight into the cultural practice of film criticism itself. To that end, the chapter gives particular attention to the critical debates provoked by three films, The Great McGinty, Sullivan’s Travels, and Hail the Conquering Hero.
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Hogenkamp, Bert. "A Mining Film without a Disaster is like a Western without a Shoot-out: Representations of Coal Mining Communities in Feature Films." In Towards a Comparative History of Coalfield Societies, 86–98. Routledge, 2017. http://dx.doi.org/10.4324/9781315235936-6.

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Thiess, Derek J. "Beasts in the Stands." In Sport and Monstrosity in Science Fiction, 162–83. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942227.003.0009.

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Building on the prior two chapters studying the individual athlete and the institution respectively, this chapter examines the role of the sport spectator. Spectatorship, in this case, includes both the fan, which is the emphasis of the chapter, and the critic who is implicated in making both the athlete and the fan monstrous. That is, the fan is often viewed with the same social suspicion and fear as the athlete. Once again, sf stories and films that engage fandom offer a differing picture of sport fandom and suggest that their monstrosity is the result of the active orchestration of criticism both popular and scholarly. Also as in prior chapters, the dangers of that monstrosity may be equally embodied as examples such as the Hillsborough Disaster demonstrate.
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Thiess, Derek J. "Sport, Institution, and the Devil." In Sport and Monstrosity in Science Fiction, 140–61. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942227.003.0008.

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This chapter continues the discussion of individuality in sport, but also places the athlete in direct discussion with the institutions that organize and manage sports. Criticism of sport institutions such as the NCAA, NFL, and Olympic Committee are very popular, particularly within sociological constructivism. This chapter places this criticism in a historical context, suggesting it bears a relationship with a longer history of denigrating the athlete as idolatrous. Engaging stories and films that highlight the interaction of athletes with political, religious, and financial institutions the monstrous athlete emerges as a worthy victim caught in a kind of culture war between those who denigrate them and those who exploit them, sometimes one and the same.
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Burry, Alexander. "Introduction: Filming Russian Classics—Challenges and Opportunities." In Border Crossing. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411424.003.0013.

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This chapter presents an overview of the history and process of transposing classic Russian literature into film, surveying the progress recent scholars of adaptation studies have made in overcoming fidelity criticism. Borrowing Gerard Genette’s concept of “hypertextuality,” it offers an approach to studying films of Russian literature based on cross-cultural communication, in which literary texts undergo semantic shifts as they enter different temporal, spatial, social, and historical contexts when they are transformed into film.
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10

Dobrenko, Evgeny. "From Metaphor to Metonymy." In Late Stalinism, 87–126. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300198478.003.0003.

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This chapter explores the 1946 criticism of Sergei Eisenstein's and Vsevolod Pudovkin's films about Ivan the Terrible and Admiral Nakhimov. It investigates how Eisenstein's and Pudovkin's films defined the status of Russia's most important director named Mikheil Chiaureli, who directed “Admiral Ushakov” in 1953. The chapter emphasizes how historicism had to become part of Soviet aesthetic doctrine, part of the system of flexible, dialectically contradirectional principles of Socialist Realism, and to become a hybrid of “the truth of life” and “revolutionary romanticism.” It discusses the historicism of Leninist teaching as a scientific conceptualization of actual historical reality based on a correlation of man with history. It also explains Socialist Historicism, which is the artistic conception of life from the standpoint of the Communist ideal that facilitates a vivid reproduction of life in its historical perspective and historical retrospection.
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